anonim

Actually, I expected that differences will be barely visible on laptop (But, of course, my opinion usually is not at all too valuable.) For example, there are some youtube comparisons between GH5(s) and Arri Mini that, for my eyes, somehow manage to make looks even more similar I'd be so glad if the same procedure was applied with CinemaDNG files from P4K...

Thanks for posting... But, frankly, I expected that difference seen on laptop monitor with HD resolution will be less noticeable (i.e. I assumed that comparative qualities of Arri are becoming very noticeable visible just at big screen reproduction)... At least for my eyes, P4K looks waaay harsher in comparison, especially in (second) example in front of the fence where they are at closest matching (in first example Arri was not even properly focused).

(Just redundant remark from experience with previous models, being little bit puzzled with discussion — if BrawQ0 is meant to be equal to ProresHQ? than there's no place for dilemma: through all BM cinema line CinemaDNG up to 3:1 was always noticeable richer in texture, also in DR and its distribution curve in high demanding situation than ProresHQ, which really is great codec, but not on pair with cDNG for top cinema usage. Without doubt, extremely respectable quality of BM camera image - that for many professionals surpasses that from Red - lays exclusively in, so to say, "deep raw" non-processing transfer... I don't know if at least BrawQ0 keeps that approach...)

Thanks, it seems to me worth noting - exceptional, yet simple formulation of one point of view valuable for rethinking (being it with or without foundation): unquestionable distinctiveness as quality. I also took a glance to see who is Marie Osmond :)

Maybe beta tester for https://www.bhphotovideo.com/c/product/1436743-REG/fujinon_mk18_55mm_t2_9_m4_3_mk_18_55mm_t2_9_lens.html Although Filippo Chiesa earlier wrote that conversion was two minutes task to acomplish...

It might be a nice occasion to compare results of two generations of BM cameras from the same master's DP signature. For me, very hard to judge...

Alas, you need at least Blackmagic HyperDeck Studio Pro to get that Raw signal

I don't understand why price in Greece is so high, being in EU (and so close) as Hungary?

If somehow may help, P4K is already at disposal in Hungary.... (Shop price is about 1500-1550e, if you manage to get back tax, about 1200e) https://www.gaia.hu/blackmagic-design-pocket-cinema-kamera-4k.html For new project with my engagement, listening my advice head of production already invested in 2 second hand BM micro cameras (As you know, their image is unbeatable...)

I'd say there's really no reason to afraid of look of BM files straight out of camera: it is just one click operation to "normalized" them without any exotic manipulation: there's already native BM lut and, say, equally nice free CaptainHook's lut and - voila, footage will look (pretty obviously) better SOC (to say true) than that of "natural" profile of GH5's. Unfortunately, I have no Fuji XT3 to say the same with ground of personal experience... So, please, hurry to buy P4K, play with it and I'm sure that @Kisaha will help you in trouble to get rid of it if you find yourself disappointed

Please remember who mentioned it first - especially if you are, as it seems to me, not too faraway, from Greece :)

I think that you are on the wonderful safe side of testing at the moment: if you can, buy P4K, test it thoroughly for two weeks, and then you can immediately resell it on EOSHD forum to any of many eagerly waiting hands even for little bit more!

I did it for fun as a gift and as great fan of horses nature. So, for the same poor reason (and free of publishing restriction) maybe there's chance that it might touch somebody else

There is an newly established representative seller based in Slovakia responsible for EU market and also with department in UK, but I don't know their price. https://www.seesense.eu/z-cam/4592949160

Concept of "cinematic" image dictates high end cinema industry. There, I think, you have to recognize turning point of your question. Trying to run out of DR limitation of (unnatural contrasty) consumer cameras, lowlow budget indie creators - which predominate here at forum - tend to prefer mellow look of film cameras, often to the level that IMO look retro bizarre. But modern cinema prefers and dictates more and more absolutely clean image as standard that, here in our popular pejorative translation, often looks "too-sharp" or "video-ish". I think that Lubezki nicely summarized that turning point regarding challenge that he experienced: "When I signed on to do The Revenant, I wanted to do all the day scenes on film, just because of the high dynamic range, and I wanted to do all the dusk and night scenes with a digital camera. That's because the digital cameras are more sensitive to light. They can see more in the shadows, and you can push them a bit. For example, let's say that Arri says their camera is ISO 800 native. You can shoot it at IS0 1600 and there's still no noise. You're able to shoot scenes at night with firelight, and you can capture the stars and the Aurora Borealis in the night sky - things that film couldn’t do. I started doing a lot of tests while we were rehearsing the movie, and every time I went back to the lab to see the results, the images I was capturing with the digital cameras were more interesting to me because they had less noise or no noise at all. It was like opening a window for the audience to get them immersed in this world, whereas film still had that poetic or romantic look, and the grain and texture was making the world of The Revenantlook more romanticized. It wasn't really allowing me to get immersed into the world of these trappers the way the digital cameras did. Little by little I realized that I didn't want to shoot the movie on film. For a middle-aged cinematographer who’s been shooting for so many years - that's a very hard call. It's like suddenly saying to a musician “You know, forget about your incredible piano, you're going to play this concert with a Minimoog.” It's heart-breaking, but the images spoke for themselves..." In result, compare his nature image-depicting of The Revenant with that of, say, Almereida's in Heaven's days.

More and more it looks to me like micro-Alexa. Or I simply esteem so much that spirit of enthusiast and independent effort.

Olympus om-d em1 II? https://www.e-infin.com/uk/item/3239/olympus_om-d_e-m1_mark_ii_mk_2_mirrorless_digital_camera_mft_(body_only)_ Even with so-so and not at all lowlight lens, little bit of pure walking:

Overexposed at the face area?

Thanks, I'm not competent for AF usage, but what I notice at first glance, it is IMO better skin tone rendering (richer in nuances and more natural) on Panasonic.

Yes, but how could we know for sure that Northrup influence a LOT of people? It may be, or maybe not, we are just free to subjectively estimate this... That's why I accentuated rather "quality - that means reality - of influence". Being so often and openly without experience, as also superficial and contradict (even for short period I watched their reviews expecting at least serious approach) they simply look as pair that successfully found business field for further exploration of their entertainment/earning/happy family tactic ... in show-effort better comparable, for example, with that old guy in whose showroom is forever Christmas (I forgot name), or that bald-one Nikon martyr with many tatoo. Not it is just bubbling youtube level par excellence, it is also clip always between two immediately preceded and followed with opposite and most often equally fast/banal elaboration - i. e. they live perfect in their ecosystem. So, imo they could be very happy that EOSHD just give them more publicity in its totally different, honest, live check and exchanging/fighting thought-ecosystem. (Isn't it so that we here also have pretty temperamental anti-Panasonic or anti-Nikon, anti-Sony etc. knights for the utmost value of another manufacturer of choice that nicely correspond with N's fluid favorite-attitude?) To put it simple, it seems to me that those who could be influenced by Northrup's acting and leisure profile (being it lot or little in number) - simply deserved them and will always search precisely for them as mentors or idols Those influenced, actually, wish to look as Northrups in total - superficial, ready for high-selfestimation achieved by buying new cameras as cheap surrogatе of real creative suspension. N's always have some information and some (in advance paid or just after-earned) comic quasi important interpretation, in last time more and more profetic predictions. This time and this turn, it looks that they are little bit frustrated that Panasonic doesn't estimate them as important, or they are maybe just get hints from Sony or so. I'm not sure that some especial psychological+mess-of-facts-and-lies combination of "utter bullshit" could be cleared in serious fact-confrontation... reckoning on better influence. It may be or not... and exactly such possibility to put in question everything is, for me, rare and utter value of this anti-N forum.

Then go ahead - but from my experience any list of GAS lenses madness could not be perceived as complete without Helios (Гелиос) 40-2 85mm 1.5 ... That will swirl you at incomparable way (I call it "The best of Rachmaninov")