omega1978

you can use the setting for A6500 on the A7S. works very well!

Only Sony 28-70 Kit lens handheld stabilized in post

Test with the colorprofil for A6300 on A7S Colorphase 0. https://vimeo.com/197687487

i use the Pilotfly H2 with the 16-50s. works ok, only bit heavy with pistol grip

Beautyful cinematography! How do you slow down footage from NX1? is recorded in 1080 or 4k?

pw: omega shot in Photo Raw 15 fps(50 frames), graded in AE, export in 25p and Twixtored in Premiere 50%

ok, thanks for the info. i had in mind that this only change touch focus behavior and not the focus ring. good to know!

the RS in 4k without DIS is extrem for handheld. manual focus is fly by wire and very long.the touch focus is more intuitiv, also for focus pulls...

no, DIS is additional to OIS. the lens has stabilisation(OIS) and you can add digital stabilisation(DIS) in camera. OIS alone is not good enough for video work, for stills is great

Thanks, i have allways DIS on when i work handheld. the entire video was shot in this mode(only the pan is on tripod), the downside is when you go to near to an object, you have a similiar effect that make the warp stabilizer(distortion on the second layer if have small Dof). But all in all is a nice combo with this lens i love it When maybe a hack make possible to shot 4k50p on this cam, that where a dream !

Thank you, NX1 16-50S normal gamma MBL 9 sharpness -10 contrast -5 haida vari nd proii-s, rec709 Lut and curve in lumetri

https://vimeo.com/189667893

From testing on Photokina AF tracking loose very fast subject and transition was very harsh on 12-120

No hunt,but the transition is very fast and lose the tracked face when the move sligtly or turn the head.ok,there was not very good light condition. i have found nothing to chance in the menu about transition setting.only intelligent AF Face Tracking The 12-100 is available in november,for the em1 nothing

i have had in hand the em1 II yesterday on Photokina with the 12-100.stabilization is impressiv even on 100 mm.the AF with face detection works strange with very harsh transition

Thank you.The video look maybe is from denoise and sharpening in cinelight.the footage is for TV so its ok. Yes is RAW from SSD to ProRes LT. In original footage i don‘t see any aliasing

Pw: Omega This time i have tested to export 4k/25p footage direct from cinelight to prores lt with add saturation and denoise.after i grade it in CC with S-curve and basic adjust.export in h265. noise level is way better and the colors seems correct. What do you think about?

under costum foto profil sharpness -10, contrast -5. levels 16-235 and i check the zebra to avoid clipping highlights. in post apply a rec709 lut

sorry wrong place

The proxy are downscaled from 4K to 1080.Maybe this make the difference in detail. The same RAW footage(from the first scene) has a lot of noise in the sky, that in the proxys disappears. I have seen in cinelight an option to denoise to footage when import it to CDNG.I will try this. i think the X5R denoise the proxy internal, but smear and smooth out the detail!( will post 2 screenshot tomorrow) Yes we use the stock 15 mm lens with a b&w nd8 filter

how do you hide the noise in sky with RAW footage? overexpose? we have made drone footage, and the proxy files from X5R are much cleaner. the motion in horizontal pans are also much smoother with proxys (on 4k with 24p- 1/50 shutter) proxy footage 1080p(mixed with material from a local cameraman) https://vimeo.com/178058483 RAW footage 4k https://vimeo.com/178210902

Thank you, i like colours there are near reality. With normal gamma i find the NX1 has the best colour rendition(only DR is limited). All scene are with DIS, only 3-4 inital are on tripod.. If you have an object very near you can notice DIS very well(same as warp stabilizer) in a bad way...

https://vimeo.com/179306887 NX1 -16-50S vasile 5.01 140mb, 4K 25p mixed with 1080-50/100p,only first scene on tripod, rest handheld, still a small amount of banding, maybe from variable ND.

in premiere CC with the new lumetri is simple. click on the color you will remove, expand the amount and then desatured this color.

My workflow is to export premiere compatible cinema dng from cinelight, cut the proxys in CC and replace it with the RAW footage.it works very well pw: omega