MrSMW Posted January 4, 2021 Share Posted January 4, 2021 Well I don’t have the 24-105mm f4 but it is a consideration and going back to one dedicated video unit plus two dedicated stills cameras vs 3x hybrids. If I did go to the f4 zoom, I think I’d be more inclined to go log and manually shoot 640 outdoor and 4000 indoor. With the f1.8 primes being just over 2 stops faster, 100-1600 works pretty well for me but I think log has maybe another couple of stops of DR over a standard profile? On the other hand, log is not so good with the AF on the S5 due to the lack of contrast? So I understand though not tested that theory myself. Yet... Quote Link to comment Share on other sites More sharing options...
omega1978 Posted January 4, 2021 Share Posted January 4, 2021 1 hour ago, MrSMW said: Well I don’t have the 24-105mm f4 but it is a consideration and going back to one dedicated video unit plus two dedicated stills cameras vs 3x hybrids. If I did go to the f4 zoom, I think I’d be more inclined to go log and manually shoot 640 outdoor and 4000 indoor. With the f1.8 primes being just over 2 stops faster, 100-1600 works pretty well for me but I think log has maybe another couple of stops of DR over a standard profile? On the other hand, log is not so good with the AF on the S5 due to the lack of contrast? So I understand though not tested that theory myself. Yet... The 24-105 is a very sharp and contrasty allround lens ( If you like that ). I have filmed a entire wedding with it One thing that disturb me is a violett flare when you shot against the sun or any light.. MrSMW 1 Quote Link to comment Share on other sites More sharing options...
Mark Romero 2 Posted January 4, 2021 Share Posted January 4, 2021 11 hours ago, omega1978 said: The 24-105 is a very sharp and contrasty allround lens ( If you like that ). I have filmed a entire wedding with it One thing that disturb me is a violett flare when you shot against the sun or any light.. Can you post a screen grab of the flare??? I had one issue when shooting in V LOG with the 24-105 and underexposed. I didn't have direct flare though, but I was getting green and magenta rings in the shot. (Saturation is turned up a bit to better show off the rings.) Quote Link to comment Share on other sites More sharing options...
omega1978 Posted January 4, 2021 Share Posted January 4, 2021 28 minutes ago, Mark Romero 2 said: Can you post a screen grab of the flare??? I had one issue when shooting in V LOG with the 24-105 and underexposed. I didn't have direct flare though, but I was getting green and magenta rings in the shot. (Saturation is turned up a bit to better show off the rings.) Mark Romero 2 1 Quote Link to comment Share on other sites More sharing options...
Mark Romero 2 Posted January 4, 2021 Share Posted January 4, 2021 11 minutes ago, omega1978 said: Huh... that's some pretty strong ghosting there. I will have to double check but most of the ghosting I seem to get with that lens has been green. Quote Link to comment Share on other sites More sharing options...
deezid Posted January 5, 2021 Share Posted January 5, 2021 22 hours ago, Mark Romero 2 said: Can you post a screen grab of the flare??? I had one issue when shooting in V LOG with the 24-105 and underexposed. I didn't have direct flare though, but I was getting green and magenta rings in the shot. (Saturation is turned up a bit to better show off the rings.) native lens? Diffraction and Vignetting compensation can produce some pretty nasty artifacts, turn these off. Also was this 10 bit? Premiere? Quote Link to comment Share on other sites More sharing options...
Mark Romero 2 Posted January 5, 2021 Share Posted January 5, 2021 5 minutes ago, deezid said: native lens? Diffraction and Vignetting compensation can produce some pretty nasty artifacts, turn these off. Also was this 10 bit? Premiere? Yes, this is the Panasonic 24-105 f/4 I will have to pay attention tot he diffraction and igniting compensation settings. Oddly enough, the only time I have seen something really similar was by Sony a7III shooters using the native Sony 14-105 f/4, but they were shooting stills in RAW. And yes, this was in 10-bit V-LOG, but I use Resolve for editing. (Although you can see it in the source footage. I just cranked up the saturation here in Resolve to make it more apparent.) Quote Link to comment Share on other sites More sharing options...
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