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No I did not have any problems with dynamic range And make sure you set the bit depth to 14 for stills and 12 for cinema if you want to get the max out the camera. This is a frame from a 12 bit cdng graded in photoshop. its shot trough a window and with a 30 year old lens.

Best wishes! ?

Well, it should be quite obvious that this camera is at its best (video) in 12-bit. The 8-bit image is probably derived from the 12-bit image anyway, so it can't be better than that. I think any raw camera should utilize a digital spotmeter similar to Magic Lantern's. This is really the most simple to implement exposure tool and possibly the only thing one needs for consistent exposure. I don't need zebras, I don't need raw histograms, I don't need false color. It baffles me that ML had it 7+ years ago and it isn't ubiquitous yet. I mean, just steal the damn thing.

Nikon 50-300 ED ais f4.5 Its my favorite zoom lens, nice manual focus ring and on the sigma I have two lenses at apc, it becomes a 75- 450mm ( this was shot at apc ) Only downside is the minimum focus distance that is a bit far

Heyho, check out this little video i shot for german based band Trebor. Shot on A7iii and Atomos. Surprisingly the material from the a7iii looks a bit different than the one from the atomos. Light was changing heavily throughout the shoot ( big windows) so it was kind of hard to keep the light consistent. I could set up a light for the close ups. https://www.youtube.com/watch?v=Z222A3aCRqQ P.S.: Of course the band would be very happy if you could leave a like or a comment...

merry Christmas all. Hope you all have a great day with family and friends

It does honor settings, and it is most useful when pointed at various parts of the scene to get a reading off different zones without changing exposure, pretty much the same as you'd use a traditional spot meter. The main difference is that the digital meter doesn't have (and need) a notion of mid grey: you get directly the average (raw) value of the spot region, while a traditional spot meter is always mid grey referenced. You can certainly use a light meter very successfully while shooting raw (I always have one on me), but the digital spotmeter gives you a spot reading directly off the sensor which is very convenient, cause you see what is being recorded. Since you'd normally aim to overexpose for dense skin when shooting raw, seeing the actual values is even more useful. Originally, the ML spotmeter was only showing tone mapped values, but they could also be used for raw exposure once you knew the (approximate) mapping. Of course, showing either the linear raw values or EV below the clip point is optimal for raw.

You could upres to 8k for maximum gains

You can just use filters or blur the image so it looks low res.

Thanks to you all too : -)

The L-mount lens offerings are not that bad. They are just missing a 16-35 f/2.8 for the professional "holy trinity" f/2.8 line that most people buy (16-35, 24-70, 70-200). They already have a great walk-about lens in the 24-105 f/4 Macro and affordable options from Sigma. I agree the S1 and the S1H are/will do well in the video world. They made a huge strategic mistake in not added PDAF to the S1/S1H. It would have basically been the A7SIII everybody was waiting for (except for the 40K60p crop). But I would happily trade a crop in 4K60p mode for a native 6K24p recording option in the S1H. We shall see what the A7SIII brings. There are always gotchas with Sony. If Sony releases a A7SIII with limited recording times or delivers weak 8-bit codecs, or no PDAF then I predict an uptick in sales of the S1 and the S1H.

Wonderful movie shot on BMPCC and Voigtlander Noktons, presented in Cannes 2019. https://variety.com/2019/film/reviews/lillian-review-1203227609/ https://www.screendaily.com/reviews/lillian-cannes-review/5139633.article

Great intro video from Seven Dovey about 180 VR film-making. He talks about the gear, framing and compositions, sound, and touches on editing too. He's shot a few films in this format and they're coming soon apparently so that will be interesting.

Here is a short spec ad done by Matteo Bertoli using P6K, Leica R lenses and 1/8 Pro Mist. And, my god, does this look fabulous!

Finished processing the two timelapses I took. Resolve doesn't read RW2 files from the GH5 so I had to have a couple of goes of processing them, but I discovered that the Adobe DNG Converter creates 16-bit DNG files so keeps the bit-depth and DR of the RAW files, which is useful when you're clipping things this hard. Processing involved stabilisation, setting black and white point and a key of just the clipped areas which I pushed towards orange so it wasn't digital white. I'm thinking I'll do one where I don't clip the sun and see how it looks, although I suspect that everything else will just be black, but I'd be happy to be proven wrong. In both of them the edges of the sun appear to be blocky and horribly compressed, but it's actually due to the atmospheric effects, the RAW files are, well, RAW, and the pixel size is much smaller than the rather square-looking edges. I suspect it would make more sense visually if I had a higher frame rate (the GH5 can't do a time-lapse interval smaller than 1s which is what these are). I'd try video but I've zoomed in a bit on these, so the extra resolution seems to be quite useful. Suggestions welcome..

HAPPY MERRY EVERYONE!!! hang on tight, i think that 2020 is gonna be the year it all comes together ?

Merry Christmas to all and to all a good night! thank you Santa

I know who my money's on to come up with a way to beat them both though

Merry Christmas to all! I visited Malaga, Torremolinos, and Barcelona in the '80s, was fabulous!

Málaga, capital of the Costa del Sol

anyone still use the contax 35-70mm?