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Having spent some years in the early thousands working and owning large format cameras as well a drum scanner I would say there is a softness to film even with transparency film at iso 100. This inherent softness to film is in it's natural scanned (unsharpened) state at the grain/dye level. It's lovely actually. And yes a GFX100s is going to shit all over a 90s coolscan but I stand by what I said before.

There's the scan and then there's the film as has been noted above. I remember in the early thousands being told by an emeritus prof in astronomy that they were finding digital was sharper than film. These were low resolution dgital sensors but worked better in low photon capturing. Remember, digital doesn't suffer from failure of reciprocity. I was shocked at the time. My guess is today, above 100 iso, digital is better than s35 at 1080p for resolution on a sensor without an OLPF. However, digital colour is not as rich generally and much worse on a standard sony sensor. Dynamic range is better on film even if just because it has a proper toe and shoulder. There I said it.

Relating to general forum captchas etc not talking about this forum. Do the wise people in captchaland know that not everywhere in the world has big honking firehydrants. Or where do the traffic lights start and end? Is the lights or is it the poles? Same with the motorbikes.. Oh there's a bit of the handlebar peaking out into that other square. Better press it. I wonder about this stuff late at night. Or the acutality that we have trained ai imaging so well that it's now better than us? Like, wtf are those letters and numbers all scambled up? Am I actually a human? Apparently not, because I cannot fathom what these numbers are..

The thing about Arsenal is they always try to walk it in.. All the major camera companies have seen Sony make a damn good mirrorless mount and see it as a cash cow--razor and blades style. That is, the razor is the camera body and the blades are the oversized, overproduced, heavy, overpriced lenses.

Never noticed this before but that Super 8 camera does have the same design elements of the Nikon Z series. The porroprism angle and shape. Nikons were my first proper cameras. The Nikon F was angular, heavy and awesome.

@Kye, how do you deal with moire? I've not seen any in the posts you've shown in this thread but I'm not very good at finding it. Do you have an OLPF? Using a weak promist style filter has some people say it helps and others have said (JB) the frequencies are not fine enough to be affected. If all it takes is a promist when someone wants to wear fine fabric or a suit and tie wouldn't that be great?

Privately, under US$1000 is the price for these at the moment until some youtuber decides they are the most bestest undiscovered thing since sliced bread. again.. However, one thing that turns me off these (I almost bought one) is the opaque workflow required in Resolve. On the BM forums there are some informative posts but it's unclear to me still what the recommended workflow is. I don't want to get into it but this is what Sigma has put on their blog. What is annoying is this tutorial is not clear or, as I understand it, even a proper color managed workflow. If you take a Sigma FP sample DNG into Resolve it's fine and I love how it looks set to clip in the raw tab. I guess I am just saying it would be a lot clearer if Sigma and BM would together and just say, 'this is the process..'. I think behind the scenes they have worked it out because of the seemlessness of Resolve (18.5.1). It's just all a bit opaque. After trying out the various workflows, I am happy with both CDNG and Braw. I don't need full frame so I've stayed away. P.S. Sigma is probably the coolest most amazing photo company eva 🥰. The lenses are amazing, I've never had a bad one. The short films they've produced are great, this one is drop dead gorgeous. I'm just having a moan about how Sigma CDNGs and Resolve work together.

I don't know if it's been mentioned here. I wonder if the issues the BMPCC sometimes get transferred onto the BMMCC. I just wanted to say I haven't done extensive testing (no slowmo) but cheap cards do work in the BMMCC at 24fps 3:1 compressed. Had zero issues with a pair of the 128GB 1667x Lexar. I wonder if the Micro has a UHS-ii slot? I remember seeing some tests with that card on a UHS-i reader and it doing 13MB/s? And it clearly does way better than that.

Here's another little tidbit. I found this out many years ago after subscribing to obscure mailing lists in the 2000's and my own experience. All manufacturers have significant sample variation between copies of lenses. This includes Zeiss Leica and the Japanese makers. In fact Kubrick was famous for ordering 10 of a lens from the manufacturer and sending 9 back. Back in the day, for instance, Nikon was jealous of Konica for their consistancy in lens manufacture production. In the 50's Kingslake made the discovery (Kodak lenses are legendary) that the Tessar designs is one of the most difficult to manufacture due to the extreme low tolerances required. A Tessar design can be very sharp two stops down, most aren't. Also, you can guarantee most lenses sent to photography reviewers will be golden samples. An, aside, Kubrick also used still camera lenses on his cameras, notably Nikon Nikkors. Lens rentals blog is the most significant lens testing outfit to measure sample-to-sample variation. Sigma seems to me to be the leader in lens tech these days from what I can tell.

Yes, eatstoomuchjam mine was a Yi 4K and the reason the ribcage kit was upgraded was to accomodate both the Yi 4K and the Yi 4K+ I believe. Ruined the camera. But yes the screen was difficult for focussing as well however I did love the form factor. If you can live with wide lenses (35mm eqiv 20mm or so) you can just replace the built-in lens on a Yi 4K or Yi 4K+ and hyperfocus it without requiring a kit (remove the shroud, unscrew the built in lens and replace it). However, the way the 12mm thread works you cannot use a longer lens on it on this camera because the thread is so short. The Gitup cameras Git1 and Git2 were better in this regard having a longer thread and mount. I think most of these action cameras have an M12 nylon thread and can accept 1/2.3" lenses. The M12 thread is really built to have a lens mounted with some threadlocker and not moved again.

I've used the Backbone products and have a history of many years working professionally with electronics. I am no stranger to working in a precise manner. I will never buy another backbone product again. The ribcage system was flawed and underwent iterations so it was compatible with more than one product. Before I bought it I checked the online tutorial and that first version *looked like* a good straightforward product. However, the second iteration involved *supergluing* (?!) componentry in place. Unfortunately the first tutorial was left online when it was entirely innappropriate for the second. If I had gone through the proper tutorial first (there was no way to know) I wouldn't have bought it. Several hundred dollars in the red and nothing to show for it.

I've got two responses to this topic Consider that in terms of resolution, for stills, a 6 Mp CCD camera equaled 35mm film 10 years ago in terms of resolution. Not in terms of colour.. It seems to me modern 100mbs super 35 at 1080p from a prosumer camera is equal to 35mm film stock in terms of resolution. I've shot quality 4k and displayed it 4k on a big screen and it looks impressive. However, I'm happy with quality 1080p. I've heard annocdotally that for major studios VFX is done at 2k and rezzed up. It wouldn't surprise me. Also, what's the point of 6k if it's broadcast at 8Mbs? I mean really.. The limitation is not in the number of pixels but the size of the pipe. it's just a case of give me MOARRR!

No idea what's the **best** but I really like the A7s image. It's my belief that many who look for the elusive *cinematic* image are really looking for dynamic range and potentially, nice rolled off highlights. Stabilisation would be an A7sii. There are many things not to like about these cameras but the image and just as importantly the sound quality is fantastic.

A7S is the cheapest decent fullframe you can buy now. A7 is no good for video. If you absolutely need the shallow focus buy a 25mm 0.95 lens. Very shallow. In many ways I regret buying into the Sony system but I love the audio quality. Psss. You can buy a m43 Kaxinda (I think) which is a rebranded Meike 25mm 0.95 for under 200 at aliexpress.