Leaderboard

The OM-1 video specs seem underwhelming to even the GH5/G9. The 120fps 12-bit RAW DCI looks to be only available through the HDMI output.

Indeed! It's a fair point too, because for our purposes (where we'd use the camera rather than just mounting it and walking away) we need a rig that's usable so it's the rig size that matters rather than the box itself. For that the Komodo is actually a fascinating form-factor and brilliant in a few ways, mostly because of the built-in screen which can be used with a MF-style viewfinder: So you just add a couple of batteries, media, a loupe, a lens, ND and then you're off! The BMMCC obviously didn't have a screen so that made a rig essential and depending on how you rigged it basically tripled the size of it.

Thanks all so far. I've been playing all day with mixed results but the best method for me seems to be: 1: Add gamut LUT to all clips. 2: Manually correct all clips individually to be 'about right'. 3: Add a global layer and add Nitrate to that and then use the Cineon thingy to reduce it's strength with selected film stock. 4: Select the individual clip and twiddle in Lumetri scopes until it 'looks' right. 5: Then make a screen grab and look at that outside of Premiere. 6: Go back into Premiere and do a final tweak if needs be. I've got a look almost about where I want it so tomorrows test will be to try a whole load of different, but typical clips I might use in a film and then apply the above process. Side by side with my best Natural profile, for the first time, I think I do have something that looks better... I'll keep at it...

Had a play, liked it. Bought it, got a completely different result 🤪 I don't dislike the completely different result but with the free trial, I was using it on a layer on top of gamut LUT corrected log. After purchasing and installing the specific camera profile, it didn't need the gamut LUT correction but worked instead on the 'raw' log footage. I'll have to play some more...

That much is obvious considering 4K = 8.8MP and 8K = 33.2MP

I have made a powergrade that converts Panasonic VLog (and CineD and HLG actually) to Arri LogC using the S1Alex color conversion pack. That converted LogC footage is then converted to Cineon before it goes to Film Convert. My most favorite film stocks lately are Kodak 5207 plus Kodak 2383 from Resolve and Fujifilm H400 Pro.

FC has a free trial I wasn't aware of so I'll give that a whirl and see what happens.

Plus a much smaller range of native RF Mount lenses vs FE Mount. Yes!

Now I know your not talking about me… I did buy some kitchen scales a little while back I could weigh my setup but i’d be over three hundred I reckon with the Nikon 1, adapter and takumar smc 17mm.

Wow, Kye. I have no idea how you're achieving the second two. If we're basing this on weight, then those numbers are going to be tough to beat! One of the guidelines I'm setting for myself is that I can't buy anything new just for this challenge. I have at least a dozen cameras cameras already and don't need any more. But nothing I have is that tiny. I can't wait to see how you're doing it.

If there are some other collections and barrels not exactly glass related, what about ours? ; ) Inspired by this post from one of the most dearest ones among us and a most part of us after all... Show us your Nerd ;- )

Really the title of the thread says all that needs to be said. The aesthetic. You shoot on whatever you need to shoot on to achieve the aesthetic you want. If the aesthetic is the measure, then, qualitatively, the perfect camera can be an iPhone, an EOS-M or a Panavision DXL package. Fincher likes the resolution as high as possible, other directors/DPs want something more lo-fi (for *this* project - might want something else entirely for *that* project). If we're talking art then the best cameras and lenses are the cameras and lenses that best realise the artist's vision. No need for any argument, really.

I very nearly bought the lomography experimenters kit. Which sounds like what you have ? Regrettably, i'm like the antichrist when it comes structuring or planning something. Lets not get to too religious on the rules, next someone will want storyboards. 😉 I'll compromise with shooting at f8 if we can get a consensus 🙂 However i'm happy to go with bonus points for peoples artistic interpretation or a different category perhaps. your shoot in camera comment does make me wonder, supposing a camera comes with extra functionality that maybe other brands don't have, is it forbidden to use that functionality ? I bought my bm p4k camera for various reasons, no doubt others bought their cameras for other reasons. If you have say, a sony camera that can sing and dance, well i want to see that 😀 Another point to consider, my camera shoots in log, I presume i am ok to use a lut supplied with the camera ? If we cant do anything in post then sending something in log will look kinda flat ?

darn, well, that will help keep the secondhand prices of the F3 high 🤣😂

They have all missed a trick there. Should have shot everything in 12K and just cropped instead of using lenses!

I suppose that has always been a thing with digital cameras but it rings very true with the C70 more then others. I recently saw a comparison between the R5, C70, and FX6. The C70 had about two stops more in the shadows and about the same in the highlights as the other two with the R5 maybe a 1/3 stop ahead and the FX6 behind. I do the opposite with the Panasonic S1 usually overexposing by 1 or two stops. The S1 has about 5 stops in the highlights and two in the shadows, though with RAW the shadows can be pushed way further.

Convergent Design Gemini 4:4:4 Recorder was the only real solution back in the day I remember working well in 4 4 4 mode. There was some AJI stuff, but not as popular as the Convergent. No clue on the Blackmagic, never used one.

Looks so good. I love the images from this camera.