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For anyone looking to have this functionality (and a bit more) without having to buy a specific new gimbal (or any gimbal for that matter), our AFX module launches a week on Monday. I'm absolutely not going to give the game away before then and say that it also supports manual lenses. Absolutely not going to spoil that surprise.

Thank you. Well..... They were going to be supported eventually. Maybe we've managed to put "eventually" into the microwave.... Something like that would be nice wouldn't it....

Definitely match in heaven for Panasonic shooter!

@jack jin That's the ticket; one might also opt to use day balanced bulbs or CTB gels indoors

Of course, a lot of home weren't properly exposed and showed scenes with huge contrast range that the emulsion couldn't handle. However, I did find some examples that have decent exposure and aren't too faded. Here's one from the 1940's showing showing a fairly deep blue, red and yellow, and then showing a rich color on a car. Thick greens here, and later a brief moment showing solid reds, and some rich cyan and indigo. Unfortunately, someone added a fake gate with a big hair. A lot of contrast in these shots, but the substantial warm greens and warm skin and wood shine, plus one of the later shots with a better "white balance" shows a nice, complex blue on the eldest child's clothes. Here is a musical gallery of Kodachrome stills. Much less fading here. I'd like to see these colors duplicated in digital imaging. Please note that Paul Simon's "Kodachrome" lyrics don't exactly refer to the emulsion! OP's original question concerns getting a certain color richness that is inherent in most film stocks but absent from most digital systems. It doesn't involve lighting, per se, although there has to be enough light to get a good exposure and there can't be to much contrast in the scene. We have no idea if OP's simulated images are close to how they should actually appear, because 80%-90% of the pixels in those images fall outside of the values dictated by the simulated bit depth. No conclusions can be drawn from those images. By the way, I agree that banding is not the most crucial consideration here -- banding is just a posterization artifact to which lower bit depths are more susceptible. I maintain that color depth is the primary element of the film "thickness" in question.

That ibook was the G3 one as you can tell by the lettering (Apple Garamond). The G4 (I still have and use mine just for fun) had the Myriad font on it. They were great little machines... I love the fact they have a 3:4 aspect ratio screen and fairly detailed. Got mine in 2004 and it still runs fine. I just prefer Apple's concept for computing back then.

I had that computer as well, I think it was my longest serving mac. I also purchased the camera top left last year haha.

Eventually ended up being a dedicated virtual keyboard instrument for our bubble-gum-punk-rock band. --Dial up a keyboard emulator and go to town. Moog, Jupiter, Hammond, Harpsicord, String Ensembles, etc. We used that thing until 2012. Not a bad life cycle for a laptop.

I had that laptop too. Rugged little bugger...well, at least mine held together okay. Went around the world with me a few times. Miss it. Was really a good balance of size/performance.

When I say 'made it work in 2019', I should add that I made it work for me by: A. Adding the battery grip and batteries for handling purposes and for the battery power. B. Fringer Pro adapter so I could use, C. The Sigma 18-35mm f1.8 and Tamron 45mm f1.8 but although the Tamron offered me some OIS capability, the Sigma didn't so I used the combo on a freestanding monopod the whole time. With my S5 and lens, it's already; more capable and in a smaller and lighter package. AF is probably in the 'comparable' range but still to be determined and no scientific tests here. The IBIS however should mean a lot more time off monopod, but again, another thing to be determined. If I'd stuck with Fuji...or if I decide the S5 is not quite right for my wedding needs (it is for everything else, no question and absolutely a keeper) then I would go XT4 and use the 23mm f2 and 50mm f2 and possibly the 90mm f2, the 50 not having quite the range I'd like. I have used all 3 lenses before and for video, along with the 16-55 f2.8 and 18-55 f2.8-4, considered the 23mm f2 and 50mm f2 the pick of the primes. But not the 35mm f2 which was a hunty little bugger. Some potentially interesting Tokinas primes coming, if they ever get around to it...

Camera2 API is for Android. iOS camera API does not yet allow sharpness/noise reduction control in either photo or video mode.

Agreed @Kisaha I think Fuji joined the hybrid bandwagon at least a year or two behind the curve. On the video side, they caught up very quickly and the options and quality out of the XT3 and XT4 are superb. What is really holding them back though is indeed their lenses and the prime (no pun intended) reason why I left them after 8-9 years. I do think they should have gone XH2 rather than XT4, ie, made the XT4 but in the XH body and that would at least have kept me happy and quite a few others. But that stills leaves the question over the lenses... I made it work in 2019, but sold almost all my gear intending to move on Spring this year, but as we all know, the C word stepped in and stomped all over our lives. Maybe a good thing for me as with the delay, the S5 came on the market and after a few initial wobbles, IMO is the best hybrid out there. I think there is too much internet twaddle talked over the AF which admittedly, is not the best, but it's not total dog doo either! Anyway, this is a Fuji thread so vive la S-X10 or whatever it's called 🤩

Yes, it's this transformation in action, as a lut: So there are hue transforms going on as well as saturation transforms. But the saturation aspect of it you could totally do in Resolve. Art Adams came up with this for matching F55 to Alexa And my point is to do something similar for digital to film, the leftmost point on that curve should be raised to boost the shadows. But I don't know if that curve is Log to Log or whatever, in which case it might be right. I think Rec709 to Rec709 it might possibly need to be more like this: But I haven't tested it extensively, other than to notice that the results of my tinkering weren't as nice as the lut (because the hue changes are important too). So that adjustment is just a guess off the top of my head and not based on testing how it looks. But you get the general idea.... it's not just a highlight roll off, it's a more or less constant change throughout the range.

Got some examples? Because I generally don't see those typical home videos as having thick images. They're pretty close, I don't really care if there's dithering or compression adding in-between values. You can clearly see the banding, and my point it that while banding is ugly, it isn't the primary factor in thickness.

That solves one of my issues with the Ronin system, since I'm not always shooting on a gimbal, or even carrying mine. I hate getting locked into closed systems like this. I'm mostly on a monopod or just handheld. Now if run-and-gun AF was possible with manual lenses and not on a Ronin... Chris

what about manual lenses then?! I hope it will be a great success. Well done.

I am probably going to hold onto mine. Its really the full frame image, 422, plus IBIS that makes me hold on. The IBIS really is an amazing run and gun tool. Combined with the incredible dynamic range/high iso performance its hard to beat. I really hope they give it an update to have 24p in 1080 tho. I'd also love a 400mbps option in 4k.

Waiting on 422 and no record limits.

And did CDA Tek get even a hat tip?

@jack jin Is it the Daylight conversion? This is common when Daylight is applied to tungsten lighting @TomTheDP Sure, that's possible; I am at a crossroads, wherein there are some experimental ideas I've wanted to mess around with for years. Now with the engine complete, I feel more free to explore them

I've certainly been enjoying this discussion. I think that image "thickness" is 90% what is in frame and how it's lit. I think @hyalinejimis right talking about shadow saturation, because "thick" images are usually ones that have deep, rich shadows with only a few bright spots that serve to accentuate how deep the shadows are, rather than show highlight detail. Images like the ones above of the gas station, and the faces don't feel thick to me, since they have huge swathes of bright areas, whereas the pictures that @mat33 posted on page 2 have that richness. It's not a matter of reducing exposure, it's that the scene has those beautiful dark tonalities and gradations, along with some nice saturation. Some other notes: - My Raw photos tend to end up being processed more linear than Rec709/sRGB, which gives them deeper shadows and thus more thickness. - Hosing down a scene with water will increase contrast and vividness for a thicker look. Might be worth doing some tests on a hot sunny day, before and after hosing it down. - Bit depth comes into play, if only slightly. The images @kyeposted basically had no difference in the highlights, but in the dark areas banding is very apparent. Lower bit depth hurts shadows because so few bits are allocated to those bottom stops. To be clear, I don't think bit depth is the defining feature, nor is compression for that matter. - I don't believe there is any scene where a typical mirrorless camera with a documented color profile will look significantly less thick than an Alexa given a decent colorist--I think it's 90% the scene, and then mostly color grading.

Just bought a S1 and a 24-105mm lens for very VERY cheap, goodbye nikon.

Don't forget about shadow saturation! It often gets ignored in talk about highlight rolloff. The Art Adams articles kye posted above are very interesting but he's only concerned with highlight saturation behaviour. Here is a photo taken on film (Kodak Pro Image 100, the same as used in my example above) Here is the same scene shot as a digital RAW still with Adobe default colour but with contrast matched using RGB curves in ACR. You'll notice that at first glance it's more saturated: Now here is the same digital shot with a LUT added to match the saturation and hues of the midtones. These now look like a good match. But look carefully at how desaturated the shadow areas look. The saturation has been globally lowered and the shadows are looking (dare I say it?)..... thin! Finally, here is the same shot with a tweaked lut that boosts saturation in the shadows but keeps midtone and highlight saturation restrained. Now the shadows have deep blues and it looks more like the film shot. Is this a thicker image compared to the version with default colour? I definitely think it looks nicer. Again, open all in tabs to notice the difference. Night mode is good too 🙂

Just used mine this week on another commercial hybrid capture project and it was superb in all regards. One minor niggle and that is when switching from stills to video or back, it takes a few seconds to set itself up. Another is write speed is a little slow at times, ie, switch to video following a few stills and there's a few extra seconds there whilst it's writing. Nothing that's deal-breaking to me, just niggles I have become aware of and need to work around. @herein2020 Yes, everything I have read points to Sigma lenses being best on the Sigma camera, Leica on Leicas and Panasonic on Panasonic. The first of the f1.8 primes, the 85mm is due in Nov and the rest of the primes some time 'soon' and I guess the next best option is the native 24-70 f2.8, but it's a bit of an investment. I'm making do with the 20-60 until then (and it's pretty superb in it's own right, never mind at £200 which is what it cost in the deal purchase price) until those primes arrive. I was looking at a pair of Nikon Z6ii's for my hybrid wedding work for when that starts again (hopefully) in April, but now that Nikon have blown it for me and are passing into history, I'm really looking forward to those primes as 3x S5's are looking like my next 3 years future.

Apologies, I was away for a bit. An update - first, my dad is out of the hospital and recovering from surgery. We are ostensibly through the worst of it. Second, I ended up rewriting the complete engine. All legacy code has been replaced, in order to make extreme saturation projection more accurate, as well as make some improvements along the way (for example, the engine now features a 1D function at core) Third, I've completed the S1/S1H/S5 conversion, as of yesterday. It is the most recent LogC (SUP 11.1.1) Fortunately the S series seems to have a better internal codec. The GH5 was uniquely problematic with its red/green macroblock splitting. To test gradient motion, film a white wall in darkness. Then, move a spotlight back and forth to see If there is banding revealed as the spotlight falls into darkness. Better codecs will handle this smoothly, while more compressed codecs may have some visible bands moving in the gradient. This is the kind of thing that can crop up in lens flares, or panning across gradients.

Im still working through it, but I would imagine there are an infinite variety. Certainly, looking at film emulations, some are quite different to others in what they do to the vector scope and waveform. What do you mean by this? OK, one last attempt. Here is a LUT stress test image from truecolour. It shows smooth graduations across the full colour space and is useful for seeing if there are any artefacts likely to be caused by a LUT or grade. This is it taken into Resolve and exported out without any effects applied. This is the LUT image with my plugin set to 1-bit. This should create only white, red, green, blue, yellow, magenta, cyan, and black. This is the LUT image with my plugin set to 2-bits. This will create more variation. The thing to look for here is that all the gradual transitions have been replaced by flat areas that transition instantly to another flat area of the next adjacent colour. If you whip one of the above images into your software package I would imagine that you'd find the compression might have created intermediary colours on the edges of the flat areas, but if my processing was creating intermediate colours then they would be visible as separate flat areas, but as you can see, there are none.

The world is shit. People are shit. The end. Do you like my film proposal? Inspiring, isn't it? 🙂 I've heard the arguments for and against phones, social media, and gaming... On Sunday, I heard Leo Laporte talk about it again on the radio. I listen to other podcasts where they talk about it. I'm in my mid 40s and I too have struggled with issues with addiction to gaming, phones, and social media. I have real world experience with the "future leaders" of the world. My optimistic conclusion for the moment is looking more and more like WALL-E, the Disney/Pixar film. I don't knee-jerkingly say "everything new sucks." That's not me. Just embracing everything tech can have its own issues. For one, humanity's demise. Remember, tech is often used for controlling people, winning wars, and total domination. Now, is it all innocent and good?

I have taught 200-300 teenagers in the last few years. Phones, social media, and gaming have stifled their development in a traditional sense. It's not one or two- it's the majority! Doing something without their phone is a problem. The thought of going only one day without playing a video game is a problem. Is that addiction? I'm not sure, but sure does lack variety and it's so bad that now they don't allow phones at the school anymore. You're right, it's not at gunpoint, but do you know anyone who takes heroin at gunpoint? That's not how addiction works. Unfortunately, I don't really see the value in these devices. 5G? ...4G and 3G were good enough for me. Camera? ...I'm happy with my proper camera. Screen size? ...I prefer the smaller screens if it's supposed to be portable. My point is "progress" is a very subjective term. I don't like what I see.

Seems to me it’s the sensor and codec that is the issue. If this had a pocket 6k sensor (yes with the m4/3 mount) and BRAW it would be a best seller. People know what they want and will purchase without hesitation when the right product is available.

I actually like the IPhone 12 Mini the most. My favorite iPhone was the boxy 4S. I’m tired of paying $1200 for a huge phone. It’s a tool for me. It should slip in my pocket and disappear until I need to navigate, call, messaged, or lookup public transit times. So glad they went back to the boxy shape and smaller size with the mini. Price is still pretty high.

FFS NIKON!!!!! 🥵

If it is going for the "small boxy" form factor I hope that it has SDI! (as well has full size HDMI)