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It’s impossible to have a one size fits all LUT or else we would all be buying it. There’s so much variation in lighting and even sensor to sensor copy variation. Most people don’t realise that the color of a lens is usually DIFFERENT you shoot it wide open compared to three stops down. There’s no magic bullet for this. AI can maybe take over the color balancing at some point. Maybe.

I was thinking the other day about how almost all lenses look best wide open. So if it's a full frame F1.4 lens you see most clearly the rendering it has wide open rather than say, F5.6. The advantage of a 2x crop sensor is that you get to shoot wide open and see more detail in backgrounds. You take, say a 10mm F2.0 micro four thirds lens, it has the look of F2 but the deeper DOF as well so the setting isn't completely creamed out. If you have a really beautiful setting, you don't want it to be invisible and just bokeh in every shot. So you could stop your full frame lens down to F4 or even F8 but then the whole character of the lens is lost and they all look uniformly pretty much the same beyond F4. I think it begs a comparison... I might do one soon. Take a Super 16mm 26mm F1.1 lens on a GH6, and compare it to a 50mm F1.2 on full frame, and also the same 50mm but stopped down to F2.2 to match the equivalent aperture of the S16mm lens at F1.1 wide open. On the otherhand, the advantage of full frame might reveal itself more clearly when the focus distance is further out, and the subject remains a little bit separated from the environment, whereas on the 2x crop camera they'd be on the same focus plane, 'infinity' might start from about 3m outwards. I understand the appeal of medium format, 65mm, large format cinema cameras, full frame, and so on... Just think that 2x crop is not without merit and can even serve the story better in many cases.

All depends on the lenses really doesn't it... Canon Dream Lens, you wouldn't use that on 2x crop, would lose the whole point of it. And there are c-mount lenses that make a lot of modern full frame lenses look flat and boring. So every format has cinematic lenses, but the point is that with the larger formats you have more subject isolation, which could suit the shot or not, it all depends on the scene.

If you want to go full on cinema with a phone, get Motion Cam for 4K and even 6K RAW recording on certain Android phones. The best options for that are quite cheap. Oneplus 8 Pro for example If you want the convenience of H.265 get a Xiaomi Mi 11 Ultra and install Mcpro24, hike up the bitrate and shoot in 6K mode. Avoid the stock camera apps on Android, compressed, oversharpened, and 8K that isn't anywhere near 8K. iPhone shoots good video using Blackmagic's app. Stock app is vastly superior to the Android stock camera apps for video. ProRes for a start! Avoid Filmic Pro. It's a rip off and Mcpro24 is a lot better. Finally, look carefully at the older models before jumping in with latest and greatest (S23 Ultra for example, is a waste of money). The Xiaomi 12S Ultra has a 1" sensor and definitely outperforms Samsung in every way. The iPhone 15 Pro Max is tempting for Apple LOG though.

Before I started to develop the Rec709 conversion for the SIGMA fp I did quite a bit of research on how different manufacturers are creating theirs as a starting point. One of the main ingredients seems to be that after the tone mapping of the cameras dynamic range into Rec709 nearly all manufacturers LUTs have a baked in default contrast around a pivot point of middle grey. This looks great in a controlled studio scene, because it will be quite punchy out of the box. Additionally, it is hiding shadow noise because it will push these down as well. However, in reality this means you are always pushing highlight information much higher by default than you would need to. Same goes for the shadow details. So usually the first post step would be to counter this effect. My conclusion out of this was to create Rec709 LUTs, which are only tone mapping correctly and possibly create a smooth rolloff. Contrast has/can be added in post around a custom pivot point, or by adjusting the curves. Let me demonstrate that effect on some sample stills, guess that is easier to understand. SIGMA fp Rec709 LUT (only colour and tone mapping into Rec709): SIGMA fp Rec709 LUT + default contrast at a pivot of 45 IRE (intentionally a little bit too much to show the effect): SIGMA fp Rec709 LUT + custom contrast at a pivot of 75 IRE Guess this is one of the main reasons so many professional colourists are using CST/ACES workflows, to have a better starting point compared to manufacturer Rec709s. Maybe this information can provide useful for some of you. 🙂

I'm thinking I'll grab either the 12-140 or the 12-60mm 2.8-4 in time for my next trip, whenever that ends up being. If I add it to the cost of the trip then maybe the wife won't notice! They're similar in size, and I'm not sure how much I would miss the extra extension TBH, but a bit of extra low-light might come in handy perhaps. Although there is a small difference in price...

It's true, the lenses are where MFT really sticks out. I've gotten one of the Panasonic 14-140's recently to pair with the OG BMPC but it really is a valuable lens on any MFT camera. I got the second version which is a better rated lens. It's also really cheap if you wait and find a good deal.

Not much else to invent around, that's it : ) My choice on mobile side though would include the upcoming Osmo Pocket 3 anyway, available just in a few days... ;- )

You essentially have two separate routes: - MotionCam based on Android for raw aquisition; or - iPhone 15 Pro Max; not much else.

Sat having a quiet afternoon pint and browsing this thread. What a great thread it’s been and I hope we can all wake it from its semi slumber.

Not sure about the first part of your statement there Mark but agree with the second. Lumix’s option for the S5ii and S1H is not great and I recently took a look at Nikon’s on the basis I might be going there for video (possibly) on top of the stills (definitely) and from the examples of theirs, it was horrendous. I’m not sure why they don’t just pay someone with clearly far more skill than they do for this kind of thing as after all, what would it cost (very little) and we’re talking global releases here. I’m sure if any brand popped out a stellar conversion LUT and a series of great conversion LUTS, they’d sell more cameras. Which is kind of the point is it not, to sell more stuff?! I am interested in this topic, though not quite to the level of some, but will be exploring it more over my off season whether I stick with Lumix or go Nikon for my video needs. Especially if I go Nikon actually as I’d be starting from scratch and at a place I am mostly happy (or know what I need to do) with Lumix.

I don’t find the tone condescending at all. And color correction can work for opportunistic shots just as well. Maybe even better. I see so many LUTs being advertised packaged and sold and it’s actually not THAT hard to create your own unique individual look with only a little bit of effort. The thing no one seems to talk much about is MATCHING a look shot to shot. That’s where it gets difficult. And that’s where you are helped or hinder by the person shooting it.

Leaving aside the condescending tone (really, we all need to learn color grading because we do not do it?), I agree with the OP that none of the default LUTs or transforms to REC709 are satisfactory and adjustments in post are almost always needed. And the examples are useful. For the opportunistic video I shoot, for which it is impossible to set white balance manually and catch the shot, I use auto WB. And WB that is off is the number one problem with the ungraded but transformed clips. This is one reason why I shoot RAW, because WB adjustments are always needed. The examples given seem to be of studio shots with controlled lighting and time to set everything right in the camera, and so are good examples of the pure inadequacy of the transforms shot correctly (although one looks underexposed). Generally, after transforms and WB adjustments I find saturation needs boosting as well as contrast, but skin tones are usually ok. For real RAW, sharpness needs tweaking too. The aim of course in my case is to mimic reality (the illusion of reality). None of this makes me an expert in color grading, and I am still learning some skills, but it has been enough to get positive "wows" from viewers seeing 8K 60 fps representations meant to convey they are there.

Very true. As someone who has fielded 5000+ enquiries and booked 800+ of them over 20+ years, I can identify with the process. Provided your work is of a standard and potential clients can find you, it very much comes down to; price, first point of contact, followed by connection. I have a question on all my contracts which asks why they specifically chose me and the result is a pretty consistent: "Love your work, exactly what we are looking for", (happens prior to any form of contact or me even being aware of their existence, ie, them finding my on-line or social portfolios). "Speed of response". If I am still awake and an enquiry comes in, I will at the very least personally acknowledge receipt and interest and a promise to get back to them at a specific time such as "first thing tomorrow AM". I know some use auto-response software, but I never do and keep it personal at all times. "Clarity of information including pricing provided". When you reach the point someone asks, 'how much?", simply tell them how much or more often than not, you will lose them at that point. "Personality, - we felt we clicked with you straight away". Often the job will go to the person/company they click with first, or at least gives you a massive advantage going forward. The above are not necessarily the exact words or phrases used, but more or less exactly what they are saying every time. And in case you think 800 from 5000 is only 16%, "so what about the 84% you lost?!", there are many reasons but no excuses including; Price. Cost is the biggest one by far. The vast majority enquire (or inquire if they are American) often with little to no idea what my type of services might cost. For most, it is above their at the time projected budget and that's fine. Style. Extremely rare. They are unlikely to even make contact in the first place unless they liked your shit. Not a good fit. That one is a hard one for me as in it's very difficult for me to put off, never mind say no to a potential client, but it happens occasionally. Simply not available in the first place. That is around 20-25% of all enquiries. Finally, I don't like the sound of their job so turn it away at their first point of contact. Currently, over 50% of enquiries immediately go politely in the bin. My enquiry to booking ratio of the actual jobs I want is somewhere between 75-90% so I think quite good actually. As Kye said, if this kind of info helps anyone, particularly noobs trying to get into business, good. Quite simply, showcase what you want to be booked for. Keep clarity a priority. Don't put obstacles in the way for clients you'd like to book. Always be honest (as you can be) and certainly not deceptive or desperate and accept you can't book them all!

The tips for networking I've learned for networking in the corporate world (which is likely to be broadly similar) are: Be brief - people like it when you respect their time Say something in the message that is unique to them - this shows them you haven't copy/pasted to a million people Tell them why they might contact you Tell them how to contact you Tell them how to check out your previous work A message as simple as "Hi - I loved your work on project X, I do sound on similar projects. I'd love to work with you - if you have something coming up get in touch! <link to bio>". What I learned about networking: People hire people they get along with, skills are necessary but are a secondary consideration When meeting people, establish rapport with the other person first, ask questions about their own work and projects, don't talk about yourself or pitch unless they ask If you can solve a problem for them or give them advice (that is welcome!) then you'll stand out and be seen as useful If they ask about your work, don't embellish or diminish it - successful people can often tell when people are bending the truth (even on gut-feel) and its an instant fail Focus on understanding their situation and challenges and try to help You probably know much of this, but in case you didn't, and also for the lurkers, thought I'd elaborate.

Well you can buy and try iPhone 15 as your main camera. There is no better way but to try it personally. My limited experience with iPhone 14 Pro and more extensive with Android RAW showed me that smartphones as cameras have many limitations. The list is long. At the end it is a simple choice: Can you live with and/or work around all those limitations or not. For me answer is clear: I can't and don't want to. I prefer the inconvenience to lug 1 to 2 kg of equipment more for several kilometers, but have great experience shooting rather than the other way around. Here are some examples: When testing iPhone 14 Pro as a camera I used it as GPS navigation too. Mounted on the front dashboard of my car in sunny spring day with temperature around 25-27 degree Celsius it overheated and shut down. Had to stop my car and swap it with my Android phone. It took more than 30 min for IPhone to cool down and be usable again. If you want to have some decent footage you still need ND filters, this means a special case or cage for iPhone as minimum plus probably a handle. How long will the battery last? So maybe an external battery too ? Or external SSD ? But both can't be used at the same time. 🙂 You see, if you want a semi decent footage and shooting experience, you still have to prepare and take several other items, spend time planning, etc. With time and experience for me the weight of my camera bag up to a certain limit is at the bottom of my inconveniences and concerns. As a camera that is always with me, in my pocket though latest generation of Android phones or iPhone 15 Pro are something that I can't resist. 🙂 Another case to use them would be when I go out for a day or more and am not sure do I want to shoot something or not, will I have the time or not. Having a smartphone as a camera + maybe a case with ND filters for those casual shoots is great.

Last weekend was shocking. Absolute pure evil and terror. A brutal loss of life in Israel. It is understandable they are out for revenge, but it should be Hamas and terrorist groups that get wiped off the face of the earth. Not women and kids. A lot of binary views out there, with people taking sides, that's the nature of war I suppose. This isn't my war. And it isn't even many of theirs. There are so many civilians in that part of the world who want nothing to do with Hamas and just want to live peacefully in their home without the threat of Israeli bombs falling and occupation. Surely we can all agree on this - that women and children should be spared. The Israeli government doesn't seem to want to do that. Many of the young Israeli victims at the music festival who were slaughtered in the prime of their lives also sympathised with the NORMAL people in Gaza who are NOT terrorists. Most people are not in nodding-dog mode USA-government style total adoration of the Israeli government and their politics. I also think it is darkly ironic that so many on the extreme socialist left of Western politics and even many in the LGBTQ community seem to want to think of Hamas as heroic freedom fighters. Actually if these people ever came face to face in reality with Hamas they would be the FIRST in line to get beheaded. I despise the actions of both Hamas and the Israeli government. Palestinian civilians as mere collateral, the occupation of their land, it is all so wrong. Before wiping out terorism in Gaza there should have been a MASSIVE humanitarian effort to evacuate the civilian women & children population by sea. By going ahead with a ground-invasion possibly as early as this weekend, is the Israeli government comfortable to be seen in the eyes of the world to be committing genocide? Does it want the death of nearly 2 million innocent people on their hands and to lose the support of the world's public? Yes they are entitled to destroy Hamas and defend themselves so that what happened last weekend will not be repeated. No, they cannot be allowed to take senseless revenge on Palestinians by bombing kids in their beds, it is the stuff of war crimes. Hopefully people in a binary view, blindly supporting ONE SIDE against the other will be able to come to terms with the fact that no binary argument is ever valid in war. As for the West, we seem to be standing by without any plan whatsoever to get the civilian population out of Gaza to safety. We are sending the navy, warships, no rescue boats, no proper safe corridor into another country, nothing. Of course it would be a big logistical effort, with massive number of security checks, but even a few large ships could save thousands of lives, even if you just take children or those under the age of 18 and their mothers, sisters, brothers. Leave the Hamas hardcore fanatics to fight, and get the kids out of there...