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Seems people like pairing their S1H with Leica-R lenses... and I'm one of them! I'm shooting a short doc on my brother about his comic book, "I Am Not Okay With This", as it's currently being adapted into a series for Netflix. This will be the second time he's had a comic book adapted into a series. The first was "The End of the F*cking World" which did well, however, he told me that people would see him signing copies of the original comic at cons, and accuse him of "ripping off the show". So this time, i wanted to help raise his profile a bit when "I Am Not Okay With This" is released, and it gives me something to flex my creative muscles on. Anyway, some sample stills... Panasonic S1H, Leica Summicron-R 35mm, 50mm, & 90mm. Not a final grade -- just wanted to get some images out.

Government official: “But wait doesn’t that defeat the point...?” Kubrick: “Do you want quality or not.”

Here you go, My smallest yet. Canon 50D + Voigtlander 50/2.8 (DKL mount) + YashicaScope + Aivascope Focuser 8 ( + lots of adapters from china + rapido to have the yashicascope held properly)

That's the basics. Dial it in however you want, you're essentially pulling colors around in the mids. Making warmer in the upper mids, cooler in the low mids. The dark and bright stay clean, even desaturated to taste. I've never done a deep dive into being a colorist, just looked at stuff and pulled things around to my liking. Very dillitante'ish, as usual. Still have the first video I really gave it a go at the technique, shot over 10 years ago on an actual video camcorder using dem dere videos tape thingies we used to have.

Thanks guys. Shooting in a car is exactly what I'll be using this lens for, and I like the point about reducing digital sharpness. The lens seems to be pretty soft in the corners, especially wide open. That said, the speedbooster will make it f2.8, so if I stick to using f.4 I've technically stopped the lens down and that might actually help a little. Going to see it tomorrow and will probably pick it up... Will keep you guy posted. Thanks for the help.

I've been using it for years because I do like the complimentary colors and I was in the habit of trying to make video look more like film. The world of media is forgetting film now, and the kids doing stuff aren't aware of that legacy, so the color tricks to mimic it are less popular. But I'll stick with it a little bit as I'm not into accurate color. I like my footage a bit outside of "reality."

I really want this all for my XT3. I hope to see that one day. ?

Yeah, that really is a great image @Zak Forsman !!! Images like that make me question if I really NEED raw video.

The main thing with creating a look is to do it with set design, props, and lights, rather than in post. Taking a random, colorful scene and pushing the colors to be teal and orange will look fake, whereas a thoughtful image composed of a nice balance of teal and orange props with lighting to match will look natural but stylized. Just to pull some random examples from Google images: This looks fake: https://images.app.goo.gl/ss12w9oiff1gkoh49 These all look fake: https://images.app.goo.gl/UhkK4WPkANy8ujVv9 This looks natural using natural light: https://images.app.goo.gl/9b5pGmxKUfvB7nMaA This also looks natural using Hollywood lights: https://images.app.goo.gl/VjMp9oaK4JvLUXDN8 The other aspect worth mentioning is that for any complementary color scheme, you usually do not want equal shares of the two colors. Usually with teal and orange that means more teal than orange because then the small amount of orange (which is often human skin) pops out.

Let's start with film emulation. Resolve comes with a bunch of Film Emulation LUTs, let's play with the Kodak 2383 D60 LUT. Firstly, here's a greyscale to see what it does to luminance: The first is unprocessed, and so has nothing on the vectorscope as there is no colour. The second clearly shows that there is a push towards orange in the highlights, and a push towards teal in the shadows. If we change to a smoother gradient and zoom into the vectorscope further (by saturating the image hugely), we get this: From this we can see that it saturates the upper and lower mids more than the highlights and shadows, and that it isn't a straight application of two hues, but the hue varies. If we crop out the highlights and shadows in order to confirm which bits of the image are which bits in the vectorscope then this is what we get: Which confirms that the 'hook' parts of the vectorscope were the highlights and shadows. So there are changes in saturation and also hue applied to greyscale tones, but this is the OT look in this film stock. I suggested to the guys on LiftGammaGain that the film emulations in Resolve must be pretty good and was met with skepticism, however, if we assume that any lack of rigour on the part of the person creating these LUTs would tend towards making them overly simplistic rather than overly complex (a relatively safe assumption, but one all the same) then that suggests that this type of non-linear application of tint is likely in film stocks. So, what does this LUT do to colour? This is a very handy LUT stress-test image courtesy of TrueColor.us: Before image shows that the test image has hues that are in-line with the primary reference markers on the vectorscope, and that all the lines are straight, indicating there is also equal saturation of the image. After image shows a number of interesting things: The most saturated areas of the image are reduced saturation but the mid-levels of saturation are increased, giving a non-linear saturation response that would tend to increase saturation in the image without clipping things, very nice but not relevant to the OT look In terms of relative saturation, the Yellows are the most saturated, Cyan is next most saturated, Red and Magenta are in the middle of the range, and Blue and Green are the least saturated In terms of Hue, Cyan got pushed towards blue a bit, Yellow got pushed a bit orange, Magenta got pushed a little red, and RGB seemed unaffected @Juan Melara made an excellent video re-creating this LUT (he did the D65 version, which has a warmer white-point, but the overall look should be the same): The video is interesting as he uses a range of techniques that apply OT elements to the image: He uses a set of curves which apply a cooler tint to the shadows and a warmer tint to the highlights, and by having different curves for the Red and Green channel, gets some Hue variation across that range too Then there's a Hue vs Sat curve that saturates Yellow and Cyan above the other hues: Then a Hue vs Hue curve that pushes Yellow slightly towards Orange, Green towards Cyan, and Blue towards Cyan (up in the graph pushes colours left on the rainbow in the background of the chart): Then he has two YUV nodes each with a separate Key that are too complicated to explain easily here, but affect both the hue and saturation of the colours in the image. Juan also has the Resolve Powergrade available for download for free on his website, so check it out: https://juanmelara.com.au it's in his store, but it's free. So film tends to have elements of OT. Here are some additional film emulation LUTs in Resolve for comparison - note that all of them have Yellow and Cyan as the most saturated primaries..

I guess he's moved to the Sony A Series from Panasonic. He was baking the colours into the Panasonic G7, on the last shoot we heard about (in 2016-17). He's been doing travel videos, from what I can guess.

Ohhh... That would be a surprise, but also quite possible that DJI could put out a RED beater As DJI has already made their large sensor RAW drone cameras Next step is for them to take that same camera and turn it into a more crew operation friendly camera for when using it purely on the ground

@PannySVHS you shoot footage with your camera??!

Pre Exp -0.66 + P4Ka Daylight Main + ABL 3

Yes, although it's a tech board more than an art board, I'm assuming that's how Andrew wants it. My attempts to get people to shoot more were only mildly successful, but from my own perspective I am seeing enough shortcomings of what I shoot that I don't need other people to point out where I need to improve lol. I am intending to come back to a lot of the threads I've started but for the moment I'm just chilling for the holiday and enjoying relaxing. I am about to start a new thread on the Orange/Teal look and how it relates to film-making, how it relates to film, and how to do it in post, as I've been thinking a lot about that recently and have fallen down the rabbit-hole pretty far (eg, YUV channel mixer vs Hue v Sat vs Hue v Hue vs RGB curves... that far!).

https://indieshooter.com/atomos-ninja-inferno-enables-first-time-filmmakers-to-produce-epic-docudrama-born-for-the-sabre-for-the-history-channel/?fbclid=IwAR2_QN4WtciFjULhRrp6dRjnhLD487VTj7_y5zepFPvSJIoiIPs3s82td8A

I was a bit late to the whole photo- and videography party, so at the time I was picking up my first camera, GH4 was already available. So was Resolve, Canon ML, Sony A7S, etc. None of these were considered by me as groundbreaking, since I simply didn't realize what people had to struggle with before. That's why I'll refrain from choosing anything video related, simply because I don't think I'd be objective. BUT, my nomination goes to... SanDisk Sansa Clip+ This little bugger has been with me for almost a decade, day in, day out. Hasn't failed me, yet. And you know what? Even after all these years, nothing can surpass it. People still can't find any DAP (Digital Audio Player) that could be called its rightful heir. It plays everything I throw at it. Battery lasts for over 20 hours, still. I can clip it to my belt loop or keep it in any of my pockets. Operating it doesn't require looking - almost if I was typing a text with Nokia 3310 - pure muscle memory. And the memory card I use it with (128GB microSD) cost more than the player itself. It's madness. *Yeah, I may be a millennial, but I'm not going to listen to music on my phone anytime soon. Who ever thought it'd be comfortable? And wireless earbuds? Nah, plug me (and my 3.5 mm jack) in.*

Thanks @Tito Ferradans : -)

I own a red Isco 2x version. some say that it has barely no flares. But after several tests, I found that the flares really varies depending on what main lens you are using. for example, with a cctv 50mm toy lens and SLR rangefinder, I got a really amazing horizontal and rainbow flare.

Aw yeah! ?

Its almost certain to be the case. Efficiency is vital. I have been deep in the code bunker this week, writing a special segment for the EC engine. This will greatly accelerate supporting new cameras, as it minimizes the amount of intervention necessary to conform data (with superior results). As of today, I have a new luma conform tool that is completely free of either hue or saturation distortion, and I am thrilled with it right now (not even Resolve's luma tools work this way). Now, I have to finish the second piece of the puzzle, and (accelerated) camera support will commence.

My pledge was at the super early bird tier level, which is the same moniez as the secret perk for people who subscribed in advance (US$549). As I did not use the special link myself, I can give it to you to take one spot (shouldn't go public with the link tho, for the sake of the other early pre-launch subscribers who were not able to back just yet, but there are quite a few left) if that helps. Always recommend the out/in principle. Sell off something and use it to buy something. Must be something around you don't really use and can be turned to funds.

This recorder is an insane BARGAIN even at full price, but now it has gone on sale for the next few hours: **Zoom F8n 8-Input / 10-Track Multi-Track Field Recorder, US$799** https://www.bhphotovideo.com/c/product/1411499-REG/zoom_zf8n_zoom_f8n_multi_track_recorder.html

Hi, What happened with Andy Lee, the master of, among others, G7? Best,