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I just had a chance to take a look at some X-H2s originals shot in F-Log and F-Log2 in H.265, and it seems to me that the chroma smoothing is way less aggressive in this camera. It's still there, but it won't cause problems I think. This is just my first impression, not a deep analysis. And now you can completely get rid of the smoothing by shooting raw to an external recorder, I tested this with a ProRes RAW HQ clip. What I couldn't test is ProRes internal. I also noticed that the H.265 files are now tagged with the BT.709 matrix coefficients instead of the BT.601. This will definitely solve some interpretation issues. One small downside is that the files are no longer full range (at least the F-Log and F-Log2 originals I received), they only use the limited range, so we lost some precision here.

Okay, for those who find this kind of stuff interesting, here is a comparison of Cr channels (with added contrast for easy visualisation) from the C70, X-T3, and X-H2s: https://www.dropbox.com/s/pbfjdx4c2zxhhzq/chroma_compare.mp4?dl=1 C70 is C-Log3, 100Mbps X-T3 is F-Log, 400Mbps X-H2s is F-Log, 360Mbps There is definitely an improvement over the X-T3. (I only received this files from someone, so I can't do other comparisons.)

Mine is 1TB and way too small. My problem is I didn’t really factor in that I have a couple of trips that take in 3-5 jobs without returning to the office and each one takes up approx 500GB. Oops. I have done the first (3 jobs working away) and downloading to the 2TB Sandisk SSD was painful. Like 6-8 hours painful and when you finish late and start again mid morning… Now I can download an entire job; 5 cards and up to 5 audio devices in about 1 hour…and then overnight, can just copy the lot to the ‘old’ USB Sandisk SSD as a backup with a single click. And than might take 4+ hours but I won’t care as I will be asleep.

But I could try simply shoot stills in 3:2 format instead of 4:3, because it is cropped enough from top and bottom to eliminate the mild upper corner vignetting.

@ohheylilly Welcome! We have a number of members who are interested in Virtual Production. Here's a topic for your review: As some people on this forum have professional cameras, lenses, focus and zoom controllers, lighting and green screens, if you would provide an example our how your system works for a non stationary camera (dolly or hand held) in relation to a non stationary subject (distance relative to the camera and focal distance is changing as well as the operator changing the the zoom setting) and a green screen background that gets replaced by a virtual background that changes its perspective and depth of field based on the relationship of the subject to the camera, the realtime reporting of the zoom and focus positions of manual zoom lens using the AFX system by our very own BTM_Pix, and in Unreal Engine 5. That would be greatly appreciated. What makes up a camera tracking system for virtual production from antilatency and how does it compare feature and cost wise to other professional camera tracking systems? Thanks for your interest in our forum and our virtual production needs!

I'm guessing that you originated the C settings whilst in one of the PASM modes then? When you do this, then upon recall of the C setting you are locked into the exposure mode with which it was originated, hence why the option is greyed out. It is only when you originate the C setting whilst in Movie Mode, that you are then free to change the exposure mode after you recall the C setting.

You really want to push the price for an F3 up to $1M!

MENU>>VIDEO CAMERA ICON>>PAGE 2>>EXPOSURE MODE When you've changed it, then go to the first Wrench menu (with the C next to it) and overwrite it in Cust.Set Mem. in the same slot if you want to make it permanent.

This shot was taken with my 12-32mm Panny lens today. I am telling you for the money you can buy one for they are a real sleeper. And they have OIS in them and are small and light as heck. Like having a 24-70 in your pocket. The Raw looked even better.

Well 4 shots from today on the GH5. Boat House 14-140mm, last 3 300mm f2.8 L FD lens. The one of the Lodge had to be a nearly 1/4 mile away. The Geese one was maybe 200 feet away, people fishing probably 300 feet away. This looks to be a damn good copy. I can see I need a better tripod for this lens. Had a nice carbon fiber one but it weighed a freaking ton, should have kept it I guess. Camera, lens shot with my iPhone 6s plus. Pretty satisfied on my fist real outing with it. Well, it looks like the photos are switch for bottom to top but you get the idea. Have to figure the 300 is actually a 600 on the GH5.

Thanks Don : ) The Pocket 6K but not at the highest resolution... ;- )

Looks really nice Emanuel. What camera did you guys use?

Not worth it from what I read on German testsite slashcam. Afaik, it´s 12bit linear and debayerd from 6K to 4K instead of giving the whole 6K out to the HDMI. On the S1H its 12bit and Log afaik and the whole 6K resolution. Anyway, site states that Prores raw has more aliasing and artefacts than internal Prores on the Z6. Latitude or dynamic range is not better than Prores with 10bit Log. Here is the article. You can run it through a translater. cheers https://www.slashcam.de/artikel/Test/Nikon-Z6-RAW---Besser-als-ProRES---alles-.html

Yeah, this thread and you have done their share as well 🙂 @IronFilm One million viewers, must be the most successful F3 test video. Here is a collection of a cinematographer who seems to have a serious liking for his F3. He posted some regrades of previously posted footage. So here we go, some more F3 goodness:

I would add that from my experience of using a manual focus 58mm Rokkor 1.2 on a 5D3 for photography I found that if I used the optical viewfinder to judge focus, forget it, it was out of focus. I missed it nearly every time. However, I got an almost 100% success rate by using an LCD viewfinder (remember those?). So you're magnifying the large, high resolution image on the rear LCD screen. It's actually possible to nail focus this way.

Heck, great image, this guy got out of his GX85! Great montage and camerawork as well. He shot with the native 25mm 1.7 and the pancake zoom 12-32. I heard good things about both lenses.

bit like the bundaberg rum ad out here.. pants are optional at home... 🤪 More honesty... i went back and watched it again. Mostly because i thought it was an odd screen size for anamorphic, however the second time i noticed the bars top and bottom. Probably because i run the laptop with night settings ( its easier on the eyes for me at least ) and the start is quite dark they blended together pretty well To give me a bit of an optical illusion. Not sure a dark night fight lends itself to displaying anamorphic imperfections so well. I kinda feel there needs to be some added lights to let us wallow in the anamorphic experience. Be it garden lights or tea candles in a suitable container, not jj abrams star trek level of anamorphic, but rather something that lets us go, ooh ah, thats nice 🙂 Another thing struck me. If your about to be attacked at night there may not be time to take a stance, remove the hoodie and fight on. Sneaky buggers are well, going to sneak up on you. It may flow better if the he's attacked, fends off the first attack with mystic light. After that, then you have time to remove the hoodie and take a stance. Which sort of suggests, all right you sneaky buggers lets have at this. But again thats probably just me.

Thanks, it's no problem getting the lens off the adapter. The adapter just won't mount on the body. I noticed the set screws on the mount seem to be a bit stripped. Starting to think someone returned it because they had the same problem I have. 😕 This was probably kind of a misguided plan in the first place probably when there are f0.95 lenses available for rent that actually do cover full frame.... but I saw this for 40% off and had to try it.

I just saw the pricing in Australia I was expecting 3-3.5k AUD, but $4200 is kinda nuts. Sigh