Nrubloc

Tito: It was some time ago and I do not quite remember, but I do recall a discussion thread on EOSHD and the showing of pictures with information about "focus adjustments" being made to the Kowa B&H (and presumably possible for the Elmoscope II). I did see your video in which you adjusted things for a sharper focus, and was now looking for the original discussion thread as well. Not sure if you have stored the original discussion or if you could provide a reference link, but perhaps you could. Did your previous B&H with Elmoscope II comparison video use any such focus modifications?

Let the healing begin.... Maybe people can soon start to learn who they are.

This is according to their website... For Sony A7R2 Primers: S-Log2 gamma, S-Gamut color base > rec.709 For Sony A7S1 Primers: S-Log2 gamma, S-Gamut color base > rec. 709 For Sony A7S2 Primers (Cine4 gamma & SLog2): Cine4 gamma: S-Gamut3Cine color base > rec. 709 - CAMERA SETUP: saturation: 20, black gamma: wide, level +3 S-Log2 gamma: S-Gamut3Cine color base > rec. 709 - CAMERA SETUP : saturation: 25 For Sony a6300 Primers (Cine4 gamma & SLog2): Cine4 S-Gamut3cine & S-Log2 S-Gamut3cine > rec.709 (33x33x33 LUTs) Required camera setup: - Cine4 gamma with S-Gamut3.Cine color, saturation: 20, black gamma: wide, level +3, Knee:mode manual, point 75%, Slope +5 - S-Log2 gamma with S-Gamut3.Cine color, saturation: 25 -------------- Having seen some comparisons/analysis on the closeness of color exhibited in some online tests recently between the a7rii and a6300, I was surprised that the camera setup for the a6300 came in at Sat +25 as well for the S-log2. I guess the real differences in the faux A7RII S-Gamut vs S-Gamut3.Cine of the a6300 are not so subtle.

So, the topic has generated 5 pages of friendly banter thus far..... To the original poster amsh89es335. It may help to post some footage which you had shot with the camera before selling it. Seriously though. I have seen some of the things/issues in Sony footage before, which has been mentioned, but it's not exactly a "non starter". All is a bit subjective conjecture at this point in relation to your particular footage experiences. Just use the tool that is needed based on the project. If you were to have only one camera, then get the one that would work the best generally speaking for your overall aesthetic style, production goals and or technical requirements. Some projects may have different needs and purposes, so adjust accordingly. There are often always some annoying "gotchas" or workarounds needed to broaden things a bit in order to work through some limitations. Of course don't believe the marketing or hype and get what really works for you. The A7rii is a bit at the more costly end of "prosumer" and it produces some nice imagery, but it is still technically prosumer and a bit thin in codec and at times in color. No ProRes, RAW, or 10bit out..... I wish any of these were included. I'm sure they could offer some of those options for the A7Rii, regardless of their "we can't because of hardware" spin in some cases, but they have no incentive to do so. So you get what we have here... I don't like it anymore than you do.

This model is already nearly a year old. I think I will wait for the new version instead.

Of course not, Sony wouldn't dream of doing that on a camera which cost around 3000USD+ .... unfortunately it has 8bit out only. The A7sII, which is supposedly the more video oriented version from the A7 line doesn't even have it. Blackmagic Design is starting to look more appealing to me these days.

Seems a few wrinkles have developed in the opportunity to view/show the film "Hateful Eight" in 70mm at a Cinerama Dome location in LA. It seems Disney wants Star Wars to be shown instead, during the holiday season.... Quentin Tarantino slams Disney over 'Star Wars' 'extortion' on 'Howard Stern'

Yes, I am hoping this truly will be the case as well. I don't get why they seem to be so vague about final specs/features of their products.

As mentioned previously, I have seen various BM representatives mention in several online videos that it will perform a downscale from 4K. So I guess we shall see soon enough. It would be nice if focus peaking/assist or false color could be implemented later via firmware, but at least it will handle 1080p 60fps. It doesn't seem to offer everything, but it seems a good value on paper at least, so hopefully it proves itself to be so. This is one video were the BM rep mentions the 4K downscale ability.... https://www.youtube.com/watch?v=2eU84vSsutE

I have heard mention by BM a few times now that the Video Assist can see a 4k input over HDMI and downscale that for high quality 1080p from 4K. I didn't think Atomos Ninja Blade could see a 4K signal to then downscale, unless they issued a firmware update that allows this now. Anyone here know...?

I haven't seen any real additional info as to the camera profiles used, iso, internal vs external, 1080p vs 4k, etc., either. So maybe JCS's conjecture is based on his experience. I would concur that it seems obvious that Slog2 for the a7s is not being shown here. I find it odd however that they tested the A7rii in what appears to possibly be Slog2 in look, but they decided not to include it in the final comparison at the end and showed the non log a7s footage..... not sure what purpose that would serve really in this case, when testing limits of dynamic range capabilities among the available cameras. It does seem a lot of effort was put into creating this comparison, so thank you for sharing the footage. Maybe they will update and add some more info here on their blog post at some point: http://www.radiantimages.com/blog/1028-radiant-images-updates-its-comprehensive-camera-comparison-and-evaluation-tool-valued-by-cinematographers

Yes, thanks for the heads up on the Color Checker.... just ordered as well.

Perhaps the A7sII will also gain S-Log3 and 10-bit output..... yes please.

I agree 4K is not relevant to this setup. It was just mentioned in the video by Panasonic and as everyone knows marketing likes to still use the words "4K" as if it's some sort of futuristic magic, especially in the consumer market which the video was made for. Of course many studios and productions over the years have used some form of different camera setup arrays, so most everyone knows it's not new to capture image/objects that way. I worked on two projects in the past that used the same technique, but frankly I was glad when movies/productions moved on from using it in obvious ways. I however don't think the entire point of the video was to just show a camera array at work, well at least for me it wasn't the point of the video. Panasonic just used their cameras which is irrelevant to me (since they are Panasonic they would of course like to publicize themselves) to show how they can use the capture data to generate the final product... which is an accurate and color represented "physical sculpture/figure". I don't see that as a final product in the above mentioned example videos. So yeah, it's a bit of a marketing gimmick on the image capture side I suppose, but interesting to see the final object rendered/generated from the image data on the other hand.

Many studios and productions have used different multi-camera array setups for various movies, animations, gaming industry titles, etc. for quite a while now. Although that overall idea is nothing new really; what is a bit different as shown in the video, is the application of 3D printing of objects from the still images generated. An accurate and color represented physical sculpture/figure is the final product instead of a dynamic/interactive still or video as the final product. They didn't mention the software or exact 3D printer they were using, but its combined application seems the most interesting as well, rather than the usage of an array capture setup alone.

This is a summarized translation for those interested in a few more details…. July 18th 2015. The 3D Photo Lab Center opened at Panasonic Center in Osaka, Japan. A total of 120 GH4 camera units have been placed around the subject and shot with excellent synchronization at 1/1000sec. The 4K pixel resolution from each of the 120 units of Lumix GH4 cameras, cover every angle to create an accurate 3D figure and combine to produce 20 million pixels of information. Color variation and information are greatly captured and it’s possible to create an instant “moment/atmosphere” by capturing color, hair, and clothing textures. Generally, with hand scanner (capture device) it takes 10min. to get equivalent information recorded; of course it’s very difficult for people to stay still for 10 minutes. Now with this technique, it can capture in a “moment”; movement, multiple people in a group such as parent and kids, couples, etc… it’s a new way of keeping memories in form of 3D figures. We would like you to experience how communication would/could change to this.

Yes, it does appear to be the same lens referred to in the thread you mentioned. Keep in mind; the one used and mentioned by QuickHitRecord was modified to have a shorter focus throw instead of having to turn the barrel 5 complete revolutions to travel from infinity to close focus. Seems interesting and a rather convenient modification especially given the close focusing capability of this lens without the use of diopters. Pricing seems to be all over the place as usual and I am sure a good deal could be found at some point. The ones I have seen under/around $100 tend to have little issues with the optics such a scratches or light fungus. So I think above that is realistic currently. Actually, there are a few online now ranging from $165-$499(overpriced for the latter IMO). As mentioned in the thread link above, some ask unrealistic prices and my feeling is that they are not really that rare at all.