All Activity

I'm just wondering why you were posting a random YT video. If I posted a new thread with every video I liked then the place would just look like my YT viewing history and not a forum where discussions can happen and people can share knowledge etc. I don't know what experiences you had in high school, but I've been an adult a long time and I've become fond of talking to people. I really don't know what you were trying to say? What point were you trying to make? Maybe if you actually typed something then there might be some communication....? There are all sorts of interesting things in that video, so the discussion could be a good one. Let's all leave high school behind and try and discuss things like adults 🙂

Here's my recommendation for SOOC shooting - Sony AX100. As Dave says "Sony AX100 looks better than your camera". Just look at the nice contrast, saturation, and above all... skintones! and in mixed lighting no less! Good luck getting that with a "better" camera - they all have far too much DR to give you a punchy image from their 709 LUTs or profiles.

Haha some of you remind me of guys in HS who hated jocks but then grew up to find your own niche and identity and became the jocks.

...and?

Which is it? Minimal processing / grading? or SOOC? They're VERY VERY different! Just for arguments sake, let's definite "minimal processing/grading" of an image as being limited to: 5 minutes of adjustments applied to the whole project 30s of adjustments per clip only using basic operations that can be done in PP/FCPX/Resolve using the standard tools This definition, if you were to make a 5 minute edit, with an average shot length of 3 seconds, then that's less than an hour of colour grading for the whole project. The differences that that effort can make will completely overwhelm any minor differences that different cameras have. If you were to say that the best SOOC colour was 5/10 and the average was 3.5/10, then the graded images you can do in that time with those rules will easily be 9/10. You might think that an hour sounds like a long time, but it's nothing compared to how long it will take you to edit something anyway. Casey Neistat did his daily vlogs, which were usually between 5-10+ minutes each, and took 5-9 HOURS to edit. This might sound like a lot, but he was an experienced editor even before he did his 800+ daily vlogs, and he also mostly knew what the film was about etc, so he wasn't filming without a plan. I've heard other YT film-makers (where the result is a film and not a vlog or whatever) say that they spent 30 HOURS even just colour grading their 20 minute film! The other thing that you might not be considering is that shooting for great looking images SOOC will require you to either have boring flat and lifeless looking images, or you need to crank up the saturation and contrast in-camera (as someone mentioned earlier in the thread) but this requires you to shoot really really carefully to ensure that all images are shot with exactly the right exposure and the right light levels and contrast levels. One thing I find in colour grading is that different images require very different levels of contrast etc to look coherent together - you might have one shot with something bright or dark in the background and then the next doesn't have it - so in order to look coherent you need to adjust the contrast between the two images slightly. Black and shadow levels is another thing that you want to try and get relatively consistent between the shots in the edit. Shooting meticulously like this will take a lot more time during shooting than to just move a few sliders in post - you have to setup each shot, ideally to adjust the level of contrast and saturation between each setup to get a coherent look, watching your levels and histograms etc. This would add 30s or more to each shot before you hit record. If you're recording anything except a controlled environment where everyone is waiting for the camera to be ready then you'll miss all the good stuff. It's fun to talk about technical things, sure, but these things aren't independent of the rest of the process. Your question may as well begin with "Let's imagine we're in a parallel universe where instead of cameras being for making videos, they're really....."

interesting tests

How would you categorize some of the main cameras discussed here ?

If you're looking for SOOC color, you probably want a decent amount of SOOC noise reduction. If you're working on a project which will have reasonable post-production work done, you want the least (or no) noise reduction in camera. Tools like the denoiser in Resolve, Neat Video, and Topaz Video AI give a better result as well as giving you a lot more control of the trade-offs of noise vs lost details and plastic/wax skin.

I just watched the gold rush 1925. where is the 24p magic? why am I still enjoying the story and composition and action such much? lol.

I had a chance to test this, it does look like the extra green shadow noise introduced by the new autofocus is somewhat reduced by shooting at the higher base ISO 4000 if the situation allows for it. So shooting with an ND could work.

I read that clog2 has slightly more DR than clog3 but that in clog2 the NR is turned down/off and the shadows are way noisier than clog3. How do you guys see that trade-off? worth it? or would you have rather reduce noise in post.

Below is an approximate comparison of transfer curve for various Log and Sony's three versions of HLG. From the Bolex PDF above: The three versions of HLG that Sony cameras support (from https://xtremestuff.net/sony-and-hybrid-log-gamma-hlg/ ) - HLG3 (upper curve) is the closest to the Rec. 2100 standard : A chart of various Log formats from https://www.dpreview.com/forums/post/64243940 (note the 3 EV spread in the high EV limit between the various curves). The highest DR curves look to be C-Log2, S-Log3 and V-Log - but of course they do that by being flatter in the important mid-range area i.e. fewer levels per EV, increasing the chance of banding if pushed too far in post. Note this chart is -10 to +10 EV vs. IRE 0 to 110%, the other two are -8 to +8 EV vs. 10-bit digital code values.

you must be fun at parties 😉 - i'm not purchasing anything i enjoy discussing tech - i also play guitar and have been in bands - i enjoy discussing amp modeling but am not purchasing it. Don't get so butt hurt 😉 Looks good! Keep at it, man! makes sense when you decouple that from the original intent of the thread - minimal processing/grading or even SOOC. Great question! I don't know but there are appreciable differences which is logical when you factor the dynamic relationship between varying sensors and processors, to assume they produce the same image and tangentially discuss lighting and makeup is besides the point. There's a reason Canon was toted as the king of color for a long time, and Fuji for their stylized looks. That's fair - have you noticed a brand that is putting out improvements in these areas that's caught your attention in the current market?

I was thinking of using the Fuji X-H2S for a small project but I saw some video regarding IR pollution. Has anyone else encountered it?

Interesting. I've been working in REC709 for the sole reason is that I'm just not ready to jump in to REC2020 and the learning curve that it might have. I also might need a new monitor or something. At some point I'll learn all about it as it seems to have huge advantages over REC709 and I want to have them. (Another thing that I want to one day learn about is ACES, another big scary thing.) My D16 has a colour space that is like HLG called Bolex Wide Gamut. It keeps the full dynamic range of the image but isn't flat looking like Log would be so is watchable even before using a LUT or something. Here's a white paper about it. https://digitalbolex.com/wp-content/uploads/2016/05/Bolex_Log_Bolex_Gamut_TechSum.pdf

The US raffle is open. My entry is in. If others enter, I wish you the best! https://fujifilmeventsusa.com/x100vi-le/

They are not even dreaming of the same game, nor the craft, the passion or the work connected to a 3min narrative or a short experimental visual etude.

But how much of that is due to relatively small differences in brightness, contrast and saturation (all of which can be adjusted in post and usually in-camera by tweaking the picture profiles)? We are all used to colours changing due to natural lighting variation, and most people are drawn to bright, colourful, vibrant scenes - which is why the 'standard' profile on cameras is often relatively high in contrast and saturation to produce 'punchy' looking stills and video. When comparing cameras (if I'm thinking about buying one), I'm much more concerned about unnatural image distortions, like aliasing, moire (especially the false-colour variety), compression artefacts (e.g. banding and blockiness) and noise - because those can be distracting and not as easily dealt with later.

If you stare at them for hours and hours then you start to notice differences and they start to look normal. That's how all the YT "cinematic" content now looks nothing like cinema. I just watched Kill Bill 1 again, and yeah, it might as well be a different universe... When the people who can create any image they like with virtually unlimited budget create images like these - contrasty and punchy and not sharp in the slightest, then the people who are pixel peeing the 6K cameras aren't even playing the same game.

I especially love the second shot. @mercerLooks fantastic. I have not come around filming anything for almost a year now unfortunately. All my colabs have moved themselves into the shady hideaways of oblivion and my aspirations to be a full time crewmember have been very low after my accident I had on a job. But your posts are some of the very few on this forum which inspire me to start filming again. S35 is fine for me on my S1H btw.:) Also waiting for some more fine reads from @QuickHitRecord 😊

I lost my thinking reading through the back and forth of this thread. It is headspinning. But it is the only active thread alive at the moment.😂 I will be very grateful when og poster will feel inspired enough to come to a decision of buying that personal camera for video or photo/video after a year long of searching and wondering.😂 Well, a bit offside, some 8bit 420 100mbps HD goodness, a teaser for a short I dped and codirected five years ago. Still not finished with the edit, though I had it finished at 80% five months after wrap. But I felt left all by myself. So the moving image has many more challenges to face than worrying about the differences in image quality of 10 bit dslms.😊 Grading is a bit off but I wouldnt even bother so much any more as most of the look is in the lighting, framing, setdesign anyway. Shot at 800 Iso, at around T2 and T2.8.

Will check soon! Thanks 🙏 Under very clear differences and Fuji and canon have a much more appealing image. That said I show the clips to family or friends and they always pick canon then Fuji

I had a faulty GX80 showing me a message a few seconds after power on: "Please Turn Camera Off and Then On Again". I knew it was the ibis failing because only one part of the sensor was static and the other part was very wobbly. So I dismantled my camera following this tutorial until I reached the 10th step. Once I had the ibis+sensor out of the camera, I only had to remove 3 screws and to separate the 2 flex of the sensor. Then, I realized one of the tree electromagnets had no continuity, and added some drop of tin to join the broken copper wire. And it's fixed and working again. I am so happy! I include an image of the point that was failing

im going to be very honest, i think its crazy you can see the difference between cameras with their stock 709 lut. To me they all look samey, boring and bland.