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Well that’s just the thing. MFT gives me options and I’m willing to take the trade offs. Ask any MFT shooter and they will tell you the same thing. There will never be a 100-400 f2.8 FF lens that fits in my cargo pocket. I can add a metabones speedbooster and get very close to “the full frame look”. The GH5 has offered 4K60p since 2017. With a speedbooster, it’s arguable been the best “super35” camera with IBIS until the XT4. Trade offs? No bullet proof autofocus. The other disadvantages of MFT are or have been addressed with technologies like dual gain sensors, speedboosters, and extremely fast native 0.95 lenses. Shallow depth of field is a style choice not a requirement. I’m of the camp that a deeper depth of field is OK. It’s OK for the audience to get a sense of the scene. So the “disadvantage” of a deeper depth of field with a crop sensor camera isn’t really a problem for me...and when it is I can fix it easily with multiple options! In fact I would say MFT operates in the sweet spot for depth of field that is most commonly used in cinema. And we rarely criticize cinema in depth of field or camera used, it’s about the story, pacing, and actors. So it’s annoying people keep repeating garbage talking points and talking down about this excellent format. And the bottom line...you can buy and use whatever you want because most clients don’t care! Garbage is garbage wether it was shot on MFT or FF.

P4K2Alexa is out. Accurately match BMPCC 4K footage to the ARRI Alexa via a clean, non destructive 3x3 matrix. With none of the downsides of using a LUT. Fully editable, no clipping, no clamping, no snake oil. https://juanmelara.com.au/products/bmpcc-4k-to-alexa-powergrade-and-luts

I don't know why I've read all this but I have and it's a weird discussion. The matter of fact is (and it's been proved many times) no one is going to pick the difference between FF or M43 shooting video (most couldn't pick it in a photo either), choose the right tool for the job and don't be mad if some people have a different idea of "the right tool". I shoot FF for photos and M43 for video (albeit with Metabones XL mostly) and that's just because I feel those cameras give me the best use of lenses and the best value for money (specs wise), the sensor size for me isn't really a determining factor, I could easily bounce between M43, APS-C or FF and be happy (and I have at times).

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work. Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa. After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts The PowerGrade At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do. Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT. The LUTs Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form. One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped. With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0. Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on. Comparisons Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

That's a great news. I think the original X-T3 is highly underrated camera, but seeing how X-T4 is welcomed, it may no longer be the case in the upcoming months. Luckily, both of them, apart from sharing the same sensor, seem to have the same color science. They don't offer RAW, unfortunately, but 10-bit @400Mbps is still plenty of data for color manipulation.

I was going to send it to you for free, but then you wouldn't appear on the customer list, so you wouldn't get any free updates. Flick me an email and I'll get you a full refund or figure something out. You definitely want this version as the sensors are quite different. I could make one. Just need to see what the demand is like and then would need to source the cameras. Yeah there's a good stop and a half extra on the Alexa. Highlight recovery brings that down to maybe a stop difference. I'm glad you didn't mention the Alexa's "highlight roll-off." The Alexa doesn't have a highlight roll-off! It's completely linear up there.

The other point about lenses and sharpness is also very strange, as in higher end professional cinematography there are three groups: Those who deliberately chase softer lenses for how they render detail in a more flattering way Those who chase a clean modern resolution (but then use cinema lenses which are actually very soft in comparison to photography lenses - I suggest people go look at the actual data and do the research) Those who truly chase high resolution lenses and use high resolution sensors The last segment is by far the minority. I get it that if you're looking for a hybrid camera then you'll want imagesso sharp that you need those metal mesh gloves that butchers use just to pick up the SD card, but for cinematography, anyone who talks about sharpness is really just showing how disconnected they are to the cine industry in general. and ditto for autofocus.

It's interesting that the people above that are saying "I use FF, but don't judge me because I tried m43 and couldn't get around the issues" and then they go ahead and list a bunch of details about MFT and just get half of them wrong.... No wonder they couldn't get MFT to work for them - they fundamentally didn't understand it. I get that everyone shoots differently, it's when they say "FF is better because it takes photos, but MFT just makes pig sounds and steals your CC details" that I get a bit annoyed. Then again, I should account for this being the internet and just expect that idiots will just hang around waving their opinions around..

After many requests, P4K2Alexa PowerGrade + LUTs coming in the next day or two. Dawn to dusk, one PowerGrade, no adjustments to the transform.

Well, there is no shortage of them, that I can tell. There is Tiffen Black Diffusion/FX and Schneider Radiant Frost, which (according to David Mullen) soften the image with minimal halation added. Not to mention a whole lot of Satins (Black Satin!), etc. Some good read here: https://www.thebroadcastbridge.com/content/entry/4071/its-time-sharpen-your-diffusion And last, but not least, a handy diagram from Tiffen: Someone already named it "Triangle of CONFUSION" and I think this term is extremely on point. ( :

First I'd like to say that I appreciate that the Lenses sticky thread is now it's own Sub-Forum. It really allows members to post more specific topics and it allows readers to ignore topics that may not be useful for them. With that said, @noone had a great idea creating a topic with one of his favorite lenses... so I figured I'd follow suit with one of my favorite lenses... Nikkor 35mm 1.4 ai-s As I started writing this brief, real world review, I realized that this lens represents a larger story of me as a filmmaker as it chronicles the highs and lows of my life since I started shooting my film... So what started as a brief review morphed into a much longer story. If you don't have the time or inclination, stop now. For those that are still interested... here we go... I love fast, wide angle lenses. They offer shallow depth of field while allowing you to get close to your subject. And a fast 35mm straddles a wide angle FOV and a normal FOV making it almost the perfect full frame, focal length for my style of filmmaking. This is my second copy of this lens and truth be told... I've almost sold this lens a half a dozen times over the past year. My first copy I bought when I started shooting my film. I had a simple game plan... the Canon 24-70mm f/4 IS lens for daylight and the Nikkor for lowlight. Here are a couple frames from the first shots I took with the lens for my film. For some reason I decided to go a different route for my lowlight shots and bought a Canon 35mm f/2 IS lens. In most ways, the Canon is a better lens, but it lacks the charm of the Nikkor even if it did match my zoom a little better. At the time, my film was moving along at a steady pace, so I decided to keep the Nikkor for a different, upcoming film... Well... Life had a different plan, like it often does, and some unforeseen medical issues in my family slowed production to a near grinding halt. With those medical issues came some unforeseen financial issues and I was forced to sell a bunch of lenses. For a brief time I thought I'd be forced to sell my camera as well, but I luckily made it work. Before I sold the Nikkor, I decided to take it out for a final spin. Here are a couple frames from that last day with the lens... By this time, I was also forced to sell my Canon zoom and my Canon 35mm f/2. Over the next 6 months I raided my closet to test any and every lens I had that could work for my film. Luckily, during that time, I found a Canon 28mm 1.8 listed on eBay "For Parts" for peanuts. Needless to say, I won the auction and found another one of my favorite lenses born from need. For the next 6-8 months, the Canon 28mm 1.8 lens became the only lens I used to shoot my film and at the time, I couldn't be happier with the results. But I still missed my Canon zoom and my Nikkor 35mm 1.4. Last year, I came into a little extra money and immediately sought another copy of the Nikkor and after a few weeks, I found one. With the extra money in my account, I took the opportunity to test a bunch of lenses I couldn't otherwise afford but always wanted to try. I tested some beautiful lenses but being a hobbyist, I needed to contain my obsession and build a couple logical lens sets. I used the end of my sporadic shooting days to test a lens. My method was simple, use my main actor as a model in the same locations I was shooting my film. Here are a few frames from those tests... After hours of deliberation and footage, I finally realized that I don't change lenses that often and I grew to like the idea of a single POV, from a single lens, as if the lens' FOV represents an invisible narrator's eye. I used my feet to zoom and put together a simple rig consisting of a closed monopod with a tilt head and a tape measure pouch clipped onto my belt. The bottom of the monopod fits snuggly inside the tape measure pouch giving me a stable image with a handheld-like flexibility. During these tests, I realized that I had way too many lenses and could easily shoot a short film a month, for well over a year, and never reuse the same lens... What was I thinking?! I am just a hobbyist with no delusions that I will make the next great indie film. This was getting out of hand. So I set up a final round of testing and narrowed down my keepers to a grand total of 5 lenses with the only "set" consisting of my Canon FD 50mm 1.2 L and my Canon 28mm 1.8. At the time, I even contemplated selling the Nikkor 35mm 1.4 one more time to keep with my minimalistic utilitarian approach. But after some careful thought, and some good advice from some other EOSHD members, I decided to keep it. Although I was still unsure if I needed the lens, after a recent go at some of the footage with my mediocre color skills and my crappy monitor, I came up with these frames from one of my test shots... Although, I realize that none of these shots are particularly spectacular, but each one represents something I like about cinematography and tells a story about my life over the past 3 years. Sometimes the gear we buy is more than just tools for the stories we tell... they become part of the story... part of the journey. Maybe I am being too sentimental but when I look at these perfectly imperfect images taken with a perfectly imperfect lens, I remember the moments that brought me from then to now and what I learned during that process... This lens taught me that my equipment is better than I am. I learned that I don't have to shoot everything wide open and that I probably shouldn't if I ever want to pull focus on an actor walking. I learned that some lenses have a vintage look when wide open, but when stopped down can look crisp and modern. But most importantly, I learned that I need very little to make a movie and gear is the least important. If you're interested in a more technical review, I recommend Ken Rockwell's review of the lens. He gets into the nitty gritty of the characteristics of the lens. I feel he's a little too hard on the lens but everything he writes is dead on accurate... https://www.kenrockwell.com/nikon/35f14ais.htm For me, I can sum it up in one paragraph... The Nikkor 35mm 1.4 ai-s lens has a warmer tone and when shot wide open, the images are dreamy, a little soft with a ton of coma on the edges. Stop it down to f/2 and it cleans up a little. By f/2.8 it's like you're using a different lens and that lens is as sharp as a knife. It's like having two lenses in one with both being sharp enough with a bunch of character. So there you have it... thanks for reading.

There isn't really a file size difference between 1080p and 4k if you are shooting at 100mbps. I agree though, unless you are cropping you can't tell a difference, until maybe you blow it up on a big 4k screen.

Thank you for your words. I can't understand how people can dislike your post... Brainless.

I've had the GH3, GH4, GH5 and now S1H. Love them all. It's the exact same frame of view I really don't understand what others here are talking about. View is not cropped??!! S1H with the 24-70 lens does seem a bit sharper with wider apertures than the equivalent on the GH5, and low light performance is improved but nothing earth shattering at all. I still have the GH5 and will still be using it as needed. I must admit loving the flexibility to zoom 24-70 and maintain sharp/ fast vs swapping primes on GH5. That's the single biggest advantage to me. Still need 100-400 + GH5 so I don't have to carry around a FF bazooka lol

I just watched the entire season of I Am Not OK With This in one sitting... please pass on my congratulations to your brother - it was great stuff! I highly recommend everyone else checks it out, it's very well done Looking forward to your doc too!

Hi everyone, I’ve been super busy, but I did manage to get a few new tracks done…all free to use with attribution: On my City/Urban 2 page: BREAK IN_v001 - (Looping) SODIUM VAPOR_v001 SODIUM VAPOR_v001 (Looping) https://soundimage.org/city-urban-2/ I just opened the Sci-Fi 9 page with this brand new track: SLIMY ALIENS FROM OUTER SPACE! – (Looping) https://soundimage.org/sci-fi-9/ My Sci-Fi 8 page got a bit too big, so I moved these two tracks to the new Sci-Fi 9 page as well: DESOLATE STREETS IN A MACHINE WORLD – (Looping) ELECTRIC DRIZZLE – (Looping) Enjoy…and have a good week!

This was announced a while back and i was understanding it would be released beginning of March at the CP show - but that show was cancelled and for some reason the release pushed back a few weeks. Lets hope it was pushed back to fix a few more things... cheers Paul

Phase detect auto focus like Canon would be ultimate GH6 and to put icecing on top prores as codec 🥳 no need for 6k 8k 4k would be just fine

A better test of resolution would use the same lens on all three cameras, at the same aperture, on a tripod with careful manual focusing at a high viewfinder magnification. Maybe a SLR prime with a fotodiox adapter for each camera mount. He used a Fuji zoom for the X-T4, a Tamron zoom for the Sony, and a Nikkor zoom for the Z6. Still enjoyed this comparison, better than most. There are a lot of variables to try to control.

"Hate"?? I think you're missing the picture in terms of the usual proportions and intensity of debate. Usually for every dozen people you get saying "MFT is unusable" you'll see one person saying "FF is unnecessary", a big difference in both their type of arguments and the volume of them. Sometimes it is good just to bring balance back into the discussion.

The funny thing about Max's comparison video is that it made the Sony IBIS look really bad and I see Daniel Schiffer pull off some awesome moves handheld with his A7III all the time. Which leads me to think that the XT4's IBIS is more than enough to achieve that level of movement.

Used the 1dxIII on two full shoots now. Really beautiful image, Clog is lovely in 10bit and the Neutral color matrix, was never a fan of it on the 1DC. Full frame, over sampled 4K with Canon color is a magic combination. Though I’d gladly take a kick in the pants to have DPAF in FF 60p.

I purchased the p6k version for use with p4k. Is a discount possible?

Fuji still has a loooooong way to go before they get the wall to wall coverage Canon/Sony/Nikon does, but they're playing the game and catching up! Which is good to see.

Thanks @Dave Maze Really early 2020... ; -)

https://www.cbsnews.com/news/mad-mike-hughes-daredevil-and-flat-earth-theorist-killed-in-rocket-crash-2020-02-22/ How's this possible in the XXI century? Isn't there a limit for freedom of thinking? Flat earth theorist !?? Are they kidding me? Aren't there mental health authorities in US? I mean US, but could be anywhere else. Seems pretty clear to me, there's a border between common sense vs (plain/full) insanity. Why not to simply forbid this kind of acrobatics? Last time I heard there are rules for drones to fly... IMHO society (that is, all of us) represented by the State is responsible for such loss.

I spent 5 minutes on the few first posts looking for some sort of logic, background and credential but I found none. Therefore, I didn't waste my time reading 900 posts on reddit from anonymous sources and the conclusion from wacko ELI5 neither. Unless you can provide better source, which I tried to do before (but it didn't spark any interest I see), I'm not going to bother with borderline conspiracy theory. Yeah, I can run the number in Excel but facts and suspicions are two different things. As for your twitter link... Who is this person? We don't know. But the short bio says enough "Fraud investigator preparing for the Elon Musk criminal trial." Of course, no real name, no website, nothing... So many experts on the internet! I'm done with this conversation because it's leading nowhere.

The facts behind the panic: Corona virus death toll so far after two months of existence: 3000 persons Mortality rate is about 2-3% and old people are the most vulnerable, about 80% of deaths recorded were from those over the age of 60, and 75% had pre-existing health conditions including cardiovascular diseases and diabetes. (source: WHO) What should really be a cause of concern: Nearly 1.35 million people die in road crashes each year, on average 3,698 deaths a day. Flu Kills 646,000 People Worldwide Each Year. 1769 per day average Stroke killed 5,000,000 people worldwide in 2016 Nearly 40,000 People Died From Guns in U.S. in 2017 Leading causes of death in the US in 2017: Heat disease: 647,457 deaths Cancer: 599,108 deaths Unintentional injuries / accidents: 169,936 deaths So we may want to take a huge chill pill. Eat healthy, double check left and right twice before crossing the street, put the seat-belt on and stop worrying about a small pandemic of a not so dangerous virus. That being said, the public safety measures and large gathering restrictions are totally justified to prevent the spread of the disease, Photokina or the Olympic Games are clearly not a priority at this point.

So I did download a 1Dx III RAW file and Resolve can open it and you can edit. The camera raw tab does not work yet so you cannot set the Log, WB etc... but there is hope as you can use the other tools to color grade. Keeping the default and applying some correction: Customizing the camera raw tab:

How about a smaller and cheaper C100 like camera (c1000?) with EF-M mount 😎

Exactly. And there are rules to make us comply. Whether we like or not. Science... the same which says flat earth is not a theory but mere nonsense. Or lack of a few things.

Indeed. The business to back this nonsense to begin with. This seems too stupid to be true...

Probably just ignorant or too naive as some other alternatives or excuses, isn't it? ; ) No, read again my post... "I mean US, but could be anywhere else." I think I left it clear, no? Of course, there are silly people everywhere WTH. Evel Knievel never scheduled a stupid agenda to justify his entertainment business AFAIK. Horses for courses. I think and do defend authorities should play a role on certain cases. Insanity can be dangerous as much as flying drones or rockets for that matter. No idea how people stare to attend such sad show. First question to come to my mind: are we talking about a licensed or allowed activity to begin with? To launch rockets to the space like we all live in somewhere more than 100 years ago? Last time I checked we are in 2020... ; -) Shame on everyone who let this happen.

Slanted lens did a comparison to the pocket 6k, see below. My take away is (my personal opinion, doesn't have to be yours) that the S1H colors look better and skin tones look better. Both cameras are similar and this comparison proves that anybody who claims the pocket 6k "destroys" the S1H just because of its popularity and codec are drinking the kool aid. The fact that the S1H can go toe to toe against a raw format, while also having IBIS, better battery, swivel screen AND almost more importantly for hybrid shooters also be a legit stills camera is a huge selling point. https://www.youtube.com/watch?v=rghbaHoVRsk

Here's a little video that I put together for those green chair shots.

The biggest surprise for me with this camera is the outstanding color reproduction. Skin tones are spot on. This matches up much better with my Red Dragon than the BMPCC4k. Would love to see some kind of 12 bit raw implemented. 5.8K - 4000 ISO - 24p frame grab:

source RIP EOS R5 release? What about other camera manufactures?

Guess companies will have to push back due to supply issues https://***URL removed***/articles/8598995705/coronavirus-what-effect-will-covid-19-have-on-the-photo-industry

Is Laowa a generally good brand? Hard to keep up with all the companies.