Andrew Reid

A quick present-day update... Here is the Sony a9 which doesn't have S-LOG, which was originally a decision to protect the A7s line. It does however shoot very good oversampled thick 4K H.264 100Bit files that are some of the best I've ever seen even given the relatively high compression by today's standard. In the graded version all the colour casts are gone. A lot more shadow detail. I'm really happy with it and starting to think missing S-LOG isn't such a bad thing.

Ages ago I made some LUTs for the standard rec.709 pic profile on my Panasonic GH4 and LX100 which did lovely 4K, alas this was before V-LOG came out. The LUTs were correcting the standard dynamic range files to make them appear more Canon-like in terms of colour science (Panasonic and even Sony have come a long way since). Digging out these comparison shots... If you view these full size and download the originals, take a look at the book cover in particular. Just shows how even a small change in contrast can dramatically improve tonality in the mids and skintones. This is why I think there should be more SDR LUTs for standard pic profiles. It's amazing what difference they can make and how much you can do with an SDR 8bit 4K file.

Great info @ac6000cw As you can see from the DPReview OM-LOG400 test chart Olympus went for Bart Simpson 701 Space... Big yellow-green shift in the reds and skintones. So any LUT which addresses this before adding further grading would be a nice find.

1.0x crop full frame 4K Cinema DNG frame: 1.3x crop (oversampled from 7K to 4K) Further crop-mode 4K frames all the way to 2.5x crop: Still a native 4K resolution RAW video file at the end... As you can see there is a slight bump in detail between 1.0x full frame and 1.3x crop mode when the oversampling kicks in but given the pixel binned full frame, it ain't bad is it? And this is why the Fp-L beats the OG Fp for me... that juicy 60 megapixel sensor.

Welcome to the forum sir!

I think the usual gear rationale applies more to the Sony, Canon, Panasonic stuff. The Sigma Fp-L stands apart as a different thing. Cinema DNG is proper raw and has been removed from Blackmagic's line, and is a non-manufacturer addition on the Canon DSLRs which leads to some usability issues shall we say. Not for one moment a criticism of Magic Lantern RAW, but the Fp-L does Cinema DNG officially, reliably, in 4K and without the flappy mirror. Had the Fp-L tried to be a Sony replacement for work, of course it would fail. It lacks the best in class autofocus, IBIS, mech shutter, the screen is fixed and the EVF is a clunky add-on. But in my opinion it ain't trying, it's an art-cam. S9 is undoubtedly a bit more convenient - flippy screen and IBIS, but it doesn't have the resolution, proper internal RAW or 60 megapixel sensor that the Fp-L gives us. I remember shooting with the Digital Bolex and preferred to move it handheld because of the motion cadence, global shutter, something about the CCD, it looked great without any stabilisation. It is similar with the Fp-L as long as you dial in the 180 deg shutter. Overall I preferred that Bolex handheld look to a smooth modern H265 codec with IBIS handheld. I haven't quite decided what factor the global shutter played in that, but there was something so cinematic about it that you didn't need the usual IBIS / AF crutches with it... Very strange, and hard to describe why. The aim is to do the same with the Fp-L... Super 16mm with a pistol grip and no stabilisation. Add some halation in post with Film Convert and you basically have a film camera that uses SD cards. I also realised something else with the Fp-L, I don't really like LOG. I don't like shooting it with a crappy gamma assist and don't like grading it much. With Cinema DNG the grading is much more enjoyable, it pops from the offset and saves you hours of fiddling about. With it being proper RAW and completely debayered off-camera, the colour is so good... 8bit doesn't hurt it, it only means you have to get your exposure right first time out. Then again, if you have to lift your shadows 5ev in post one did something very wrong in the first place, lighting and exposure wise, and a high dynamic range final cut is always at the expense of colour, contrast tonality. The only drawback really is the slightly high rolling shutter, rather than the lack of IBIS or class leading AF (it's phase-detect, same sensor as a7r V but the autofocus processor is more simple).

The AF and stabilisation are lacking areas on an Aaton and Arriflex too though 🙂

I have tried the larger Pana lenses on the Fp and even Canon EF stuff with the MC-21 adapter and didn't really feel the mojo, handling wise. I think it has to work best with very small lenses like a Micro Four Thirds camera or a Leica Q. I have a grip on it, it helps but I still much prefer it with small primes. However I think the new Sigma 18-50mm F2.8 L-mount could be very interesting on it, the attraction being you can put that in Super 35mm oversampling 4K Cinema DNG mode, and use it like a vastly upgraded OG Blackmagic Pocket Cinema Camera. If it also had OIS that would be icing on the cake. I am also interested in the Sigma 24 F2, 35 F2 and 50mm F2 small full frame primes for it, these are A) affordable around the 500 euro mark second hand and B) about as small as the Leica Q3's 43mm This means you get a Q3 (same 60 megapixel sensor), in same small form factor, that just happens to shoot internal Cinema DNG like it's 2014 and Magic Lantern hacked. It may not be a typical 'work camera' but that combo of Q3 + Digital Bolex is what lights my fire when it comes to the Fp-L. And the image is splendid. Much better than a GH6 or OM1. If we had been offered this combo in the GH1 days... I dare say we'd pick the 60 megapixel full frame camera with internal "proper" RAW video. It is frankly unbelievable that it is only a tad bigger than the venerable GF1. The technology to make this happen is astonishing and I don't know why it doesn't get more hype. Especially on these forums where we have a focus on the artistic filmmaking side and RAW video. Sigma are really flying under the radar with the Fp-L, it's even more underrated than the S9!

This guy has talent... This is shot on the Sony a1 and an RX100, and it's very nice. But then a funny thing happened... I discovered his Super 16mm stuff and liked it even better, although you have to appreciate it on a big screen for the texture, and not a phone. Film, being film has an imperfect nature. So more emotive. Now in the current digital camera landscape, full frame is king. And for a good reason. But what if you could have both Kodak Vision3 Super 16mm and full frame in one camera... Now, I considered the OM-1 as a Super 16mm 4K camera, because I very much liked the E-M1 Mark II since forever. The OM-1's OM-LOG however has a bit of a thin tonality, and is it a bit tricky to get looking right. Lovely ergonomics and EVF though. Now the Sony a1, has the resolution to do a 4K Super 16mm crop (close to, it's actually Micro Four Thirds at 2x-ish which is good enough for most c-mount lenses longer than 25mm like the Kern Switar 26mm F1.1, work of art that it is). The a1 I had but ended up selling to somebody far richer, because I feared it would depreciate from 5 grand to something like £1. This hasn't happened yet, as the new one is 7 grand. Anyway, sod Sony and their pricing... Doesn't shoot internal RAW anyway. Now N-RAW, BRAW, Canon RAW, I have tried them all, and to my eye at least they all look like H.265. There is just something so smooth and perfect about the modern faux RAW that it kinda defies the point, RAW should be raw and not processed. Those codecs are heavily processed and the file sizes are ridiculous. There's only one RAW format that has come close to FILM to me and that has always been Cinema DNG. Starting way back with the original BMCC and Ikonoskop, uncompressed 2K Cinema DNG. Following on from that the miracle of Magic Lantern RAW video, with the 5D II going from some very dodgy 1080p H264 to the best ever looking 1080p Cinema DNG RAW which still stands up today for tonality, grain, texture, micro contrast, motion cadence and colour... you know, all that stuff which gets chucked away in N-RAW! Then the 5D Mark III upped the ante to 3.5K RAW eventually, at 24fps in 10bit. The drop to 10bit didn't hurt it much. A little noisier in the shadows, but worth it for the huge resolution bump from a 1:1 sensor readout, which did away with the moire or aliasing without the need for a Mosaic Engineering AA filter. Then the Sigma Fp came along, but the first model has two drawbacks. The first is that it doesn't have the resolution for Super 16mm crop in 4K. The second is that the 4K RAW appears to be binned. It's a bit funky looking. Now the Sigma Fp-L has a 9K sensor instead... a whopping 60 megapixel. But I have not used it much... the reason being, I haven't quite found a lens that really suits it... Then I thought, well it has the best crop modes of any camera, and stays in those modes when you cycle the power or switch between stills and cine... Perfect for C-mount, Super 16mm stuff? It has a nice oversampling in these modes, from 1.3x crop to 2x... Sampling upwards of 7K down to 4.8K, which makes for some very finely textured UHD Cinema DNG footage, superior indeed to that of the first model. (It also adds into the mix phase-detect AF but it doesn't work very well) Now the Fp-L I thought could work well with my C-mount stuff and indeed, it fucking does. But I also think of adding a Panasonic OIS lens to the mix, for handheld run and gun Cinema DNG. So the 28-200mm looks attractive and yes, slow aperture but it's absolutely tiny. This tiny-ness is very important for the Fp-L, as it feels naff with big heavy lenses. And the Fp-L is very good in low light, because the sensor is enormous - the high megapixel count doesn't really hurt it, same with the Sony a1. The 28-200mm also adds OIS... the all-important missing stabilisation on a non-IBIS camera. So I think I have found the best full frame proper RAW camera that is best able to emulate the look of proper Super 16mm film and work with c-mount lenses, and offers you a full-frame walk-round zoom camera as well... And that means best of both worlds in one small affordable tool. Pop a 28mm F1.4 on there and it will also do a very good Leica Q3 impression. We may moan about the lack of IBIS and LOG, but then a Bolex doesn't have these either. And just think about the absolute massive pain it is to shoot with a Bolex and the expense you save going with a trusty Fp-L! Food for thought. .... The 8bit Cinema DNG to SD card is actually really good BTW

It's not filmmaking, he does gameshows. Anyway, this whole thread is a pile of crap and is locked so that it sinks into the gutter where the guy belongs, bye bye.

I think the E-M1X remains an underrated beast. The OM-1 has the better EVF for sure, and is smaller, but for some reasons the files look a bit thin in 10bit. Also there's no detail advantage over the E-M1X with both set to Cinema 4K. What's more the E-M1X doesn't take a hit in 8bit Cinema 4K. It has no 10bit but the 8bit is doing a full pixel readout, whereas the 8bit modes for Olympus colour science niceness on the OM-1 result in an inferior image. So although it's nice to have a stacked sensor with decent EVF and 4K/60p, the E-M1X is better value for money and arguably nicer on the ergonomics side too, if you just want to shoot super-steady handheld C4K 24p. OM-LOG and Flat grade ok in 8bit. That said I think I saw some OM-1 bodies for around just 1000 euros recently so maybe it's worth considering one too. Nicer for photography than the GH6 that's for sure.

Is this the same camera modules including the very impressive mid-tele lens as the X100 Ultra? A lot of very good stuff is happening, but a lot of it is China only at the moment too. That's because Samsung and Apple have the Western market dominated in a duopoly and both lag behind the Chinese manufacturers when it comes to the cameras.

The 3.5K image with Magic Lantern RAW video on the 5D Mark III is a truly beautiful image. Might be interesting to compare it today to Sigma Fp-L Cinema DNG, the EOS R5 Canon RAW 8K and Nikon N-RAW.

There is no way he spends the kind of money he says he does, it's all corporate handouts and sponsorship deals. He does not go and buy so many GoPros, doesn't make sense not to rent or get them from the company themselves for free in return for the publicity, so that's his bullshit busted on that front and it's similar in many other ways. That said I haven't watched what you've posted because it's a load of bollocks and I don't see really what your love affair with Mr BEST has got to do with this forum anyway.

I don't know how the fuck he affords this shit.

Older cameras with great JPEGs: Sony a900 Canon 1D C Nikon D3X Nikon D700 Olympus E-1 (Kodak CCD) Hasselblad H3D-II 39 (Medium Format Kodak CCD larger than GFX 100) Leica M Typ 240 (a unusual CMOS made in Belgium) Leica M9 (It's that Kodak CCD again) Samsung NX1 (OK mirrorless and newer but still banging)

Aside from those very odd Pentax users I'd like to wish everyone a very Merry Christmas, and a happy new year resolution of buying more cameras. What is on your wish list and how are you spending the Christmas holidays? 👍

It's not line-skipped. Pixel binning is the modern way of subsampling high res sensors. As for the video rolling shutter and AF tracking, I look at it like this... There are a gazillion options for good AF and good rolling shutter, sometimes you can't get everything perfect in one camera. The GFX 100's image however is unique - there are not a gazillion options with this image or sensor size. It's a pleasure to use for certain kinds of video shooting. You also have the faster rolling shutter of 15ms in 24p 4K on the GFX 100 II if you turn dynamic range priority off. So they have addressed the need for a faster readout on the second model. I don't consider 26ms too ruinous, the a6500 and NX1 were still usable at 30ms, just not for certain things. At 38ms in 8K on the a7r V, that's when it really starts to be more noticeable for all sorts of stuff. 26ms is closer to the 1080p line skipped 5D Mark II which a lot of nice stuff has been made with in the past. Z8 is a great hybrid, no doubt about it, but it isn't the same sort of tool. A 50mm F1.8 looks very normal on full frame, whereas on the GFX 100 it takes on an other worldly quality like a Leica Noctilux. It's that big a difference. I would choose the GFX over Z8 for photography any day unless I wanted a sports & wildlife camera with big telephotos. The video specs are fine, if you can't create something incredible looking with 4K, 10bit, F-LOG, IBIS, and a sensor the size of an ALEXA 65 then god help u all.

Mine too, and in that video Sean says there's a proper camera coming but of course nobody has any idea when. He is against the regular 2 year release cycles and things like that. Here is the big problem for Panasonic though... Even if they do come out all guns blazing with an S1H Mark II, it's doubtful they'll fit an ND filter behind L-mount, and most customers will be even more locked into a rival lens mount like RF or Sony E than they were 6 years ago. So the S1H Mark II could be really really good... It could be a stacked sensor 8K camera and nobody will really care as they won't have any lenses for it. If it is to be truly radical, new sensor technology, groundbreaking specs, under $3500 and cutting edge fundamentals like autofocus, then Panasonic's margin will be thin and people still won't buy it due to the lens mount, although this way it might get some of the faithful to upgrade from their Lumix S1H OG. And it's the same problem with the S1, S1R successors. I think Panasonic's problems run deeper than we care to admit on this forum. I think they're fucked.

You mean Super 35mm. It's not called APS-C in filmmaking. Sony have not abandoned crop sensor customers... it's the other way round, customers abandoned Super 35mm. There's been a big shift to full frame. Surely you have noticed this. There's not really a very big Super 35mm range of E-mount lenses from Sony, it's all about the full frame cinema lenses now. Also with a full frame camera you get both formats in one sensor. Has been this way since the a7r II. There's no need to box yourself into one crop sensor format any more. The FX30 was a very nice gift to people who still prefer Super 35mm, and wanted a lower-cost solution to FX3. Just use a crop mode instead. The FS7 II is still a current model. https://pro.sony/en_UY/products/handheld-camcorders FS5 II is still very capable as well. A lot of those who need a crop sensor might be better off with a 1" camcorder anyway. Canon C70 would also be a good option.

Also, to be fair to Sean... They haven't given him very much in terms of resources for these broadcasts. As an official company spokesman, the first videos were done from his bedroom. Which shows how little these large corporations invest in their staff, even senior ones.

Sean is more senior in Lumix's marketing than people think. The idea for Lumix Live was well meaning, but there's something wrong, as they barely get 800 to 1.5k views per live broadcast. https://www.youtube.com/@LumixUSA/streams This points to a lack of joined up strategy and not making use of their overall reach as such a big company with so many social media channels. Or perhaps the content itself is just not compelling enough. As the main social media marketing guy at Lumix USA, Sean probably has to shoulder some of the blame for that. The strategy isn't working.

The Fringer works the best, much more reliable, dependable than the Techart with really the peak performance in terms of AF, but beware going wider than 40mm as you will see vignetting on a lot more lenses, especially the 24mm f1.4. You can shoot 35mm crop mode (full frame) on the GFX 100 but not in video mode. Minolta MD and A mount lenses work well but for autofocus you need that Fringer EF adapter.

If the Wish camera had a 10mm F2 prime on a 1" flagship smartphone sensor and shot 4K and RAW stills I'd probably get one myself for $150!

With a lens? I don't think so.