Leaderboard

I love and enjoy to get to know about interesting things and to get and share feedback as well. Threads that inspire action to create and to dream and fantasize about it before. I have enjoyed many threads with that quality. They have topics like 8bit Black and White, 2500hour Pmw F3 Hd marvel, EosM hacked digital Super8, Roger Coreman and Jim Wynorski, matching 5d3 raw with Gh5. There are many vintage masterpieces and, thank Gosh, lovely oddities in the Eoshd archive. I would love people to contribute more again in that manner. I will post in the 8bit BW thread again soon. 5rc thread has great info now. Thanks to all of you. But it's starting to get uber bloated. Thanks to lack of own experience and own results with the cam. Let's contribute more to interesting content and honour writing, creating topics for ouselves as an audience and keep up good manners. Here is the video from a classy thread I just mentioned. Matching Gh5 with 5D3 Raw. The powergrade could still be in the original thread. Thread and video created by @hyalinejim Quality writing and work.

You could rent an R5C and a lens and try it out. Look at the wobble.

Of course its about lenses.. AND how they interact on a sensor size. Going FF for the Ozark DP allowed him to rehouse and use Leica R glass with the same feel as on 35mm film. No need to hunt down an impossible to find 23mm f0.95 equivalent just to get the standard 35mm f1.4 FoV/Dof look. And yes I know all about Voigtlander but that is just one speciality lens maker. Speedboosters are another common trick to achieve FF but then we're really talking "faux-full-frame". Going FF opens you up to fast wides from all popular lens makers from all periods of time. And like I said earlier it's not just about DoF. A 23mm has more distortion than a 35mm. Both in FoV & perspective. In the end it's subjective, again I am not a FF elitist when it comes to video/film. I also love Super35 and the thousands of modern classics shot on Alexas, REDs, Varicams etc.. But there is a convenience of just popping on any FF lens and the focal length aperture is what it is. no math involved.

For sure, reason why it makes little to no sense to deny 4K and above don't bring anything new as I've read here a few times... ; ) So @Andrew Reid is also on the spot with his 80% quote over the look : ) Even though, to couple "space", cinema is also and mainly "time" where stuff such as cadence, frame rate, shutter etc., play a no less relevant role (EAG :- )

I have updated my 2018 article that still gets a lot of traffic including from this forum to reflect the new codecs. Note I only look at recording on card not on external devices nor RAW https://interceptor121.com/2022/01/24/panasonic-gh5m2-and-s-series-demystifying-movie-recording-settings-2022-update/ I hope you find it useful if you have an S series or GH5M2

Love your reflections, mate! < 3 Art is all about that, in a word: perception :- )

"Nothing unique or special about the look" "They are all equivalent... APS-C, full frame, medium format" *Stops down GFX lens to F3.5...."Same look to DOF as APS-C at F1.8" FUCK When camera store salesman become an authority on photography and video... You get this! Widespread misinformation. Sad to see how many people in the YouTube comments just accept it. Stopping down a medium format camera and then complaining it can't do anything different to an APS-C model at F1.8???? Put a Minolta MD 58mm F1.2 on APS-C, full frame and medium format and tell me they all look equivalent! With same lens, look would be completely different on all 3. Equivalency is being taken to mean there is no difference in the look of different camera formats. It completely ignores the fact that lenses are matched to sensor size. If you take one designed for one format and apply it to another, it looks different! I wouldn't be surprised if they punted this out just to generate the heat. It is after all quite chilly in Canada.

Saw lots of Iceland volcano footage online lately, reminded me of this shoot. Straight from the source. No color grade. Play guess the camera with this one:

Prince Andrew should have hired that Rep for his PR team.. Good at dodging bullets & sweatproof.

What the hell of society is this one...?! https://www.euronews.com/culture/2022/01/26/killed-by-indifference-84-year-old-photographer-rene-robert-dies-in-the-snow-on-busy-paris https://english.elpais.com/usa/2022-01-28/photographer-rene-robert-freezes-to-death-on-busy-paris-street.html

That's a fascinating video, but probably for all the wrong reasons. I spent over a dozen hours when it was released with a range of shots from it, adjusting them in post to be a more equal match. By the time you take the Alexa Mini shots and adjust the vignette, barrel distortion, contrast, colour, diffusion, sharpening, and cropping to make the frames much more comparable, the differences are greatly diminished between the s35 and LF sensors. I HIGHLY HIGHLY HIGHLY recommend that everyone downloads the video, pulls it into Resolve and tries to adjust the images to be more similar. I learned an incredible amount about imaging from this exercise. It really gave me an appreciation for how much better the colour science is on the 65 than the Mini - despite the Mini being spectacular in its own right to begin with. ARRI truly did an incredible job in its development. It's a difficult thing to match them as the vignetting is very non-linear and so all I could do was approximate it. I went the full-way and spent hours adjusting one image while it was on top of the other with a "difference" blending mode so I was only seeing the mathematical difference between the images, trying to line up everything perfectly to minimise the errors. I performed individual colour grades on different parts of the image in this mode, eliminating tints and shifts in the colour science, etc etc. Most of the adjustments were non-linear in this sense. Unfortunately I couldn't get them to match closely enough to "see through" the various optical differences and answer the question if there was a difference between the sensors. It's a great test to demonstrate the difference between the two cameras, but a terrible test to show the effects of only the sensor size. As great as an Alexa Mini is, the 65 is a far superior image, so in a way it's like comparing a GH1 kit-lens combo with a Sony Venice Masterprime combo and saying the difference is due to the sensor sizes.

I don't use Fuji but I've had good luck with two VNDs on my Blackmagic Micro Cinema and original Pocket Cinema cameras: 1. SLR Magic VND (1.3 to 6 stops); it looks like Formatt-Hitech may be offering a rebranded version of this one as well as the one they offer looks nearly identical. The locking mechanism is handy for dialing in a setting and locking it there. 2. B+W XS Pro variable ND (1 to 5 stops). Less bulky than the SLR Magic; this one was recommended to me by a cinematographer in Germany who said it had the least impact on colors of any VND he'd used. I typically use VND with stills-camera lenses with stepped aperture rings as I can get more fine-tuned and smooth control of exposure. I also use them when I need to move fast and/or light. I have plenty of good footage shot with VNDs...would it have been better if I'd used my fixed ND filters? Probably but if having the VND made the difference between getting the shot and missing it I'll accept the compromise.

On R5C, you can have IS and you don't risk random results. No IBIS is a bless for owners of RF lenses with IS. On R5, you cannot have IS without IBIS. They want you buy Canon modern lenses. Old lenses are not welcome for business. This is the problem for many of you. These people should buy a different option. This camera isn't made for vintage lenses. It is made for their recent lens ecosystem. Canon wants people to switch to their product.

No IBIS no bueno. Absolute number 1 deal-breaker for me. If I can't handhold it near rock steady 90% of the day, it's a fail. But otherwise I would agree in principal that if anyone wanted to really know if a bit of expensive kit suited them, to rent it first. If possible. Unfortunately very such opportunities exist in France other than a couple of the big cities. And I don't live anywhere near them. I don't vlog. I don't use anything wider than a 35mm. No wobbles in my world 😜 But don't get me wrong, I don't dislike the R5C. It will be a really great option for a specific market. I'm just not that market due to the specific spec of this particular bit of kit.

These guys are right. No math involved logic and perception are the cinema.

yer about twice the price of the 15mm from memory, however there is 2 aspherical elements in there. So i figure the price is somewhat justified. getting back on topic what are the lens rules ? one lens, two lenses, points for lightest ?

Agreed. They nailed it with that camera. The electronic EF mount works really well. I really really wish it did internal ProRes. I wouldn’t have sold mine.

As soon as you export to something Resolve would need to process the RAW. I wish there would be a tool that can generate a cRaw frame out of a CRL video file. As I process video and photo differently and I do a lot of frame extraction this is how I do: - In Resolve on a 8k timeline I do select the CRL and then the frame that I want hit I and then O so basically mark the a single frame and drop it to the timeline, repeat for each frame that I want. - Render the 8k timeline as 16bit Tiff - Edit the Tiff in Adobe Camera Raw - I also have the canon LUTs installed in Adobe Camera Raw - Ev final edit in photoshop if needed I set the camera raw panel in resolve to not apply any sharpening. If you need a big wb change you need to do it in Resolve up front, the rest I can do all in ACR and I’m quite happy on how much processing I can do on the 16bit Tiff. For video I do everything in Resolve I see no point in doing CRL -> Tiff -> ACR for video…

For highly detailed & inexpensive virtual sets, check out DAZ 3D. I rendered these with a DAZ model by Jack Tomalin (with two different texture sets), imported to Maxon Cinema 4D. Its a great way to experiment with lighting setups: Stonemason is another great DAZ modeler for virtual interiors/exteriors: https://www.daz3d.com/the-streets-of-venice These models are generally less than $50 and are getting more detailed every year. Lately I’ve been looking at low cost motion capture systems. Anyone tried the Perception Neuron 3 system? - $2,400 https://www.neuronmocap.com/perception-neuron-3-motion-capture-system

They will have to make a correction video explaining why they are wrong. When people in the comment section know more than the guys writing the articles, maybe it's time to look for alternatives.

I think other than much more, for sure, we both share the same love for knowledge and the mandatory aspect of a lot of it (good example BTW), as well, contempt for the misleading idea of pretentious obsolescence over still useful technology, to begin with. TBH I hate the idea to see something rather helpful to be replaced for something inferior : ) Aside a particular weakness for ingenious technology invariably consequence of many years of development, effort of many and commitment to not be easy to see it down the hill all of a sudden, as occurs so many times, seems like a nonsensical waste... This concern and the purity of your defense on a 180º shutter is actually the proof the way you see motion pictures as the most high standing we ALL, without exception, must care about. In a line: cinema is time. So I am not here saying your rants have no reason to be widely accepted, on the contrary : ) My straightforward point is how much the superior technology can impede something an inferior one will allow. I recall when 8-bit YCbCr 3:1:1 1440x1080 HDCAM format was replacing the option for 35mm film but to actually overcome the 100 thousand bucks of cost for film stock, processing and the leftover to spend at the lab (the average for a feature film). The difference between to work in this industry or making (arthouse) movies, or not, for many ; ) If some inferior technology will be the key to open gates I am unable to reach in some other way -- 'the fairly enough', I am ready to sacrifice it because there are other options I need to catch. Sometimes only to survive, some other occasions the remaining way just to accomplish it. EAG :- )

Do these people even still make videos? Here's a thought...

🙂

W Why thank you. here's the full version. PW: festival

Thanks for sharing

Darn this thread it tasty as the other other EOS M RAW thread. Both threads are some of the greatest browsing pleasures for nerds like us. 🙂 Anyone shooting narrative shorts with this beauty? How does it hold up against a BMPCC? Anyway our friend @ZEEK has provided us with beautiful pieces like this one.

Decided to pick up a Nikon AIS 28mm f/2.8 for $160

A portrait of a dreamer, who moved to the arctic archipelago, Lofoten, to unite his love for nature with his love for forklifting. In this heartwarming documentary he also tries to tear down the stigma he feels is attached to his craft. A story about life and its ups and downs. And forklifting.

Yeah, a gross over simplification in order to generate clicks. It is the job of people like DPReview to break the surface and expand the knowledge of those in the market for gear. It's incredibly depressing to see the sheep in the YouTube comments. The same people who rave about full frame Sony this and Canon that, all seem to buy the Chris & Jordan line that sensor size doesn't matter and it all looks the same. Why aren't they all shooting with a GoPro then! I really don't believe DPR are this stupid and I think it could be a ploy. They are either doing this on purpose to create controversy, discussion and attention, or pandering to their vast majority of readers who own Sony & Canon full frame or APS-C cameras. If Amazon sells more of those, DPR has done its job. GFX and medium format users probably don't need to read DPReview anyway for advice on sensor size! Especially not when it's this wrong. The F3.5 vs F1.8 shit is what really gets me. It's like comparing the top speed of a Ferrari and a family run-around, but never accelerating past 30mph... then claiming they are the same! WTF! It's impossible to satire it. It even feels stupid criticizing it because in order to do so you have to point out such blindingly obvious stuff! Every time Chris and Jordan recommend a full frame camera over micro four thirds from now on I will remind them of this video.