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Well nothing was announced this week but it’s looking most likely like a Sigma FP2. Meanwhile LUMIX is supposed to be revealing at least 2 new bodies in November to mark their 25th birthday or something… Please let this not be some letdown like a security camera or some other crap but something ‘we’ might be interested in… Too soon for a GH8 so maybe some small compact L10-like MILC? Maybe the long overdue S1H2, or some ‘cine’ version of the S1ii? -
By Framed_By_Dan · Posted
This is where Log doesn't work for me filming weddings. I am constantly outdoors, indoors, outdoors, indoors. Even my favourite Nisi Variable ND (which unlike most filters, starts at 1 stop of light reduction) will cause issues if I need to quickly ramp up the ISO indoors for a dimly lit situation. If I can shoot at a stop lower than I'd need if I had ND it can potentially save a shot from being too noisy. The slightly more crushed look of a Rec 709 profile can help mitigate any visible noise over a Log profile. I'd rather "shoot as I see" than constantly think about exposing at a stop over in Log. -
By Ilkka Nissila · Posted
I like log in the sense that it provides an option to shoot in a way that is more akin to color negative film where you expose for the shadows and highlights contain detail so you can shoot a main subject in the shade, see the subject properly on the monitor, and yet there is plenty of details in the highlights. Digital cameras in SDR mode work more similarly to slide film in that you expose for the highlights and shadows then go where they may. If I'm shooting outdoors, SDR works generally well, I just need to be aware of the highlights not too significantly blowing out and make sure the main subject gets good light. Where I like log is if I am indoors and want to see the main subject, and yet retain details in the windows without having to specifically expose for them. I also like the "look" of the log files when the N-Log technical LUT has been applied, it is not too saturated, nor too bland. However, for general use, I've encountered several problems as well. If I use N-Log and have auto WB on (e.g. Nikon Z8), sometimes the white balance seems way off for the main subject. My guess is that this is because the algorithm for Auto WB doesn't actually use the log data instead it calculates it the same way it does for the SDR profile, so highlights are prioritised in the calculation whereas in log profile one would normally expose for several stops into the shadows of the sensor data and the WB then comes from a different place in the image than the main subject is likely to be. So if it is low sunlight under a blue sky, and I expose log nominally at ISO 800, then most of the image will have a bluish tint (if Auto WB is used). If I shoot in the same conditions in SDR profile the correctly exposed part is the highlights and those will look like they have approximately correct WB, whereas the shadows will be dark. Another situation where Auto WB failed to produce a good result was when videographing an operette outdoors under cloudy conditions, the WB was initially correctly set by AWB (thanks to a white church being the dominant part of the background) but when the performers lit some torches as part of the performance, the WB shifted blue for the main part of the image. In these cases, if I had used the SDR profile, the Auto WB would have resulted in correctly white balanced footage. I'm wondering if this is something Nikon can work on and if other manufacturers have dealt with it in a better way (to illustrate that it can be done). Another issue is the NDs, if exposing log footage nominally at ISO 800, in daylight there are many situations where the use of ND filters becomes necessary to keep the shutter speed reasonable for video. If I shoot in bright sunlight with SDR (mitigating contrast issues with Active D-Lighting set to Normal which is Nikon's tone-mapping algorithm) I can set ISO 64 and use a small aperture (f/11ish) and 50 fps / 1/100 s and won't have an issue with the exposure even without using ND filters. This has worked well in situations where I have to get usable footage without significant editing in varying outdoor natural light conditions during mid day (in Finland mid day sun is not quite as bright as in lower latitudes). This to me is a huge advantage that I don't have to fiddle with ND filters. Then there is the issue of noise. If one wants to retain that highlight latitude using log and exposing normally (e.g. at EI 800 for ISO 800) then one basically has to accept a bit more noise than if shooting in SDR at ISO 64 and exposing for the highlights. This is not a critical problem as the footage can still look really nice at ISO 800, but when the light gets low, and if one wants to shoot in available light, there is not so much one can do in log mode without the noise blowing up significantly. Yes, there is the second base ISO, but in order to minimize noise, overexposing (and losing that highlight latitude) is probably the way to mitigate noise in low light, so one would set the ISO to 4000 and expose like 2000 or 1000, if available light and apertures available permit doing so. But in log mode I find that autofocus gets more erratic and so I wonder if shooting in SDR mode would result in better results (if using AF, which is the only practical way I could use wide apertures) in the same low light conditions. Thus my conclusion is that log is great when conditions are such that shooting at ISO 800 is viable, but issues show up both in low light (noise, AF performance) and bright light (use of ND filters required), so do log shooters typically deal with the low light by using lighting (which is fine, but then it basically can result in the need of a crew) and don't mind putting on ND filters as the situation requires (sometimes heavy ND filters if the desire is to shoot at a wide aperture in bright light for visual effect, and this in turn can result in its own issues), and setting WB manually to ensure that the clips come out consistently? It would then seem that log is better for somewhat controlled shoots and for more documentary video of unpredictable events in variable conditions SDR may end up being easier to work with? -
Thank you very much! That video was actually meant to be longer. It’s literally cut in half. I just got tired of the editing. My day job I’m filming and editing for a popular news outlet in the states and I just couldn’t do anymore to my video. The other half I show examples of bigger and unwieldy manual MFT lenses in my collection. The VO is there and the clips I want to use, so I may just finish it over the weekend. -
Apparently the Metabones SB accepts USB power in, it can be powered by the camera itself, and it can power a lens and has a wheel that can change the aperture of the lens.. and because it has power that means lens OIS will work too! @newfoundmass this isn't a MFT solution but it does allow some electronic lenses to be used - not sure if you have a metabones and other lenses lying around perhaps?
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