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I thought i was the only one who had to deal with windy days... I suspect that the gustiness of the wind on the day, might be causing some issues with the cadence ? things seem to jump around a bit, not that the the g7 should have any cadence issues but rather the gustiness is making it look like that. I also suspect that the edit points dont help the issue either. Just seems to make it more apparent. Obviously its a test and your not trying to tell a story, however the jumpiness is a bit distracting. For me anyway. As to softening I think it looks ok from here, from what little i know... personally i'm still working out some of the ground rules for a look i like. I think your much further along the road to where i am at. In fact the last project i did went the other way and i was sharpening ever so slightly. So there you go. Hopefully some of the more experienced people can be more insightful.

I'd also argue that the conventional wisdom over high resolution sensors needing better glass is false unless you are heavily cropping the image. I've had soft 50 euro lenses look better and better, the larger and higher the resolution of the sensor. Same soft lens on a Micro Four Thirds camera or X-T5 looks terrible. Put it on a GFX 100 and it completely transforms and looks so much sharper when you're viewing the whole shot as intended, as long as you don't start pixel peeping it of course.

Let alone the size of the package! ; ) It's not a REDvolution, no idea to you but to me, it's a D-Log M revolution! : P Something that puts this company ahead of anything else. Who in this industry has no at least 1x unit of a DJI drone? Or a Osmo Pocket? Well, I even mean the Osmo Pocket 3. This will apply the same for this one coming now, I guess... : X

This information has less than 60 mimutes and includes comparative footage with 8-bit X5: Other than 10-bit, quasi-1 inch square (!) sensor is really something into 360 world. :- )

Never thought i had particularly large hands, however one gripe i have found (its a personal one) is when i grip the e-m1 my little finger tends to wrap underneath as the camera isn't tall enough. Not that i want to call the e-m1 vertically challenged. Its more of a me thing than a camera design issue. One of the reasons to get it was the mft form factor. Its just a little uncomfortable to hold after a little while. At the moment it lives with the ziyhun space plate on the manfrotto base plate and that seems to work ok. I don't seem to have any issues with the plates on the bottom, i don't seem to accidently hit at all and i can put pretty much any lens on it without fear of it falling over. I suspect one of those optional HLD-9 Power Battery Grips is in the near future for this camera and the gimbal should accommodate the extra weight. At the moment its about 50 % tripod time and then 50% hand hold. Its nice the space plate and base plate are out of the way of the battery door and its easy to change the battery without having to take something off. I did get a few photos with the super takumar 35mm f2 today and i'm quietly confident that i met or exceeded the mission brief of finding a yellow lens. i should also point out it was nearly 4pm and winter here, so the sun is low in the sky. From the left, straight out of the camera. For the middle shot, and to get back to a less artistic image, i took a grey point off the lavender as thats kinda grey, perhaps a little too blue ? I do like the colour of the dirt in the middle photo but i suspect the rest of the photo is a bit too cool ? which might come back on using the lavender as a grey point also the gerbera isn't as orange as in real life. I can of course massage things in post but that kind of defeats the purpose of the exercise. Plus its all subjective anyway lol. Third is from the iphone 13 for a bit of a comparison, the flower certainly is more orange, maybe it pops a little too much. I guess the iphone is doing some " magic " although i am sure the profile is set to normal. I think its kinda interesting how cameras / lenses interpret an image and then how humans interpret that result as pleasing or not. I'll also add i don't like to overthink it, more of a conceptual thought rather than a whole process. Next shot is taken at the same time and i threw it in as i thought there was abit of fine detail in it with the spider webs. After that the battery died. I was hoping to get it charged for sunset however i was a bit late and it was abit of a bland sunset as well. So far i am liking this lens, from the very limited time i have played with it, it behaves like i thought it would. I have a bunch more things to try with this lens yet. I doubt anyone else will buy this lens for the same reason i bought it. Most would buy it and stick out under the sun or uv light to clear away the colour cast. To me thats what makes it unique. I do have other takumars super taks and smc's and the 17mm smc on the desktop beside me is clear or almost clear of a colour cast. I'll have to check the others now ... The 17mm smc also has a filter wheel built in with a red, yellow, and clear, i remembered that only a couple of days ago... I should get some comparisons to satisfy my curiosity. Also its very much a mint looking lens and the focus works smoothly and aperture work nicely, i also bought one that had front and rear lens caps. After my first couple of takumars it began to annoy me that people will sell these lenses and ship them round the world without a front or back lens cap. I am confident i have always paid good prices for the lenses i have bought and honesty i think its just lame, that people cheapen out and won't put a cheap cap on it. I have a birthday next week, kind of ironic and depressing to think that i am as old or older than these lenses. These lenses keep working just fine, however my shoulder is starting to pack it in... 🙄

Speaking of serious image degradation, here are a couple of test shots of the 58mm wide angle adapter I ordered. It seems to vignette quite a bit on the wide end of the GX85 + 12-35mm combo, so you don't get a wider FOV by the time you zoom in to eliminate the vignette: The fact it's so much more degraded at 35mm than 16mm makes me think that the adapter is interacting with the optics inside the zoom. If there wasn't an interaction then when it's at 35mm it should be less degraded because it would essentially just be taking a smaller centre-crop and the edges of the frame should be cleaner. Anyway, this level of distortion isn't what I'm chasing, but it might be very different on other lenses and it's still quite fun to play around with.

Wow, "too clean" wasn't a reaction I anticipated!! Yes, it was 24p (well, 23.976p anyway). I don't think I've heard of shooting a little slower to give a more filmic cadence - interesting idea and one I will absolutely try. I'm not sure how I would actually shoot at that speed, as I don't know which of my cameras would offer that option, but as a test I could just slow some of the above 24p plant footage down as plants moving slightly slower in the wind is a thing that happens so shouldn't be too surreal. I've slowed 30p cameras down to 24p, which is a 20% speed reduction and noticeable, which would be about the same for slowing 24p down to 20p. I am yet to really study that test I posted, but my initial impressions were that while it looked like film, it didn't have that certain something I'm looking for. What I'm looking for I can't describe, but it's sort-of the opposite of that "video look" of shooting 60p with sharp lenses and with accurate colour science and proper WB. I watched Old Guard 2 a few days ago and was impressed with how it seemed to have a cinema look but was also quite sharp (which I think have a strong negative relationship) but when I went back and took screenshots I found it actually wasn't that sharp. I then went looking at film trailers trying to find examples with this real cinema look, but most of them were sort-of "neutral" in the sense that they looked somewhere between cinema and video, with some being closer to cinema than others but none being fully at that end of the spectrum. They were mostly uploaded in 1080p from the studios, and the ones in 4K were from other movie review sites and looked a lot more detailed but I can't be sure if these are AI upscaled or what the image pipeline was, so I didn't look at them. When I think about what looked really cinematic to me is mostly old films that were actually shot on film and are surprisingly soft and grainy, so I really need to go looking for some high-quality footage (that I can trust) from more recent films. Anyway, this all sort of made me question if I was now just seeing things, or if all the trailers looked too sharp to me (including the trailer for the first Knives Out movie which seemed to be very high quality upload), so I am going to do some more testing and try and reality check myself with more research and more testing. Also here in Australia some services stream in SD (for a variety of reasons) so there's a non-zero chance I've just gotten used to that, but having said that when I go to the cinema to watch the really big films (like Dune 2 or Bond movies etc) they don't look sharper than I was anticipating, so I don't think it's that. In an attempt to give myself some perspective, yesterday I shot a motion test where I shot the same shot of the plants and then I walked through the backyard, with the following settings: - iPhone 60p using auto-SS (short shutter) - iPhone 30p using auto-SS (short shutter) - iPhone 24p using auto-SS (short shutter) - GX85 24p using auto-SS (short shutter) - GX85 24p using 180-degree shutter - GH7 24p using 180-degree shutter - GH7 24p using 216-degree shutter - GH7 24p using 288-degree shutter - GH7 24p using 360-degree shutter - GH7 24p using 108-degree shutter - GH7 24p using 70-degree shutter I haven't looked at that one in detail yet either, but it was sort of a combined test of subtle variations in shutter speeds (the GH7 shots) and also a reality check to judge the GH7 shots against actual video (iPhone and GX85 auto-SS shots). Today, I've just finished assembling this monstrosity: This is the P2K and GX85 on top, with GH5 and GH7 on the bottom. I finally own enough vNDs to do this, although the 82mm vND I bought for the Sirui anamorphic adapter does look rather ridiculous on the P2K and 12-35mm! I'll shoot a side-by-side with all of them rolling and will walk around the yard to get a number of compositions and lots of movement. I forgot to include the P2K in yesterdays test, but I also want to have a reference where the motion is essentially the same, which is why I have rigged them together. I can replicate a 35mm F11.5 FOV on all these, so should have mostly the same image. There will be resolution/sharpness differences, but I can level the playing field in post by applying various FLC profiles, which will be a good test to see if any perceived differences disappear or not. I'm still waiting for my Sirui 1.25x anamorphic adapter to arrive, but once it does some future tests will include various combinations of the wide-angle adapters, the anamorphic adapter, modern AF lenses, modern MF lenses, vintage lenses, and probably some filters too, as I've got a small collection of softening filters and a few vNDs of vastly varying quality which should add a look to the footage too. I might also shoot some tests comparing various amounts of rolling shutter too, as I think the GH7 has strong enough codecs and enough modes to make meaningful comparisons between these too.

I'd also say that lens sharpness is relevant only in some contexts. A 35mm f/2 lens on a high-end point and shoot really needs to be "sharp enough" - and has to find the balance between sharpness and being too clinical. Unless you're taking pictures of a brick wall 30 meters away, chances are that the 35 has all the detail you'll ever need. Keep in mind that the previous camera using that lens had 45 megapixels - jumping to 61 is not huge. If I were only interested in still photos, the RX1R II would almost hands down be the choice, especially if I found a good deal. Flippy screen and cute lil' pop-up EVF like the RX100 series? Sign me up. Some of the other ergonomics look better on the new camera and it can record in 4K, barely. Is that worth thousands of dollars more? Not for me. Could be be an interesting camera in 5 years when the used price (hopefully) drops it more than 60%? Yes, it could be. Would I take it over a GFX 100RF that costs less? Absolutely not. My most frequently-used lens on the GFX 100 is the 32-64 and that's also an f/4 lens. Very sharp too. You can really count the molecules in those bricks in the wall 30 meters away.

You can't compare a fast 35mm to a 50mm F8 macro lens or whatever it is they usually use on the DPR test scene. It's a fantastic lens, always was. Even wide open at F2.0 it's close in sharpness to F5.6 stopped down. Of course, only in the centre - but the DPR test scene is a sensor test scene, it isn't designed for wide angle lenses. The real-world performance of the lens is what matters. It's not as good as a Leica M APO 35mm F2 for 4 grand or the 35mm F2.0 lens on the Zeiss ZX1, but it's still very good. I have always treasured the shots from my RX1R and RX1R II That's what counts, not the pixel peeping at 2000% magnification. I think it does just fine... By far the most important thing with a lens is to go out and take real shots with it... The Panasonic 28-200mm on paper is a piece of garbage. Is not the sharpest, not the fastest, F7.1 at the telephoto end, and yet it shoots shots like this... Which look like they're shot with a high-end 135mm F2.0. The rendering is just superb at 200mm F7.1 Does it look like F7? Nah.

DP Reviews image tests on the new RX1 Mark III just came out. The lens is incredibly soft. Too many MPXs on that sensor for a 10 year-old lens.

Still too clean for me. Dod you record at 24fps? Maybe try lower at 20-21fps to give a more filmic cadence?

For the first time I got my hands on an S1 II yesterday, just in a shop. All my initial suspicions are correct, it's a second rate sensor in a very plasticky cheap feeling body. Not impressed at all with the way it feels in the hand given the lofty price tag.

Next test is a big one - comparing a few different ways to soften the image in post. Test shots I shot a number of compositions with a few different lenses. To give a range of inputs, I shot with the following settings: - GH7 shooting 5.7K Prores HQ (1500Mbps) - Panasonic 12-35mm F2.8 at F2.8 and at F4.0 (it sharpens up a little) - Voigtländer 42.5mm F0.95 at F2.8 - Minolta Rokkor 135mm F2.8 at F2.8, F5.6 and F8.0 Shots included wides, mids, teles and had shots where it was overcast and shots in direct sun (including raindrops on things!) so there should be a range of scenes. All shots were 180 shutter and using the K&F True Colour vND. Treatment in post I then put each shot onto a timeline, and you get to see each of the above shots put through each of the following: - 5.7K shots directly on a 4K timeline - Exported from 4K timeline to 4K Prores HQ then pulled back into the main 4K timeline - Exported from 4K timeline to 3K Prores HQ then pulled back into the main 4K timeline - Exported from 4K timeline to 2.5K Prores HQ then pulled back into the main 4K timeline - Exported from 4K timeline to 1.9K (1080p) Prores HQ then pulled back into the main 4K timeline - Exported from 4K timeline to 1.5K Prores HQ then pulled back into the main 4K timeline - Exported from 4K timeline to 1.2K (720p) Prores HQ then pulled back into the main 4K timeline - 5.7K shots directly on a 4K timeline with Film Look Creator emulating the grain and softness of a 65mm neg - 5.7K shots directly on a 4K timeline with Film Look Creator emulating the grain and softness of a 50mm neg - 5.7K shots directly on a 4K timeline with Film Look Creator emulating the grain and softness of a 35mm neg - 5.7K shots directly on a 4K timeline with Film Look Creator emulating the grain and softness of a 30mm neg - 5.7K shots directly on a 4K timeline with Film Look Creator emulating the grain and softness of a 25mm neg - 5.7K shots directly on a 4K timeline with Film Look Creator emulating the grain and softness of a 20mm neg - 5.7K shots directly on a 4K timeline with Film Look Creator emulating the grain and softness of a 16mm neg - 5.7K shots directly on a 4K timeline with Film Look Creator emulating the grain and softness of a 12.5mm neg - 5.7K shots directly on a 4K timeline with Film Look Creator emulating the grain and softness of a 10mm neg - 5.7K shots directly on a 4K timeline with Film Look Creator emulating the grain and softness of a 8mm neg Yes, this is a lot of shots! Each shot on the timeline is 5s, and there are 8 shots across 17 treatments, giving 136 looks over 11m21s video. All shots had the FLC "Cinematic" look applied, and I adjusted the WB and that was it. I disabled all the other stuff, so it was just the colour profile and the grain / softening. Export I then exported it in both 4K Prores HQ (56GB!) and 4K h264 (3.65GB) and after comparing the two I uploaded the 3.65GB h264 file, which is about 45Mbps so good enough. There were slight differences between the two but it was minor and I tend to export in h264 for YT upload anyway. I will be downloading the resulting file from YT and judging the image from that file, as that's the one that gets viewed in the end. Film Look Creator settings The FLC Grain section has various settings, and has presets for 65mm, 35mm, 16mm, and 8mm, but allows you to mess with the settings. To emulate sizes in-between these presets, I interpolated the values using either a linear or logarithmic approach. Here's the values: Goal My goal is twofold. First is to work out what looks the most like cinema to me (in the final YT stream), and the second is to know what settings to use in Resolve to get that look in the final YT stream. If I could play with the controls live and see what the YT stream would look like in real-time then I'd just do that, but this is the next-best option, where I just vary something from too little to far too much and then just see if I like it and if so then where the sweet spot is. Enjoy.

Not yet, just getting used to it in its stills role first, but next job in a few weeks, going to shoot some 7.2k with it. Not the full job, but at least some, for this specific task. For now but as above. General walkabout, venue pics etc but nah, it’s not for me. It is at least with the 28-70.

Try this instagram page. I hope the makers and their tools make a full movie in this style. https://www.instagram.com/reel/DMNxgCdIWxR/?utm_source=ig_web_copy_link

Hey Everyone, This week's new free Mp3 music tracks are on my Fantasy 12 page: "GRUMPY MONSTER’S NAP-TIME" (LoFi) "THE BOG OF ETERNAL STINK" (LoFi) "CONTEMPLATION IN THE CASTLE" (LoFi) https://soundimage.org/fantasy-12/ I must say, "The Bog of Eternal Stink" really works well as a LoFi track...it sounds truly stinky...blech! CUSTOM MUSIC for "Warbound" I'm in the middle of creating an entire score (around 30 tracks) for "Warbound," a strategy-based RPG. If you're interested, I've provided a link to the game on my custom music page: https://soundimage.org/custom-work/ I believe the music in it right now is temp-music (not mine) but the game looks really good. I can hardly wait to hear my tracks in it! If anyone needs help with custom music, feel free to contact me! OGG GAME MUSIC MEGA PACK - OVER 1400 TRACKS (AND GROWING) https://soundimage.gumroad.com/l/ylyre My Mega Pack contains over 1400 music tracks (and growing!) in higher-quality Ogg format. Great for video games, films, podcasts and more. This is a bundle of my genre music packs: Fantasy | Sci-Fi | Funny/Quirky/Weird | Puzzle | Chiptunes | Action | Dark / Ominous | Horror / Surreal | Misc These tracks sound almost as good as my original WAV recordings, but are much smaller in file size. Perfect for video games. Ogg tracks also loop better in game engines than Mp3 format. The Pack that Grows with You I add new music all the time, plus Gumroad allows me to send users updates so you can download my newest tracks as I release them. As always, enjoy, stay safe and keep being creative!

Yep, still useless. AI has no feelings. No promp-master can make AI distinctly his own. The output will always be an interpretation of something synthetic devised by the AI being used. I'm not talking about shooting your own material and enhancing it with AI. That's a different thing altogether. No. I'm talking about movies made 100% prompt after prompt. No wonder the current examples of these prompt-driven "films" always put the AI tool used before the author. It's what ppl want to know. "What tool did you use?". "What prompts did you input?". It's never the author. Always the tool.

For me, Stalker is one of the most gorgeous films ever made. I feel inspired every time I watch it!

I just found out that Stalker is free on YouTube.... I saw the movie when I was young but not since, so I'm waiting for a good time where I can sit and watch uninterrupted.

here is a still from an AI film the -young lady has made a strange modification to the door of her camper van !

Nice to hear it’s working for you. Have you pulled any 8k stills? How do they hold up? Are you mainly using it for photos? What use were you going to give the 28-200? I've been thinking that it might work as a compact long zoom for filming ceremonies. Having it locked off on a tripod. Does hybrid zoom work with sigma lenses?

Official review, mentioned in another thread, it’s fucking awesome. I didn’t expect to like it as much as I do, but actually… So the OG S5 I really liked and I switched from Fuji for video and stills because I wanted a full frame system over a cropped one. For a while, I actually carried on shooting a ‘cropped system’ for video because the 4k 50p in the S5/S1H/S5ii is of course cropped, so it was more for the stills I wanted full frame. My overall feeling at the time was it was a marginal step up, but nothing anyone else would really notice. Bought a pair of S1R’s and whilst the image quality could not be questioned, did not care for the body too much and it was just a bit old school DSLR and too different from the S5 and S1H. Bought an S1H for video. Stellar camera. Would still be using it today if it just had a couple of features the S5ii has. But it doesn’t so had to eventually go. S5ii’s became my video workhorses and can’t really fault them but hated them for stills, especially coming from S1R and S1H which were MUCH better IMO as photo cameras. S9. Bought it. Sold it. Bought it back again. Love it, - my favourite run & gun video camera ever. Yes I have a few niggles with it such as it’s too easy to knock the dials etc and when I thought I was shooting 1/100th notice I am shooting 1/80th or 1/160th from time to time and aaaargh. I need to look at maybe even just a small bit of tape or something to prevent that. S1Rii vs Sony A7RV and Nikon Zf, because it has replaced both of those cameras. Vs the A7RV I’d say it’s about equal. Near identical sized and handling bodies, build, rear LCD’s etc with zero real world image quality difference. The Sony is a touch better in the AF department but not by much. Vs the Zf, the Zf is more ‘fun’ and my favourites point & shoot camera ever and again, very little real world image quality or AF difference, but the Lumix is a better lens platform and as a single body over a pair, it’s very very good. Pros: Size, weight, handling, build, image quality, hybrid crop zoom. Cons: I honestly haven’t really got any. I was hoping originally for the sensor from the Leica SL3 and a mini S1H body and whilst we did not get the former, I’m over that and re. the latter, it actually has that vibe. I had a few minor niggles first job I shot it, but then realised I had missed a few things on the set up so tweaked those areas for the job I am currently working on. What’s missing and any other comments? Well as above, hated the 28-200 zoom and it’s going back. I prefer primes but recognise they are not always practical for what I do or shorter zooms, preferably with internal zooming (or at least very short extension) are my preference. And do not care for slow, variable aperture lenses. So it’s going back and getting the lens that I know will work for me and that is the Sigma 28-45mm f1.8. What is missing for me now is just one more lens, a same size but longer focal length to the above lens, ie, something like a 45-90 f1.8 internal zoom. Please Sigma, make this lens 🙏 But for now, I will have to make do with hybrid zoom which is a bit of a revelation to me. It’s a massive thumbs up from me and now having 1 less camera, 3 less lenses and everything in one system, just a much better way of working.

Except he hasn’t. As above, in 25 years, I’ve only been in 3 systems, albeit a few side dalliances from time to time trying out a few things, but have never flip flopped between systems. I have had many many cameras over that time, but 90% of them have been upgrades to new models within a system as most full-time pros tend to do. The only exception to that has been the last 1.5 years when I bought a Sony and a Nikon because L Mount was frustrating me in that regard, both in the body and in the lens department, but more in the lens. There are still 2 holes within L Mount regarding lens IMO, but within the last 1.5 years, they have also popped out a couple that addressed some of my needs. I was also a little guilty of buying into the ‘L Mount is dead, Lumix won’t be making any more cameras’ line that many were spinning a year or two back and so 🤷‍♂️ But switched back and forth between camera systems… Mentally, many times and talked about hypothetical options, yep, guilty as charged, but flip-flopped like a YouTube shillster, nope. And no offense taken. I’m just having a moment on my soap box in denial of the accusation 😘

It was just a joke because @MrSMW has switched back and forth between systems (cameras) a few times in the past couple years. No offense intended.

Thank you, and yes we'll see what @mercer has in mind. I think I mentioned in a previous post that in use the S1Rii has been great, maybe not as well built as the original, but will do just fine day in day out! I agree I think Canon and Sony still have the best AF (for People), however this is not far behind and (for what I shoot) perfectly fine!