Leaderboard

Beautiful video. Title is giving the price of the F35:) The description got right though. Love again, how camera motion looks with several focal lengths. Great video, beautiful image quality. This video is a labour of love and the DPs voice sounds like from the Media Devision gentleman. If that is not a Sunday evening treat, I don´t know what else would be. Tell me in the comments section. Nooot:) Btw, Fujifilm imprint on the board of the camera. How cool is that! And no chroma smearing this time! 😉 I feel you, cause I feel the same. 🙂

this is fascinating itll be in motion soon in amazing ways, this is after effects (etc) in 3 years. itll be soooo crazy /the vfx will be INSANE!!! itll be awesome for ppl with unique ideas, but v bad for a lot of ppl. what about truck divers? what say you @Kubrickian @tupp @mercer

Yeah, they're pretty remarkable. Zooming out is an easier task as often the edges of the image don't include people, are often out-of-focus, and are usually of little consequence to the viewer of the image. My take on AI image generation is that it will replace the generic soul-less images that are of people that no-one knows and no-one cares about. It'll be sort-of generated stock images. I think it will be a very very long time before anyone wants AI generated photos or video of people they know rather than the real thing, except in special cases, just because they're not real. AI has been good enough to write fiction for literally decades, but hasn't overtaken people yet. Reviewers thought this 1993 romance novel was better than the majority of human-written books in the genre: https://en.wikipedia.org/wiki/Just_This_Once

No idea about that one. I have a Ring doorbell, and you'd be better off setting up the telescope system in the bunker from Lost rather than using one of those.

One major thing that the LX10/15 has over the RX100 series is the f1.4 minimum aperture on the wide end. The RX100 series have the sLog profiles but this is mitigated on the LX10/15 if you install my Cinelike D hack. I actually prefer just having Cinelike D as its easier to deal with in a casual camera than sLog having to be exposed at ISO1600. You can add ND to both of course using stick on filter adapters but having to reduce from ISO100 instead of ISO1600 it a lot less problematic in terms of not getting X pattern artefacts etc. Everyone should just get an FZ2000/2500 though as it really is a powerhouse and, if we were brutally honest with ourselves, probably as much of a camera as many of us actually need 😉 Its a bit chunky though so a combination of that and the LX10/15 would be great for travel where the LX could be used where discretion is required but at minimal additional weight with the bonus of the flexibility of two matched cameras (using Cinelike D) instead of one.

Ah! When I read "S16 sensor size pocket love" and I saw the lovely organic colour grade I took the word "pocket" to mean the OG BMPCC... You did very well! The more I learn about colour grading (and other post-production image manipulations), the more I realise that the potential of these cameras is absolutely huge, but sadly, un-utilised to the point where many cameras have never been seen even remotely close to their potential. The typical level of knowledge from solo-operators of cameras/cinematography vs colour grading is equivalent to a high-school teacher vs a hunter-gatherer. I am working on the latter for myself, trying to even-up this balance as much as I can. As you're aware I developed a powergrade to match iPhone with GX85 and it works as a template I can just drop onto each shot. Unfortunately I am now changing workflows in Resolve and the new one breaks one of the nodes, so it looks like I will have to manually re-construct that node, which I have been putting off. I've also been reviewing the excellent YT channel of Cullen Kelly, a rare example of a professional colourist who also puts knowledge onto YouTube, and have been adapting my thinking with some of the ideas he's shared. One area of particular interest is his thoughts on film emulation. To (over)simplify his philosophy, he suggests that film creates a desirable look and character that we may want to emulate, but it was also subject to a great number of limitations that were not desirable at the time and are likely not desirable now (unless you are attempting to get a historically accurate look) and so we should study film in order to understand and emulate the things that are desirable while moving past the limitations that came with real film. I recommend this Q&A (and his whole channel) if this is of interest: As I gradually understand and adopt various things from his content I anticipate I will further develop my own power grades. I'm curious to see how you're grading your LX15 footage, if you're willing to share. Wow, that is small! I'd love something that small.. it's a pity that the stabilisation doesn't work in 4K or high-frame-rates. Having a 36-108mm equivalent lens is a great focal range, and similar to many of the all-in-one S16 zooms back in the day. I love the combination of the GX85 + 14mm f2.5 + 4K mode crop as it makes a FOV equivalent to a 31mm lens. I used to be quite "over" the 28mm focal length, preferring 35mm, but I must admit I did find the 31mm FOV to be very useful when out and about, and having the extra reach is perfect for general purpose outdoor work. I want to upgrade to the 12-32mm kit lens, which gives the GX85 a 26-70mm FOV in 4K mode (and 52-140 with the 2x digital zoom for extra reach).

New teaser to replace the previous one on Kickstarter: https://drive.google.com/drive/folders/1if6N08m5xBfgUMILeG3KSEvmnbGPPFHg

Back when the F3 first came out then it would have had lots and lots of Hollywood stars in front of it. A sad day, but fair enough, my F3&FS7 doesn't get enough work either. I'm too busy working heaps in the Sound Dept instead (and even worse, I'm back studying full time too! I really don't have any spare time to play around with cinematography now)

@PannySVHSi wanna see your shoot with the F3 😏