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https://www.digitalcameraworld.com/cameras/gimbals/hohem-isteady-mt3-pro-review https://store.hohem.com/blogs/news/the-ultimate-all-in-one-stabilizer-hohem-isteady-mt3-pro-review-is-the-ai-tracking-worth-it Any takers / user experience over here? -
Raw pictures taken with a OnePlus 8 pro modded, lens used: Linos Mevis 16mm F1.6 -
Presumably there will be significant demand from news broadcasting/journalism for this “quality in the pocket”. In addition to the obvious applications in DIY sports videos. -
Fair point. Agreed : ) A proper apples-to-apples test should also include each mirrorless camera in its best baked-in Rec.709 / HDR / tone-mapped profile, not only Log. Log is obviously not meant to be judged as a finished image straight out of camera. But that was not really the point. The point is not that the Luna has “better” image quality than an FX3, R6-style camera or any serious mirrorless body in a controlled professional workflow. It clearly does not. The interesting part is that this tiny dedicated video camera is giving a highly usable, stabilised, low-light image immediately, with very little operator burden, in a form factor where people would normally expect a large compromise. That is where the disruption is: not pure sensor performance, but the whole capture pipeline: lens, stabilisation, exposure strategy, temporal processing, denoising, subject visibility and ready-to-use output. So yes, a mirrorless camera can absolutely be configured to produce a good baked-in image. But the Luna is attacking a different use case: fast handheld available-light shooting where the question is not “which camera has the most flexible file in post?”, but “which camera gets me a usable shot right now, from my pocket, without rigging, lighting or grading?” That does not make it a cinema camera replacement. It makes it a much more serious pocket production tool than this category used to be.
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By Aussie Ash · Posted
Backrooms was made on a budget of only $10 million and has so far made over $260 million box office.Directed by Kane Parsons who is 20 years of age, his father is a video game developer and Shane has been deeply into VFX and 3D since about 12 years old How it was filmed and lit is really interesting the interiors look real but have a creepy eerie feel to them. Shot on a Sony Venice 2
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