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Just finished a new tool, it does what the title says. It's in beta, bugs are possible. [CLICK HERE] Fuji just released the Bleach Bypass LUT, which has some weird transitions, so I'll use it as a demonstration. This is the stress test image I'll use: See what happens when you apply the Bleach Bypass LUT: Now I use my tool in "box" mode with 1 iterations to create a new LUT: This is "box" mode with 5 iterations: More details on the site.

A simple talking head setup - check! Only 1 bulb (out of 4) used and - okay, I admit it - it was a bit too bright to my liking in this scenario. Don't ignore inverse square law, lads and guys! The key light was ~ 50 cm away from me. f/1.4 , 1/160 s, ISO 1000, WB - 4000K BTS:

Mir-1B, Helios 44-2 (black, white markings), Jupiter-8. The front preset ring on all of these are super tight, but the second aperture ring is a tiny bit too loose, making fine adjustment difficult. The jupiter-8 is still pretty tight, and I do like the 85 mm, but as I don't shoot full frame it rarely gets any use.

Ah, I mean if they added that feature to the S1 or introduced a new model. Not everyone needs 6k.

nicer image in this second post, and you don't look like a deer caught in the headlights either, like those first photos

Shipping has been hit or miss. Buying from overseas usually takes 2-4 weeks for me at least from China. Not sure about Russia. Super wides are nice like the 12mm I have for my Xt3. But not gonna happen with PL mount.

Yeah they look nice from the pics and the seller had good feedback, so fingers crossed

Hola, Smallrig anunció un adaptador de batería Sony Typo NP para conectarlo a las cámaras BMPCC4K. Parece interesante, tiene dos tipos de conexiones, una tipo lp-e6 y la otra DC-LEMO 2 Pin Cable. SmallRig ...

@thebrothersthre3 I don't know much about highlight rolloff nor color grading. I threw every LUT you can imagine at it, that promised "smoother highlight rolloff" but at the end of the day I think it was a dynamic range issue. I think RAW shooting is great, but I don't think it is the end all solution that everyone claims it to be. Yes, it is great if you fuck up white balance. And it is much easier to fix exposure, but it is something many of us don't really need. I initially shot with the A7III and Sony's busted 8bit codec. I felt BRAW was the final solution to my woes...and it was! It really solved all the issues I had before. But shooting in VLOG or any other proper codec...and exposing properly...and hitting your WB correctly as you should...eh...I can live without BRAW.

Just needs a wooden grip like my other Fujis. Apart from that, camera is looking good... IBIS is fantastic.

IBIS + Highlight Rolloff is better on the S1H. IBIS allows me to stabilize my Contax Zeiss lenses. Since there is more DR in the S1H the highlight rolloff is smoother. I think the default color is better on the S1H...but that can be matched to the BM cameras with ease.

Isn't that Richard Nixon on that Ikonoskop Kamera?

Somehow it was discouraged to further add to the thread. Anyway, I had to shoot a very short clip over the weekend. It is so easy. I dropped it into Davinci Resolve - engaged the Blackmagic Film setting in the camera drop down (as some have advised not to), didn't use ACES, adjusted a bit of exposure, contrast and saturation and it looked great. Job done.

Aren't MLV raw files are "raw?" If so, such files have the same initial linear contrast as Canon h264 does, before the in-camera processing. Thus, with the proper post processing, one should be able to duplicate the contrast of the h264 files (combined with a given picture style). I have dabbled a little with MLV files and MLV-App. It seems one can output images with an exceedingly flat contrast by merely using one of the log profiles, if one wants to grade in a program other than MLV-App. On the other hand, ML instability and full res capability are understandably important concerns.

My camera and Pi has arrived and I'm happy to say it's going to fit very nicely in a (broken and unusable) Bolex B8 - by my calculations, the sensor size is similar to that of 8mm film, so I'm planning on taking off the C-mount from the sensor and placing to look through the D-mount lenses on the camera. Which will also let me hang onto the turret system. As my camera is already broken, I'm going to have to gut it, so it's essentially the most hipster RPi case around, but I'm fine with that. There's tonnes of room for a power bank etc. to keep everything nicely held inside. Can possibly keep the mechanism too so I can make cool noises while filming. I just need to wrap my head around some buttons and switches. I'm quite digging the idea of opening the side of the camera to turn the system on and off every time, but definitely need a trigger on the outside of the casing. I'm also toying with the idea of setting 15 second record limits to really embrace the annoyance of a wind-up system. When all is said and done, it's going to look something like this:

Now with a human subject. Everything done by myself - so those screen grabs may be slightly out of focus. Alright, here are the results: No key light, only Neewer CN 176 giving some background. Partially geled with an aqua foil. Power @10% f/1.4 , 1/60 s, ISO 1000 (can't get any lower when recording HLG video), WB - 3700K Next - adding a key light. Approximately 2.6 m (~8.5 feet) away from me. Yongnuo YN-300 III 5500K @1% power f/1.4 , 1/60 s, ISO 1000, WB - 3700K No light modifiers in front. I didn't point it straight at myself, it was rather feathering me. YN-300 @10% power f/1.4 , 1/60 s, ISO 1000, WB - 5700K And @100% f/1.4 , 1/125 s, ISO 1000, WB - 5700K I used an external monitor with false colors to match the exposure on my skin. All walls in my room are white and it's really showing here - the light is bouncing everywhere and the depth is gone. What's more, I think the colors are more yellow-ish? Finally - two of the four LED bulbs I teased you with earlier. Each rated @17W, though in reality they aren't as powerful as one would expect. Key feature: >95 CRI I put them in a reflective umbrella (95 cm diameter), pointing at the back of it, and then hung one layer of a diffusion cloth in front and a grid to make the light more directional. Just like this: Since there is no way to dim them (I can only turn them on or off), they were blasting at their full power. And once again - not pointed directly at me and around 2.5 m away. f/1.4 , 1/60 s, ISO 1000, WB - 3700K I like the color rendition and the quality of light here. I only wish these bulbs were more punchy.. Sure, I realize that the gridded umbrella may cause around 2 stops light loss (I haven't measured it) and that I used 2 bulbs out of 4, but still. Though, if I was a YouTuber, I think a setup like this would be sufficient. No need to overpower the sun when you record in your own room, right? Total costs of the final setup, if that interest you: Neewer CN-160 ~15$ An aqua gel ~2$ Light stand ~20$ Four socket bulb holder (~10$) and 2 bulbs (~4$ for each) 95cm umbrella softbox with grid ~35$ All in all: 90$ Not bad, I guess? Also: I need haircut.