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Well, he makes no sense through most of that video but was absolutely right about one thing - when he said "I don't know the technicalities of what's actually going on". My understanding would be this: HLG includes the whole DR of the camera and the other profiles he tested don't FCPX is confusing him.. here's what I think is happening: FCPX takes the HLG file (which isn't clipping anything) and then converts it automatically to rec709, "clipping" it heavily but retaining that data in super-whites When he makes adjustments to lower the exposure those values above 100 get brought back into range He thinks that FCPX pushing the exposure beyond 100 somehow means the GH5 "clipped" (it didn't) He things that lowering the exposure in FCPX and getting the highlights back means you can somehow recover clipped highlights (you can't) If something is clipped then the values are lost (digital clipping is data loss) FCPX is "helping" by automatically doing things without asking you TL;DR - HLG has greater DR; exposing for HLG is different than rec709; FCPX is "helping" and confusing people; and this guy isn't the person to be listening to for this stuff.

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...

Thanks?. I was poking fun at the media in my bio. Anchorage had a big earthquake in November. One media story said the earthquake occurred in Alaska’s capital city.....which is actually Juneau (where I live). It’s only 850 miles by road and ferry between Anchorage and Juneau, they are practically neighbors, so easy to see the mistake ? Also, a news anchor on the news was talking over video of cars stranded on little sections of asphalt while the rest of the road had dropped 20 or 30 feet around them. The video showed a street sign (Minnesota Drive) where this had occurred. The anchor excitedly exclaimed ‘I know right where this is! Minnesota Drive is the road that comes up from the lower 48 and then continues on over to the Aleutian Islands.’ In reality the Aleutian Islands are over 1000 miles to the west of Anchorage. Minnesota Drive is actually a road that goes north and south through Anchorage. It’s most well known by visitors as it is the road you get on when driving to the Ted Stevens International Airport to leave Anchorage. You drive on Minnesota to International Airport road. There are no roads in Alaska to the west of Anchorage. In fact the only roads in Alaska, go right through the center of the state, north to south. The road system connects Seward and Homer on the coast to Anchorage area and Anchorage area to Fairbanks in the interior and continues north to Deadhorse and Prudhoe Bay on the Arctic Ocean. But you can’t really go west at all in Alaska unless you are in a plane. Even to go east and drive from Anchorage to Juneau, you have to use Canada’s road system. In fact, over 80% of Alaska is not accessible by roads at all! So I was just poking fun at the media who were stating ‘facts’ about the earthquake and Alaska that were a bunch of hogwash. Typical ‘fake news’ these days it’s kind of disheartening to see as I got my start as a tv news videographer/editor and these days there is almost no fact checking they just run stories without making sure they are accurate. As to the gimbal, the Accsoon is very good. As I said close to a Ronin. The Ronin has a couple advantages ‘one being how you can hold the trigger to lock it then release it to go back into another mode.’ I go through some of these advantages in my review. But the Accsoon is very smooth, easy to balance, made pretty well, and smaller and lighter than the Ronin S while boasting the same payload. Much like cameras, you have to choose the features that are important to you, there is no ‘best’.

Portkeys will be announcing an EVF at NAB! Oled 0.7 inch with sdi and hdmi... Hopefully at a reasonable price

Good question. Aside from all the theory, here is an actual test that SEEMS like it should be accurate testing the dynamic range of the various picture profiles. Unless there is some mistake in his methodology which I don't see. His testing methodology is based on 13 stops (12 lights one stop apart and the black background counting as the the 13th stop). Notice in the SLOG profiles - even when overexposed - there is still room at the top of the wave forms to squeeze in another stop and possibly two stops (meaning, he could have added two more lights following the sequence of being one stop brighter than the light before it). His methodology gives some indication of noise performance in shadows, although he doesn't attempt to clearly define what is "acceptable" noise and what isn't. I don't think he has measured other cameras this way for a comparison or not. And yes, sheer dynamic range isn't everything. On the other hand, Maartech's testing shows a much more conservative dynamic range (with HLG being the notable exception, although I don't think he says WHICH flavor of HLG he is testing) https://youtu.be/1yiX041goic?t=1437

Actually, I think that it's a deeper issue. Just look at the terminology - "recovering highlights" is something that you do when things have gone brighter than white. This only makes sense if white has a shared definition, which it does if everyone is publishing in rec709. HLG is actually a delivery standard, so when someone shoots in HLG and are going to deliver in HLG then there is no recovery - if the camera clips the HLG file then that data is clipped. Same as if you shoot rec709 for delivery in rec709. If this guy was talking about filming in LOG then no-one would assume that he's delivering in LOG, so the conversation would be in the context of the default and standard delivery colour space / gamma. The point of HLG is that it's an alternative to rec709, and so now there is no default / standard / goes-without-saying reference point. Edit: coming from a camera, clipped HLG is the same as clipped 709.. that is some cameras may not actually be clipped because they might include super-whites in the output file, like I know the Canon cinema cameras do (as well as others I'm sure). Ah, I love the smell of confusion in the morning.

I posted a review on the Accsoon gimbal a couple months ago, along with a ton of footage (quite a bit of it that is not slow motion.) It’s a good gimbal, I’d say 85-90% of a Ronin S and quite a bit lighter (and a bit cheaper.) Lots more info here: https://digitalfilmmaker.net/accsoon-a1-s-dslr-gimbal-review/

It’s weird, the Zeiss ZF has more wow and it’s almost always there. With the Zeiss Rollei you have to find it, but when you do, it slaps you in the face. Good catch, I hadn’t noticed the shape of the bokeh balls... I’m pretty sure it’s coma but you raise an interesting point... sometimes the flaws in lenses add some character to your image... I’m sure a lot of people would disagree with that, though. Not a hundred percent sold on B&W for my film yet, but for the lens tests I enjoy doing... it’s nice not to eff around with color grading... at least until I get a better monitor.

I love putting my name on things so I'm excited to have found a Brother label maker on sale at Staples. I want to label lenses etc. so if I have an assistant or something he or she can identify them, and so things don't get mixed up if I rent equipment. Does anyone have any advice for doing this? Should I include phone number in case someone is extremely honest and I lose something? Label cables, too? Color coding? Should I label the cases? SD cards? This looks fun: https://www.amazon.com/Unistar-Standard-Laminated-Compatible-Brother/dp/B01FJRURW4/ref=sxbs_sxwds-stvp?keywords=oem+brother+label+tape&pd_rd_i=B01FJRURW4&pd_rd_r=ab02dc4c-fb3e-4597-ac39-5963d91998e9&pd_rd_w=rd5q1&pd_rd_wg=kNil6&pf_rd_p=5c5ea0d7-2437-4d8a-88a7-ea6f32aeac11&pf_rd_r=EK74ADNXKYH35F8X0N57&qid=1552187252&s=gateway I'm not sure if I'm more interested in this as an art project or because it's practical and will help keep me organized, but at least I found another use for my camera and lenses.

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.

Nothing remotely exotic or with any particular character but the diminutive Panasonic 12-32mm f/3.5-5.6 is a handy little (with the emphasis on little) lens to have in your bag if you shoot MFT. The upside is the OIS so its a boon for using on cameras without IBIS like the G7 or, like here, the Pocket 4K but the downside is the lack of manual focus ring so you will have to rely on AF or onscreen focus. Or for the Pocket 4K as I was doing here for testing you can use a remote control app.... As I say, its not going to wow anyone with its '3D pop' or 'mojo' but as a purely utilitarian wide zoom its a very solid performer and as so many of them were bundled in kits with GX80 etc they are readily available for well under £100 used.

Won't the A73 likely be very similar to the A7S2 certainly not higher.

If you are looking to go 1.0x and above and want to buy a specific lens then the Laowa 25mm F2.8 2.5-5x Ultra Macro Lens is almost doable for your budget. Its Canon mount so you'll need an adapter as well. This is a review of it up against the venerable Canon MP-E 65mm https://petapixel.com/2018/03/21/the-399-laowa-25mm-macro-lens-vs-the-1050-canon-mp-e-65mm/ The other route with Fuji is to use their own MCEX-11 or MCEX-16 extension tubes with your existing lenses which have the benefit of being electronically connected so you can retain AF and aperture control. This chart shows you the magnification gains with each of their lenses http://www.fujifilm.com/products/digital_cameras/accessories/pdf/mcex_01.pdf The Fuji ones are about £70 but the 3rd party ones with the same electronic control are about half that price. As you can see from the chart then if you want to get to the 1.0x area then the MCEX-16 will get you in the ballpark with both the 18mm f2 and 23mm f2 lenses. If you've got either of those lenses then you're in business but if not, used ones from somewhere like MPB will get you there or thereabouts budget wise as a package with the adapter with the added advantage of, unlike the dedicated ultra macros like the Laowa, being very decent lenses for non-macro work. https://www.mpb.com/en-uk/used-equipment/used-photo-and-video/used-lenses/used-fuji-x-series-lenses/

that was lovely

Stunning piece from Keith Hammond:

This was shot all on the GH5 and XT2. Looks pretty amazing.

Thank god its not just me who has the labelling fetish! I don't go down to SD card level but I do find them to be at their best for lens cap labelling for easy selection from my storage drawers. They even have a little code structure !

Another option. You can order roll custom labels. something like that : https://www.vistaprint.com/marketing-materials/labels-stickers/roll-labels?xnav=LabelsandStickers:FamilyPage_ProductTiles_0_RollLabels_Tile

Definitely not a fair comparison, but they certainly both look really nice! The bokeh in the close-up shot is very nice.. and seems to be the anamorphic shape? I think you're slowly convincing yourself to go B&W! ???

I think even ios version is not available anymore. Maybe. with some luck, someone who knows how to make android apps, and who knows how lumix cameras talk with phone, who have 3 letters in his nick name, can make similar product. Full screem liveview with selectable desqueeze ratios!!!

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.

No, it has morphed slighty into a Leica/Panasonic/Sony controller and will be available soon both as the pocket version here But also the larger version with focus wheel as shown here with the Pocket4K There will likely be a Wifi version of 3C for them as well.

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.

Alister is the man

Yeah, this is not for output to HDR deliverable content. I have not explored HDR deliverable content.

For the International Women's Day. This time my Kowa 16H was pairing with a Ultron 40mm.

of course zach, i was being ironic. im just saying that at the end of the day, you have to find time to do both things, study and work on filmmaking. think to yourself: what would Director X, who you admire, do? if he was in your shoes at your age in your situation? would he be working on filmmaking tonight? probably

The missing link in the article if you want to read an article that would takes 2 hours to do. ? http://www.displaymate.com/Galaxy_S10_ShootOut_1S.htm

Here’s a mock-up poster for my film. It was shot with the Canon 28mm 1.8...

I use mspaint and working too.?

I don't doubt your results. Panny's IS ain't perfect and frustratingly unpredictable at times, (I've found their dual IS disappointing) but wanting it to work flawkessly on a gimball is a false expectation, I think. IS is designed to handle shake as the camera remains stationary. If you move the camera around the acceleration/deceleration momentum can cause dramatic shifts as the IS makes over corrections. This is typical with Olympus IS as well, which is generally considered the best available.