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This is not the YouTube Video Digest Can we cut down on threads where there are 3 or 4 youtube clips in every post? How about making or OWN content rather than reposts?

Set Decorator was lazy that day. A little more time spent on grade. Was a test of the 4:4:4 out, love the color flexibility.

Here is a Nikkor AF 28-85mm f/3.5-4.5 SLR zoom lens mounted on my X-T3, with the basic Fotodiox adapter for Nikon F. The lens focus is parfocal from 28mm to 85mm, with a smooth zoom ring, great for video zooms: So I was surprised to find weeks later that it suddenly was not holding its focus, it was focusing farther at wide angle (??) At 85mm, focused manually (a screen grab cropped into the video): Then zoomed out to 28mm, the focus shifted behind the subject: Eventually I realized that I was using a different Fotodiox Nikon F adapter this time, and the only difference was an aperture control ring built in for G lenses: I compared the thickness of the two adapters with a small C clamp. The G adapter was a hair shorter than the basic adapter, and the G adapter had the lens focus going too far past infinity. So I decided to extend the G adapter’s length a slight bit. I removed the back of the adapter by removing four screws, and I added a thin layer of tape to extend the adapter’s overall length: Finding the right thickness of tape was trial and error. Thin cardboard, too thick. Duct tape, too thick. Black masking tape worked. Now after zooming out it is back in focus: So a mounting error of the thickness of masking tape threw off the zoom’s parfocality! How thick was this tape? I have an old caliper from my grandfather, and it measures in 1/1,000 inch increments. (But not wide enough to measure the Nikon adapters): The masking tape is seven thousandths of an inch thick. That's about a sixth of a millimeter. The moral of the story: if your vintage zoom lens adapted to your mirrorless camera appears not parfocal for video, try another brand of adapter, especially if it has infinity focus adjustments. Apparently all it takes is a few thousandths of an inch to throw it off.

I like the Gh5, but his attitude when I look at him on the shelf is like, "Hey, how's it going?" The EM5II was more like, "C'mon man, what are we doing next!?"

Sigma also reads this topic for firmware feedback and I think they are doing a great job improving the camera Lets stop talking about black magic as a company in this sigma topic. .

They're always a generation or two behind regarding the spec sheet. The thing that I liked is that the IQ is decent enough (even if it's not as good as others), the color out of the camera is really nice, exceptional IBIS, and then -for me- the intangible factor of the ergonomics. You can't quantify that as it's a matter of taste. I just really really liked using the camera. It made me want to do more. Not many cameras inspired me to be more creative by simply encouraging me to go use it in new and exciting ways. Bottom line: Other cameras will squeak out a percentage of performance here, an extra percentage of performance there. 8-bit vs. 10bit, for example. But if I'm getting more shots (and more fun shots) with the EM5II than I would with a, say, an Ursa Mini Pro in RAW, then what camera is ultimately a better solution for me? It all depends on what you're trying to accomplish. I keep arguing with my wife that we should sell our more up market gear and just get two EM10III's! A majority of the things we do production wise has us running around and shooting things as fast as possible. The Oly's are good at that. Now, to be fair, the GH5's 240fps slow-mo is a god-send in that regard too. I'm partial to being small and fast on site, so that's my bias. Others like cameras that are rigged out to the maximum and are content to get one exceptional shot per hour. Whatever works. BTW, I switched to GH5 in 2017 'cuz we're making a series of docs that required 4K delivery.

Just before the coronavirus outbreak in Europe, me and my wife decided to make use of some tickets we had booked 2 months before and visit our friends in Kiruna, Sweden. It proved to be a risky trip as many flights where cancelled one after another and we could stuck at any airport during our transition or return but it also proved to be one of the greatest trips of our life so far. I managed to squeeze a Mavic 2 Pro and an Osmo Action into my luggage (sadly my beloved GH5 and it’s accessories had to stay back in Greece) plus a bunch of masks, gloves and alcohol wipes… So, short story, below you can take a glimpse of our 7-Day trip into the Arctic Circle. The vast majority of these shots (almost 95%) where taken with an OSMO action (handheld, no accessories) and i was personally amazed with this little gem. Of course i missed my Lumix, my motorised slider, my gimbal etc but on the other hand, if i had all of these with me i wouldn’t have the ability to walk 10 km into the frozen Abisko National Park while interacting with my companionship.

“WHY I’m SWITCHING to the SONY A7SIV”, “SONY A7SIV. T’S A BEAST”, “SHOULD You SWITCH to the Sony A7SIV? I AM SWITCHING!”, “WHY the A7SIV is THE BEST CAMERA of 2020”. 2 Weeks later... ”I’M DITCHING Sony for the CANON EOS R5!”, “GOODBYE A7SIV!”, “I’M FINALLY making the SWITCH from SONY to CANON. EOS R5 REVIEW!”, “THE BEST CAMERA of 2020. CANON EOS R5!” 1 Month later... ”WHY I’m SWITCHING back to the EOS R”, “WHY I’m SWITCHING back to my OLD CAMERA and YOU SHOULD TOO! It’s NOT About the GEAR!”, “WHY THE SONY A7SIV is NOT THE CAMERA for ME. SWITCHING BACK!”, “MY BIGGEST MISTAKE in SWITCHING from SONY to CANON and back to SONY. DON’T DO THIS!”. Tony Northrop... ”Micro Four Thirds is DEAD. SONY A7SIV REVIEW”, “CANON EOS R5 REVIEW. M43 is DEAD!”, “M43 BIGGEST MISTAKE. DON’T BUY THIS”.

Perhaps as the Bolex 16/32/1.5x thread, any information and films about this 2x anamorphic lens. First short film #solo

So far I am enjoying RAW 4K on the FP minus the fact I still can't see what I shot in camera. What are your experiences with Sigma's RAW performance and what are your thoughts on the dynamic range recovered in RAW? Below is a little stress test I shot in Boston a few months ago. https://www.youtube.com/watch?v=dzpJutOB9XE&t=31s

One of the best YouTube channels I know An interesting experiment

I don't mind a few things, if they are of GOOD quality and informative. The problem is when people just dump any old shit into the thread just because it happens to be on the same topic. And I can't tolerate flooding every thread with clips and bumping posts with YouTube shit, for many reasons - firstly, that it encourages people to leave the site and watch stuff elsewhere, and not contribute, thus killing a topic here.

Interesting breakdown of how the Sigma fp's material behaves in Resolve and Premiere. 1st video: first available-light event documentary that I've seen made with the camera. 2nd video: first corporate video I've seen made with the camera.

I agree we should bring the Sigma Fp thread back on topic. I'm going to clean it up.

@Lars Steenhoff Hallo Lars, I only look at the one with the kid. I think the grading was not reavealing the strength of 12bit raw. This one looks very good indeed, which youtube suggested by auto. Nice natural colors rich tones and smooth gradations. Even in Rec709 which is still impressive enough to me for awesome delivery.

When it comes to them I've had better luck with their other equipment than I have with the cameras I've used / owned. It's why I have been hesitant to buy another camera since having issues with multiple OG Pockets. I've had two people I know of that had their HDMI ports die on the Pocket 4K and saw a YouTuber just recently post a rig build who mentioned their HDMI port also died. I'm still unable to get the latest version of Resolve to run as well as the last version, particularly in multicam. I went from being able to do multicam cuts with 4K footage to not being able to do it with even 1080p footage without massive amounts of dropped frames. I'm glad they exist because they're pushing the industry forward, and when things work right they are lovely, but yeah, there are considerable issues.

I wish. Sold it when I did the GH5 purchase. That body with my 25mm Auto110 lens on it was such a perfect pocket cam. Used it for guerrilla video shooting more than a few times. My wife would also shoot video with it using a loupe and pistol grip, like a little super8 film camera. So much fun. It aged well too. The scuffs gave it more character than it already had. There's a reason it's still my avatar icon all these years later.

"Output Color Spaces: sRGB, Rec.709, AdobeRGB, Rec.2020"

I used to shoot the EM5II with the FD55mm lens and a speed booster. Always found it a lot of fun to use. I'd do entire corporate run and gun shoots, no lights, with that. Wonderful flexibility as I could get decent exposure anywhere I went. I'm not into wedding videography, but I always imagined that set-up would be ideal for such. A longer lens with a ton of character combined with an underrated but superb hand held camera? What's to to like? I'm with the GH5 and a collection of Voightlander lenses now, but still miss those EM5II days.

Videos like these are just superb. The Canon 55mm FD F1.2 SSC Aspherical is a big improvement over the older version. Would be good to see him test that in a follow-up. I like what Kipon are doing. Don't like the images wide open from the 40mm though, sadly. Draws a lot of attention to itself and it ain't cheap! I'd go for one of their BavEyes adapters instead and vintage glass.

Thanks for starting the new thread. How about a utility or app that converts Cinema DNG to ProRes in rec 2020 space, which you can then edit and grade in Adobe Premiere? Has this been covered yet?

Hey Andrew I'm actually happy with all the technical talk here, because with the input technical users give to sigma, It is improving things in the firmware, like the flickering and the exposure preview problem. Please let us bitch a bit more until those issues are all sorted. 😎 And yes lets make separate tread about resolve DNG no problem with that.

I'm sorry but where is "Blackmagic" implying that? If it's me, my only intention is to help some understand how to get the best out of the DNG workflow in Resolve with Sigma FP files. I'm here on my my own time including the weekend to help people, and if my intention was otherwise it would be better for me to let people stumble instead of help and not waste my time. We work with companies like Sigma all the time and I personally think the Sigma FP is a great little camera and told the product manager so a couple of times in person. I will leave you to it. People know where to find me if they need help.

I'd easily mistake these frames for stills from a movie about some badass boxer if it weren't for those blue and red things in the background. Perfect blocking - the light wraps around you providing both key and rim light.

There is an option to turn this on in the latest firmware for GH5/GH5S/G9

Thanks, the script was made by a friend trying to make the thing a little more collaborative. I didn't consider change the role because i wanted to leave the main character alone for the self reflection. it's more about the "inner my self" but itroducind the topic in a more enjoyable way. Although the puppet killing the man it's a nice too. Venga ese español!

Messing around with the F3 in the basement. Two different grades.

Indeed. It was a lot of fun to use but not something I would use in low light very much (though with the right lens, more than any P&S camera with the same size sensor)....but that ALSO applies to M43 for me and it really is chalk and cheese since getting an A7s. My last M43 camera was a GX7 and I loved it (a wonderful day time street camera and it did ok in low light...better than the first APSC DSLRS i used and better than the 35mm film cameras I used) and if i never got a A7s I may have been happy enough though still looking for more....with the A7s I am not looking for more even if "more" comes along. Being able to stick ANY lens on the camera and walk around in any light (you have to have SOME light no matter how dim) is what i have always been looking for. Funny thing is the GX7 could auto focus at EV -4 but that is not a light level i would ever want to USE it at unless on a tripod at or near base ISO). A7s is horrible for tracking or even AFC other than slow moving things that do not move far but it also has EV -4 AF and workd even beyond that for AFS (DPreview said EV -5) and it really works that low.....I would endlessly turn the lights off and put them both up against each other experimenting (playing more like it) with how low i could go.

A real-world review of the Panasonic G7 from a film-maker (as opposed to an equipment reviewer): Plus you can see actual narrative work from it on his channel too.

oh yeah, I saw your video with Gerald ha ha! shame they haven’t fixed it. Ironic that the camera targeted at the most video professionals who would be most sensitive to and affected by this is the last to get fixed.

I've heard that the Sony drug could only be used in arctic countries because it overheats in 5 minutes at moderate temperatures. And the the Panasonic one was very good to kill the virus, but only in stationary cells (the drug could not focus the virus in moving ones).

I've asked myself the same question - it seems that there are just more DigiPrimes made in the first place, but that is anecdotal, I do not have numbers to prove it, just experience. I thinking is the rental houses bought the DigiPrimes and DigiZooms and maybe Zeiss was first to market, but who knows... At the moment, a DigiZoom 6-24 for $1,565.99 and $1,650.00 on ebay are hard to beat. For about half the money the Canon HJ11x4.7B KLL-SC $749 and CANON HJ21x7.5B-III KLL-SC $775 on ebay are also good deals if they are in good condition. They are kind of like the a DigiZoom set but by Canon and are not constant aperture, they are slightly slower to begin with and are (alittle?) softer than the DigiZooms. The Canons are each comparatively longer, however. The Canon 11x4.7 is a nice size, not too big, not too heavy. The 21x7.5B is large and heavy in comparison, but a very long range zoom: 21x. There is also the Fujinon HAc15x7.3 $2500, which is currently not cheap on ebay right now but they come up from time to time for less. This is a 15x constant aperture fast zoom lens with great resolution, little breathing, good illumination from edge to edge and a contrast level that is just right IMHO. It's great for live events and with nice bokeh at the long end. It is not for everything, as it is not wide enough to cover all situations, and it is too heavy to run and gun. The Canon 21x7.5 and DigiZoom 17-112 will also throw the background out of focus at the long end. There is also the Fujinon HAc13x4.5 4.5-59mm $899 on ebay. It's faster, longer, wider, has more contrast and is more resolved than the Canon 11x4.7, but the comparatively lower amount of geometric distortion and the lower amount breathing of the Canon makes you have to choose based on your priorities. So there you have it, the 3 wide and long lenses sets (Fujinon also makes an 18x but it is not constant aperture so I prefer the 15x) from Zeiss, Canon, and Fujinon. The clear winner is many of these lenses for under a grand or less if you have a compatible optical adapter and/or camera. I don't do a lot of stopping down, but when I have, I preferred the DigiPrimes wide open or almost wide open, as I like slightly less contrast and I think it is slightly softer as well, wide open, which hasn't bothered me. So I can't confirm or deny the color shift based on aperture changes with the DigiPrimes. I can confirm an increase in contrast when stopping down with the DigiPrimes.

A BTS from David Sandberg (the director of "Shazam" and "Lights Out"). Even he made a short film himself during the quarantine. A lot of great directing tips, but overall I think he has a big tendency to really overcomplicate things. Using Blender and 3D meshes to create shadows?

Thanks, I honestly don't know zach goodwin work but cheers for the puppets!!!

He uses them so well, no doubt, but I really liked his stuff before the gimbal craze and felt he was more creative with his shots. And cheers, yours was beautifully shot.

My thoughts exactly. Every tool has its own place. While it's perfect for his travel videos, using it in a high energy scene (like the one in his short film) is quite pointless. But as you can see, he was made an ambassador of some gimbal company, so I guess he's bound to use it now. Perfect! I hope you have fun creating it. ( :

If you want "all the colour" with no transform, then with DNG's you can select "Blackmagic Design Film" for gamut/colour space (Colour Science Version/Gen 1) and as mentioned that is sensor space with no transform, only what you select for gamma. So it's the colour as the camera has captured it (I say camera rather than sensor since there are no doubt corrections applied before encoding the raw data). As I also mentioned though, this is not suitable for display and the expectation is you will transform it/grade it for monitoring purposes. I believe Digital Bolex recommended this workflow and then provided a LUT to transform from sensor to 709 for their camera back when they were still around. You will still be able to "view" the colour unmodified from the camera though. I'm just stressing (for the benefit of others) that the colour from a digital camera in it's native sensor space is not intended to be displayed this way, so you can't (shouldn't) really judge "hues, saturation", etc. Some manufacturers like us (and many others) design a "working space" that is generally larger than 709/P3 and ideally a better starting place to manually grade from than sensor space but also not intended for final display. AFAIK Sigma has not done that so your options are either native sensor space or another documented colour space. I probably wouldn't say "scaling" myself, but yes Resolve will do a standard transform from (sensor to) XYZ to Rec.709 or P3. It's not clipped on the output of this step though so you can still recover data. This is what you would expect to happen if selecting 709 or P3 in the RAW tab. I'm assuming you are compensating for the change in 709/P3 on the display side here, but whether or not you'll see the differences you're expecting will be influenced all the way from the sensor response and what they do in camera, to right at the end on the display side and how well you can display P3 versus 709. I work in the camera team (different country to where the Resolve team are based) so my knowledge of the inner workings have come via discussions with them so I don't know 100% either as the code isn't visible to me, but we do develop Blackmagic RAW and the SDK in the camera team (Resolve uses the SDK almost the same as any 3rd party app does) and we share with them the camera colour science information we develop so that they can implement it into their pipelines (DNG and CST/RCM/etc). They don't need to do as much of that now though for our cameras since it's handled in the Blackmagic RAW SDK which we handle from the camera team side. As for DNG processing, they for the most part follow the Adobe DNG spec when it comes to processing AFAIK https://www.adobe.com/content/dam/acom/en/products/photoshop/pdfs/dng_spec_1.4.0.0.pdf You may also be interested in looking at the DNG SDK if you can understand code as that will give you an even more clearer idea of how DNG's are/should be interpreted. https://www.adobe.com/support/downloads/dng/dng_sdk.html

I really enjoy Media Division. I love how he deep dives into topics with history and backstory. His shooting style is easy going yet beautiful. He likes his Panasonic cameras too! I love to grab a cup of coffee and watch his stuff. He doesn’t post often though, which kinda, weirdly, makes things more enjoyable. Its like slow food, or slow travel, you just enjoy it more. even though YouTube demands quantity of quality.

No. It's not. He is just doing stitch/shift (he cutely calls it "twinspin"). Shots are captured as the sensor is shifted around the focal plane to cover the larger image circle of the lens -- the lens/camera is not panned. On the other hand, shooting a panorama with a normal camera involves panning the entire camera between shots -- there is no shifting of the sensor along the focal plane of the lens to capture more of the lens' image circle. I don't mean to be a downer, but there is nothing special about what this guy is doing in this test, and he makes most of the same fatal mistakes as other "format comparers" who came before him. What he calls "twinspin" has been around for awhile known by another name. He could have bought a more versatile shift/stitch bracket, instead of using that rig. The most popular line of shift/stitch brackets probably are the Vizelex/Rhino-Cam offerngs: By the way, our own @maxotics made his own shift/stitch bracket!:

This immediately reminded me of an incident from some years ago when my (then teenage) nephew grabbed both my brother's and my twin DCR-TVR820 Hi-8 Sony camcorders and began walking around holding them together, best he could, filming everything at a family event...his goal was to be able to shoot a "stereo 3D movie"! Interestingly, my brother later took that footage and was able to create some single-frame stereographs! I love watching this sort of out-of-the-box experimenting! Regarding 8K/10K footage...too bad Panasonic didn't provide their S1R with enough electronic horsepower to give us some out-of-the-gate 8K UHD (7680 x 4320) or Cinema 8K (8196x4320) with that gorgeous new (8368 x 5584 Photo) sensor...though I expect this is all in the pipeline for future model releases. (...rolls fingers...)

I made this so so long ago on the Canon 50D with ML raw and I remember it had a very cinematic look to it. Also...I know some of you guys saw I was selling my 1DC....well the eBay buyer flaked on me and now I still have it. Im never doing that again. I almost had a heart attack thinking about saying goodbye to it