mercer

Thanks @kye !!! I am going for this “look” due to the film I’m working on. Great tips for Resolve... of course some of it was Greek to me, but I will look into this. The JM method required a lot of nodes and transfers from Linear to Log. Since ML Raw is linear, IDK if that method helped with that shot or not. Prepare yourself for a PM, if you don’t mind?

Yeah, I have like two tricks so I can make most footage look either way with any NLE... skillz. But seriously, I am just trying some different things. I prefer coloring in FCPX, I think the curves are smoother but I think I prefer processing the footage through Resolve better than MLV App. MLV App is just too slow. I wish I could get the LogC curve in Resolve. My next test is to use the CST that Juan Melara uses in Resolve. I tested it once a while back and with just a simple LogC to Rec709 LUT and an S-Curve I came up with this... That was shot with either the Canon 24-70mm f/4 or the 35mm f/2... I forget.

That is pretty cool but according to their spec sheet, it only does ProRes at UHD 50p, 60p... weird.

Did you get the Pentax-M or just plain old SMC Pentax?

Sweet!!! Get yourself the SMC Pentax K 50mm 1.4 to go with it... a nice lens as well. Yeah, I shot that wide open at f/2. I think you’re probably right on both accounts. He was moving and I added zero sharpening. ML Raw doesn’t have any Sharpening and I forgot to add some default. The one thing I do miss is the Midtone Detail function in Resolve which adds a little crunch to skin and takes away that smoothness but for a wide open, fast Nikkor ai-s lens, I was surprised by how sharp it is. I’m in the process of putting together a teaser for my film. So stay tuned for a moving image.

Haha, no I thought you may have thought that. @Matt Kieley ‘s video looks great! I was going to ask him if he was planning on getting the P4K, then after watching the video, I was going to ask him not to get it because what he’s doing with the Pocket and Micro is just too good to change. Gotcha, my dad used to say that as well when I worked with him. Thanks, BTW... I’m trying a simpler workflow in FCPX with a camera LUT and just some curves.

Well... I thought it looked pretty good until you posted that...

So, I was able to get my lead actor to sit through another one of my lens tests. This is the Nikkor 24mm f/2...

Very cool... I wish something like this was available for the Micro.

@thebrothersthre3 thanks! And thanks again for posting that the first time I asked a couple months ago... sorry I forgot. Was that shot in the actual 2K setting or 1080p? And I forget... was that F-Log?

Wow they give you a lot of information... was that in the manual or do they have a white page published somewhere? Shit they even give you where 80% zebras hit... which I assume is an important zebra setting if they’re including it in this graphic. Has anyone tried to ETTR skin tones at 80% zebra level and then let everything else fall where it may? Can you assign FC to a function button and toggle it on and off? How about while recording?

Does anyone know where skintones should sit on the BMD Film curve? As long as you know that, you can use false color and either hit them dead on or go up a stop or so? But it sounds like a 2 iso camera and that’s how I would treat it. I think, @BTM_Pix burns in his LUTS, so I imagine he is hitting his exposure dead on. How’s the noise?

I just watched a bunch of great comparison videos between the X-T3 vs P4K by @jsfilmz and although popular opinion gave the win to the P4K, I really must say I thought the X-T3 won and when you consider the specs, it probably shouldn’t have. I am more and more intrigued with this camera with every passing day as a great hybrid second camera for me. I also love that it shoots actual 2K... can anyone confirm the quality? I don’t know if this has been posted but I think it’s a real nice example of a different look you can get with F-Log...

Canon is now the highest seller in the mirrorless market and the DSLR market... I think they’ll be fine.

Okay, sorry... let me rephrase... how much information was there in the highlights as you ETTR’d... did you notice if a channel was clipping sooner than another channel?

No doubt, I’m definitely in the former category. But I think the OP made some valid points in his video and backed it up with video. The X-T3 could not handle the lowlight as well as the 6D Mark ii did. And with a low DR shot like that night exterior, 4K adds nothing to the equation.

How is it? I’ve been salivating over Scarlet-X videos lately.

Very cool! What lens is that?

How’s the rolloff seem on the scopes at 100 iso?

And I think that’s my point. On a video forum, some of the users don’t even realize what people use in the real world to make money. Go to IG and search any camera a lot of people here would scoff at to get a rude awakening. But I think this is more a video gear forum.

I don’t know... there are probably more photographers and videographers making money with a 6Dii than there are with an X-T3. The internet can be so vast... and such a bubble at the same time.

Any ProRes updates or videos popping up?

I thought ISO worked the same in the P4K as it does with the Pocket/Micro... you’re taking a DR/noise hit when you stray away from the native ISO? I believe that is why the OG Pocket originally used ASA instead of ISO. Obviously, you can use ISO to expose, but aperture, NDs and light has kinda been the go to method for exposing on cinema cameras since forever. In the P4Ks case, the Dual ISO feature was so exciting at the announcement because the OG Pocket only had a single ISO that was usable... 800. And since the P4K’s native ISOs are 400 and 3200, the camera instantly became a goodlight and lowlight camera where you could use less ND filtration and less light than the Pocket needed. With that being said, times change and if you’re not noticing that much of a hit in noise/DR/saturation, then that’s good news!

Along with the Nikkor 35mm 1.4, and Canon 28mm 1.8, the Minolta 35mm 1.8 is one of my favorite lenses I’ve ever used. Obviously when I switched to the 5D3, my Minolta lenses didn’t adapt any more but I luckily found a 35mm 1.8 that was modified to the EF mount. The Sigma 18-35mm is a legendary modern lens but I find it a little boring, or should I say... a little neutral. But as a zoom lens, it’s like having 3 prime lenses in one, that are sharp as a tack... so I get the appeal. I used to have the Canon 24-70mm f/4 and it was an amazing lens... SHARP wide open with amazing image stabilization... seriously as good as IBIS on the GX85. At f/4, unfortunately the speed was just too slow for my filming style. But the convenience of a zoom is a bonus. I miss it a lot when I am out shooting. Unfortunately for FF, I believe only Sigma makes a fast zoom, the 24-35mm but that is just a bit too limiting, especially since it doesn’t have IS.

I fricken adore Minolta lenses. If you want to get caught up in some good reading, there’s a Rokkor guide on the REDuser forum that is amazing. One piece of advice for vintage lenses... save the money and buy the better, faster glass. Minolta has some serious legendary glass. The 58mm 1.2 and the 35mm 1.8 and the 28mm f/2 are pieces of mechanical art. On the cheaper end, the 50mm 1.4 PG is also an amazing lens. On the really cheap side, the MD 50mm f/2 is pretty damn good as well. As far as Canon lenses... I am actually pleasantly surprised by them. The 28mm 1.8 and 85mm 1.8 are sleeper lenses in my opinion. I could film an entire movie with those two lenses and if I wasn’t obsessed with lenses, I’d be completely content with just those. The manual focus of USM lenses aren’t as bad as I thought they would be either. And once I get a couple of these projects done, I may just sell off most of my lenses and keep the Canon lenses. Right now I have about 3 sets of lenses and a couple odd balls that I really like... this time next year, I’ll whittle away at least one set and it won’t be the Canon glass.