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A peek for you of the first shot from the GFX 100 shoot with @BTM_Pix Edit is ongoing! This isn't "perfectly" in focus but it'll give you an idea of the kind of creamy 10bit tones from this "medium format Alexa". The dynamic range is extreme. This was shot in classic chrome. I shot a lot of F-LOG and the files are deeper than Oscar Wilde.

Here's some 100% crops of the 100 megapixel.... JPEGs. A nice glimpse of the future. When these camera specs gets cheaper, this I think will be what replaces full frame... By which time, we'll all be dead from stupidity or coronavirus, whichever gets us first, so it won't even matter. Content is king! Ferrari car (100MP original JPEG) https://drive.google.com/open?id=1006AjsSC83KyJzhtGBzo9M55M4UsqWyl Red Bull car (100MP original JPEG) https://drive.google.com/open?id=1omCdj_NIUw3P8JziXSMT5Ncc40YBxeqa Downsampled... CROP...... 100MP original Ferrari \/ \/ \/ \/ Same level of 100% crop but for the Red Bull shot... 100MP original Red Bull

So, I almost sold this lens again. As addictive as collecting lenses can be, the utilitarian approach can be just as addictive. Luckily, I came to my senses before the lens sold. Here's another shot from the 35mm 1.4 at f/2 that I processed with an Alexa conversion LUT...

Auto Focus. All the youtubers are consumed with auto focus performance. Every review is praising or dissing AF for every new camera. Everyone has videos of people jumping in & out of frame and watching the focus change to this & that. Is it tracking?? Is it twitchy, is it slow, is it focusing on the wrong subject etc etc. and the stupid AI algorithms are driving us camera owners crazy if it doesn't quite perform right. The first few months I had a new mirrorless I would end up watching every shot for signs of AF error, I become sensitized to every background twitch & focus shift, I was alternately disappointed or elated depending on the AutoFocus results. Finally during a brief period of sanity I turned off the AF and went totally manual focus. I planned what my shots were going to do AHEAD OF TIME and set the focus WITH THE FOCUS RING! I stopped watching the shots for AF and could pay attention to everything else. No more focus wobbles, jumps, twitches & tracking errors, just … calm. Then I had a shot where two people were talking and one suddenly walked past the camera left while still talking. I followed him a ways and then panned back. Hey, he went out of focus! The other person said a few words and the shot ended. Later I watched this shot and sure enough he moved out of focus. But, it didn’t bother me. I realized if the focus had tried to follow him and then jump back to the other person it would have been quite distracting to me, but having a subject naturally move out of focus as he moved through the scene made me realize that happens in the movies all the time and no-one cares. So relax, turn off that AF. Let the background trees stay out of focus when Camera Conspiracies jumps out of the shot. Manual Focus rules.

This is based on common colour science used by Adobe and many others. If you look at Adobe presets in camera RAW, or the Resolve WB presets you will notice the same thing. Daylight is typically green compared to a black body radiator (tungsten) and the daylight locus is used for temperatures above 4000K. Here's the daylight locus compared to the Planckian (tungsten/black body radiator). Notice it's "greener" and therefore would need a tint adjustment towards magenta to compensate More info here: https://en.wikipedia.org/wiki/Standard_illuminant https://en.wikipedia.org/wiki/Planckian_locus

I think I speak for all of us in expressing the hope that you have been using it though !

Depending on how much it vignettes, a Canon 24-70mm f2.8 (as there are AF adapters for it) would get you a long way with that sort of additional punch in power. I don't know whether we could do a vlog as deep down we'd know we could never top the camera shop incident of which we can never speak. As for tea, you need to google "builders tea" for the preferred approach to tea. The way you are doing tea would count as a dessert where we are from

So the downside is that the camera costs ten grand but the upside is you only need to buy one lens!

He has done an excellent job of matching color spaces solely using color tools. A 3x3 matrix is kind of like a uniform accordion of R,G & B space, the cleanest tool for the job. The unique advantages to this approach are its tweak-ability, and that it won't clip boundary data in Resolve if you place a grade before the powergrade (grade after though; preserve core logc)

Try Makaibari. And brew it within 5% of the instructions. You won't have to drink any that tea after that.

If you followed this sub-forum closely, you'd notice that there are a few threads with 'Aivascope 1.5x Pro'. ( : I'd say it's rather good. Very handy and easy to setup.

I received an email on the 3rd with the new version, got placed in the junk folder if you haven't checked it yet

I really do enjoy complaining. Maybe it's something in the black tea that causes the British to be so cynical. You don't get it in LA where they drink the herbal crap and coffee.

Very good news Davinci Resolve 16.2 fully support the 1Dx III RAW format, all settings in the Camera RAW are available. So workflow for me it will be super easy, no time in transcoding through other programs etc.. Really impressed by how quick Blackmagic implemented it! Btw I have the studio (paid) version of Resolve so not sure it works on the free but also the free is limited to 4k timeline too so I think the one time 300$ are well invested.

I'm not afraid of lenses with character so looking forward to trying some of these out in the BM4k crop when I can.

Thanks. Going by your comments over the years and by looking through past threads, I figured you'd have some good suggestions. I appreciate your time.

You are right, and you are a gentleman, because you didn't mention, that for ultimate precision your LUT is still the way to go. A matrix can get you close when you're lucky, but to transform all the color tweaks of a manufacturer, a 3D LUT is still the way to go.

Thanks, I'm still having a problem getting my grades to look consistent on different devices. Obviously, I know part of the issue is my MacBook Air's screen. But it's like a tint gets added. Weirdly, it even happens with B&W. So I usually end up tweaking the color accordingly until I find a happy medium. Since I'm still in production, none of these grades are necessarily a reflection of the final "look" of my film. When I get into post, I'll probably update my computer and my screen. Here's a B&W version of the shot...

@mercer very nice image - deeper colours than your normal grades but it sure works!

Davinci Resolve 16.2 apparently now supports 1Dx III Tomorrow I will give it a try

FP on top, Q file below. I tried not to alter the Q pic too much, balancing the exposure and adding a little saturation, no sharpening. I did more balancing to try and match the exposure and colour on the FP file, no sharpening. Simple Jpeg export. The 3rd party lens hood I chose for the Takamur 28mm clearly vignettes.

Oh that's easy. There is a spray you can get that swimmers use for inside their goggles. Anyway, she's doing it wrong because she needs a canary in there. If the canary falls off it's perch, basically you are fucked.

What a honest and noble behavior - not just to admit similar quality, but also to further explain it. Hat down, sir.

Pentax playing the long game this whole time....

DaVinci Resolve 6.2 is out (lots of things, imo): https://www.blackmagicdesign.com/support/ What's new in DaVinci Resolve 16.2 Fairlight timeline editing toolset improvements. New mouse and keyboard based editing toolset. User adjustable per track scalable waveform display. Keyboard shortcut editing actions now include fade, cut, select and move. Support for alt/option dragging clips to create a clip copy. Support for pasting clips across timelines. Support for bouncing individual audio clips to files. Support for dragging audio clips to separate tracks using modifiers. Support for dragging audio clips to specific positions using modifiers. Support for converting multichannel tracks into linked groups. Support for a user preference to align audio edits to frame boundaries. Support for an action to trim all audio edits to frame boundaries. Fairlight sound library. Release of the Fairlight sound library installer for foley effects. Support for searching and displaying sound library description metadata. Effects and plugin management improvements. Automatic sorting of AU and VST audio effects into types and categories. Favorite audio plugins are now displayed at the top of the mixer plugin list. Additional immersive audio support. Support for MPEG-H bussing and monitoring in DaVinci Resolve Studio. Improved pan and balance including the ability to constrain panning. Track Index improvements. Support for the edit index in the Fairlight page. Drag selection of tracks, mute, solo and record controls in the track index. Drag and drop reordering of audio tracks in the track index. AAF import/export improvements. Support for importing AAF sequences as new tracks in an existing timeline. Support for importing AAF sequences with an offset to an existing timeline. Support for importing multichannel tracks from an AAF as linked groups. Support for broadcast wave files when exporting an embedded AAF. Support for exporting audio cross fades and fade handles in AAF files. Audio mixing improvements. Support for additional notch filters in clip EQ. Support for new FairlightFX Meters. Support for new FairlightFX LFE Filter. Fairlight Audio Editor improvements. Support for dedicated controls for panning up and down. Support for editing clip EQ. Support for copying and pasting clip EQ. Support for creating and applying presets for clip EQ. Support for adding, managing and custom mapping of plugin parameters. Support for changing relative clip levels. Support for resetting clip levels to unity. Support for editing fade shapes and deleting fades. Support for saving and recalling user defined track view presets. Support for enabling layered audio editing from the desktop audio editor. Support for choosing automation curves from the editor panel or console. Improved behavior when moving track selection with no tracks selected. Support for improved timecode entry and high frame rate timecode. Support for entering relative timecode values. Support for inserting 00 in timecode entry by using the colon key. Support for master spill on console faders. Support for finer adjustment of controls using the mouse or audio editor. Support for media left and media right selection keys. Support for a text-only labels mode. Support for a traditional Fairlight keyboard layout. Improved support for legacy Fairlight project import. Improved import of EQ, automation and fade from legacy Fairlight projects. Improved speed when importing large legacy Fairlight projects. Editing improvements. Improved performance when switching to large timelines with many tracks. Support for creating a compound clip from an in-out range in the timeline. Support for previewing timeline audio during live overwrites of video edits. Support for editing individual angles to the timeline from a multi-cam viewer. Support for updating clip duration display while editing in the cut page. Support for a change transition duration dialog. Support for viewing duration in frames or timecode format in the viewers. Support for Fusion transition templates in the edit page. Support for Fusion generator templates in the edit page. Support for timeline view options per system in collaborative projects. Media Pool improvements. Improved audio track metadata support with support for up to 24 tracks. Support for duplicated clips and timelines being placed in the source bin. Support for sorting media pool clips by date added. Support for showing synced audio filenames in the media pool list view. Support for revealing the media pool location of a clip from a smart bin. Support for a media pool context menu to duplicate clips and timelines. Support for only additional files when repeating media management copies. Color grading improvements. Multiple stability and usability improvements for collaborative projects. Support for smart filters based on keywords and people metadata tags. Support for modifying primary grade values using numerical values. Support for retaining out of range data when monitoring at video levels. Support for Fusion MediaOut name tooltips on the node graph inputs. Support for feet and frames data burn-in options. Support for disabling output sizing and blanking for individual clip renders. Scopes improvements. Support option for showing scopes at video level and data level. Support for HLG gamma when using HDR scopes. Support for highlighting the color viewer qualifier position in the scopes. Codec improvements. Support for Blackmagic RAW SDK 1.7. Support for rendering audio only timelines. Support for decoding 32 bit floating point audio. Improved support for color space and gamma when decoding H.265 clips. Support for displaying EXR codec name based on compression method. Support for overriding the color space and gamma tags in render settings. Support for RED SDK 7.2.1 and decoding clips from the Komodo camera. Support for two new parameters in the RED camera raw settings. Support for REDWideGamut Log3G10 IDT for ACES projects. Support for the Canon EOS-1D X Mark III camera. Support for decoding u-Law Audio in QuickTime clips. Support for alpha channel clips with the bypass re-encode option. Scripting, API and general improvements. Support for running the primary screen as a window in dual screen mode. Improved scripting API with the ability to close an open project. Improved scripting API to set frame rate for media pool clips. Support for new scripting functions to return ordered lists. Support for video monitoring advance and delay on the Fairlight page. Support for GPI/GPO control on the Fairlight Audio Interface. Multiple performance and stability improvements.

Yes eleison I'm not really sure what point you are actually making and to be honest lost interest a long time ago. You say technology waits for no man etc... and as anonim has pointed out, the cutting edge comes to m43 a long time before it does full frame - we're still waiting for that to catch up with much of what the gh5 has been offering for years. And you also say let's wait for the unicorn that is the A7s3 and lets not go chasing the latest and greatest. Am confused... Anyway always excited to see where a possible gh6 could push what's possible for mirrorless video, Panasonic are always trying to provide the best they can as opposed to Sony's recent regurgitation of 8 bit overheating jello vision

one edward scissorhands reboot coming up😁 do a parody. Have the barber talk about the intricacies and styling of cutting someones hair, while he absolutely mauls a rose bush with a set of choppers or hedge trimmer perhaps 😉

The movie is Captain Marvel and it's not the Pocket but

It’s all a conspiracy by Fuji. XT4 gets announced and folks across the interwebs start linking it with the Olympics for completely inexplicable reasons that even they don’t understand but because they read it ‘somewhere’, then yeah, it’s a thing. Fuji picks up on this and begin to suffer small willy syndrome in comparison with those 12” monster DSLR’s that Canon and Nikon keep insisting on making but no one including even Fro Knows buys anymore. Fuji release virus so Olympics will be cancelled. It’s pretty obvious when you consider all the facts. It’s going to backfire on them though because the way things are headed, my preorder for a pair is now not likely to be delivered (and therefore cancelled if this looks likely) in time for this years wedding season...if that itself even happens.

Well my willpower didn't last, purchased my own Sony F3 with active EF adapter, rig, SD to SxS adapter, v-mount power adapter, and 3 full size NP batteries for $800. The batteries and EF adapter are worth that by themselves.

He always leaves the camera's on default setttings, also he doesn't set white balance, he uses the "daylight" or "cloudy" setting on the camera which each manufacturer sets differently. His excuse is that the "normal" person just leaves it on default settings, when anyone watching his channel should be trying to get the most that they can out of their cameras.