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"Pocket 4K footage is precisely transformed to match the color science of the Arri Alexa, without compromise. This is achieved without artifacts, while introducing a smooth, organic rolloff." For the better part of the last year, I've been working to map the color of P4K BMDFilm to match my Alexa's LogC, as measured under sunlight and halogen. To do this, I wrote an interpolation program in C++ that can accept an enormous amount of data (~40k samples per camera), and interpolate smooth internal contours, or 'waves' between them. Exposure compensation conversions were made with the same interpolation engine (transforms replicating sensor color response with variant exposure). Another significant element of the project was to recreate Arri's Rec709 to maintain the entirety of recorded LogC gamut, in a film-derived envelope (for the display variations). This was particularly difficult, as the correct RGB primary behavior needed to be exactly replicated within contiguous 709, but smoothly diverge to HDR-like handling of far gamut (where Arri's Rec709 ends). This new envelope (EC Gen.4) is particularly impressive, and I may release it for the Arri, as it is significantly preferable to normal Arri Rec709. P4Ka PDF Emotive Color

Field of view differences below. Same distance. 4K iso 200 Canon 50mm f1.8 Standard Canon EF Adaptor f1.8 4K iso 200 Canon 50mm f1.8 Metabones Canon EF Adaptor f1.2

Just arrived and testing.

I'm glad I could clarify that for you. ( : That's right! If you want to have a wider FOV, then you'd have to buy proper anamorphic lenses like Atlas, etc. No adapter can go that wide. It's one of the reasons @Tito Ferradans came up with his 'Anamorfake It'. If your shot calls for a wide angle, then you could get away with a modded spherical lens. Like I said, you could take a look at Aivascope. https://www.facebook.com/aivascope/ It's a modern 1.5x lens. Quite pricey, but people who bought it seem to be really satisfied. Kowa C35 1.5x is just another unicorn that's hard to find. You'll be more likely to get an used Bollex Moller 16/32/1.5x (the one that @keessie65 owns). Here is a sample video recorded with 5D3 + ML RAW + Helios 44 + Bollex 16/32/1.5x + Rectilux HCDNA. Notice the crazy distortion on the sides and in the corners - it's a sign that going even a tiny bit wider could introduce severe vignetting. It mostly varies on a copy versus copy, but Red Ultra Stars tend to be newer, therefore they feature even better coatings which results in reduced flaring. I've got a 1st gen Gold Ultra Star and it's already really sharp and contrasty, even though it has some mild separation inside. What Julien said. It's quite difficult to answer, honestly. I'm happy with my middle class setup, since I'm just a hobbyist - that's why I don't need top tier gear. Every single post from Terrence Wilkins (a DP from UK) only confirms this belief. He uses setups based on Schneider Cinelux and FVD-16A. The law of diminishing results in anamorphics is even more cruel than in photography.

Oh I'd like to send a still as well! It's an 512x512 PNG and it has 262144 unique colors, is that a problem? I'll show myself out... ?

So were the hell is GH6? We dont have even any basic rumor. What takes them so long? Is it due to the new sensor delay or their FF lineup? Come on Panasonic, now is the time. Sony is lagging behind with their elusive A7S3 and nobody else has anything with 10 bit 4k60 and IBIS. Bring it on already!

Thanks so much Shell! Gen.4 is on a new level, and GHa really needs it. I intend to bring Gen.4 to GHa very soon

Someone noticed this here? https://www.fontspace.com/buzzfeed-news/bf-tiny-hand Just, how? How do people look up to him?

You can spot the fools duped by the Soviet propaganda machine because they regurgitate the buzzword phrases they’ve been fed; “so-called,” “like a fiddle,” “the libs,” etc. You all sound like someone pulled the string on the back of your Putin dolly. So far the right-wing commenters here are relying on gaslighting, straw men, and false equivalency. Not a single fact or citation to defend Comrade Trump. But I suppose if this was the guy I thought was a hero of the people, I’d have nothing to go on either. ?

Been testing the S1H for a few days and thought I'd share a few thoughts. First impression was that this is a large, heavy camera! A couple of other colleagues were taken aback by the size too. However one colleague who is used to shooting stills with a Canon 1DX mkII thought it was fine and fit nicely in the hand, so I guess it depends what you're used to. The menus are quite similar to what I remember from the GH5, although I sold mine about a year ago so it's not that fresh in my memory. At the moment I use a Canon C200 and have a Fuji X-T3 as my personal camera so it was a bit of an adjustment, and the S1H certainly lacks the tactile retro pleasure of the Fuji, and also lacks the video specific buttons of the C200. I was pleased by the look and feel of the 24-105 F4 lens, which gives nice shallow DOF when required. It was silent and well made, although coming from Fuji lenses recently my first impression was that it's massive! Again, it's just because I'm not used to it. Now for my worst thing about the camera - the autofocus is really a drag. I was so excited about this camera and initially the weird pulsing and searching autofocus took the wind out of my sails and gave me a very bad first impression. Even in stills it doesn't seem very precise or reliable, particularly in lower light. The face and person recognition sometimes works great, but is never reliable. You just never know when it's going to decide to defocus and start searching. Compared to Canon, Sony, and even Fuji AF, this feels like a massive step back. I hate the way it defocuses past the subject before snapping back, even in stills mode it really irritates me. I've learned to adjust to it a bit in the short time I've had with the camera (only a couple of days) and I'm sure I would learn to work around it, but it's a massive drawback, and I was really disappointed by the still performance, which is usable but just not at the level I'm used to. And finally my favourite thing about this camera... The image quality and colour is fantastic. Beautiful. Perfect 4k. I did try the 6k modes but only a little as it's not a big deal for me right now and also my Mac Pro choked on it! The colour in this new generation of Panasonics is strikingly good. I prefer it to Canon even. it's more realistic yet beautiful. Arri-like. And such crisp, beautiful unsharpened image quality. While I would say it still lacks the purely cinematic look of the old-school blackmagics or Arri, it's a wonderful modern image. I'd put it 2 leagues ahead of the GH5, Z-Cam E2 (which I owned for a short while) and way ahead of the Sonys. I don't know which I prefer between the S1H and C200 purely in image quality, but I think it might be the Panasonic. It's close, and I vastly prefer working with the S1H for it's form factor when run-and-gunning. The V-log is just gorgeous. It's making me consider buying a S1 just for personal use, just when I'd vowed to get over my GAS! So those are just a few quick thoughts. My bottom line is, if the autofocus was good this would be an essential camera. As it is, it puts this camera in a really tough spot. Yes the image is fantastic, and yes 'real filmmakers don't use autofocus', but most of us want and would use good autofocus. Once you've gotten used to it, it's very hard to go back! Especially for one man band operators like myself. It's so close to being perfect that I'm left quite frustrated. I guess the next generation is probably worth waiting for. But at the same time I'm haunted by how good that image is... It reminds me of how I used to feel when I looked at rushes from my Ursa Mini 4.6k. it's just pleasing and cinematic somehow. Satisfying for the IQ geek in me. I just wish that the AF was better. Hoping for a firmware improvement, but it's pretty clear it will never be up there with the best in the class unfortunately, and when the new 1DX miii comes out, I would expect a big price drop on this camera. EDIT I forgot to mention the slow motion. The 120-180fps isn't great to be honest, very soft compared to what I'm used to with the Fuji X-T3, which was another disappointment. Again, hoping for improvements in firmware, but not holding my breath. I think good crisp 120fps should be pretty much standard on a top level pro-sumer camera these days.

I've been shooting ML Raw on a 5D3 for the past couple years on a short film that has slowly morphed into a DIY feature. I still have a bit to shoot for it but am planning my next film on my downtime that I should start late next year. I thought about upgrading my camera for that film, but I'm truly happy with ML Raw. Since I've always wanted to shoot anamorphic, I think a scope would be a better investment of my time and money. With all that said, I'd love some suggestions to put me on the right path. Obviously, I would prefer a single focus lens and obviously I would love for it to be an Iscorama 36 or 54 but I doubt I could find, or afford a good copy of one. I've also seen some footage from the Baby Iscorama that I liked and from the S8 Animex that looked gorgeous but both seem pretty hard to come by and I assume fetch a good price. I also like what I have seen from the Kowa anamorphics and I assume I can put one of those rigs together for a lot cheaper than an Iscorama? So, my wish list is this... • single focus • 50mm taking lens • sharp, modern look • as compact as possible The film I am working on now has been run and gun relying on IS and one shot AF. For my next film I am planning on doing a lot more controlled set ups... with a combination of static/slider/dolly shots stopped down with deeper focus than I am shooting now... so I am curious how difficult double focus would be, or how expensive a good focusing unit is? Anyway, any suggestions or advice would be appreciated.

Wow, this looks good! I'd say - yes, but the red flare caught me off guard. 16-D usually have blue flares - I guess the setting sun must've altered it. Also, some vignetting is already getting in the way: Here are some other 16D videos: UMP 4.6K , Takumar 55 mm, 16D, FVD-16A Setups described in the description: A very thorough test:

Hi friends! I fulfill the request of all who asked to show a phased color grading of Fujifilm F-Log (XT3). This is not a tutorial, but simply a process of color grading from the source to the final result.

I'm just trying to figure out how big the image circle is to see if it will work on the Komodo at 6K. I know it won't cover full frame. Are you able to test this?

I think they have an incredible high bar to meet so they are taking their time. The GH series cameras from the beginning are all about pushing the limits. I don’t need HFR 4K. I want practical features. Improved IBIS, recording to SSD via USB-C, USB-C power delivery, better DR, internal ND, improved weather sealing. A GH6 with these features and the 10-25 f/1.7 or a speedbooster with a vintage lens would be an absolute beast. An internal ND + speedbooster would be very compelling for even FF zealots. Removing the shutter, and replacing it with some kind of ND unit would be the single best thing they could do! Sensor readout speeds on MFT are really good. Just have electronic shutter for GH6 and the future photo-centric G9/G10/G11 or whatever can keep the shutter. AF, eh, I’m fairly happy now. Would I like PDAF? Yes, of course but I’ll take next gen DfD too if I get an internal Nd solution. Please don’t repeat another GH6S debacle. I would say they would do better to minaturise the EVA1 to fill the role of any potential GH6S.

The vignetting is horrible in FF photo/video mode. Totally unusable and the only way around it is to set photo and video to crop. Keep a standard canon adaptors for any full frame use. DPAF seems fine but i need to test it more. Headed to a shoot, will post pics later!

It does seem that Red is aiming for a more introductory camera to hook users. No doubt that once I used Redcode, it's hard to go back to h264/h265. The C200's cinema raw lite is also amazing, but definitely costs a lot more to use than Redcode due to only 3:1 or 4:1 compression (Redcode 5k still looks incredible at 11:1 - 14:1) and is much more processor intensive on my Mac. So, once you see the quality and flexibility you can get with a high-end raw codec, using something else is a bit disappointing. Makes sense to hook lower budget users.

So if you work with these, you would get the same(similar) starting point as alexa footage(without the DR)? But if you throw in some Alexa luts afterwards will they clip on the pocket 4K?

only the x-t3 internally, right? And both the x-t30 and m6mkii through external recorder. I played yesterday with some m6mkii files in clog3 and it does have much more room than I expected. Maybe even more than on c100's Clog, but the 4k is softer than c100's HD. So it's out of my list. Appreciate your thoughts...Indeed.. Ideally I' would shoot in hd, but on my budget I was ready to compromise disk space and mix footage on a hd timeline. I have matched a "hacked" gx85 4k with the c100. Quite ok, not completelly satisfactory, but I had to shoot in 4k for the highbitrates. I am not sure how the x-t3 and x-t30 differ on hd, since both are 200mbs, but the x-t3 can shoot in 10 bit. Maybe as big of a difference as on 4k, where x-t3 goes up to 400mbits. I would not use it for next year, but nice to have for later.

Glad to see AMD back in the performance game with the same low price strategy. I still think the future (at least in the mac world) will be fast but extremely efficient ARM cpus with dedicated hardware acceleration chips (like Apples T2, Afterburner, Neural chips) that will accelerate things like H.265 decoding/encoding, ProRes encoding/decoding, and Neural net algorithms they are starting to use for things like object removal, stabilization, and 3D tracking. A MBP with the T2 chip just chews through 5K 200Mbit/s HEVC footage from a GH5. Future cameras, I think, will be replacing H.264 with HEVC for a multitude of reasons. You almost need hardware accelerating encoding/decoding to play back that footage and edit it in real time.

Hopefully we will see a Gen.4 for GH5S. Great work these look incredibly similar.

I really wish this thread didn’t start. This is a camera forum guys. I love how we can all come together to talk about something we love. Why ruin this with such a decisive topic? Obviously, we disagree on this issue, but that isn’t what this forum is about. Go on reddit for crying out loud!

Thank you - the P6K is better in terms of image quality and color science. Though using P4Ka on both, the P4K is better (I plan to support the P6K directly)

Good call! 5D3 coupled with ML still yields one of the best looking images, IMHO. 100% correct, these are the Holy Grails that everyone lusts for. These are a bit easier to get. I've seen a couple of them going for sale during the last year. However, they are more suited for smaller format cameras (eg. GH5) and shorter focal lengths. Definitely. If it comes to Kowas, the adapter you should be looking for is Kowa 16-H. It's sometimes called Kowa 8-Z or Elmoscope (Elmo) II. These are the finest anamorphic adapters and usually cost around 800 - 1000$ (adapter only). If you get a variable diopter (which you put in front of your anamorphic block), then every anamorphic adapter becomes single focus. Sorry, but this is not possible with 5D3. The widest you could go on a full frame camera would be ~ 80 mm if you plan on acquiring a 2x stretch factor anamorphic lens. You could (though I cannot guarantee that) get away with 50 mm if you bought a 1.5x anamorphic, like Aivascope II. This calls for either ISCO Ultra Star or Schneider Cinelux. I have both of them and, in my opinion, they are hugely underrated. They are as sharp as your taking lens and do not degrade contrast, at all. What's more, it's not that difficult to find one in a good condition and they usually run for ~350 $. Unfortunately, it doesn't go more compact than ~ 600 - 800 g and 10 - 15 cm. It's not that bad, but usually takes around 20 seconds to achieve perfect focus. The worst thing is: you cannot rack focus. From 550$ up to 1000$ if you want to have something you can rely on. There are two brands: Rapido (which offers FVD-16A) or Rectilux (and its Hardcore DNA aka HCDNA). I realize this may sound complicated at first, but if you keep on reading, you'll quickly get to know what's right. My interest in anamorphics started only a year ago, so it's not that difficult topic to grasp. ( : The most important thing here is patience. If you have any questions, feel free to ask them.

Except the EVA1 is the odd one out.... with a completely different mount to all those other Panasonics! Panasonic should have released an EVA1 MFT

I was thinking of picking up a pocket 4k again, just because they are dropping in price in the used market. This may push me over the edge. I know you spent a lot of time and effort on this, nice work! In your opinion do you think the pocket 6k image quality and color science is better or worse than the pocket 4k? I noticed a difference between the two when I had them.

Yes, two phrases come to mind... "cautious optimism" and "hope for the best, plan for the worst"

"Reducing Pete Buttigieg’s struggle to attract black support solely to black homophobia is not only erroneous, it is a disgusting, racist trope..." https://www.nytimes.com/2019/11/06/opinion/pete-buttigieg-black-homophobia.html Sanders sounded the warning on climate change and growing inequality 30+ years ago because he saw the processes at work and understands the underlying mechanisms. Why do you think his solutions won't address the problems? As for implementing them, it's purely a matter of political will and support. Social security and medicare were vociferously opposed by the business interests of the day, but now they're the most popular programs in America. I'm not talking about Pelosi and McConnell's ability to gain and retain power; I'm talking about their ability to get things done once they have it. They're very good at reading public opinion and predicting the future. That's how Pelosi passed the ACA and McConnell packed the courts. They know when to hold them and when to fold them. It's not about ideas, it's about tactics.

@Sage Incredible job! I actually like the Pocket 4K version better, though they are very, very, very, close. Congratulations - this is quite an accomplishment!

That is so damn tempting.

The G9 just received 10 bit - I wonder if they will update the G7? Currently, Cine-D is supported via a Pre to convert to VLog - Cine-D PRE

Bro you got it to match perfectly. They look the same! If I ever get this camera I’m picking up this out for sure! Thanks a lot for these awesome LUTs.

@Sage I saw the PCC4K version was released, that's great!! When can we expect the X-T3 version to come out? I'm super excited for that one. Cheers

If people are paying money to hire you, and you don't mind the extra bulk of a FS7 vs FS5 (I do have one friend who went with a FS5 instead because of this) then it is a no brainer to get a FS7

From Adorama too! And in "very good" condition. Sometimes I wonder if I should have got a FS7/F5 for the same price as what I paid for my Sound Devices 833! Heh, the temptation to go back to the camera side of things will always be strong.

Nikon Z6 is better than the EOS R or a7 mk3 And if you look around for secondhand deals then you find a Z6 deal at a significant saving.

I have kept the 35mm f1.4 for years even when i havent have a fuji body ? it has a great rainbow flare akin to some cinema glass. Not sure if all copies have this or just mine

Oh, I'd disagree quickly with that. Who we are in life is who we are as filmmakers. Unless you're just a straight ahead craft-person singularly focused on the technical, you should always give some of what you and who you are are to your creations. I mean, that's just a prerequisite for this sort of work. Otherwise, what's really the point, right? So, I really don't have a problem with it. There's more common ground that divergence (still) than we might admit. Might be hard to believe when we're behind these keyboards a lot of time, but when one is actually out there in the real world it's evident.

Nikon Z6 + Nikkor 24mm f/1.8 S Lens

Good going Andrew! Nice work. (just couldn't contain yer political shit to twitter)

Update I still haven't had much time to use the new SLR Magics (10mm T2.1 and 25mm T0.95 MFT) because I'm in post on a tv doc, but I'm disappointed: In the stills I posted above, I was very happy to have the crazy T stop and get all that light, but upon further use I discovered the 25mm didn't focus to infinity unless stopped down to about 2.0. I'm not talking that it wasn't sharp wide open: it would focus about 25 ft in front of me and that was where the plane was. So I replaced it with a new copy and it's only marginally better. It can go about 40 feet I'd say wide open, and you've gotta stop it down to about 1.6 to get infinity. There's also a noticeable color shift when going wide open vs stopping down even a little bit. Then I figured I should make sure the 10mm doesn't have the same problem and it's a lot harder to tell since it's so wide, but I think it does. Just eyeballing it but it looks like it makes it about 100 ft max when wide open. WHAT? It's a lot harder to tell because overall I'd say it's just not a sharp lens, and we're dealing with a lot more depth of field, but come on it shouldn't have a problem focusing to infinity on a 10mm. So, very disappointed. Guess I'll be returning these. I was excited for the small size but it's not worth it.

There's a huge resource that @Tito Ferradans has put together about faking the anamorphic look... http://www.tferradans.com/blog/?page_id=15535 There's a quiz to test if you can tell the difference between fake and real anamorphic images. I'm rubbish at it but could spot some of them but not others. His guide is USD$30 but you can get a taste of it via this link: http://www.tferradans.com/anamorfake/TFerradans-AnamorfakeDemo.pdf I don't lust after the anamorphic look so it's not that enticing to me, but for those interested going fake seems to offer a much simpler approach, so it's worth a look.

You have here a full thread specifically on topic:

It fits well on the Weebill Lab without an offset plate, but you need to counterbalance it. I've used it with the Viltrox booster and 24-105 f4 and the results were really nice. My counterweight was the NPF battery sled with a 970 battery, which was handy because I could shoot like that for hours should I need to. That said, if I were to buy again I wouldn't necessarily go with the Weebill Lab as I've found I quite often need to use some post stabilisation as well to help it out a little.

You'll need an offset plate or a cage since the Pocket 4K is too wide for the popular gimbals out there.

If you have the right gimbal its no issue. The camera is on the bulky side but its not heavy. Definitely a different image than the C200, but it can hold its own against a C200 imo

Hi everybody! I know this is off topic, i'm sorry, but I just released my last feature film on Amazon's Prime Video and i wanted to share with some friend from here. Follow the link: https://www.amazon.com/dp/B07ZHRZ782 This film took some time(around 3 years), it was shot on Nikons and Super 16mm. A little background: https://www.eoshd.com/comments/topic/39600-my-film-on-amazon-prime-video-shot-with-dslr-and-film/ PS: I'm almost finishing shooting a movie i'm DP, it has quite a lot of GH5 and mix some Alexa in there, so the plan is use GHAlex Sorry for the "Off-topic spam".

To be fair to the P4K, its Preset function does store many more of those complete camera setups (12 as opposed to 3) that you can switch to easily enough off the touch screen. They can also have meaningful names attached to them such as "Slow mo" or "Indoor Interview" or whatever so its a bit more intuitive than having to remember what the generic C modes mean. They can also be imported/exported from any of your attached media which is useful for sharing between multi camera setups. Against that, you don't have the comfort factor of being able to quickly reference which setting you are using by glancing at the top panel like you do with a Panasonic.