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Very nice. Soon to put this one on the website - That's the plan. Today I finished a major engine rewrite, to greatly accelerate supporting new cameras. Its the most ambitious work yet, that self calibrates and auto iterates. It was enormously difficult, and I discovered legacy code mistakes dating back to the very beginning.

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.

A while back I posted a tutorial on film emulation and recreating halation and grain in a realistic way. I recently came out with a new video that goes over it in a better, more concise way. I see quite a bit of people asking how to achieve the look of film and it's characteristics so hopefully this video can help them out! A big thanks to the Lift, Gamma, Gain forums for figuring a lot of this out also feel free to share your results and download the PowerGrades I've provided on my website!

I would have to disagree. “The kids” are the ones shooting tons of actual film right now. Largely driven by millennials it seems. There is so much 16mm and 35mm being shot right now, I would imagine 10 times more than what was being shot 5 years ago. Nothing beats the real deal if you can afford it.

100%. im strictly speaking of digital, relatively recent post work. im a huge fan of film... film kinda “just worked” in terms of color (mostly lol). horses for courses, but in general that ‘analog’ palette it just a lot more pleasing. the over saturated colors, the fake red and greens, theres a reason that filmconvert is so popular lol a ~subtle~ cool/warm grade is PROFOUNDLY effective, and theres degrees of that. im talking abt this over the top super reductive color palette thing thats been so in since everybody got a mbp lol

Hey! The original person who started the thread is Jason Bowdach. Some people posted different ways on achieving halation and I also had my own method that I've been using for some projects. My way was decent, but since the first tutorial I posted, I refined it and was actually going to make a new tutorial until Mattias Tomasi came up with a new way to do halation and Dominik Belancic made the PowerGrade to be used in Resolve. I found this method to be far better than my new way of doing it and decided to make the tutorial using this method with everything else I've learned previously. This was my second tutorial video ever, and I wanted it to be quick and simple. I didn't want to drag it out like the last one. I hope that helps! Here's the original thread on this subject - https://liftgammagain.com/forum/index.php?threads/halation-and-gate-weave.13056/

Working on it as we speak Its really neat; now I think several new cameras are achievable (in 2020). Days have been compressed to minutes

So I tested and bought the lens. Despite seeing tonnes of reviews its a lot wider than I expected. I've only done some simple tests, and I'm looking forward to shooting with it in a car. Edge sharpness is not a problem in what I've shot so far, though I'm going to limit it's use to f4 on the booster. Interestingly, when I first put it on my XT3 with Viltrox booster, I saw some pretty bad vignetting which really surprised me. However I changed modes and now I can't replicate it...

Yeah exactly, 2020 is going to be my rental year. On cooler projects, Im gonna skip my fee and just rent nicer lenses. Which is going to be better for my portfolio anyhow.

Today I learned: Buying the "sharpest" lenses available according to, for instance, DXO Mark scores, doesn't necessarily mean I'll see any of that detail because there are different frequencies of sharpness. "All of the fields I’ve shown you have been at 30 lp/mm frequency, which is a good ‘overall’ picture. It’s important to remember, though, that depth of field, as well as sharpness, varies with frequency. (For those who aren’t up on this, lower frequency is more about larger objects and lower resolution sensors. Higher frequencies are about small detail and higher resolution sensors. If you want a contrasty object on a 24 megapixel sensor, 20 lp/mm is good. If you want to look at leaves or blades of grass on a 50 megapixel sensor, you probably are interested in 60 lp/mm.)" (From the same lens rental link @noone posted https://www.lensrentals.com/blog/2019/11/practical-use-of-field-curvature-graphs-the-50mm-primes/)

400Mbps is 50MBps so a V60 card should cover it having a minimum write speed of 60MBps. The Sony Tough cards are quality. He also doesn’t have to shoot 400 All-I if it’s just a person talking to the camera unless he just wants performance benefits of editing an ALL-I source.

Speaking only about purchasing used and/or refurb...I've had great success (luck) with B&H, Fred Miranda's Buy and Sell board and Lens Authority (best to be price savvy when using all). Haven't heard of MPB until now (thanks, where have I been?!). As for selling or trading in...my daughter has seen to it that I've never had to concern myself on that matter! LOL :D

Give us old GH5 users some v4 love as well ?

I was watching this triple ticket: ...when reminded myself of your videos and threads! @mojo43 (cheers, E : -)

Thanks Alex! That's great to hear.

To the letter. Every inch Joker's cinematographer Lawrence Sher said from that video posted by @Emanuel a couple of posts above...

Sounds fantastic. Cannot wait to see your work for the S1(H) also.

When I hear comments like this, makes me think this camera will have legs for a very long time!

Yup, just snagged a tascam dr10l. It's white, but it was $130, so I can deal.

This is what I used to think, but if we think about film stocks and how they have these tints (IIRC there were other film stocks that had magenta/green tint instead of yellow/cyan) then here's the issue - every film ever shot on these film stocks would have this look built in. And the problem with that is that every film shot on film didn't look like it had only two colours, or that it was boring, or that it hid a lot. So, if film stocks had these things and didn't look like the POS that most orange/teal grades have, then I figure I must be missing something. Thus this thread. Maybe we're not missing things and in the film days they just designed sets and lighting to compensate, but maybe not. I'm no-where near done with this

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..

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

And its in stereo judging by this then.

Tilta do their own compact dual 18650 solution that gives out 8v. https://tilta.com/shop/18650-battery-pack/ It doesn't come with the batteries but you should be able to get 2 of those with a charger for under £20. At £60-70 total its not the cheapest solution out there as you could roll your own but at least this way you get the cable and know its officially supported and tested with the motors. Advantage of 18650s is that they aren't that much bigger than AA's depsite the extra capacity and output so you can carry a few spare to increase the run time if you needed.

Easy, I'm choosing the original BMD Cinema Camera 2.5K Was groundbreaking for its price and quality. First camera with raw for anywhere near that price point. And was the entry of BMD into the camera market, who are now major player, which makes the BMCC 2.5K especially notable.

When female beauty comes, I cannot see the pixels anymore... ?

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