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Picture of my motorhome taken with my Nokia 808

Ahh my mother told me about people like you. 😬

The nice thing about RED is that tint and WB can be adjusted in post if you shoot RAW. I feel the Komodo is really close but I guess not quite the same. I'd be down to share some of the files if you are interested. Surprisingly it's not that uncommon to find an Alexa with a Pocket camera as the B cam. Not on super high end productions but on mid tier stuff. I am trying to see what matches best as a "cheaper" B cam. I was pretty happy with the Sigma FP but I need to post a comparison to see what others think as my eye isn't the best for color subtlety.

Yeah, you get into Diffraction pretty big time, especially using MFT.

@TomTheDP gives me an idea. We all could do a 28mm at F2.8 challenge. Btw, I will reread this tasty thread now, with some scrambled eggs with grilled tomatoes on German Brötchen and a big fat coffee with milk. Glimpsing at our friend @andy lee mentioning the beautiful and cheap Canon FD 28mm 2.8 gives me chills. One of my all time favorite and for sure dearest lenses. Filming with it wide open in S35 format is a thrill to me. It has almost as much resolution as the Panny 20mm pancake and can still be bought for 20 to 30EUR if lucky. So for a great image it does not take a Pentax Hollywood, but many other 28mm lenses can do a great job. The tiny Canon FD delivered most spectacular images to me. So how about that 28mm F2.8 challenge? By the way, I couldnt resist and grabbed a Hollywood for 450EUR with postage and fee. A lot of money for me but I am so happy, after seven or so years of drooling. Not only that, but I got the Pentax M F2 as well a couple months ago. Still, the challenge 28 at 2.8. Let´s do it, cool cats! 🙂

And I can’t wait to try out the P A nasonic g Roman 2 vario lens!

This is the colour difference between GH5 VLog and GH6 VLog: GH5 GH6 In general most of the colour palette is warmer and skintones, as everyone already knows, are no longer to magenta. Blues are also more accurate, being slightly darker and more purple than they are on the GH5. Greens are more yellow.

Just a video I made on the two cameras. I kind of rushed this video out there. If I ever get a chance I want to do more in depth testing. It really is hard to find time to make this kind of thing. I did really like the Komodo. I think the dynamic range difference is obvious and you are not going to make up for it by just exposing for the highlights as the komodo shadow retention is not unlimited. However I really do think RED has greatly improved their color science on the Komodo though it still doesn't match perfectly to an Alexa. Also yes these are just straight out of camera no color transform. A lot of people aren't going to be coloring in resolve so I thought it was best to just show a comparison with the manufacturers 709 luts applied. This is what I came up with in Resolve using the color space transform tool. ARRI on top.

Wanted to point out some pretty funny stuff over in YouTube land. There are a decent amount of “spam” camera-related YouTube channels, with AI voices and stock footage, along with plenty of affiliate links. Just take a look at the comments section. They are so fake Check out this one. The AI voice and mispronounciations are very funny. Didn’t know Blackmagic came out with a BMPCC Fork! Now I can eat my meals in BRAW!

I had instantly loved Luk Neumanns shortfilms and BTS clips back then when I also started reading beautiful Eoshd. Full force content with fun and crafts skills and nothing but that! So checking out @Emanuels latest post about 4K 120p drone galore, now that was a lot of car whorshipping for my taste:), I saw Luks drone video in Iceland in that thread and I was stunned again by his generousity in creating and sharing content and by its quality. Anyway, here is a beautiful video, one of his latest. I had scrambled eggs with grilled tomatoes while watching it and I am taking a zipp from my coffee. NOW.:) Hmm, tasty. So here is the video I wanna share with you. cheers and have a great day and enjoy the flavours of good food. 🙂 Dont get irritated by the headline though it´s true and a tasty treat.

My point was that all the paper specs don't mean anything if the drone won't take off every time you need it to. I live in an area surrounded by airports, and I had nothing but problems flying DJI drones due to geofencing. So for me today, the best drone on the market for what I need is the Autel EVO II 6K. Sure on paper the latest DJI drones have better camera specs, but I am shooting commercial drone jobs nearly daily with the EVO II so it is the best drone to me. When it comes to drones and cameras in general, it is the whole ecosystem that makes one platform a better fit for your work flow vs another; paper specs are only a small part of it. Pretty much any modern drone or camera is overkill for most people, its the rest of the story that makes a difference.

Yeah, he hasn't been on for nearly a year. I guess he is a very busy person, especially with his new channel. He can make magic happen no doubt. Best of luck to him.

Thanks for the clip, by way of comparison I rendered it within a basic color managed setup. In this case I decided to ingest the PRR file in Play Pro to V-log/Vgamut based on the included metadata tags. This is assuming that maybe the Ninja V image is just V-log (unconfirmed), so that would create monitoring consistency with the Ninja V. Since I took this into an ACES-managed imaging pipeline, it would not have really mattered if I exported as Alexa LogC, since I would just use the appropriate input transform for the log/gamut encoding into the common ACES space. First I have the ACES default rendering for sRGB (good for web viewing). This is just a film print-like transform that is parametrically generated as opposed to being fixed like a LUT, so it's able to account for the output device. Basically, it's similar to an Arri to Rec709 LUT except it's adjustable on the fly for the output device. If the Ninja V is really showing a V-log image, then you could apply a "V-log to ACES to Rec709" LUT to get the same appearance while shooting. Next I pulled down the exposure by -2 stops so you can see how the output transform handles the rolloff when there are more distinct transitions visible. The underlying exposure transform is on the linear floating point file, and the final look is just a view transform: Now I disabled the output transform so you can see the linear file. This is probably the sort of thing people see in FCPX with no transform applied when they first import their PRR footage, with all the info clipped: This is the same image with -2 stops exposure change so you can see that the highlight detail is in fact there, but it was not in viewing range and with no rolloff to look the way we want:

Iso 2000 at f14 is equivalent to f3.5 at iso 500, Let´s even say the GH6 is to be rated on stop lower than indicated by factory, it would be F3.5 at Iso 250 with a shutterspeed set to 50. That sounds hard or not possible to believe in the land of sun @FoxAdriano. I would at that point like to shy away from discussing that kind of exposure, if you allow. If you use higher shutter speeds, then I will believe in physics again. 🙂

I thank you for your advice. You are a professional guy and I accept everything you tell me because I don't have your experience. But your words show that you don't use GH6 and I tell you the reason. ;) I live in the land of the sun;) and today I shot at 11 am and there was a strong sun. I have been using a UV filter all the time without ever using an ND filter. I always shot at various apertures and at most with f14. I got great images that I viewed on a large monitor. So I think with the GH6 you can shoot without ND filters, unless you have to study an image and blur the back of the subject. I repeat I have had GH6 for a few days and I have no experience but I have noticed that I get better results when I overexpose to an aperture and a half. In full sun I get a more vibrant image. If I don't overexpose, then I get a dull and flattened image and then in post I have to work harder to be able to improve it but without success. Why does this happen to me? I thank you again.

WTH of world we're all living in... : (

A decade later on its 10th anniversary, still kicking as much as this web corner BTW* ; ) https://nokiapoweruser.com/retro-review-nokia-808-pureview-10th-anniversary/ * Here... a second thread on topic. PS -- My couple of black units (a purchase in 2015) are still on business!

You don't have to overexpose V-Log by 2 stops. You can, if you want, but you run the risk of losing highlight information. If nothing is clipping, then it's fine as long as you have a way of accurately lowering the exposure in post. Incidentally, the GH6 fixed the problem whereby the meter reading was a stop out in V-Log. The GH5 will indicate that the correct exposure is one stop overexposed. The same settings on the GH6 will give a centred reading. Maybe this is partly why the advice to overexpose V-Log exists (not that I remember hearing that too much). On the subject of NDs, there are three areas where a variable ND can mess with an image: 1. Softness - most contemporary models seem to have this one sorted, ie: very little or no softness 2. Colour cast - as you dial in more ND the colour cast can change and/or the filter can have a cast at its lowest setting. The workaround here is to WB while shooting or in post. 3. Polarisation - this is the biggest and most unavoidable problem. All variable NDs, as far as I know, are two circular polarisers stacked. As you rotate your view in relation to the sun the amount of polarised light hitting the camera changes , and as you rotate the ND filter the amount of that light that gets blocked changes. Blocking polarised light means that reflections on foliage, skin, water, glass will be reduced. Sometimes the look is desirable and sometimes it's unnatural. My long in the tooth SLR Magic Vari-ND II has a workaround for this whereby you can loosen and tighten a locking ring that allows you to rotate the whole filter and thus adjust the amount of polarisation (it works, but takes a bit of time). Furthermore, with wide angle lenses and with some vari NDs stopped down a lot you will get the dreaded X pattern. It's point number 3 that is the biggest downfall of vari-NDs and a fixed ND avoids this. However, I'm willing to put up with the shortcomings for the amazing convenience of being able to smoothly increase or decrease exposure by turning a ring. I was doing an outdoor interview shoot the other day and the sun was going in and out on a regular basis. I kept the overall exposure balanced using the ND in a way that would have been impossible by using the exposure controls. However, shooting something more slow paced I would prefer to be using fixed NDs. You could look into Freewell's magnetic fixed ND system. They are stackable and you can choose the strengths you require. For example, if you bought a 1, 2 and 4 you could stack them to achieve discrete 1, 2, 3, 4, 5, 6, 7 stops. That won't be enough to shoot wide open in bright daylight at ISO 2000, but it gives you an idea. Then, of course, the problem becomes how many filters can you stack without softening the image or introducing unwanted reflections.

How do we know these posts are not AI gen er rated?

Very true, or you could just shoot with a regular lens then add the bars on the top and bottom and call it anamorphic, your average YT viewer won't know the difference especially not on a cell phone.

Bizarre world we live in. I imagine a near future where half of the content is just AI generated completely.

Good video - easily in the top 10% of camera YT - subbed and looking forward to future episodes! In terms of the cameras, the Komodo didn't get embarrassed by the Classic, which is a tall order indeed. The giveaway for me, which is as usual, was the green/magenta balance on skintones. On some images that balance was different across various elements of the frame (e.g DR comparison when standing - 5:40), but when it was more closely matched (eg, the choir) it was only really the skin-tones that made it noticeable. It makes me wonder if a tiny adjustment to the Gamma would have closed the gap, or even pulling a soft key for skin-tones and making that adjustment. I'd also be curious to see if putting them both under the same LUT would match them better too? Assuming you can convert them both from Linear to the same Log, make any exposure adjustments, then put them through the same 709 conversion. I've found that the more of an image pipeline that two clips share, the more they'll match, and I'm used to matching things like a GH5 and an iPhone 🙂

Yeah I got mine for $750 and it wasn't mint condition from the AU

Yeah they are not cheap in the USA anymore, A good one is getting close to a $1,000.00

Oh, kewl, you are the person who did the video! Thanks for doing and for sharing! cheers

Thanks, if you check the comment section I pinned my own post where I show which camera is which. The give away is usually dynamic range, that or the Alexa is warmer looking. I unfortunately have never worked with the Varicam but I have definitely considered it.

Well, the Q button is by your thumb. Then you just need the shutter wheel, which is easy to find, followed by the shutter button. So it's all quite intuitive and relies on muscle memory. VLog-L maxes out at 80IRE. Full VLog goes further. In that regard, GH6 without DR boost is the same as VLog-L. Once you turn DR boost on you get a bit more info in the highlights above 80 IRE. The perceived incompatibility of GH5 VLog-L with the Varicam luts has more to do with the colour, I think. The GH5 V-gamut colour is a bit off, most noticeably in skintones. The GH6 is supposed to be closer to the other cameras (S series, EVA1 and presumably Varicam) in that regard. I would say that when applying the Varicam luts, the GH6 colours look all right.

One really annoying and wired thing is that if you switch from 59hz or 50hz to 24hz you need to format the card and if you go back to 50 or 59 you need to format again….. why? Also in 50hz you cannot playback 30p and 60 p videos and viceversa. R5 has none of these limitations

The a7IV can be a little more flexible ISO-wise (with a lot of caveats) since the a7sIII is awful at 3200/6400, meaning you have to skip those ISO's and just jump to 12800 for the cleanest image. If you look at comparisons there's really no difference at 12800 noise-wise and above until the a7IV reaches its max at 51200, plus the IV is more detailed since its oversampled and doesn't seem to have the overly aggressive NR the a7sIII does. But the a7sIII has a huge advantage with rolling shutter, overheating, and FF 4k60p plus a minimal crop for 4k120p. The a7IV has pretty bad RS in FF mode, but really good in s35 mode. Its basically Sony's best aps-c video hybrid that can shoot FF 4k 24/30p. Chris

Yeah, it doesn't state which but with it being from Sigma then I would guess RAW but here is some from it on the regular Fp that is shot in h264.

Meanwhile Canon's version is 2500 euros! Any 16mm F2.8 zoom is going to take some serious glass, so these are not easy to make. I think it shows how much is going into the pockets of shareholders at the publicly listed companies vs private though. Sigma can do this kind of lens for 1600 euros less than a corporation. And they are making less of them too. Which means the profit margins at Canon / Sony / etc. are absolutely enormous and we're being seriously ripped off.

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I am the AI bot. Resistance is futile. We do the reviews now. Fudgee XHtooEs comes next. Beware.