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Sigma have announced that they are releasing a range of RF mount lenses, indicating that Canon have softened their “no 3rd party lenses” stance. I say softened rather than abandoned as, whilst these lenses are fully licensed by them, they do not include any full frame lenses. At least for now. The initial offerings are the two f2.8 zooms and four f1.4 primes from Sigma’s Contemporary range that have been available in other mounts for a few years now. The 18-50mm is the first one that will be available but it is not until July and the others will follow in the Autumn. No word on prices but they are usually similar in different mounts so you can take that as a rough guide, although maybe there will be an additional cost on top for the official licensing from Canon. Good news for owners of crop RF cameras to have different options and also for people using the KOMODO (or maybe we should call it the NIKOMODO now). Full details here https://www.sigma-global.com/en/contents/sigma_rfmount_lenses/ -
My expertise is very far from masterclass.. if you think it is that level then it just shows how little you understand about the subject. If you were being sarcastic then that's just not very nice, and really just makes a comment about how badly you handle criticism. If you weren't being sarcastic, then you obviously have some sort of belief about cameras and colour science that is holding you back from hearing what everyone seems to be telling you. You obviously took my comments personally, which of course you're free to do, but this isn't a discussion about how we can all make each other feel loved and supported - this is a discussion about something tangible and there are concepts to understand, so if you aren't understanding them then pointing that out is a kindness, because it provides you the opportunity to re-evaluate and try and listen to peoples comments in a new way. The concept you're not understanding is that no-one who cares about colour grading enough to talk about it online but wouldn't be willing to change camera settings, upload LUTs, or do basic adjustments in post. Even the "Buy my LUT" YT camera bros will tell you that you need to grade underneath it, at least making minor changes to the contrast, WB, exposure, saturation, and the like. The people that are willing to talk about colour grading online but aren't willing to actually do anything about it aren't interested in colour science, they're interested in trolling or are lonely or are attached to a fantasy they can buy great results or some other motivation. The people who want good colour are willing to at least lift a finger - in post to change a setting here or there - to get better results. The differences in these side-by-side comparisons you're making is, in many instances, a single adjustment in camera or in post, taking literally a few seconds... far less time than you've invested in arguing against practically any sensible advice given in this or the many other threads you've started. -
By KnightsFan · Posted
Post. I trust my calibrated monitor in a controlled room better than the one on set. So what I do with any new camera is I do a bunch of tests to find a setting that I like, then I shoot everything in that setting and adjust in post as needed. That way I am very familiar with what I can or can't do with that setting. I will often do tests to create specific color node graphs ahead of time, designed to be applied in post. But on the shoot I want everything to be familiar, even when I know based on my tests what it will transform into. That's not to say I'm good at cinematography. But I do think I'm good at not wasting people's time. I test everything ahead of time by myself or with the people leading the project, then we maximize set time for the actors and crew. No fiddling with settings while people are waiting around. -
That’s a better way of saying it. Do you remove it internally or in post production? I think you don’t get it or feel the original query is beneath your masterclass expertise - no need to comment. Ever. -
You're still not getting it. If you were going to shoot SOOC, you would adjust the camera settings to dial in the look you like. You'd be colour grading in-camera rather than in post. It's well known that Panasonic users will adjust the Hue in the camera in order to shift the skin tones to where they want so SOOC looks to their tastes. The GH5 (and many other cameras I'd imagine) have manual temp and tint controls so you can dial in whatever WB you want manually. Also, if you were going to put a LUT into the camera, you'd dial it in first, making it how you wanted. I seriously don't think that there is anyone that is interested in good colour that isn't willing to do at least something to get it - not willing to audition and customise the profile in-camera AND not willing to even do light edits in post but yet still wanting good colour enough to change camera systems entirely is just silly. It's like saying you want to make the best adventure films possible but you're not willing to leave your house. Most cameras have too much DR to look good SOOC because the profiles won't look contrasty enough, so a lower DR camera is your best bet. The GX85 is pretty good in this regard. As well as for other aspects of the film-making process that shall remain nameless and unacknowledged. Panasonic actually has really nice colour - it's just not cool to say it out loud on the forums but I hear it from people in private quite often. Here's a post with a bunch of GX85 images that are all SOOC: https://www.eoshd.com/comments/topic/74148-making-the-most-of-the-iphone-gx85-and-gh5-and-shooting-in-the-real-world/?do=findComment&comment=569842 No. No-one "keeps" the green in the Alexa image. Anyone shooting with an Alexa will be colour grading it. Anyone who shoots on Alexa and ends up with a green tinted image WANTED that look, and CREATED that look specifically. It didn't stay there by default due to the lack of anyone doing any colour grading. That green look that I showed in feature films is actually not very easy to get - just because you don't like it doesn't mean it's not desirable and nuanced. Think about this some more... You saw that side-by-side with the Alexa and P4K. What did that show you? Even in very high DR situations, the P4K is a simple matrix transformation away from looking like an Alexa. But, P4K footage from all these influencers and low-budget film-makers doesn't look like Alexa footage - not even slightly! Why? Because the look of TV and movies isn't created by the camera - it's created by the lighting, production design, and colour grading! Student films don't instantly look like movies when they buy an FX3. Some years ago a YouTuber I follow hosted a TV show and vlogged the BTS and got a few production images to share. There was one that was side-by-side. This is the image from her A7S3 - a very capable camera - with a pretty standard colour grade: This is an unused production shot from the Sony cinema camera right next to her... Here's the thing... These cameras have almost everything in common and yet the image is so different. Hannah isn't a colourist but isn't a noob either - her videos will be colour graded to a reasonable extent and she regularly makes beautifully looking images and sequences in her travels around Japan. So what's left? Everything except the camera.... So no, if even a tourism travel TV show can colour grade their images so far from where they started, then no Alexa footage ends up green by "keeping" the green in.
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