kidzrevil

It is constant aperture but it takes light longer to travel to the sensor the longer the focal length and it looks like an exposure shift

Dude. You and me both ! Im praying the next update (a7000 ?) has 422 10bit 4K. That would be a game changer...for me at least ! Keep in mind the cam is downscaling from a 6k sensor. You can get away with upscaling the footage to 4K after grading

Im pretty much going to treat the a6500 as a 1080p 10bit 444 camera from now on. Ever since I've discovered the joys of true down scaling (not the adobe premiere crap) to 10 bit 1080p slog3 became extremely satisfying to use. this software from hdcinematics.com is incredible ! Its down scaling algorithm for transcoding files really adds tremendous value to these 4k files for all of us who deliver in 2k resolution. these images were exposed to the right up to its clipping point at 95 zebras. In some scenes that I was overexposed up to 5 stops ! I recommend you shoot on manual so you can always expose to the right using zebras not the metering system. This gives enough light to the dark shades in the sky that cause banding because of lack of data. Never shoot to preserve highlights with slog3, shoot to brighten shadows as much as possible and pull them down in post ! I used filmconvert (you can use koji advance plugin as well) to pull the exposure down up to 5 stops. I tried the same in lumetri with luts and it created ugly artifacts. This leads me to believe that filmconvert's plugin is changing the white point or something of the expected image and making the appropriate corrections for the printed image. Pulling down the overexposed image shifts the bright parts of the dynamic range that were far away from the noise floor down into its correct 6-7 stop range appropriate for viewing on a monitor. Im amazed at the results, let me know what you think or what you would like to see.

Yeah this is with the XL, some of the shots are stopped down

Sony SLOG w/ sgamut3.cine I boosted the color depth to +15 to add more useful data to the 8 bit color space. I made sure to expose my brightest areas up to 95 zebras. I then transcoded the files to 10bit 444 1080p. To my surprise the app I used to downscale the files added true color depth and microcontrast to the image. Fun fact : according to the cineon (which SLOG3 is based on) white papers the difference between 8bit Cineon files and 10bit files are imperceptible when the image is printed to the 6-7 stop dynamic range of our tv’s.

Nikkor auto 105mm f2.5 Nikkor auto 50mm f2 Nikkor auto 24mm f2.8 Panasonic Cinelike V pairs perfectly with the color rendering of these lenses

@ThomHaig hey ! Its a thumb grip. I didn’t even know they make those things for cameras but apparently its been a thing since like forever lol it makes the camera more stable because your thumb tends to go over the top of the camera and it can be uncomfortable. The thumb grip definitely helped me eliminate alot of the camera shake. dont forget the cineasy touch mod for the record button its another vital accessory

Alot of dealbreakers in the body for me at least. I had to add a ton of accessories to it including battery and thumb grips to make it worth using. If you can compromise and use the evf the image quality of the Sony is well worth it. True 6k to 4k downscale. The resolution difference between the a6500 and my panasonic is night and day @jase

The a6500 lcd is useless. Absolutely useless. I use the evf so it doesn’t bother me much. If you use the lcd as your shooting style I suggest you look elsewhere cause the sony will give you a headache @jase

Oh trust me I remembered thats why I bought the a6500 lmao ! The GH5's aesthetic wasn't far off from the G80 in terms of the look so I went with the a6500 with speedbooster to start shooting shorts ! Im keeping my pana g80 for event recaps and projects I don't have time to grade since cinelike v is so good. I shot the above video at iso 800 I bumped up the in camera saturation in the SLOG3 settings. Since the color gamut is so wide I figure there's no way I can oversaturate the thing, If anything I can desaturate in post. I gotta figure out how high we can raise the in camera saturation before we get weird color shifts. Im gonna play around with the detail section of the picture profile in an attempt to tame the in camera sharpness. @mercer

slog3 with sgamut3.cine is promising ! It has a way of desaturating brighter colors like film that I just love. If you pull your shadows down in post the image is crazy ! thanks for suggesting slog3 @mercer

I called one up to shoot in the city. I think I figured out how to expose for this thing. If you dont mind sacrificing highlights you can push a lot of useful data into the shadow and midtone areas of the image. I also think I got to the bottom of the banding “problem” with slog3 @mercer A couple of accessories later and the ergonomics are vastly improved. The thumb,battery grip and viewfinder attachments really helps with the stability. Leica M or nikkor ais primes will go well with the size of the body @Kisaha

I’ve been doing some research on slog3 and actually took some test shots with it today based on @mercer suggestion to use it and woah. In daylight I am pleasantly surprised by the results. It graded incredibly well after being converted to 10bit 444 1080. Im gonna test shoot with a model today during sunset to see how it holds up in lower light

The benefits of 10bit is imperceptible unless you use an extremely flat profile (log) that takes advantage of the subtle shades crammed into the curve. The benefits of the gh5 that are perceptible are 4:2:2 color sampling and an improved sensor. Cine D is designed for 8bit so the advantages for 10bit color are next to none. Transcoding to 4:4:4 10bit allows me to interpolate the extra shades of color from the existing 8bit file as well as clean chroma. I think my footage looks as good as it does because I take time learning the curves and how they were designed to function to maximize your grading workflow. Cine D’s curve is built to ensure linearity in the midtones. The extreme shadows and highlights aren’t prioritized. If you expose with the understanding that the camera & codec can careless about anything other than midtones you will see how great cine curves are.

@UncleBobsPhotography great idea ! I seen a guy with a power bank mounted onto his hotshoe on youtube and he doesn’t get the overheating issue neither. It seems the way the hardware is designed with that little battery getting so hot next to the sensor is what is aggravating the thermal issue. Moving that power source away from the camera seems to be the big fix.

@mercer try using it with the meike battery grip. The dummy battery moves most of the heat away from the sensor and towards the battery grip. I seen a video on youtube with a guy doing this with his sony a6000 in direct sunlight. My camera barely gets warm with the grip I wish sony would wise up and make an official one made of the same magnesium alloy. It would double as a heatsink !

Hmmm i’ll take a shot at it. After researching it its really seems like a waste on an 8 bit camera. It mimics a cineon film curve and even 10bit doesn’t even have enough color to represent that much data. Besides there are very few if not any real world items that needs a curve designed for such a large color gamut. Not even a tomato is red enough to use all the red channel data in the sgamut3 or even the sgamut3.cine color space. Its a technical achievement and extremely wasteful at the same time. You’re actually losing a serious amount of data shooting with such a wide color gamut and a curve that chops off data on the shadow end and the highlight. I really believe the gradual highlight compression from the cinegamma curves with pro,itun709,stills or movie color gamma deliver better results with this camera since they were designed with 8 bits 0-109% ire. Hopefully exposing as far to the right as possible and transcoding to 1080p 10bit 4444 helps alleviate all that missing data with slog3 @PannySVHS try cined with -5 noise reduction and sharpening, -3 saturation, and 0 contrast. Use the preset whitebalance or custom white balance. Set Zebras to 90% and one for skintones at 60% and shoot at the lowest iso possible stick within the 200-640 ISO. I personally use FILMCONVERT for cinelike D as it has been the most reliable/accurate color to me but I do use visioncolor impulz cined & koji color advance solely for stylistic looks. A lil thing about Cine D I noticed since it was design for broadcast cameras the curve seems to be optimized for up to 90% ire 95%ire seems to be extra (overshoot) data. It’s not quite highlight compression but color gets ugly above 90% like its gradually losing saturation/data at this point forward going up to 110% ire. This makes sense because not only cant we distinguish texture at this brightness the codec doesn’t prioritize data at this region. Exposing like this you’ll consistently get images that don’t have that ghastly washed out look with the weird skintones we all hate. Thats roughly -2/3 to -1 stop underexposure. The cined and v curves like cinegamma were designed to give us some headroom in post to adjust our midtones.

@PannySVHS yup Natural and Cinelike V is king if you don’t plan on doing much of any post production. I still use cinelike D for very specific reasons though : it has no knee/highlight compression & is compatible with a lot of LUT’s. The curve behind cinelike D is genius ! It squeezes all the usable data into the codec’s optimum range if you aim to have your whites at 90 ire. Just be extremely careful with white balance and exposure & you get the most flexibility in post from Cinelike D underexposing -2/3 to a stop underexposed and keeping iso between 200-640. Sony Cinegammas are a beast too. If you pick the right one for the right situation it makes the most out of the 8bits.I use Cine 1 pro exposing for highlights & I don’t even bother looking at slog on my a6500. The cinegammas were masterfully created by Sony engineering when they were limited to 8bit data. Im glad The cinelike D & cinegamma curves from Panasonic & Sony trickled down into these bodies.

@Kisaha oh gotcha, I figured he didn't have a hacked one on hand. He seems to have been avoiding installing the hack on his hardware

I think he only tested cameras they actually still produce

@Kisaha I go no higher than 1600. 800 iso is my ceiling for how I expose my images. I am looking for a cinegamma that exaggerates noise in the shadows and midtones the least. My slowest prime with the speedbooster is a 2.5 and my fastest is 1.2 so im not too worried about that. Generally I think all these cameras perform best between iso 100-800 and exposing at the base iso is ideal. 1600 and up I believe the camera manufacturers run some sort of noise reduction in conjunction with the codec so the bitrate doesn’t get consumed by all that noise. H.265 turns noise into macroblocking and its noticeable on the nx1 at 1600 but the bitrate hack helps tremendously. The H.264 cameras smudge the noise detail with temporal noise reduction. So the highest iso for my use is the ones where the temporal noise reduction doesn’t smear detail so I stay close to the base iso. higher contrast picture profiles tend to help mask or eliminate the effects of the noise reduction artifacts

I just picked up a sony a6500 as a second body and was wondering what Cinegamma or creative style yields the least amount of noise. I don’t care about getting the flattest image or the most dynamic range. So far I’ve been playing with the Cine 1 and Cine 3 gamma. Which do you use ?

nikkor auto 85mm x nikkor auto 35mm f2 w/ metabones speedbooster ultra

Metabones speedbooster uktra x nikkor auto 85mm f1.8 & nikkor auto 35mm f2 w/ tiffen black satin filters In good light for a medium closeup im going with the g85. Between iso 200-400 that color is spectacular. Im still wrestling with the Sony color a little but I am in love with the rendering of the image with the speedbooster