QuickHitRecord

I was way off. A testament to modern phones, or possibly how much footage can be disguised if it's softened and grained out. I did notice the IBIS in some of your shots, which lead me towards the GX85 speculation.

Nice work! GX85?

Me, or the OP? I liked his grade too. For mine, it looked terrible OOC -- it always does with this camera. I just tweaked it until I got something I liked. I think I used FilmConvert on this (probably the second Vision3 option). Heavy grain does wonders to cover up an image that's been pushed beyond its comfort zone. And then I think maybe some flicker and film dust over top to help cover it up even more? I'm pretty sure that was it.

@PannySVHS Thanks. This one was one of my favorites too. She wrote the words and I shot the visuals, and then I did a same-day edit -- it never had a chance to overstay its welcome. The FZ-47 isn't equipped with wifi at all. I was able to get into the service menu once in the hopes of switching it over to a 50Hz/PAL camera (currently, it can only record 29.97, but I wasn't successful in doing that either. If there any avid camera hackers here, it would not be difficult to source an FZ47 to experiment with!

Great to see another FZ47 video! I like your treatment of the footage a lot. It looks different than just about everything else (obviously CMOS cameras, but it also stands apart from any of the HVX/ZIU/etc crowd too). Here's an earlier edit without Topaz: The image quality is riddled with problems, but I still find myself drawn to it. I agree with @PannySVHS; the video on this camera would have been a much more compelling feature with a higher bitrate. I wish this camera had been one of the Lumix bodies to be hacked back in the day.

I have control over AF speed with my Canon 24-105mm f4 ii on the C70. Don't know about the first version of the lens though.

Pretty cool! I had forgotten about that project. I'm glad that they are still out there. I checked their demo footage and it looks great. I went back to the Apertus homepage too. There two updates in the last year, and the most recent was five months ago. Maybe there's more going on than I realize, but they seem to have lost a lot of momentum.

Sorry for the redundant topic. I ran a search for it on this forum but didn't see anything. Maybe they weren't calling it "Cinepi" yet.

For anyone who wants to learn more about this project, here is the development thread: https://forums.raspberrypi.com/viewtopic.php?t=296776

Someone has been working with a Raspberry Pi high quality camera module to make their own 1/2"-sensor open source, raw-capable cine camera: Placed into a 3D-printed body, the components reputedly only cost $200 (this probably assumes that you already have a monitor of some kind). The demo footage is surprisingly good:

There aren't that many. Off the top of my head: Sony F35 - Super35 Sony SRW-9000PL - Super35 Sony Genesis - Super35 Digital Bolex D16 - Super16 Ikonoskop A-Cam dII - Super16 And then you get into 2/3" CCDs, and there are a ton of those. Here's a good place to look for the Sony models. On the Panasonic side, there were the HPX and Varicam bodies. Toshiba, JVC, and Ikegami also had 2/3 CCD cameras, but they were mostly standard definition. There were a handful of 1/2" CCD camcorders, mostly from Sony as I recall. 1/3" CCD sensors were mostly found in fixed zoom lens cameras like the HVX200, FX1, Z1U, DVX100, Canon XL/XH cameras, and some of the JVC GY cameras. But 1/3 sensors are pretty small. Compared to today's mirrorless cameras, these cameras were mostly very large and meant to be operated on shoulder or tripods. The smallest and most manageable of the bunch was the Digital Bolex, which now goes for around $7K used. The Sony F55 is a MOS sensor with global shutter, not a CCD camera. If you'd like to have a small CCD camera to try out, I'd recommend the diminutive and inexpensive Lumix FZ47 (FZ48 in the UK). It's fixed lens and can't record in 24P or 25P, but it does shoot in 1080P and the 1/2.3" sensor is larger than any of the 1/3" cameras. And the image stabilization is surprisingly good, which is useful for the ~600mm equivalent zoom. Here's some footage I shot: I personally love the camera, but I wouldn't say that the grain is good at all. If you freeze-frame the footage, you'll see a ton of temporal ghosting and macroblocking. But in motion, it's one of my favorites. And here are some of my photos with it (JPEG only, the camera does not shoot RAW): https://distanceandelevation.com/blog/2021/8/9/bandontoportorford

That was smart! I wish I had purchased more than one roll. It looks like B&H are sold out again after less than a week. Last time they were without for at least six months.

I love film too, though certain stocks are too grainy for me. Now that it's finally back in stock after months of waiting, I just bought my first roll of 250D. Now I need to find something worthy of $150+ for 2.5 minutes (and it's a test roll, since it will be my first time using my new Kodak K100). From other tests I've seen, 250D is the ultimate, perfect grain character.

Here are some C100 (i) tests I did that give an idea of the grain (download for a less compressed experience):

My 5Diii with ML Raw suffers from dancing green and magenta blocks. It's unchanged between ISOs 100 and 400, so I always shoot at 400. When I'm not pixel peeping or trying to bring up the shadows too much, I'm always happy with the overall image. I haven't used a 5Dii yet but I really liked some of the 50D stuff I was seeing back in the day.

I haven't gotten my hands on an R6 yet (and may not, due to overheating), but I saw a side-by-side comparison with the older EOS-R and the grain was MUCH nicer. And the C70 has the best noise/grain of any Canon I've used. I am very pleased with the noise up to ISO 800. At 1600, I can start to see just the faintest hit of vertical FPN. But 800 is plenty. And it's much better than the C200, which had horizontal FPN even at ISO 200 when shooting in CRL. I had a shoot with a Komodo and my R1MX last Fall. I really liked the Komodo for the most part. I wish I'd had it for longer so that I could have compared the two cameras, but the grain seemed very pleasing and well-controlled. But there's still something unique about the original MX that I didn't see in the Komodo. And it only cost me $3K for a complete build with batteries and media. Yes, the Alexa is very good in this regard. Interesting. I'll have to look into this further. I did a shoot with the 6K and remember it being a bit too noisy for my taste. But Blackmagic is all over the map. The BMPC was the worst I have ever seen. The BMMCC was pretty decent. It seems like pleasing grain is an often unsung benefit of higher-end cinema cameras, though I am secretly hoping that someone will tip me off to a consumer-level sleeper.

This is clearly a subjective question. To me, pleasing grain structure is well-defined, tight/small noise with no fixed patterns and as little green and magenta as possible. But please share your observations, even if your criteria for pleasing grain/noise is different. For me, I'm really liking what I'm seeing from the Red One MX. Unsurprisingly, none of my other recent or current cameras (C70, C200, EOS-R, 5Diii with ML Raw, G85, or EM10iii) comes close. It meets all of my criteria for pleasing noise/grain. But I'm also curious if there's anything smaller that does well in this area.

Wow, Kye. I have no idea how you're achieving the second two. If we're basing this on weight, then those numbers are going to be tough to beat! One of the guidelines I'm setting for myself is that I can't buy anything new just for this challenge. I have at least a dozen cameras cameras already and don't need any more. But nothing I have is that tiny. I can't wait to see how you're doing it.

Good thread, Kye! Did you continue to experiment with disassembly? Someone posted over on MFLensess: With that in mind, I bought an inexpensive but highly-rated hygrometer. The maximum humidity over the last 24 hours or so is 47%. I'll keep an eye on it but perhaps a dry cabinet is not necessary here. Last night, I did a partial assembly of my Kern Switar 10mm 1.6, which was my favorite lens to become infected. Following a YouTube teardown, I carefully removed all of the elements, putting everything into an ice tray to help me with sequencing. When I got to the element with the "fungus", I was surprised to see that it looked like a very long piece of fuzz. It was probably an inch long in total. The end of us it was sticking straight up at me, as if the element had been holding it down. To remove it, I used a pair of tweezers and just pulled straight up. It came up in one piece! There were also two other similar pieces, though they were shorter. I'm not even sure that this was fungus after all. Maybe just some nasty dust? In any case, it needed to come out because even if it wasn't fungus, it could have become a food source for some. After the removal, I blasted the assembly with my UVC light for 5 minutes and then reassembled. Everything went so well that I decided to try to do the same with an old Kino Precision lens. There was no video for this one but I decided to see if I could figure it out. Bad idea. The rear element group came tumbling out all at once, and I have no idea of the original orientation of the elements. Also, I got all the way down to the aperture blades, and then when I tried to reassemble it and add the layer back in over top of the blades, it messed them up. I could never get them to sit properly again. This is maybe the third lens this has happened with and I felt bad about it. But then again, we're talking about an infested lens with a stuck focus that I bought for $20. It's not like it had a long life ahead of it.

I've been doing some more research. It turns out that UVC light cannot typically penetrate the glass of a lens, so the 254nm UV source like the light I ordered will kill surface microorganisms but won't be able to get inside of the lens. I've read that the ideal UV wavelength range you want is in the 300nm - 330nm range, which I think may put it in the UVB range (I could be getting this wrong). The filter company B+W owned by Schneider put out a product called the UV-Pro a couple years ago, which is allegedly a 300nm source. But it never went on sale on B&H or most of the other major retailers, and there's no info about it on the Schneider website. Maybe it was a flawed concept that was quietly killed, or Schneider was too concerned about the liability of people blinding themselves or trying to cure themselves of Covid that they decided to discontinue it. Either way, it looks like it can still be purchased on eBay or DigitalRev. Here is a test that doesn't tell you much about the tool's ability to penetrate lens elements: What I'd really like to see is a lens with fungus opened, swabbed, UV treated, and then opened again for a second swab. That really would tell us everything we need to know.

Yikes. Sorry to hear it. This site was one of the first that pushed me to look beyond Canon EF and EF-S lenses. I'm certainly glad I did, pitfalls and all. I think that's exactly what it is! I really messes with your head when you're looking for an infestation. This is absolutely right. Every lens is already infected. You just have to keep them dry enough so as not to let the fungus run rampant.

Thanks for the replies, and for the good resources from @Kye. There is a lot of information online about lens fungus and some of it is conflicting. I'll share some of what I've learned too. But first, an update. After cleaning my lenses and looking at them again with a cooler head, I see only four that definitely, beyond a doubt fungus. And I see about five that fit into, "is it dust, or strands of fungus"? I need to keep a close eye on them. The rest, I believe, are just the result of some gnarly-looking dust particles. A few observations: 1) A long strand isn't necessarily fungus. It could be dust. I removed plenty of these with my blower. 2) When staring through a backlit lens, specular highlights (i.e. specs and dust) can expand into very convincing little spiderwebs if they are beyond your focal plane. It is quite a remarkable illusion. I think the trick is to move the lens toward (or away from) you until the dot is in focus. Then, a lot of the time, you'll see it's just a tiny dot, without any offshoots. 3) To build on #2, if you can't see actual fungus from back or front with a flashlight, then I think you can safely assume that the lens is free of fungus. 4) Though they are the industry standard, Kimwipes can actually leave individual fibers behind on the lens that can look an awful lot like the beginnings of fungus. Make liberal use of a blower after wiping with them. In some cases, I wiped the lens again while looking through it just to see if the mass I was staring at was inside the lens or not (oftentimes it isn't). 5) UVC lights can kill mold and fungus (and your retinas if you're not careful). Examples here and here. It is much stronger than UV (A) and UVB light. UVC lights also seem to be completely unregulated and as a result of the pandemic, there seem to be quite a few fakes out there. Here is one that I ordered that seems to be legit. I plan to start treating all of my lenses regularly. 6) I will be getting a dry cabinet. As pointed out in the Zeiss article that @Kye shared earlier in the thread, spores are everywhere and there are three factors that contribute to lens fungus: dust, heat, and humidity. The first is extremely difficult to control and the second might be quite expensive. So the best answer is to control the humidity. And a thought. Maybe shooting without UV filters would be more beneficial to the health of the lens, since they wouldn't block fungus-killing UV rays.

I was looking at one of my beloved Kern Switars yesterday evening and noticed a little string of fungus in it. I haven't been using them as much since my professional work has robbed me of any time for passion projects as of late. The pandemic hasn't helped either. Anyway, I looked at a few more lenses and saw more more fungus. I ripped my whole lens drawer apart, and found that I have confirmed or suspected fungus on FOURTEEN of my lenses. I need to go back, wipe the front and rear elements down with some pancro, and look at them again when I am not in such a panicked state. But yeah, it's bad. Duclos-modded Nikkor AIS lenses, Tokina AT-X 28-70 2.8, Lumix 12-60mm, and even my backup Canon EF-S zooms (including the 70-200 f4 IS). This is pretty much my perfect nightmare scenario; something I have been extremely careful to avoid since I started building my collection 14 years ago. The silver lining is that it hasn't reached my Sigma Art Primes or Canon L Zooms that I use for work (I keep them in my camera case). I am SO glad that I never got around to building a set of Leica Rs or OKS in Oct-19 mount. And after this experience, I don't think I ever will. How did this happen? I have a theory. I bought maybe my third copy of the Helios-44 from Ukrainian seller in 2020. I inspected it closely for fungus as I always do and didn't see any traces. Then the pandemic began, and I really didn't touch my lenses for about a year (nothing to shoot). When I finally did pick up the Helios again, I noticed that it had a contamination. I isolated it and sold it for next to nothing to someone who wanted to try to clean it. That's the only time I'd seen fungus grow in a lens while in my possession, so my theory is that a previous owner had cleaned it, and then the fungus came back and infected my other lenses. But that's all speculation. The other thing is that we don't have an exhaust fan in the bathroom here. In the winter, we wake up most mornings to find the windows largely fogged over. There's a lot of moisture in the air here, especially when we can't leave the windows open. So, what's next? I'm trying to figure that part out. From what I can tell, the fungus hasn't advanced very far on any of these lenses, so I doubt they will affect the image quality if I can kill it before it grows. I've spent the day learning about ozone-free UVC lights so that I can start zapping all of my lenses regularly. I'm also leaning towards investing in a dry cabinet (anyone else use one of these?). But if I do that, I'll need to figure out the size needed, whether I also need to store my camera bodies in it (the Red One will be fun) and where it's going to go in my little office. I may also try to disassemble and clean some of the lenses myself, though previous attempts have yielded very mixed results, including discarding of lenses that I could never figure out how to re-assemble properly. Part of me just wants to dump them into a big pile and douse them with gasoline. What can I say? It's been a pretty dark 24 hours for me. But, I keep reminding myself that it is just stuff and I lived a pretty normal life without ever picking it up for a year or longer. Anyway, if you have any suggestions, ideas, or past experiences you'd like to share, let's hear them!

I'd be down. Interchangeable lens cameras only?

I had one once. It's not like an SLR Magic Rangefinder. As in, you can't focus your lens with it. But you can change how close you can be to focus on a subject. I didn't have much use for mine and eventually dropped it off at Goodwill.