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er i'm discussing colour test chart as you can see the prices vary considerably

Yes, i delved a little deeper and the 8bit DNGs have a linearisation table attached to them. I've been opening these up in RAW Digger which gets me the values before any debayering of colour work. I need to see if i can get the table out but it's a good sign. Having said that by the time the image is debayered into a working colourspace that 8 bit source of thee RGGB channels is tonally more spread meaning that effectively the end result will have more tonality than 8 bit implies, say compared to an 8 bit movie. I hope that makes sense? Paul

wait what, fuck me, I use FC too but mine doesn't look that good after ten minutes

https://www.fastcinemadng.com/ Thoughts?

Jim Kasson did a series of tests about this subject: does 6k or 8k or even 9k image downsampled to 4k look better than native 4k? Though he is a still guy but the test is relevant for video shooters. This is the last one but check the previous posts too. https://blog.kasson.com/the-last-word/camera-resolution-and-4k-viewing-a7s-a7iii-a7riii-a7riv-downsampled/ My take is that if you dont shoot texts or Siemens star or a chart, the difference is surprisingly unnoticeable! And keep in mind, Jim is doing this in post, using a powerful PC, using the best available software and algorithms. We know the downsample process happening inside the cameras are far from the best possible, they want to do it fast without using much power, it shouldn't be a very computationally expensive task.

I own the 16 & 25mm Meike lenses. I really like them for my purpose, which is family videos. They're used on my GX85 & G85. They offer a nice sharp image through the aperture range. Though they may be a bit too clinical for some people's taste. I don't really look for a vintage image because I like digital images and I firmly believe in due time my images will look as vintage as they need to. I also like the weight they add to these smaller cameras. I was a very early adopter of these lenses, so the 25mm version I have is the unabashed clone of the Veydra lens.The focus ring is a chore to turn by hand. I've read that the Veydras are heavily dampened.The 16mm version, which is the current design, has a far less dampened focus ring. I definitely prefer the 16mm focus ring as I don't use a follow focus, and assume the that a heavily dampened ring would be better suited for such a setup. I've never used a professional cine lens, so I'm truly talking out of my ass here. The focus throw is nice and long at around 300 degrees. As a side note I'm super pissed they changed the design, as my OCD strongly prefers they be a matching set. I've never tested the markings on the lenses, but I wouldn't trust them for anything important. I would doubt the T stops are accurate from lens to lens. I would also doubt coatings match well lens to lens. I'm sure no one suspects the QC for these lenses is a very stringent process. As far as I've read, in addition to the 12,16, and 25mm, they plan on releasing an 8, 35, 50, 70, and 85mm. Meike announced on Instagram this weekend the release of the 35mm in mid November. Their delivery dates change often though. I'm looking forward to the 35mm as it's my favorite focal length on MFT. A bit disappointing though that the price from the 12mm and on will be $399 each in the US. For me that's enough of a jump to start looking at the SLR Magic Microprimes which come in faster flavors than the T2.2 of the Meike lenses. Overall these lenses are fun for a guy like me to play in the world of cine lens make believe. MFT lenses are getting so fun now with the DZO zooms and the Vazen anamorphic lenses. It almost makes me not want to get a Sigma FP...but not really!

put a white board in the corner between ceiling and wall and bounce from that with a 200watts hmi, boucing back in 45 degrees. Styro board will do fantastically for bouncing.

Haha thanks, I didn't even notice that! I have now passed full subsampling on EOSHD.

@KnightsFan fun thing: you had 444 likes. i changed that.

Doesn't make sense to me. 8 bit bayer is significantly less information per pixel than 8 bit 4:2:0. RGGB refers to the pattern of pixels. It's only one 8 bit value per pixel, not 4.

@ade towell still in test phase of the c200 but so far the face tracking has been absolutely flawless even though I try to stress the AF shooting wide open at F1.2-F1.4, and again face priority is a handy feature. How it compares to a 1DX2 however I can't tell you.. all I know is that for a cine cam it's pretty damn good!

FS700 (with Shogun Inferno) Have been using one since 2014. Rigged up for shoulder-use, nicely balanced with the inferno on the back and a Kinotehnik EVF. 10-bit is a must for me for broadcast work (HD). I do some action sports so I need the slow-mo capabilities. 4K is good for commercial stuff but for 4K a good edit codec is essential. (Hence why I still prefer FS700 + Inferno over just bare FS5) I don't want to be screwing around with proxies or transcoding in 2019. Unlike 10+ years ago when it was pretty much standard to charge for a day or more just for tape ingests, clients today won't accept being billed for transcoding time if your camera is not edit-friendly. I told my self I won't upgrade until something comes along that offers internal 10-bit all Intra up to 4K120p and under 10,000 AUD fully kitted out. The UMP G2 pretty much ticks all the boxes but, once I add the VF, rig, media, etc it lands at around 12,000. So I'm just waiting until the price drops a bit or some used ones start hitting the market.

If you're balancing with natural sunlight, using Daylight LED's will be easiest since you likely won't need any gels. I've shot a bit in hospitals and we always use an Aputure C300d in combination with two LED panels; 300d to bounce light off a wall/roof and give the whole room some bright ambience, one 1x1 LED panel with a soft-box as a key light, and the other 1x1 LED as either a rim light or background accent as required. Make sure you consider what their theatre lamps are balanced at (not the ceiling lights, but the one on the boom arm that the surgeons can move around), and what want them to look like in the scene (ie: either daylight/white like all the other lights, or tungsten to highlight the area) that will help you decide if you want to use them as a practical or augment them with your own lights (something like a Dedo does the trick). Are you a regular poster at DVX user or was it your first post there? They have a new members section which you have to post in first before you get full posting priveliges. It's designed to weed out spam bots or people who don't basic read instructions.

The test shots in this lens review are P4K BRAW 3:1 if anyone is curious...

It might? I've used it to smooth out macro blocking before. Sometimes the "temporal smoothing" setting, when you set it to 5 frames, is able to reconstruct detail so you can push your footage further.

Panasonic GH3. More than good enough. I use a GH5 now for work, but I still can't bring myself to sell the GH3 (not that anyone would buy it). Great HD, battery life still solid, built like a tank. Paired with my Voigtlander 25mm (itself battered and scratched to shit) it has a special voodoo.

@leslie @noone are you guys talking about colour charts to use to calibrate the video out of your cameras, or monitor calibration to get colour accuracy of your monitors, or both? Not sure if this helps, but the advice I'm hearing from the professional colourists is to calibrate your monitors, and then to just process the footage to look good ("if it looks good it is good" as they say). However, these guys are colourists, so they're pretty good at making the image look however they want, so have less need of a colour chart to do the work for them. If I was looking to buy a colour checker to auto-correct my footage then I'd consider buying the one that Resolve uses to auto-magic the shots in the colour tab, but that's probably the one that's much more expensive!

10-bit.

Neat Video (and some practice with Neat Video settings, it's got a lot of settings). But it might also smooth out/get rid of macro blocking so then you need to export it again at a low bitrate.

A7s was/is my all time favourite. Just using its ungraded internal full HD and that is/was probably overkill for me. That camera is dead now and I can not afford anything decent so I am using an even older baby Nex 3n (point and shoot camera with interchangeable lenses but a still nice APSC sensor)...and I do not even use the largest size in that preferring to use the 1440x1080 straight from the camera. I should say i mainly just record the odd song while shooting stills at pub and club gigs and festivals. Other cameras I have had and liked include the original A7 (video was ok for me though the A7s is much better) and the above mentioned Panasonic GX7 though its video max of ISO 3200 was a bit low for my needs.. Nex 3N mounted to my ancient 300 2.8 Tamron adaptall (with a Nikon adaptall, Nikon to Canon adapter and Canon to Sony E adapter....I hope to try and use it for a song or two today but without a viewfinder might have to keep it to stills.

tbh, the good 'ol Canon 5DII was good enough for me. Ultimately, when I'm looking to get a shot it comes down to exposure and lighting anyway, if I'm pushing and pulling too much in post something went wrong when shooting the image. I'd love for a hybrid camera to have built in ND, but I've learned to adapt around it. I record audio out-board with a simple wireless mic system and small recorder. No issues there. My favorite hybrid cameras so far were the Lumix GX7 and EM5II. As you can tell, I'm pretty modest about things. I own the GH5 and use it alot, but it has a lot of features I don't bother with --and I feel like I overspent on it, based on MY needs. For instance, I'd shoot again with a GX7 in a heartbeat. Could probably buy one used for under $200.

no one ever said this was for sale. o.O

yep, and it even seems to have ok-ish rolling shutter @ 20ms. Maybe i will get one and pair it with a bolex 1.5x or Kowa C35. Now we just need a l-mount to EF/Nikon adapter with integrated VariND, and this little cam will pack a hell of a punch. The only thing i am worried about is the flickering issues, and wondering if the sensor is fully read out, or is line skipping/skipping around the sensor. About the 300mbyte/sec CDng RAW: i plan to run it through Slimraw, at 1:3 to 1:7 compression. This gives me 5dmk3 RAW filesizes, at 4K! If RED won't allow compression incam, i will compress it out of cam :3 Edit: did i mention the losslessly or lossy CDng opens fine in Resolve?

Full frame 4K raw for $1800 in small stills camera. Unique. What other cameras do that?! It's like an official Magic Lantern with bullet proof reliability. Very happy about the price, it's Sigma being typically competitive there.

Thank you! Made this the other day. Shot in HLG using the leica 12-60 and a few shots with sigma 18-35. Graded it with filmconvert nitrate in Premiere Pro and I am not kidding when I say it only took ten minutes for the grade. Very impressive plugin.

Speaking of OnePlus offer and telephoto purposes... ...and most valuable phone camera add-on (I beg your CC forgiveness to this man of God because he surely doesn't understand what he's grading! LOL : )

No idea how this is attached to the phone though:

Hope this helps in three different latin/romance languages for non-native English members here:

Lossless zoom not optical ends in an advantage for the 7T version with 12MP, especially going along some extra accessory such as this one when available for Androids, only on iPhones side so far: Or this one, they announce as fitting Android smartphones like the OnePlus devices, even though I guess only dual lens based:

A couple weeks ago I shot some test footage with my buddy, John. He's a great actor that has played lead roles in a few of my films. Anyway, to get the old creative juices going again, I invited him over so I could see how the E2 reacted under my Quasar Science RGBX LED lamps. I used a combination of daylight balanced and cyan. I intended to sell the E2 when my F6 arrives at the end of this month, but I think the E2 plus speedbooster will be an excellent b-cam to my F6 when I need high frame rates that the F6 can't reach. Z-Cam E2 Metabones Speed Booster XL (.64x) Contax Zeiss 35mm f/1.4 (2x Oval Aperture Mod) Quasar Science RGBX 4ft LED Tubes

some of you are no doubt aware that there's a bit of a drought going on in australia at the moment. I have access to a well on a bush water reserve across the road from my place. This place is normally abit of a swamp but at the moment the water level is down about 18 feet. At the moment i pump about 500 liters out of it every few days for stock and domestic. Not sure how the other locals are faring with the water situation i moved an old bath next to the pump and top it up every time i pump water. the plan is to hammer a few star pickets in and hang the gopro of them and timelapse it all, see what turns up for a drink.