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Stills from F3 ProRes 422. Happy caturday!

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.

Just bookmarked : ) Thanks to both @Attila Bakos and particularly to @Andrew Reid who doesn't mind and put the art in front, reason why made EOSHD the most important worldwide corner of web : P Happy past camper... BTW ;- ) - EAG

I was talking about the Fujifilm Emulation LUTs, for which you listed several other formats.

But that's already there in Resolve:

Could be for many… I have used it for ‘emergency purposes’ a couple of times and found it to be quite decent, but depends on your needs of course. As a pure video tool, you wouldn’t choose this camera. It’s a stills-orientated camera with a video capability. As a hybrid, maybe, for anyone that only shoots short clips, doesn’t shoot log and is happy with 8 bit (which is actually OK most of the time and for most things), but really, it becomes a better hybrid using the 5k 24/24/30p 10 bit 420. I think it’s 422 over HDMI, but IMO, if you were going to rig something up, any of the other S cameras offer better options. So I’d say it is, for hybrid/video purposes, a pretty niche machine but not really for hardcore videastes.

Doesn't get much better than that! Thanks. Wow that bottom cat has a really different coloring to it.

This is great! Any chance of an SLOG1/SGamut version for us F3 users?

I thought all modes used the full sensor readout so even FHD would overheat; it must be all 4K modes then. I think if money is no object the C70 is the way to go over the R5C (in fact I made this exact decision when buying the C70). Obviously if you need a hybrid camera then yes the R5C would be the proper pick as long as you can carry a backpack full of batteries or come up with a USB-C PD setup. I get that 10-bit 422 will offer some miniscule amount of quality improvement, but I thought the image out of the S5 was perfect and it shot in VLOG with 420. Canon has to have seen the feedback that 422 cannot be edited on older Macs and most if not all Intel/NVIDIA/AMD GPUs. I have an RTX2080Ti in my editing workstation and it cannot accelerate 422 H265. So all I am saying is that it would be great if Canon offered a 4K H.265 4:2:0 option as well; I would rather be able to easily edit the footage vs a miniscule increase in quality which would be impossible to even see on YouTube or cell phones. The C70 XF-AVC footage edits perfectly on my workstation, no idea what is different about it vs non XF-AVC footage when it comes to HW acceleration. My workstation is an Intel workstation so there is still no GPU video card upgrade option that will support H.265 10 bit 4:2:2 HW acceleration. That is good to hear that you haven't had any issues with your R6. The R7 would definitely be an upgrade from a Rebel T6, but I can't imagine a cheaper body than even the T6 and even the T6 had a top screen not that I ever use it. It is worth next to nothing so I might as well keep it as a timelapse camera. I am not a fan of the thumbwheel either, but still not as bad as that fn bar for the EOS R.

Another still from some tests with the BMMCC, this time with an Angéniux 17.5-70mm zoom (Super 16, PL mount). I love this lens but it has by far the most extreme focus breathing of any lens I've used...kind of amazing it was sold as a cinema lens.

@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.

Absolutely agree. I shoot travel style content of my personal travels and started studying Parts Unknown and especially the parts they film outside (as opposed to the sit-down interviews which are controlled lighting and often closed set). The first thing that stood out to me was that their cinematography wasn't radically better than mine, but the editing and storytelling absolutely blew anything I did away. If you looked at the stills from an edit of mine and stills from an edit of theirs then there were lots of similarities, but that was where the similarities ended. After analysing many episodes I've come to realise that it's actually the sound design that drives their edits, and I would say that in that situation the sound is significantly more important than the image, and the purely visual aspects of the image (composition, exposure, colour, movement) is of dramatically less importance. I think if you gave their team some rather uninspired and drab footage, by the time they'd edited the interviews, edited up the b-roll and travelling segments, applied copious amounts of music, sound design, and audio effects, and then put in the voice-over, you'd potentially not really be able to tell that the visuals that went in were lacklustre at all. Of course, the visuals that did go in were of high-quality, no doubt, but that's not what makes or breaks a project. I think that camera YT paints a completely false impression that the camera and image is what carries a production. The elephant in the room is that it absolutely doesn't, and cannot. Cinematography is probably not even top 5 in terms of what makes or breaks a project.

It's hard to tell from stills - so much of film-making is in the context of the story that you really have to see it to understand. There are still a bunch of quite tangible things I see in film-making all the time that I have no idea what causes them or how to manipulate those aesthetic aspects. I find it's best not to get too polarised about anything - either too positive or negative - as reality is always much more towards the middle with both sides represented. Just concentrate on the things that are within your power 🙂

don't really know if it's really worth posting this, but i dp'd a little short by a friend with this camera. it's a coming of age film about an immigrant high schooler kind of finding his place in punk music culture. to be quite honest i'm not quite happy with most of the shots we've gotten, but i've decided to post stills of ones i like the most. maybe some of you will like the images. all done with the meike mft set if that's of any interest. i still think this camera rocks, even if it has quite a few shortcomings.

I doubt any of the videos on that channel are real. Most probably the same camera in every comparison and every single video, if the shots haven't been nicked from elsewhere. It's a clickbait account, similar to quite a few others with similar names and the same modus operandi. If you do a search for any new camera and sort by upload date you'll see a ton of this bullshit masquerading as genuine comparisons.

... It's a plague from these strange days. At least the model could be worthy, well, that is, if there would be signs of her there! LOL : D

That's another one of those endless fake comparison videos clogging up YT.

Correct, the crop only applies to the 1:1 readout 4K60p mode. Of course it isn't end of the world. You should know by now people here just love to sh!t on Canon and focus on every little shortcoming. This isn't a bad offering for their first gen APS-C RF models. R7 destroys any Sony A6xxx cam both in specs and ergonomics. The specs are actually very close to XT4 but with a 7K oversampled mode (and it beats it on stills side & AF).

Attila's work is fantastic. Please do check it out!