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lf twich is not available to the p/s lenses. also p/s lenses can only go to +-8mm, ,y mire ef to m43 p/s adapter can go to +-11mm, lf technical cameras can go much greater ranges. you talked about film look on lf mf, you are right in the photo world, a lot of choice. but Hollywood movies almost exclusively use Kodak vision 50d 250d, 200t 500t. so film look on movies is very defined. r1mx etc are tuned for this film look. I have looked adapting DSLR or mirrorless on lf before. the main thing is you have to have the latest rodenstock lenses, which is about $5000 for one. kind of defeating the purpose using lf with its ample vintage lenses. -
By KnightsFan · Posted
Oh yeah, please no one listen to me if you're doing event shooting. All of my experience is shooting narrative with a script, rehearsals, etc. No, I wouldn't say that. If you use a color managed workflow, you can absolutely change the white balance in post when shooting ProRes Raw or HQ--within reason. If you seriously mess up your white balance (shot at 150 Kelvin and need it to be 6500) it might not go well. But shooting 3000 and changing to 6000 usually looks fine, as mentioned in another comment. Do some tests to see whether it works for you. Note that it depends on a color managed workflow, because WB changes should be performed in linear gamma. Creative picture profiles typically don't have accurate transformations so they are less useful for changing WB in post. Common log formats typically have LUTs (or, even better, mathematical transformations) to change between gamuts and gammas. Small WB changes might look okay without being in linear space, but the larger the change, the more you'll wish it was done accurately. -
Thanks for the tips guys. I'm not getting the impression that I can adjust the white balance the way I'm used to with photography which is to take a separate photo with a white balance card for post. Is video a completely different beast where I can't fix the white balance after the fact when shooting in ProRes RAW or ProRes HQ 422? I would prefer the method that I had described in the OP as there are situations where there isn't time to get the white balance right before shooting. I figure the format that I'm shooting in should allow the white balance to be changed easily without harming image quality. I do agree that I should not use auto and instead set a preset that is as close to the actual white balance as possible and correct it in post. I just don't know if I can capture the equivalent of a RAW photo with the white balance card and then use that to get the white balance right in the video. -
That sounds like a great idea, especially the Deity as it's nice and small. What do you mean by a scratch mic? I'm assuming it'll be compatible with the Panasonic adapter to record 32-bit audio? Will it fit inside the mic holder in the XLR2? Microphones seem to come I various sizes. I thought these kinds of mics were unidirectional. What makes it even decent for capturing ambient audio? Thank you.
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By John Matthews · Posted
I just had a look at my GH6 footage that I took before selling it and I must say it looked great! It has a super organic feel to it and loved the colors in just Standard profile. I also tried shooting in Vlog quite a bit, but Standard really did it for me. I took it to the French Alps last summer and it performed so well for photos and video. Sure, it didn't have PDAF, but when you learn to work around it, it's really no big deal. Honestly, I hope to have a similar opportunity with the GH7.
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