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@PPNS Making a film is really difficult and your frames are looking great. I am sure you didn't have a big crew possibly none at all and you probably weren't being paid much if anything. Don't be hard on yourself. Skill isn't the only factor in a film looking good trust me on that one.

Actually the R7 4k crop mode has an advantage, the Sigma 18-35mm f1.8 would become a ff eq. 28-100mm lens 😎

Hello, This is the official topic for all Colorizer products. My main focus is bringing high-precision Fujifilm Film Simulation LUTs to multiple cameras. The following formats are supported at the moment, click the links for videos and details: Fujifilm X-T3/X-T4 F-Log Sony S-Log2/S-Gamut3.cine Panasonic V-Log L & HLG I also sell ACES IDTs for cameras that are not natively supported by Davinci Resolve: - Fujifilm F-Log/F-Gamut - Nikon N-Log/BT.2020 - Sony S-Log2/S-Gamut3.cine - Z Cam ZLog2 - GoPro Protune These packs include a lot of 3D LUTs simulating the ACES Rec.709 look, so it can be valuable for Premiere users as well. I also have Technical fixes for common color shift issues caused by bad interpretation of certain clips in Premiere. I strongly suggest you check this out if you're a Fujifilm user. As a bonus I created a bunch of free online tools for creating and modifying 3D LUTs, so if you're into this kind of stuff, visit http://colorizer.net. Thank you for your attention, Attila

Did you know (do you even care…) that the venerable S1R can shoot 10 bit, 5k 30p internally? I didn’t until the other day but discovered it does so just for some amusement, tried it. Holy cow, - it’s better than the 4k 60p I have been getting out of all the S cameras shooting the Natural profile. It’s a 3:2 format, but so what. There’s no log available but the Flat profile is quite gradeable. I kind of knew it existed actually but had simply dismissed it as the 6k doesn’t look as good as the 4k so just ‘assumed’ 5k wouldn’t either. Wrong! I shot a few scenes back to back against my usual setting and it’s much nicer so giving it a run out at this weekends wedding… Had to flip everything to NTSC on all 4 cameras and will be working on a 24p timeline instead of my usual 25, but I can squeeze a little more out of my slo mo as it will be 60p @ 40% instead of 50p @ 50%. All the 30p will be @ 80% and only the static talky bits will be in real time, ie, 24p timeline shot at 24fps. So: 24 @ 100%, 30 @ 80% and 60 @ 40%. Could be a ‘game upping’ weekend… 🤔

I actually did watch a video on it, as much as I like Resolve, no way would it work for me with stills. Just because a program has the ability to do something doesn't mean the inefficiencies incurred while doing so would make it worth it in the end. After major events such as fashion shows, I need to cull over 2000 pictures quickly and process about 600-800 within a few hrs, no way would Resolve be able to support that workflow. Also, for Real Estate, pretty complex retouching is required to get top quality results due to the DR limitations of modern cameras, Resolve would be a nightmare to try to replicate what I can do in a few seconds in PS.

New ACES IDT packs are released: Leica L-Log/BT.2020 Fujifilm F-Log2/F-Gamut You can get them from here: https://colorizer.net/dev/index.php?op=aces The Fuji one I did almost blindly, I couldn't get my hands on original F-Log2 clips yet, but since the data sheet is already out I created this package anyway. I used youtube framegrabs for verification and I can already see that if you bring F-Log and F-Log2 to the same contrast, the latter has more saturation, especially in the yellow-red area. And greens are a bit more yellow, foliage seems to be warmer.

I actually enjoyed this "review" as the shots in it are lovely. I might give this filter a go as it seems to be quite good according to Amateur Photographer who I suppose are probably a bit more reliable than the average YouTuber. The filter is Nisi True Colour. Note, that it's a 1 to 5 stop, not the 1.5 to 5 stop which they also sell. A poster on our friend @FoxAdriano's thread on a different forum had this interesting tidbit: I guess the True Colour and similar filters that have a low base density use the weaker polarisers, which is probably better to reduce colour cast, degree of polarisation and x pattern. I'm very much leaning towards a 5 stop fixed ND plus light vari ND for DR Boost on GH6 outdoors.

It's a very difficult question to answer. The vignetting problem depends on the lens on you use. The wider it is, the more vignetting is likely. In general, thinner filters are less likely to vignette than thicker ones. You could also try buying a filter one size up from your largest lens and use a step up ring. My SLR Magic Vari ND II is actually in itself one size larger, ie: its rear filter thread is 82 and its front 86 or something. Colour cast is not a problem for me because it's a global change in colour so a white balance adjustment will correct for it. However, a colour cast that increases or decreases with varying levels of ND might be a nuisance, I suppose. I agree that it's very hard to find objective information. Most of it is on YouTube, not definitive and probably compromised by relationships with the manufacturers. The best thing would be to order four or five of the most likely contenders, test them yourself, keep the one you like best and return the others... if that's possible with the retailer(s) you buy from. PS: and if you do, post the results!

The build quality will indeed be a downgrade when you compare Canon mirrorless to DSLR. While not as bad as Sony, Panasonic has certainly a better and more quality feel. Somehow all Canon mirrorless feel like Rebel series now 😆

If I was…and I am not going to be any time soon, or ever, it would be: Static video up to 30 mins max one R6. Second R6, handheld, 10 second clips. R5 exclusively stills. But from what I understand, would probably switch out that first R6 now for an R7. But none of it is compelling enough to switch from Panny other than the AF factor which is not that big a deal for me!

I thank you for your suggestions, but ... I'm sorry, on youtube there is everything and the opposite of everything. There is a lot of sponsorship. I have already done research on youtube and I was very disappointed. I would like some dispassionate advice from those who have experience on ND filters and use a VND with satisfaction.

The ‘problem’ is there is so little info out there… When it launched, plenty of initial reviews. Since, a couple of long term reviews. But since the 5k firmware update, you have to look really hard and what there is, isn’t great. It’s simply a combo of time + the fact it’s Panny full frame which doesn’t get a whole lot of love, mostly due to the ‘AF issue’. I couldn’t see any mention of the 5k mode being only pixel to pixel and have spent hours trying to get it out of that mode but it turns out it’s a default and can’t be changed. No biggie, I like to shoot a bit longer than most and if I understand it correctly, the crop factor is 1.56 and it looks about that to me. This makes my 35mm f2 just over 50mm and my 65mm f2, just over 100mm. Perfect, 50 mil is bang on for me inside and 100 mil great for outdoors. I have the 20mm f2 also which works out just over 30 mil and is great for tighter stuff like dance floor at weddings. Overall, it’s beginning to edge it for me as ‘ultimate hybrid’… Yes, spend a lot more and you can get a Canon R5 or a Sony A1 or in a couple of years, a Nikon Z9, but right now, for around 1500 $€£ you can pick up a ‘like new’ body and that is insane value. The sensor is exceptional. Arguably the version in the Leica SL2 and Q2 is even more exceptional as they tweak the thing further, but it’s easily the best I have had in any camera for stills. Easily. Then, batch run the raw files through DXO PureRaw2 and it takes the files to another level. OK, they are now whoppingly massive DNG files, but when I import those into Lightroom with my custom import preset, there isn’t a whole lot more I need to do other than some straightening, exposure, sometimes WB and any cropping. And re. cropping, I can crop those 65mm shot files like they were shot on anything up to 150+mm and have an end result better than anything shot on a 24mp sensor. Niggles? I don’t like the position of the on/off switch though I have got used to it. Much better on the S1H. The top screen on the S1H is far classier being square and lights up black or white, ie isn’t an orange rectangle. Err, struggling now… It’s built like a tank yet is NOT as massive and heavy as some make out. I don’t have the biggest hands but I’d say it’s pretty Goldilocks in the size, weight, handling department. The stability I’d say is about 1/2 to 1 stop behind the S1H, but still really great. So for me right now, it’s just a question of whether the pixel to pixel, 5k 30p 10 bit 420, as part of the overall bigger picture, makes the S1R my best option right now. I think so… If I want to shoot hybrid anyway and have hi res stills and great SOOC video in a single unit. As for the AF, I have a new technique which is use the AF to acquire a lock and then flick the lens switch to manual. Muscle memory soon catches up. But, utterly useless for tracking. Anyone walking towards you, forget it, utter trash. Instead, S5 on tripod in 4K 60p at f5.6 or 8 with native zoom lens and I’d say with the right custom tracking settings, 100% WILL track 95% of the time. There’s only a handful of times every job when I need that so the above is my go to. But S1R, I’d give it 9/10 as a total package for my kind of hybrid needs which is hi res stills and great video of people chatting, wedding ceremonies, etc and maybe 9.5 if the 5k works out for me like I expect it to.

I've been looking at the S1R because of how cheap they are. I've been thinking at getting into photography, but would also use it for video too. Gonna need to watch some videos to see if it would be okay for video use.

It's funny: I shot and graded this a year ago and didn't really notice the green cast (I'm partially red-green colour blind), but it's much more obvious to me now because I had cataract operations on both eyes in the past year and I now effectively have the eyes of a 20-year-old. The effect of the cataracts on colour was really apparent to me after my first operation, on my left eye, because I still had a cataract in my right eye and could compare colours easily just by shutting one eye or the other. The difference was incredible. I now want to go back and re-grade everything I've ever done because the colours all look wrong to me now. 😉

Here's a still from one of my tests (during pandemic confinement) of the Zeiss ZF.2 Distagon 35/1.4 on BMMCC

SS - Shutter Speed can be described either as an angle (shutter angle), or as a length of time in seconds (exposure time). Everyone here is talking about shutter ANGLEs, not exposure times (in seconds). You are referring to shutter speed described at exposure time in seconds. As a videographer, you can not confuse these to terms. So what is the difference between those two? Well, shutter speed as expressed by exposure time is easy. Its just the time the camera lets light into the sensor (thats an oversimplificaiton, but you get the point). For example, with 1/50s shutter speed, the sensor gathers light for 20 milliseconds (or 1/50 of a second). Easy. but with shutter angle its not that easy, beacuse shutter angle is also tied to framerate. If youre recording in 30 FPS for example, then you might have been told to use the "180 degree rule" and double the frame rate to get the inversion of the value you should set you exposure time to. Which would be 1/60s (because 30*2=60) But why is 1/60s of exposure time equal to 180 degrees of shutter angle? Imagine a circle. And inside that circle is an angle. If that angle is equal to 360 degrees, the circle if full. full of what? Full of light. If the angle equals to 180 degrees, the circle is half-full. 90 degrees - quarter full, etc. Your angle can not be fuller than 360 degrees. So if you have your framerate of 30 FPS, then one frame takes aobut 33.3 milliseconds. That is also the maximum time duration you can let light through into the sensor. If you want more time, you have to decrease the framerate. So when shooting at 30 FPS you cannot have shutter speed greater than 360 degrees or 1/30 of a second (33.3 milliseconds). Cinematic film is in 24 FPS, so the longest exposure time you can get is 1/24 of a second or again, 360 degrees. Do you see why we use both exposure times and shutter angles? Shutter angles are not related to framerate, where as shutter speed is. So your camera - the a7iii CAN shoot with a 360 shutter angle. You just have to set your shutter speed accordingly. For 24 FPS thats 1/24s, for 25 FPS thats 1/25s, for 30 FPS thats 1/30s, for 60 FPS thats 1/60s. All these pairs of values represent a 360 shutter angle. So you might ask yourself why can you go as low as 1/4s with your sony a7iii? Watch the framerate closely, as you lenghten your exposure time. The more you get closer to 1/4s the more frames you lose. At 1/4s youre essentially recording at 4 FPS!! And you can see that with naked eye. Why is that? Because the shutter angle can not be larger than 360 degrees! at 4 FPS the equvalent of a 360 shutter angle is 1/4 of a second shutter speed. I hope you understand now the difference between shutter angle and exposure time.

The only real thing holding Panasonic back is the autofocus. It's what the market demands, whether us Panny users care about it or not. If they had comparable autofocus to Sony or Canon I think they'd have lured a lot of people away. They are superior video cameras in every other way.