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Here’s the next one! The footage here is actually a bit older. It was also shot with the GX85 in 4K 24fps, using the Speedmaster 25mm 0.95 and Lumix 12-32mm pancake on location of Filothei Athens Greece, on 16 April 2019. Edited and color graded in Davinci Resolve Studio with Emotive Color S1Alex. Here I used FilmConvert Nitrate with the print slider turned to zero (as a negative film emulation only) and I used a separate PFE node in the end. About the music: I’ve used the following: Yamaha TX802, DOD Rubberneck, Lexicon MX200, Boss DC-2w, Elektron Analog Heat, Valhalla Supermassive. The environmental sounds are again from the actual field recordings during the shooting. The music was composed and mixed in Cubase Pro and mastered in Izotope Ozone. A note about field recordings: they are heavily processed so as to give this “out of this world” atmosphere but also to cover a bit the fact that they were just recorded with GX85’s internal microphone. At the time I didn’t even have the idea of using the original field recordings as I normally never do for my music videos so it didn’t matter! Future projects will be improved in this regard.

This is Pretty Neat. Unfortunately, since the Sony IMX377 and other 1/2.3" sensors, most smartphone sensors have abandoned 12-bit, for photo or video (Staggered HDR sensors do 12-bit HDR for photos instead). So, this is limited to 10-bit video for now. But, the video quality looks pretty stellar. Unprocessed and I am guessing the highlight and shadow recovery maybe pretty decent. It apparently does 10-bit 4-2-2 (most smartphones that do 10-bit video, have 4-2-0). (The new Snapdragon and MediaTek SoCs talk about 18-bit imaging, which I am guessing may be some crazy HDR, upressing bit-depth, though that may solely be limited to photos). This RAW video does look pretty neat, and doesn't look over sharpened or over processed like most smartphone footage.

So I thought I’d devote a new thread to this as it’s an ongoing project that I’d love to share with this beautiful community. As some of you may know, apart from the fact that I’m new to this forum, I’m not a professional cinematographer or colorist. I’m a musician, I teach and compose music and since 2018 I’m trying to incorporate moving images to my creative projects. So I have not a great experience in cinematography. It became a passion for me though since I bought my first camera, a Panasonic GX85 with 12-32 pancake back in 2018. It soon became clear to me that I wanted to create projects which would include both music and video so I started reading, watching tutorials and experimenting on the field. I soon bought more lenses for the GX85 and then I found my old Soviet Zenit and its two lenses: a Helios 44M-4 and a MIR-1B. Soon after came a focal reducer and more vintage lenses: a Carl Zeiss Tessar 50mm 2.8, a Pentacon 50mm 1.8, a Pentacon 30mm 3.5 and then a Mitakon Speedmaster 25mm 0.95. I’ve shot a tonne of footage with the GX85 and edited in Hitfilm Express but after a while I moved to the studio version of Davinci Resolve and never looked back. I love this camera and still use it today, although more as a B camera to the S5 that I bought earlier this year bundled with the 20-60mm for a good price. The S5 was accompanied by some more lenses, a Jupiter-9 and a nice and sensibly priced Canon FD set: the 28mm 2.8, the 50mm 1.4 and the 100mm 2.8. Although the S5 is generally on another league, the footage from the small and humble GX85 has indeed a very interesting quality and with a bit of careful post production it can be gorgeous. The thread from fellow member @kye on the GX85 made me dig deep in my hard disks for older footage from the GX85 that I hadn’t used in any of my music videos and I could use for a new project: Ambient Works. This will be an ongoing project, a sort of a creative diary that documents simple moments like a walk on the mountain or a trip to the sea. The footage will be accompanied by atmospheric soundscapes and original electronic ambient music. I’ll also be using S5 footage in the future. The main goal of this project is to work as a motive and inspiration to just go out and shoot! I’ll be posting the results in this thread, also trying to document some basic technical aspects of each video (such as camera settings, lenses used and post processing workflow) as accurately as I can. Who knows? It could be an interesting experiment. Let’s see how it goes!

Some nice lenses in there... As a ~100% video shooter, and one who is aspiring to make images that look like cinema and not at all like professional spec-driven videographers, I find that I'm narrowing in more and more on lenses that are high resolution but not sharp. I'm still trying to understand what it is and how to get it, but I'm gradually making progress. My latest purchase is a Tokina RMC 28-70 f3.5-4.5 M42 to mate with my GX85 and m42 SB. That will make it a 44-109mm equivalent. I'm planning to use it as an experimental walk-around zoom, and am hoping for a softer rendition with large complex flares. I've found that my GF3 is too soft with any lens except the 12-35/2.8, the GX85 is too sharp (even on 1080p timelines) unless it's got a lens with some softening on it, and the GH5 in 200Mbps 1080p ALL-I mode is pretty darn neutral and the files are strong enough to grade however you like them. I also have a number of vintage 50mm lenses, and have more in transit, so am planning on a head-to-head with them too. Currently my Helios 58mm F2 copies are the clear winners, with their soft and almost painterly rendering. My interest in the 28-70 is getting something with a similar rendering.

Without Emanuel I had never found this product.

So this one is already posted in the other thread but one more time here for completeness: the footage was shot with the Panasonic Lumix GX85 in 4K 24fps, using the Speedmaster 25mm 0.95 and Lumix 12-32mm pancake on location of Filothei Athens Greece, 9-10 January 2020. I used the Cinelike D profile with contrast, sharpening and noise reduction to -5. I edited and color graded in Davinci Resolve Studio with Emotive Color S1Alex and FilmConvert Nitrate. About the music: I've used the following instruments and effects: Kawai K5000R, EHX Small Stone, DOD Rubberneck, Lexicon MX200, Boss DC-2w, Elektron Analog Heat, Valhalla Supermassive. The environmental sounds are from the actual field recordings during the shooting. The music was composed and mixed in Cubase Pro and mastered in Izotope Ozone.

The full specifications are published https://www.tascam.eu/fr/ca-xlr2d

Great thread. A few thoughts from a 99% stills shooter. Sony Clearzoom. How much I use depends on the lens used. With a better lens I am fine with 2x as for example my Sony Zeiss 55 1.8 is still better at 110mm than many old lenses of that focal length (or similar). I use primes mostly for specific purposes, Tilt shift, macro, super telephoto, shallow DOF (including portraits) and in the case of the 55 1.8 for IQ and as a body cap. It helps that all of those CAN be used with clearzoom. I have never been a big fan of zooms but have always had a few including maybe a dozen or so "kit" lenses and I have been happy with all of the kit lenses for what they are. Some zooms I love are the old Tokina 60-120 2.8 (great as a portrait lens), my ancient EF 20-35 2.8 L (technically not great optically but i do like what it does even if hardly used). I keep a Canon IS ii APSC kit lens as it is useful as a almost disposable lens that actually covers FF on my A7s from about 24mm and up and it is currently my only stabilized lens. I have a few old MF variable aperture zooms and they are a mixed bunch some ok some just old but none used very often. I work at a charity shop and handle the camera gear most of the time.....we have a few lenses in at the moment and if they do not sell will probably buy most of them. Still have the Contax 50 1.7 and 35 2.8 I posted about ages ago in the lens forum. Looks like they will be coming home at some point but just got an FD film camera with a 50 1.8, a 28 2.8 and a mint condition old Promura zoom in case. I would love to try the Promura but will probably pass but could get the primes for no reason. We also got three Pentax film cameras in last week and all had the same Sigma 28-70 macro zoom that was sold as a kit lens in Australia with Pentax (same distributor) and an old Russian Kiev camera with a Helios 58 f2 M .....This thread has me thinking i will buy one of the Pentax kit zooms and the Helios to compare them at 58mm.

Here's the link to GitHub for the motioncam app: https://github.com/mirsadm/motioncam/releases I am going to see if I can get this to work on my Pixel 3 XL tonight. Here's hoping, but google uses slow storage.

Here's another one, not from LG now but an old Samsung capture device... What a feast! No ISP processing crap! :- )