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Great video talking about HLG Talks about HLG acquisition, HLG delivery, backwards compatibility, grading, 709 conversions, exposure, HDR10, the HLG curve, cine gammas and commercial opportunities.

old c-mounts and ibis are indeed a thing of beauty! I shot a video today with a friend, all GX85, awesome Fujinon 12.5mm with a bit of fungus. That lens is the only reason i still have that camera. So this is from today, with grade and edit right after it. I should do that every week. 1hour shootin, no planning ahead. fun thing: shot in vivid, full contrast and sharpness +2, color at +4, though at the lit parts at -5. Finally my first "real" video with the GX85, after almost two years owning it!

Shooting some Superbike testing at the circuit today with the LS300 and his new best friend the Atomos Ninja V. And in one fell swoop its achilles heel of abysmal monitoring is solved and 4K60p added without having to wrestle with the bigger recorders. A very worthwhile upgrade for £550.

I was betatester of an ios app called "scopes". Way better than imgapp for anamorphics. Full screen on ipad with desqueeze in several flavours (1.3x, 1.5x , 2x).

Here’s a couple frame grabs from a recent 50mm comparison test I did. The first is from the Carl Zeiss 50mm 1.4. It’s the ZF.2 version... And this one is from the Carl Zeiss 50mm 1.8 for Rollei QBM... Different type of shot, so probably not the fairest of comparisons...

I don’t know if I’m understanding you correct but you want to add the effect to everything in say V1? If so, just add an adjustment layer in V2 and make it as long as your in to out. Then just add the effect to that adjustment layer, everything below the adjustment layer with take its effects.

I've tried the 4:3 4K Photo Mode with anamorphics on my G80/G85 (which shares many features with GX80/GX85) and, to be honest, I got better results when shooting standard 16:9 4K 24fps video. Rolling Shutter in 4K Photo Mode is worse than in a regular video mode, IBIS doesn't seem to work that good, you can shoot only in 30fps and there is no Cine-D. Sure, I get even more cropped image and I do have to crop out a lot of pixels, but it works for me. Not saying it's the best solution, but maybe you'll like it more?

OK, well I've got a solution for you. The live view to a phone works while recording the burst. So your options are to use the free Panasonic Image App on your phone as a monitor or use an app like Gmonitor (Android or iOS) which is about $5 and is a more dedicated monitor app for showing the live stream. There is some lag but it is actually pretty marginal and definitely usable. Far, far more usable than the non-functioning HDMI port.

For anyone interested the method I ended up using was adding the Fast Color Corrector tool in Video Effects under Obsolete. I changed the Output Black Level to 16 and the Output White Level to 235. Both transcoded prores and original H265 files look the same now (no more blown highlights and crushed shadows).

Thanks that's great, I have got access to the Play Store.

For how low our incomes are then housing pricing is bonkers insane in Auckland, we're one of the most unaffordable places on the planet. Is just places like say Hong Kong etc which beat our housing inaffordability (although, technically it is just shy of a million dollars NZD) Although just in recent months the housing market seems to have been softening. Just maybe maybe, we might be coming up to a big housing crash like it seems Sydney is experiencing

Testing this on mine I'll let you know if it works.

Following and retweeting sir.

@Anaconda_ pretty sure that has more to do with the lighting and dudes oily skin from singapore's heat/humidity. this other review was filmed on a sony A6500, when the Q2 footage kicks in (2:00) the clarity, tonality & detail makes the sony IQ look like a cheap mushy yellow tint mess:

Another. Different workflow with HLG.

The initial spark for it was to offer something for Android because there was (and still isn't) an official app from BM for it and also because the official one was iPad only which, again, didn't strike me as ideal form factor wise. I still hold that view but as its developed quite a lot functionality wise during its evolution from being just an Android alternative then, perhaps, it might be something I would do if there is enough demand. To be honest though, I still regard it as being something that I would view as running on a dedicated low cost Android device such as this one rather than "wasting" something more expensive on it like an iPhone https://www.amazon.co.uk/SIM-Free-Unlocked-Smartphones-，MTK6580-ShaQx/dp/B07KT9KM8Q/ref=sr_1_1?ie=UTF8&qid=1551731135 I agree regarding some aspects of the Android experience being less than enthralling (whilst acknowledging that iOS has its moments as well) but for something like this I'd view it as being a dedicated single function device that just happens to have Android underneath it. The way to look at is if I didn't say it was an app but said would you like a touch screen bluetooth remote control device for your Pocket4K with an all day rechargeable battery for a total cost £55 then it would seem a different proposition The upside to having it on Android is it makes it easier to accommodate other enhancements to it such as live view integration but also offers a future option to run it on small single board computers that can be put in more pro film making housings.

Thanks Especially for someone as lazy as I am. My projects really need to go on Kickupthearsestarter

I've uploaded test for X-T3 and Z6. It was based on cinematography.net testing method. Highlights range is clear there, while the shadows range is open to anyone's interpretation...

Anyone have this lens for your X-T3? It looks like the price dropped $1,000 USD. A bargain now? Fujinon XF200mmF2 R LM OIS WR Lens with XF1.4X TC F2 Teleconverter Kit https://www.amazon.com/XF200mmF2-LM-OIS-Teleconverter-Kit/dp/B07FQB2T4F Fujinon XF200mmF2 R LM OIS WR Lens with XF1.4X TC F2 Teleconverter Kit by Fujifilm Be the first to review this item Price: $4,999.00 Free Shipping for Prime Members Pay $481.13 per month or less in 12 monthly payments (plus S&H + tax). Learn more Equivalent to 300mm (35mm) 19 elements in 14 groups, including one large-diameter Super ED Lens element and two large-diameter ED Lens elements to minimize chromatic aberration New Focus Preset function that instantaneously changes the focus to a preset position, enabling photographers to capture the main subject with ease, and without having to make focal readjustments. Utilizing linear motors, the XF200mmF2 R LM OIS WR achieves fast, near silent and high-precision AF performance The Lens offers 5-stop image stabilization performance and is sealed at 17 points and designed to be weather and Dust-Resistant and to operate in temperatures as low as 14 Degree/-10 Degree. https://www.fujifilmusa.com/products/digital_cameras/x/fujinon_lens_xf200mmf2_r_lm_ois_wr/index.html

@BTM_Pix 2019 and I am still using my beloved and underrated gx80. The main problem for professional use is that the HDMI output get's blocked during photo burst mode. I would like to shoot 4/3 4k with the burst mode but when enabled the HDMI function gets blocked, not really, rather there come a sign transfered by the camera that photo mode is activated. This is for shooting 4/3 anamorphic. Funnily enough, when I do switch back to the normal mode, I see the external monitor showing the correct image in 4/3 desqueezed for one split second before going back to the heavily cropped 16 9. (with anamorphic, this is 32 to 9). So I know that the camera could do this, but they do not allow it. Do you think, from your experience, there is any chance that the HDMI output could be manually enabled or hacked? cheers

Firstly, thanks to everyone that has responded. You've all contributed knowledge without starting a war, which makes me very happy to be a member of this forum. Will respond individually to everyone's comments when I have a bit more time later today.

It will always be a bit subjective in the shadows range. Just look at Geoff Boyle's tests. He has a comment section where he rates each of those high end cameras, with number of stops over and under the charts. With highlight clipping it's easier, although I've seen discussions where some even question this part, seeing 1/4 of a stop more, etc. In practical applications these hardly matter. In the shadows Geoff is ruthless - he discards anything where the color changes or the noise becomes apparent. For instance Alexa @ 800ISO is 5 stops over and 2 stops under in his tests. I'd probably find acceptable another stop in the underexposure. And so on. But in 8bits... you can try cramming those stops, but there's just not enough values per stop at that depth, etc. However, many find those log curves in 8bits acceptable and use them all the time. Whatever works for you, I guess.

I don't know about the A7iii but my A7sii could not touch the DR of the 13stop BMCC, D750 or even the 12stop XC10 and 5Dmkiii raw. So I doubt the A7iii could match a BMPC4K. At least I haven't seen any footage that points to it being able to. Would love it if it could. Maybe then I could justify it's imo to high price.

The problem is there are many ways to measure DR. If you read "the Sony a7III has 14 stops of DR" and "the Arri Alexa has 14 stops of DR" both may be correct, but are utterly meaningless statements unless you also know how they were measured. Many years ago, Cinema5D pegged the a7sII at like 14 stops. However, they later standardized their measurement to use SNR = 2, which gave the result of a7sII at 12. But whichever way you measure, it's ~2 stops less than the Alexa. Many members here will tell you that Cinema5D is untrustworthy, so take that as you will. I have yet to find another site that even pretends to do scientific, standardized tests of video DR. Cinema5D puts the XT2 and XT3 at just over 11, so that confirms your finding. And again if you change your methods, maybe it will come out at 13, or 8, or 17--but in every case it should be a stop less than the a7sII when measured the same way. Bit depth doesn't necessarily correlate exactly to dynamic range. You can make a 2 bit camera that has 20 stops of DR: anything below a certain value is a 0, anything 20 stops brighter is a 3, and then stick values for 1 and 2 somewhere in between. It would look terrible, obviously, because higher bit depth reduces banding and other artifacts. There is pretty much no scenario in which an 8 bit encoding has an advantage over 10 bit encoding of the same image.

Have you tested it? In my testing experience none of these small cameras come closed to 14 stops. None. Even more so with Sony A7III 8bit output. It's just impossible to have 14 stops in that. 10bit log is said to carry up to 12 stops (11.5 according to cinematography.net), so... But whatever helps people feel more confidence in their tools. It's the final outcome that matters, after all.

Indeed. There's no similar monochrome anywhere else... Absolute. Magistral. Unique of a kind. Your glass match perfectly fits to couple your luminous framing as well, keep up your good shooting : ) Just waitin' for X-H2 to arrive in 2020 very likely to follow the promising Nokia 9 Pureview B&W much earlier : -)

Nice work as always Matt! I think you’re the one person I’d love to see a film made with a GH5 and one lens. I think your signature indie look would make that camera sing. Mans I swear, I truly think those Panny cameras are built for those c-mounts.

Does anyone else seem to remember that this question has popped up on here previously at some point? As far as I recall, the general consensus was that you need to go into the Settings menu of the camera and make sure "Motion Cadence Colour Science Mojo" is set to ON. Have a go with the Search option just to make sure I've remembered correctly though.

Thanks! I like not having bad aliasing in people's hair/eyebrows when shooting close-ups on the GH4, and I like the creative options like VFR mode (I really love that I can set it to custom frame rates instead of just having set frame rates to choose from). I like the slight extra bit of width I get out of my c-mount lenses. I also love being able to tweak the image in camera and not needing much grading (all I did was adjust contrast and added a Fuji film look in Lumetri). I love the bmpcc until the aliasing/moire starts to get to me. I also kinda hate grading log footage. After doing both for some time, I prefer getting the desired look as close as possible in-camera. I shot in CineV with the contrast/sharpness/NR at -5, Saturation at -1, Hue and Master Ped at 0, iDynamic and iResolution off. I did a controlled lighting test of all the different profiles and that is what I preferred most. Adding a Polarizer makes it look especially nice.

Speaking of Fuji C-Mount lenses, here's some footage of the 25mm and 50mm (and Cosmicar 12.5mm/Canon V10X15) I shot on the GH4: All lenses are shot wide open in this video:

@PannySVHS haha, that Fujinon c-mount was the only reason I was going to keep the G85. But in the end, I just didn’t use the camera enough. But if I can find another G85 for the right price, that 12.5mm and the 25mm may sway me back to M4/3... old c-mounts and IBIS are a thing of beauty.

We're already there in Auckland