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Nice stills. I've heard people have a lot of love for that lens, and it sure would be a convenient one to carry around for simple shoots. You better hurry up and finish that film, or pretty soon we'll have all watched it frame by frame in this thread! ???

ok so in the spirit of eoshd togetherness I have decided to share this video to see what u guys think. maybe it will inspire zach ☺️ let me explain: i made this short at the end of last year, but I never completed the edit/fx/etc 100%. Got busy with other stuff, and I was working up my gumption to come back to it with a fresh eye. then my iMac broke, and I have a new ‘puter on the way, but I’m anticipating the nightmare of opening resolve and Siri saying ERROR: NO MEDIA FOUND, because my files, ALTHOUGH BACKED UP, are super disorganized, there might be a few things missing, but at the very least it’ll be a big pain in the ass to relink everything to get going on this again aannnyyyway I always feel bad for posting literally zero videos but numerous dog pics and I was like Screw it, its not perfect, but here ya go. this is not the best file, its the one I had in icloud, there could be a better render, etc etc, and its getting murdered by youtube compression, but my first reaction watching it after not messing with it for a few months was…. …Hey~! Its not too bad! ☺️ not bad for a first film i made all by myself! imagine if I had a crew, a budget… ? so, if youd like to see, pls check it out, and if you have any helpful feedback that involves changing/adding things, that’s great, but I do NOT have access to the actors/locations any more and there is almost no chance of me shooting additional footage, so as long as suggestions don’t involve me spending any more money on this project, I’m all in ? at best, I think this is a cool example of what one person can do with a 5d3 in 2019 with no budget, crew, or resources whatsoever... as indie as it gets lolol

I think I really just miss my Canon 24-70mm f/4...

The GH5 also totally destroys the A6500. I believe the A6500 is one of the main reasons there is a general negativity towards Sony. It has odd color (to be generous) and the worst possible rolling shutter. I think we all know how big sensors are. Size does not necessarily mean more detail, or better image, a lot of that is determined by the processing done afterwards. And sensor size has nothing to do with the amount of data unless you keep pixel pitch the same. I think the GH5's 4:3 open gate mode records more pixels/data than the Z6 in 16:9 UHD, and certainly packs it into a beefier codec. From what I have seen, the Z6 doesn't have a particularly good image, compared to a GH5 at native ISO. Maybe that's because I've actually worked with Gh5 footage on real projects, whereas I've only downloaded test clips of the Z6. But the GH5 holds up better to grading with high data rates. I haven't tried to work with any externally recorded Z6 footage yet, but, as soon as you require an external recorder attached with a feeble HDMI cable, you've really lost my interest. It's a workaround to the fact that many DSLR-style cameras don't come with the video codecs and tools we need. That isn't to say the Z6 is bad. I'd rather have a Z6 than a GH5, but it's not because the video image fidelity is better at native ISO. Low light is much better, and full frame means I'd use vintage lenses at their native FOV. But I really think it's a trade off with the current batch of smaller sensor cameras that have more video-oriented features.

I'm cutting an entire DPRTV episode shot on the S1 with 10 Bit 4:2:0 HLG. Not doing anything overly demanding, but I'm finding it has a really nice, organic look. You can all let me know what you think when it goes up this weekend.

Cameras convert ideas, planning, setup, teamwork, passion, skill, practice, attitude, and luck into files on a hard-drive. Then editing software converts vision, taste, timing, essence, persistence, and files on the hard drive into a finished film. This is why a great camera makes no improvement to a bad situation, and a bad camera takes only a small amount away from a lot of hard work and dedication.

Here are some of my photos taken on my T2i with the Edmika EF mount FD 35-105mm (best photos so far). https://edmika.com/product/fdn-35-105-3-5/

Back to M mount with the Voigtlander 40mm f1.4

My pocket has finally returned from assistance (pixel burned on the monitor). My first test .. Every criticism on the color is welcome (I'm studying).. The lasts shots are too dark and noisy.. Sorry PW: ISOLA BRAW 12 downconverted to HD Metabones xl 0.64 Tamron 24-70 2.8 ef Canon ef 100 2.8 macro usm Canon 70-300 4-5.6

I could never understand trying to rig those small DSLR/Mirrorless into a shoulder rig -type configurations. With new products from Tilta, etc. now things can remain small, and yet have everything included. With different style handheld, that is :).

Yes... and no. What the "Highlight Recovery" setting does with RAW is find areas where one channel (say, red) is clipped, but another (say, blue) is NOT clipped. Resolve then fills that red channel with information from the blue channel. In ProRes, this info would just be "clipped", and come out as white. But in RAW with Highlight Recovery, that detail appears... but with a caveat. That detail is basically black and white. Because the actual red color info is gone, the best Resolve can do is kind of guess the color, and it defaults to desaturating (it used to make that detail pink, which was pretty ugly). So usually what this means is, instead of a window being blown-out flat white in ProRes, in RAW, you can barely see the frame of the window panels. It's not gorgeous, but it is kind of nice. More importantly, in a hot spot on someone's skin, RAW can bring back a bit of (desaturated) texture in the skin, which CAN be kind of a big deal. It's up to you whether these subtle differences in the extreme highlights are worth the trouble or not.

See, Robots Are taking over. ?

@thephoenix that is absolutely fantastic! I retime things quite a bit, and optical flow is great, but it doesn't do a good job when there is movement in the background, but this new SpeedWarp mode is really great. The video the guy uses is actually a really good test and shows the weaknesses in both the approaches. DR just keeps getting better and better!!

how a camera works: light sensor electricity 01010101

Hello Andrew, It seems that from some of your other posts you are sometimes criticized. I read many of your articles and I don't post very often. I am just writing that I, from one of the many, support your independent work, your independent views (unlike those that get buttered up by canikon). I greatly appreciate your work over the years. I am very positive that I speak for many silent readers. Cheers!

Quite apt calling it an Oasis when its run by a frequently angry Mancunian

@mercer vs Paolo Sorrentino: The Young Pope, episode 9.

True, although the big big difference between the Deity Connect Wireless and past products from Deity/Aputure, is that they can release firmware updates which you can easily update yourself to get an improved product immediately. Perhaps you won't need to wait until 2020? Firmware V1.1 has already been released and it fixes a few issues and expands a few other features. https://www.deitymic.com/firmware/

Huh? What "panning stutter"? Probably operator error. And what is with everyone's need to shoot at a billion ISO? Try shooting with a RED or ARRI.... then you'll realize MFT can perform just fine in lowlight relatively speaking!

Nice work, Kaylee! I recognize my neighborhood in there. You live here too? I like the compositions and also appreciate the color.

Hell yeah! ??

You made an excellent short film and I liked it.

Your framing/composition, that is, your directing work is WELL above the average, you're an artist, girl, I believe we are all proud of you : ) My hat! Your movie deserves much more than YT, go to arthouse film festival circuit, you're giving new pictures and sounds (with such finest sound design) to the world. Credits apply BTW, the crew is not irrelevant at all when we watch something of this caliber : -) I imagine you have now a lot of people either trying to date you : D or be somehow doing anything to be connected with you. You are far to be just another anonymous camper here or anywhere else (E ; -)

Great stuff. When I was young people would have said it was "Groovy". Now I call it pretty Awesome. ?

Metadata.

I didn't quite realize how small Prores RAW files can be. I think being able to do 12bit 4k on a full frame camera is really amazing. Just realized the Prores RAW also works with the old FS5, which are going for like $2000ish on ebay. Those can do up to 4k 120 in Prores RAW?

Im thinking a couple of these for power at the moment, they are tiny and can charge via Usb-C so no need to bring an additional charger https://www.prolightdirect.co.uk/product/50wh-nano-one-v-mount-battery/

Messing with some older clips from my Canon 35mm f/2. I think my older copy was sharper.

It's 9 frames, not 9 seconds :). But still too much. Here are a few LUTs with subtly varying curves. We are dealing with 12.3 stops of DR vs 14-15 on Alexa. So alexa rec709 contrast curve is too contrasty for Nikon, of course. Although one of the LUTs is almost same curve. Also Alexa's response in low mids is pretty unique as well. To get a similar response on Z6 you have to rate it at ISO400 (lowest on Z6 is ISO800, just overexpose a stop). But then you loose a stop in the highlights of course, which if exposed correctly come to 6 stops over middle grey on Z6 (versus 7.5 or so on Alexa). Had to tweak the neutrals though, which means they have a bit of a color cast and saturation to them. The work is still in progress. I'll be doing Alexa look library based creative looks as well. Z6_alexa_based_LUTS.zip

My 2 cents... Z6 for video could be an excellent camera... used with Atomos Ninja V. N-Log is very very good. Color science is extremely good. We made some LUTs based on Alexa, and Z6 color comes very close. Skin tones, etc. I personally couldn't get this close on any other mirrorless cameras. But there is one huge BUT - they have to fix the HDMI delay which is currently 9 frames (!). Unusable for anything narrative. Looking forward to the firmware update with prores RAW, hopefully they fix the delay. At least Nikon told they are looking into it. I can share the LUTs if anyone's interested.

Funny how everyone dismisses Windows, but we have replaced all our previous Apple devices with Android/Windows. Last castle is falling tmrow that my Surface Go will replace the Air 2 (completely useless for almost everything, not even the slightest of multitasking) we have, but the war was won when I gave me lady an S9+ instead of her iPhone last year! You can wait for whenever Apple will give you ports (or take the few you have!), or true file systems, or logical solutions to reasonable needs, or just spend less for more and go a different OS.

Dude you haven't even used the Z6. So with the amount if junk you keep throwing out your would think that you've at least tried it and put it thur some test. You throw out feature and specs but ignore color science, image quality and the organic look each camera brings to the table or doesn't bring to the table. You're the junk guy that's always pushing the out of date older camera for cheap while knocking down the newer cameras. You did this with the GH5 and in this thread the Panasonic camcorder and C100. In two years the Z6 will be older and you'll say for the money go get a Z6.

Oh, sure you are not... Your non-stop peremptorily assertions and fallacious arguments is not "trolling" ; this is "Jonpaiing" in cow-boy style. I understand why you are constantly fighting with a lot of other members. Seriously, you've made this thread awful to read. I'm out.

Picked up a cheap used copy of the already cheap Fujinon XC 15-45 mm f/3.5-5.6 OIS PZ. I have the companion one to this lens the 50-230mm which I think is a great value so I was hopeful for this one too. It didn't let me down particularly but it being a power zoom is a bit of an acquired taste and its an underwhelming f5.6 at the (shortish)long end but its small, light, has OIS and covers a great range for reportage. Both lenses as a kit work well with something like the X-T20 here as a compact, lightweight stabilised travel kit (particularly if you add in a faster prime to compliment them) that are cheap enough used that you won't cry yourself to sleep over some mishap befalling them on your travels. Top two rows are the 15-45mm and the bottom row is the 50-230mm.

Bravo. And a good reminder to everyone about how much sound design brings to the party. And well done on casting @webrunner5 in it too

I also really like the "dark" shots (like 1.44). We're always talking about dynamic range, and IQ etc etc, but sometimes it's all in the shadows. In the murky bits. Makes you look harder. Good stuff.

I like it. A lot. Don't change a thing. Well done.

A wedding videographer/photographer weighs in on working with the S1 for an actual client shoot (subjective, I know). Organic-looking video thoughts? How about skin tone performance? Panasonic S1 - Real Wedding Shoot - I'm Blown Away - YouTube:

@UncleBobsPhotography @Shirozina I think it depends on what level of lighting variety there will be between shots, the tolerance the OP is willing to take in the final edit, and the level of time, skill, and software capability available for colour matching in post. I've spent a lot of time trying to match different cameras in post (made more difficult than this situation because my cameras also had different colour science and were pretty bad quality cameras) and I've found that it can be really difficult to get acceptable matching, even if you half know what you're doing in grading. Obviously ND filters vary far less than entirely different cameras, but the differences I couldn't overcome were so large that they'd be completely unusable in most commercial settings, so for the OP the difference of NDs might be practically relevant. The fact they're asking about how to do a test, and that their approach is detailed and seems sound would also indicate they might be creating a higher quality product where there is less room for variations. I could be wrong of course - we all obsess over tiny little details that don't much matter in the grand scheme of things (like cameras, colour science, etc!) ???

Sort of a toss up. I guess it depends on your lens lineup.

Rumor is that the PL 10-25mm f1.7 is going to be released at $2500. Which is....kinda unfortunate. $1800-2000 and I would consider it. The P4K shots were tasty.