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Thank you. From that other thread: I'm about to get my first MFT camera so I'm excited to do my own tests vs FF, but it really seems to me that mathematically there's no difference between formats, it just comes down to real-world imperfections and real world availability of manufacturing. For instance, one thing that I think stands out with larger formats is shallow depth of field at wider fields of view: 24mm 1.4s are commonly made for FF cameras, whereas a 12mm f/0.7 doesn't exist to my knowledge so you can't match that look on MFT. It's technically possible it just doesn't get made because the cost wouldn't be worth it.(.64 speed boosting a Sigma 20mm 1.4 would be pretty close though)

Read through a few pages and my brain is already melted. Not from the technical aspects involved, but in trying to understand what people are actually saying. I think that part of the problem is that so many variables are at play that a proper conversation can't be had because people aren't communicating the full picture and are changing multiple variables at the same time. Even the animated gif in the thumbnail thread (showing the Canon camera and shallow DoF) clearly shows that the camera position has changed, which is hopeless - you can't compare the size of the bokeh if you're moving the camera around. All the talk of 'getting closer' in these articles and comments indicates that at least some people are talking about the difference between close/wide and far/tele shots, which is a completely different topic to standing in the same place and comparing setups that have the same FOV and DoF: a small sensor camera/lens setup a large sensor camera/lens setup, and a small sensor camera / large sensor lens with speed booster IIRC I have 55mm, 40mm lenses at home, plus a 0.71x SB for the 55mm, so should be able to do a comparison (55mm x 0.71 = 39mm). I'll see if my brain recovers enough throughout the day to be able to do a test when I get home.

First, auto tune your motors, then set the joint angle as described in this thread: forum.dji.com/thread-163729-1-1.html Then... 1) With the app on your phone/device connected to the Ronin-S, go into the SMOOTHTRACK setting. 2) For Pan set Speed=High, Deadband=0, Sensitivity=100. Pushpan=Off 3) For Tilt set Speed=High, Deadband=0, Sensitivity=100. Pushpan=Off 4) For Roll set Smoothtrack and Pushpan = Off This has fixed my Ronin

The only reason the "creator" of this thread would want an f1.4 lens would be to give him this type of subject isolation :

Internet is going to be truly done for when AI progresses to next step. Maybe at some point they'll be so believable we'll all be rubbing our cameras in CBD oil.

HAHAHAHA.... all these people going FF and re-buying all their lenses are already behind the curve! I've always said that if you're not shooting Medium or Large format then you might as well be using a 1/3" chip camera - you're not going to be getting those luscious immersive images! Sell all your FF lenses now - the format is dead! Get out while you still can!!

Hey guys I've ordered this camera and it should be with me next week :) I also have the X-T30 so I could do some comparison shots before I sell it on if any of you are interested. Reasons for switching are very specific to my needs as a hobbyist. Paired with the 22mm lens it becomes one of the smallest 35mm equivalent cameras. I can take it anywhere in my jacket pocket. Video features: object tracking (Fuji can only track faces), digital stabilization. From DPreview's charts, the 1080p looks excellent. Decent at 120fps too. I'm not a big 4k guy. Canon colours are about as good as Fuji. Ergonomics: Much better grip (I have an add-on grip for the Fuji but it adds weight and still doesnt feel great). Built in tiltable flash. Flip up screen (not that id use it much). Can adapt the Sigma 17-50mm f2.8 with native AF support. One thing I really hope Canon makes is something like Sony's new 16-55mm f2.8. Its small, light and stabilised.

I've been doing lens and camera tests, and want to do them in a stable lighting environment, so I know that means I need some artificial light, and that it needs to be high CRI. My challenge is that I have no real need for this lighting apart from doing these tests, so I want to spend as little as possible. I'm assuming that the best option is a large power halogen light? Something like this? https://www.bunnings.com.au/arlec-1000w-halogen-worklight-with-tripod_p7070522 And maybe just bounce one / both of them off the ceiling (which is painted white) to soften things a little? Thanks.

Can't work out whether you missed the '0' of the end of 4K6 or if they really are going to do the ultimate Canon tribute act

DANGITTTT THEY'RE SO SNEAKY NOW

I can't really recommend enough getting the cheaper 1.8. It's SUPER light, obviously super cheap, and unless you need to do HUGE crops I'd say it's plenty of resolution. I haven't ever wished I had more, anyway. It's actually got the best chromatic aberration score:

Hello everyone,, The spamming on this forum has been yaluhack mobdro.org kodi ridiculous lately. Helsinki and Samop keep obviously spamming, but they haven’t been banned yet. Please Andrew, ban these spammers. ———————————————————— I did not find the right solution on the internet: http://www.advertising-case-study.org/1376.html http://kodi.info/4452/

Why would you need a speedbooster? It's already full frame.

Focal lengths have no "perspective". There is no such thing as "50mm perspective", so you can't maintain this with a 50mm lens on a bigger sensor. Relative sizes of objects depend entirely on the position of the camera. Closer viewpoints will exaggerate perspective and more distant viewpoints will flatten perspective. Hence, some people may say that wider lenses have stronger perspective, which is incorrect. What they actually mean is that with a wide lens you move forward for a similar similar object size in the frame (compared to a longer lens), and this movement forward decreases the camera-subject distance and exaggerates perspective distortion. Surely everyone has seen one of these:

You need a Blade Runner bage under your name now or it’s not legal.

It was happening when I was app testing and I only use SD cards when I'm doing that so I can't really give any idea on whether it affects the other media types. I meant to do a bit more of a scientific test on how many files and/or what codec was causing it but to be honest I was just so relieved that it wasn't a bug in my code that I just moved on when formatting the card fixed it

Rule of thumb lately is just google the first few lines of the post and you'll find that they are usually taking them off other forums so they do look believable. I was reading one the other day thinking "this seems a familiar story" and it turned out it was because I'd written it so, yeah, they have started taking them off old threads on here as well.

Coming from a non-expert, non-industry professional. What I notice first in a large format video is the shallow DoF in wide shots and a slightly more pronounced separation of things in the frame. But there was probably so many more variables of directors choosing an Alexa 65 over a large format film camera. When I watch a movie I would rate what it was shot on at the very bottom. In Hollywood they always go for that last 10%. I would put the size of the sensor in your camera in that 10%. Would I have enjoyed The Revenant less if it was shot on S35? No fucking way. Its the last 10% of that film. Good luck trying to put your finger on what exactly it is about large format. I think it’s a moving target.

Announced in China this morning. Totally official now. Global version launch as Mi Note 10 is scheduled for tomorrow in Spain. Should arrive Mi Note 10 Pro version too along Snapdragon 855+, hopefully with 4K60p... https://www.dxomark.com/xiaomi-mi-cc9-pro-premium-edition-camera-review/ https://mspoweruser.com/xiaomi-mi-note-10-is-dxomarks-new-smartphone-camera-champion/ https://www.gsmarena.com/dxomark_xiaomi_mi_cc9_pro_tops_camera_chart-news-39951.php https://www.gsmarena.com/xiaomi_mi_cc9_pro_is_official_with_a_108_mp_pentacamera-news-39948.php Impressive to say the least : -)

A halogen bulb is one of the two primary types of tungsten light sources. This type of lamp uses a thick, quartz glass "envelope" with a tungsten filament and halogen gas inside, hence the terms "quartz," "halogen" and "quartz halogen" -- all of these terms refer to the same type of bulb. The other type of tungsten lamp is "incandescent," which is the same technology as traditional household bulbs. Incandescent lamps have a thin, large glass envelope enclosing a tungsten filament and such bulbs are often filled with argon gas. Quartz halogen bulbs are significantly smaller and longer lasting and their color remains consistent throughout their life. Incandescent bulbs are more delicate and discolor as they age. Never touch the quartz glass of a halogen bulb with your fingers/skin. If you do, immediately clean the quartz thoroughly with isopropyl alcohol and a clean paper towel or plain cotton pad. Otherwise, the oil from your skin will impregnate the quartz and weaken it when it heats up, which can cause the bulb to explode. A 1/2 CTB gel cuts about 1/2 stop of output. On the other hand, if you are mixing ballasted daylight fixtures (such as HMIs), it 's just as easy to put CTO gel over those fixtures.

I understand your point but 5DII had the same trouble and that didn't impede to be adopted and spread the mouth by the same professionals... : -) I wouldn't discard a tool because works in auto mode. Not all tools, but a drone as for instance. The point is: a tool is the one you can use ; ) Because of regulations, you'll be unable to shoot in so many circumstances... Not for a planned shooting under controlled variables, of course.

come winter time some of that heat might be quite welcome. the bunnings lights are pretty cheap i'd lean that way too. Please pardon my ignorance, is there much difference between halogen and tungsten ? could you throw a gel in front of a halogen to balance it ?

+1 for tungsten, unless you book alot of time sensitive gigs that require you to pack up and leave fairly quickly, which is something that can be easily forgotten/overlooked if you're not used to working with fixtures that need time to cool down after they've been used.

You might want to have a read through this thread @kye It turned into a bit of a bin fire towards the end but useful stuff for you nonetheless.

Well there is the phone holder that attaches to the Nano controller mount so don't forget to budget the extra £4.99 for that.

On the contrary, tungsten lights are usually smaller and lighter than their LED counterparts with equivalent output. Plus, tungsten lights have no fans. The Lowel Omni is compact and light-weight with a high power density and a nicely focus-able beam, but a redhead would work, too -- it's just a little bigger and has a more limited focusing range.

Lidar can achieve accuracy of 1mm so depends on the implementation, SDOF should not be an issue. The only draw back I found was specular surfaces but @BTM_Pix seems to be on top of it. Now if @BTM_Pixcan get the gyro information from the p4k chip and use it with steadxp that would be another game changer. IBIS with autofocus, a man can dream

The DP light is a great fixture! I used two of them in a shoot just last week. With the FEL (1kw) bulb, you have a lot of punch that you won't find in most LED fixtures. Easy enough to use 1/2 CTB gels, so that the tungsten color mixes well with daylight. Keep in mind that the dimmer has to be rated for at least 1kw, if one uses the FEL (1000w) bulb or the EHF (750w) bulb. Completely disagree with you here. Omnis are GREAT lights! The reason why folks have had problems with the bulbs is that most of the bulb manufacturers initially did not include a central filament support, so the filament would break easily with shock, plus the focus mechanism on the Omni is exceedingly fast. When the FTK (500w) bulbs started to appear with filament supports, most of the bulb problems disappeared. However, one still should be careful not focus too quickly with an Omni light. The Omnis have a greater focusing range than the DP lights, and two Omnis easily fit into the space of one DP light. At 500w, the Omnis also pack a lot of punch for being so compact. I would definitely recommend Omni lights, and I always carry at least one in my lighting kit. By the way, I heard that QC dropped a little when Tiffen bought Lowel, so it might be wise to search for the pre-Tiffen fixtures. Yes, but don't lick them. Seriously, many of these "corn" bulbs have exposed contacts next to the LEDs, and you can get a little zap if you touch the contacts.

Without giving too much (or indeed anything) away at this point @xzobinx and @scotchtape, what you see in this initial proof of concept and what the reality will be in a couple of months when the "real" version happens will address both of these aspects. As I said early on in the thread after @Andrew Reid revealed the original prototype, it was very much a jumping off point for where this would end up. Hopefully for the better or course !

In general, I'm not a big fan of Bloom's grading. Sometimes he pulls it off, but I feel he pushes things a little too far a little too often.

Shot with GH5 + Sigma 18-35 and Viltrox in 4k60.

2ndhand tungsten lights So many people are getting rid of excellent film lights which used to be staples workhorses of the industry, because people are moving over to newer tech

Can’t afford that $300 Sigma loupe so making my own. A newer version is printing now that will be collapsible (also sanded and painted so not bright yellow)

This is a creative art form we take on as filmmakers - I see nothing wrong with the approach by the filmmaker or the grade, if that was their vision.

Just purchased an SLR Magic hyperprime 25mm T0.95 and 10mm T2.1! Next purchase (maybe today) will be the Z-Cam E2. I have been wanting an internal ProRes cam for a while, and the 10 bit 4K 120 h265 looks great too. With the SLR Magics I should be able to fake a full frame look. Can't wait to test it all out - I'll post results.

Yep, just need to sort out the overheating issues.

I do the same work flow with my GH5. I shoot 1080p and it down scale it in the camera and it looks great and saves storage space in the process.

Update to what I earlier said. There's a new build from March 7th and it allows you to record 1832x1024, 24/25fps, 14 bit lossless, 16:9 with "Realtime" preview. Sounds good but here's some limitations to keep in mind: ISO only good to 400; any higher makes it vulnerable to "hot pixels" DPAF works effectively only in "zone" mode; not with "Face tracking" No 46fps/48fps slow motion in 1080p mode (as with the EOS M, for example); 60fps only in 720p. See this thread: https://www.magiclantern.fm/forum/index.php?topic=14309.3300