Leaderboard

Yes, this is one aspect we have zero control over. I had a couple actually cancel me the other day because they decided in the end they wanted a more ‘fashionable look’ to the result; ‘light & airy’. Will they regret that at some point in the future? In Weddingland, light & airy replaced dark & moody which replaced vintage which replaced whatever came before that. But I try to avoid fashions and fads and prefer to consistently stick to a more ‘timeless aesthetic with a nod to nostalgia’…if I had to try and describe it in words. I am trying to ‘future proof’ the results as much as possible. I have articles on the subject on my website. Not for photographers/vidiots, but for potential clients who might happen upon said articles and say, “yes, that is us. We value this stuff”. And those (few) that do, no surprise, always turn out to be the best clients. Perhaps different in the commercial world but with weddings and portraits, I have always adhered to pleasing myself first and foremost regarding ‘style’ and attract/book folks who specifically want what you do/are on the same page. I find those clients also tend to be the least likely to follow the latest fashion in clothing or hairstyles etc so the results from their weddings will date far less than that of those trying too hard in that regard and with their choice of photo/video capture.

This is a very interesting topic in itself… We tend to ‘forgive’ crappy photography, printing and preservation when it comes to family as in the value to us in a dog-eared old print is the subject rather than the actual thing. My most cherished picture was taken in a railway station in 1941 wartime England. It’s of my grandparents straight after their wedding from which only one single dreadfully captured, exposed and printed pic remains. I have always looked at this whole ‘nostalgia’ thing as being pretty much as you described Kye but it would be interesting to have this conversation in another 50 years from now based on our 2022 spec pics & videos. Will they have that same ‘quality’ (or lack of) nostalgia compared with something from say 1972? Maybe… Maybe our 24-100mp camera stills and 1080-8k video will look equally as dated compared with whatever is current in 2072… Probably some database implant connected to our brains or something by then!

I remember @Emanuel raising the possibility of using Micro Four Thirds glass on Fuji cameras. Well I asked RAF Camera to make a prototype for EOSHD and here it is. So in past year I have been experimenting with a lot of M43 glass on the Super 35mm sensor of the Fuji X series cameras. We see beyond the usual 2x crop image circle! Here's what I found: - X-T4 has a Micro Four Thirds 2x crop mode in the menus. So you can use anything on that, basically. - The adapter doesn't have any electronics capabilities (maybe later?) so I have only been trying manual focus lenses - Voigtlander super fast F0.95 primes look lovely on a Fuji! - Some M43 lenses even cover the entire Super 35mm sensor - X-H1 is 1.7x crop in 4K so that works well, as it is closer to the 1.86x crop of the GH2 or multi-aspect sensor Panasonic bodies - The affordable Meike cinema lenses work brilliantly as these are all Super 35mm lenses just different mounts (they come in Fuji X-mount versions and Micro Four Thirds, with same optics for both) - SLR Magic stuff very tasty with it especially on the X-T4 in 2x crop mode - Focus to infinity is fine (sometimes slightly over even) So I am wondering, how much interest would there be in an EOSHD branded adapter for Fuji X cameras, that enables you to use Micro Four Thirds glass? This is the only adapter in the world of this type. I have been wondering how many of you have both Micro Four Thirds mount glass and Fuji cameras, maybe you switched but didn't sell all your GH5 lenses? Maybe you are just curious to turn your X-T4 into a GH6? Or interested to discover the unique images made from one of your exotic Micro Four Thirds mount lens on an X-H2S? Also rather than buy separate lenses for Fuji and Panasonic you can use one set on both systems (as in Meike 25mm T2.2 for instance!) If there is enough interest in the adapter I'll put RAF on notice and finally start that Indiegogo up!

not me? please comment let's learn

I read that wedding photos are often the last photos of the grandparents in a family - a wedding photographer commented this and said that in group photos their first priority is the bride/groom and the second are the grandparents. I'd imagine that she'll get over it and in years to come will find it's a lovely momento. Give it time 🙂

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.

I guess it depends how run and gun the job is. I always manual focus but I am probably behind the times.

Shhhh.... don't give away my secrets!

They bought Fairchild (original BM cameras) and Truesense/Kodak (Digital Bolex) too but the lineage of the Arri stuff is definitely from Cypress as both the D-20 and the Alexa had a Cypress sensor https://web.archive.org/web/20101230013456/http://www.businesswire.com/news/home/20101220005251/en/Cypress’s-Industry-Leading-CMOS-Image-Sensor-Portfolio-Designed Its a bit of stretch for that press release to be claiming those were jointly developed with onsemi as they didn't actually buy the sensor division of Cypress (which was predominantly FillFactory who Cypress themselves had acquired previously) until a year after the Alexa had been released and six years after the D-20 was released. In that respect, its a bit like BMW claiming they developed the original Mini Cooper because they now own the company that did. FillFactory were based in Mechelen in Belgium and as onsemi offer CMOS hardware design jobs listed at the same site then I suspect that, as with the previous cameras, the current Arri sensors are still physically being developed in Belgium rather than the US, albeit with funding from the US parent company of course. https://onsemi.dejobs.org/mechelen-bel/hardware-design-engineer/1025F288A9BF4AC584B993271B8E9BC2/job/

No, no, no, not at all. Its just a covincidence 🙂

It might be worth renting one to verify what the experience is like? One gotcha from the Komodo is the cropping for alternative resolutions and higher frame rates - not sure if that's an issue for you, and I can't recall if it also afflicts the C70? I don't think I ever got a straight answer on if the Komodo could shoot Prores at lower resolutions by downscaling internally, which might be worth considering if you're not always shooting 6K. From what I've read the Achilles heel of the C70 is the screen, which if you were planning to use it with an external monitor would close the gap between the two in terms of rigging etc. Personally, For run-n-gun stuff I always keep the camera rigged up and ready to go if possible. I know lots of shooters will tear their rig down for flights etc, but will build out the rig prior to the shoot days and have a bag or case that can take it rigged up and they'll use that to transport it to the shoot location so there's no rigging occurring on set. I'm lucky with my smaller setups, but I'd be shifting that stuff away from shoot days if at all possible.