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I think there's some drive towards investing in lenses that'll cover FF35 as well as S35 and DSLR/cinema cams as well as mirrorless: hence, FF lenses with longer flange distances. With the explosion in affordable cinema lenses that cover FF35 and come in both PL and EF mounts, the Veydras are falling by the wayside as a less versatile option. That said, I love the little guys. If you're a mirrorless shooter who does narrative, they're one of the best options on the market.

Since you're doing 2D type animation stuff, I'd recommend shooting long focal lengths. This will "sit" better in the eventual composition. I made a green screen project a few years back wherein we tried the short lens look. Didn't like it at all and threw out all those shots. Edge distortion was awkward. And, FWIW, we shot vertical too. Also, an art direction thing to consider: Your subject is darker than the background. As a rule of thumb, to make the image easier to look at, reverse that. Not that you need to always do this, just a consideration. Working in the virtual realm like you're doing gives you complete control over your "lighting." Make sure you exploit it.

I remember almost 20 years ago when Foveon announced their new technology. I was excited and sure they would take over the world. Since then they have made little progress in threatening the CMOS dominance of "mass and momentum." If there is a sensor revolution many companies will have to abandon a lot of infrastructure and we'll all have to start thinking differently about how we define "resolution."

Here's one or two examples from a recent shoot that I quickly graded that show off what the 1/4 Black Pro Mist can do.

Someone correct me if I'm wrong but the 400mbps will be for a codec where every frame is recorded individually ( not made up of parts from frames either side) and thus the overall compression ratio will be higher than with the current 150mbps codec where it stores only certain frames fully and interpolates the inbetween ones. Thus there is no guarantee therefore that the images will look better with 400mbps due to higher compression. It may look better for motion?

true true... I'll make it work lol

Allow me to decriminalise myself! Classic Chrome Highlight Tone -2 Shadow Tone -2 Color + 2 Sharpness -4 No colour grading in post on that shot. Lens is the Fuji 23mm F1.4.

I've been shooting timelapses and infrared stills with the Sigma SD Quattro mirrorless camera. Foveon is a future bayer slayer. Sigma could end up ruling the sensor market for high end cameras in 10 years. Read the full article

Shot on the GH5 in 3 days. A concept trailer done having a zero budget for our upcoming first feature film. I really like what I can squeeze out of the internal 10 bit V-Log footage. DR, lowlight and colors are really good. Everything was shot with sharpening and nr set to -5 and a Tiffen Black Pro Mist filter applied in front of the lens (12-35mm 2.8 V1, 20mm 1.7, 42.5mm 1.7) to make it smoother. Colorgrading done in Davinci Resolve. Drone shots by the DJI Mavic (the internal sharpening is hideous tbh...).

Maybe not as small as the Laowa 7.5mm f/2, but they're certainly manageable. Especially in length and weight, they're actually not that bad, no troubles going handheld with this. Having the same width throughout helps of course for easy swapping and keeping your set-up the same otherwise. With T2.2, indeed like f/1.8~f/2 or so would actually have, it's all about wide open performance guarantee. That's just a principle they didn't feel like sacrificing. Those Voigtländers/SLR Magics/Rokinons etc aren't particularly peaking in performance wide open, it would start to look up from f/2.8 anyways. But of course, it's nice to have f/0.95 in a pinch. But then again, cine lens... so traditionally these haven't been f/0.95 anyways even even bright ones are often shot at like f/5.6. We've come to love shallow depth of field, but you're hiding a lot of context with it. I always say: choose your shutterspeed, determine your desired depth of field (!) and corresponding aperture, set the ISO to balance things out... are we at minimum ISO and still too bright? Throw some shade its way! ND filters. Other scenario: things turn out too dark? Bump the ISO towards noise performance acceptable limits. Reached it and still not bright enough? Light your friggin' scene already! Still too dark? Well, you gonna have to either sacrifice depth of field or shutterspeed. Often people sacrifice depth of field, because they like a shallow depth of field anyways... but you know, maybe give it some thought rather than just throwing your lens wide open. In the end, there's different tools to get different jobs done, though. I was once tempted by the idea of the Sony CineAlta cinema primes set (launched at $24,600 back in the day). Speaking of big and heavy and only covering S35.

You'll need to strip the wires before you proceed anyway, which will hopefully reveal black, white and copper wires. The copper is your ground. Black is L1 and white is N.

The only problem I see with the Veydra lenses, on Micro 4/3s, are that they're still fairly big and heavy for Micro 4/3 lenses. And they're all a T2.2... which is about an f/2 in photographic terms... correct? With the Voigtlanders at f/0.95... about a T1.2?... you're gaining a +1.5 stop for lowlight use... which is a bonus in Micro 4/3 world. If I had to choose one or the other, I'd go with the Voigtlanders, but for @jonpais 's desire to have a good cine lens(set) for multiple cameras, the Veydra lenses make sense.

Thank you so much! I was setting the key gain to 2 not the LGG gain... whoops. Thanks for taking the time. I'm going to use this a lot on interviews on the punch-ins from 4K. Just a little boost in perceived detail to help it match the wide.

Grab a Veydra in your favorite focal length and write a 1-3 minute short, or adapt a public domain short story, with 1 or 2 actors. I would use your street shooting skills as part of the production. If you want to go lightweight and handheld, I saw a cheap, rail-free, follow focus that could help with the Veydra's focus throw to keep a simple set up.

Node 2 is a duplicate (can ignore). Node 3 is Serial, and Node 5 appears after adding the Layer Node to Node 3 (set to Subtract): Set Gain for Node 3 to 2.0: Add Box Blur for Node 5: This is for the LCE step, you can use Gaussian blur for the mid-frequency sharpen step, and standard Resolve sharpen for the highest frequencies.

B&H carries screw on Tiffen Black Satin filters. https://www.bhphotovideo.com/bnh/controller/search?N=0&InitialSearch=yes&sts=ma&Top+Nav-Search&Ntt=Black Satin filter

That was a close one. I walked in the shop and Satan himself was stood there with two Leica SLs at "oh hang on" prices so I had to get the Fuji quick and get out. Anyhoo, what I mainly miss about England is the ready availability of secondhand lens bargains and of bacon and sausage sarnies so it seems entirely appropriate that the first picture I took with one should be of the other.

These past 8 months I've used the XT2 for pro video use more then any other camera in my arsenal ( A7S2, C100, 5D3 ). In fact I have sold ALL my other cameras and currently only use the XT2. The booster grip is of course essential. With a cheap Nikon adapter I'm using all my Nikon FF glass again and am actually getting better results in my opinion then with Fuji glass (albeit manual focus control). Now I am still in the market for a second cam, which may very well be the D850 as I'm missing the full frame look..

Filmed in Austria at the Dachstein region. Samsung NX1 + Voigtländer Ultron 40mm + Bolex 16/32/1.5x + HCDNA.

andrew, great article, really interesting, and i love the infrared stuff~! one of these days im gonna get a camera to IR convert. have you shot infrared before? im sure you have, youve clearly got the idea

Well, unless it was a circus act, the bearded receptionist means that the Contax Zeiss will have to wait.

I bought a 1/4 Tiffen Black Pro Mist filter recently and was pretty impressed. It does amazing things to the highlights, giving a much gentler roll off and lends the image an all round 'classic' feel.

I believe that frame that enny posted from the BMCC, the cinematographer used a Black Magic filter. I've never tried one, but I think with my next consumer camera purchase I will give the Pro Mist or some sort of diffusion filter a go.

Thanks. No color alteration in post at all - this is "Yi color" (there is also a "flat" setting designed for color grading). Only one clip needed WB alteration. Since I was using a gimbal, the horizon was always straight, and the fisheye lens distortion is not very great. In 4K60p there are no options for "view", as the whole sensor is used, so it is "wide."

This is ridiculous, it was one of those automated e-gate jobs so we still don't have a winner ! We now go on to the hotel receptionist gender then. At this rate it'll be Bruce Jenner and I'll have to buy both.

Ok lets try... (can't believe I've never seen that before, or thought about what it says) How do you like them apples for color and pop? (SD Quattro + 30mm) Black and white with a beat up old m42 junk lens isn't to shabby either

That is already 99% confirmed. Its supposedly called the X-T2s. It will have in body stabilization. Suspect with some digital enhancement, but still cool.

Ah, EISA, didn't that go something like...

I have the 28 f2.8, the 50 f1.7, the 135 f2.8 and the 28-85 f3.3-4 which I've built up over a few years if I see them cheap. The one I've been after for a while is the 85 f1.4 but never found one cheap enough to make me cave in! Until now.... Well, until tomorrow at least. I've found one in London but the same place has also got a used Fuji 23 f1.4 for a silly price and which would probably be more useful (but I could easily persuade myself otherwise !) so I've been agonising over it as I can't get both. To break the impasse, I thought "I know, I'll put my Sigma Art 35 f1.4 on the X-T2 with the Lens Turbo and do a few shots and see if I can dissuade myself of needing the Fuji so I can get the Contax Zeiss....." I took the Lens Turbo out of the ever growing box of adapters I've acquired, went to put it on the camera at which point one of the elements promptly dropped out and smashed on the floor. I don't know if this is God's way of telling me to get the Fuji (because there'll be no speed boosted Nikons for a while now) or the Contax Zeiss. He was telling me to get both wasn't he? Yeah, lets go with both.

Well, GH5 rules above all of them... LOL Give me some other one to let you have 4K60p or internal 10bit 4:2:2 in that range ;-)

I guess the Fuji is way above that price range... but damn is that a nice image...

The thing with the aggregator sites is they tend to be very popular... but it's all built on somebody else's back. NFS barely had any original content of their own. Similarly 43rumors. I don't think it's morally right to base 100% of your business on the hard work of the crowd, doing the bare minimum yourself as a keyboard monkey to write headlines, a couple of paragraphs and the rest is cut & paste of text and URLs. It is killing the internet for the creator because the original content creator cannot maintain the same relentless levels of output and high traffic as the rumours sites and aggregator blogs, therefore can't compete. It's interesting that BMCUser has slowed down. I've not been on there for ages. Blackmagic have killed their mass appeal by doubling down on a pros-only focus. Reddit is fantastic. Thank you!!

I haven't been following many of those sorta sites or forums (NoFilmSchool, Cinema5D, REDuser, dvxuser, etc) as they always seemed to be for the bit more hardcore cinematographers and fanboys. Especially the forums, with a maze of subforums and early 2000's layout and users with no patience for newbies. No country or normal men. Nah, apart from rumorsites this is about the only place keep checking on the regular. EOSHD has managed to keep a fresh approach and the audience as well as the curator allow for diverse content, though the main theme is: creativity meets common sense. Most revolves around practical and affordable gear and how to use 'em to bring visions to life, not exclusive to people already well-established in the industry. There's a general vibe of chillness, openness, positivity and creativity that makes the forum content range go wherever the crowd takes it. You'll find a lot of passionate enthusiasts here, like me, that might not feel at home that well at other places (where the thing that counts seems to be being init as a professional, rather than doing it for the passion). Apart from EOSHD I think that for the more interesting informative and opinionated content you'll have to head towards YouTube, some channels there are great.

Please reread the post, check the spelling in a dictionary, watch all seasons of South Park, learn to take a joke and then get back to me I'm further from being a racist and a homo-fob or derogatory to people with disabilities than you. Unless you also have worked officially in a government agency with these exact questions. And also have some sort of training backing it up. Not trying to have a pissing contest with you, just feeling you out to see if you are just an arm chair crusader or seriously offended. If so, sorry you feel that way BTW "2. Assburgers can also be used to describe anti-social or otherwise retarded, socially inept, or offensive person(s) or groups of people who are tolerated, even welcomed within a particular group, because the host(s) lacks courage or incentive to stand up for moral principles to kick them out." Again, not talking about this place.

People have argued and debated on the internet since the beginning on USENET (even before on dial-up BBS's). One reason people are in a much more dramatic space is due to the constant negative divisive programming coming daily from mainstream media and the frequent reminder of world war III starting with N. Korea. India is now in a standoff with China. At the same time the US government is under assault from the so-called deep state, run by the bankers looking to hold onto power after the impending global financial reset. Consciously and unconsciously this results in an increase in negative behavior online. We can keep our heads down and fiddle with our cameras and gear, or we can get out and make films and videos designed to bring unity, show how we can work together, how we can survive when the financial reset happens, how we can survive if WW 3 happens, and even better how we can all stand up and voice our global desire: war is not an acceptable solution to the financial crisis. If this is one of the last forums where useful information is shared and people get along, then the pattern is an example to apply to other forums, news site comment sections, Facebook and so on. Now more than ever in all our lifetimes is the time to figure out how to work together non-competitively and with kindness, for the survival of everyone.

I shot another video with the GH5 and SLR Magic 50mm 2x anamorphic prime. Calling it Chicago II. Here is one frame that is my favorite.

These images prove a few things about the NX1 and many cameras in general and I'm super happy you shared these to help me prove something I tell colleagues all the time. 1.) The secret to getting NX1 footage to look warm and or filmic to is first turn the sharpness down in-camera to -10. Samsung purposely uses sharpening algorithms in many of their products because their user research tells them that most people are attracted to it. It's the same for their tendency for bold contrast and saturation. While this is good for large screen 4k TV screens, it will make your footage look like video or broadcast quality. Even with sharpness essentially turned off, the NX1/500 image still is one of the sharpest images known to the entire industry. I implore anyone to test this assertion out against any Arri or RED. There are times I will even put a fast blur on my on my footage in Premiere at .25/.5 just to give it that "emulsive" look. Some people may find the sharpening in the NX1/500 a turn off, but personally I like having the latitude. You can always reduce sharpness but it's very difficult to add sharpness to blurred pixels. 2.) The art of lighting separates amateurs from professionals. The sets of images above demonstrate this beautifully. This aspect has very little to do with the camera, if at all. Lighting your scene should be part of the narrative. It should tell it's own story while being a part of the bigger picture. In the whole high ISO craze Sony introduced to the industry, I feel many cinematographers or videographers have gotten lazy or simply forgotten the art of lighting a scene. It's more than just about proper exposure. Darkness is as much a narrative as light. 3.) Composition and setting the scene. This not only includes principles like the rule of thirds, but also wardrobe and even actor's micro expressions. Even in these stills you still get a sense of the character's motivation and persona. Trust me, even the crappiest digital cameras today can technically produce a better IQ than film cameras of even the 80/90s, but that means nothing if there's no story and art direction. It's not really all about the camera. It's about the narrative and everything in concert that supports that, which the camera is only part of. I also wanted to add that no general audience would view this film (or stills) and think it didn't come from a camera the size and cost of a two-story house. If the movie is successful, the only thing they'll being thinking about is the emotional impact the story had on them. Good film quality is exactly what you DON'T think about.

You really need to start reading people's posts properly & perhaps between the lines a little. Some of us actually have genuine experience filming for proper production companies & have learnt a lot over the years. I'll repeat myself, Zebras should not be completely trusted & I wouldn't ever advocate someone using them at 100% - i've been filming for 15 odd years & I still don't put them at 100%. And we aren't allergic to scopes etc...it's just that sometimes you do need to trust yourself, rather than a computer, which might not always be right. In all frankness, a light meter is the way to go - always has been, always will be. Oh, and you can only properly use or get good results using ETTR with RAW! Not going to change my experience/opinion on this. Also, if people cared about image quality, why are there so many high profile TV dramas & Films that are loaded with Moire/Aliasing? And don't get me started on the Soft image vs. the Super Sharp..... Sound & Image are completely different animals - please don't confuse the two or use one as an example for the other. Amazon & Netfilx are really shaping up to producing some great content - watched OJKA last night & it was amazing (on Netflix now!). Good Grief, sometimes its like slamming your head in the fridge door & realising you should be using the oven.....

I think you need to reread my post without a pair of defensive glasses on. I have not pigeon-holed anybody nor anything else that makes me look silly. I just added a couple of thoughts to what could be a meaningful discussion about the problem all people that hang out here, including nerds like myself, face. We risk the chance to be "home blind" and forget about the real people out there, you know the audience, the non nerds... They are at the end of the day our bosses. What they like goes. But to answer your questions, yes they do, its starting to drift a little. But that's normal with any trend. If we look at the last 20 years so what you call "heavy-handed grading, blurry images, harsh lighting and distracting out of focus backgrounds" have been considered "professional" looking. That's merely because the real non nerd people haven't been able to get those looks with their own equipment. Its been unobtainable and different = professional an likable. When they hire someone to shoot video they want something different than what they can get them self. Before it was easy. Just use a tripod and good audio and you kicked their ass. Today the world is different. Everyone and their cat has a tripod or stabilized lens. A large sensor and a decent mic. So today we must once again look at what we can offer to our clients and audience. But there are of course a few things that never go out of style. Story, good music, great acting, good exposure and to some degree contrast. People seem to enjoy contrast. But please note that I haven't even commented on the video at hand nor the response to it. I just commented that contrast isn't always a bad thing and shadows can be both crushed or not and still look good. Why do you think every new camera that's ever been mentioned on this forum gets a dedicated thread with people bashing the crushed shadows. Just to a make a new thread a few weeks later celebrating the shadow detail? Its not because Panasony doesn't know that "nerds" like raised shadows. Its because they know that the big chunk of non nerds out their like it their way. And they are more important.

- Every movement shot was done using a gimbal (besides the drone shots) - I pulled focus on camera(the Zhiyun crane is pretty sturdy, lol) - That was shot on a kitchen table with green fabric as well as on the kitchen floor - Using the integrated lut, exposed until skintones looked good (most of the shots are slightly underexposed) - I only like the easy operation. The codec is terrible and you can either decide between way too oversharpened or blurred footage. Color science using D-Log isn't bad though...

Wow... those look great. That is some high quality video from an action cam. Was there any color work done to those videos in post, or is it straight out of camera?

I agree completely, but why not address that to the name of the person doing it, if you are going to intervene. And please distinguish between name calling (ad hominem statements), and characterizations of arguments (e.g. one may say a statement is ignorant or even the person is ignorant in making the statement or about something specific (a camera), but not the person is an ignoramus or stupid (or a "dodo"!)).

What complete nonsense. Every statement here is without any basis or just plain wrong. 1. You believe the Sony was overpriced, which is irrelevant. In any case there is no price reduction. The selling price now is the same at introduction. Look it up. 2. There is a lot wrong with EIS, requiring a crop of the sensor and reduced resolution among other issues - artifacts. 3. It is preposterous to say that BOSS was implemented because it "CANNOT do EIS". First, BOSS is superior to EIS and second - read slowly here - the SONY also does EIS (should I repeat that?) - that is what "Active" mode for stabilization is, a combination of EIS and BOSS. You can turn EIS off and just do BOSS. No one in their right mind would do EIS instead of BOSS. It is obvious you know nothing about the Sony. Active mode stabilization has been a feature of Sony's big camcorders for years. 4. You do not understand why Sony chose a "curiously (to you) rectangular" sensor because you do not understand aspect ratios. Sony chose a sensor shape so that there would be few wasted pixels for 16:9 video; the sensor size corresponds to the 16:9 picture size. It is the standard 4:3 sensor (like on GoPro's and Yi's) that wastes a lot of pixels for 16:9 video. "Rectangular" 16:9 is the aspect ratio of video. Pixels would be wasted for 4:3 stills, but this is a video camera. 5. Sony chose to "only" put 8.2 megapixels on the sensor to maximize pixel size while keeping the sensor size small - it is the number of pixels corresponding to 4K (UHD) video. This is why the Sony has superior low-light performance compared with other action cams, which pack 11+ megapixels on a similarly small sensor - bigger pixels, which absorb more light, means better low-light quality. Because of 4 and 5, the X3000 is a not a good stills camera, it is designed for 4K video. Btw, the sensor and processor are exactly the same as in the Sony AX53 4K BOSS camcorder - the X3000 is essentially a miniature AX53. Your final, desperate, argument is essentially - if the Sony is so good why is it not dominating the market? Your ignorant rant is an example for why, as it is similar to others. Evidently most people do not understand video and the features of the X3000. Oh, and your belief the processor of the Sony is inferior is belied by the fact that the Sony processor can do 120 fps in 1080 (with stabilization), while the Yi can only do 120 fps at 720p - 4K60p is a real advantage, however, although the lack of any stabilization for that frame rate severely limits its use.

Jonpais! Love the SOOC look with the 50-140 :)! I just got my x-t2 and am starting to shoot a little with it. I have to say it is excellent! I need to look at other lenses for lowlight options. Could you take some video shots and night and indoors with limited light? I recently invested in a c100 II because I'd like to do some video/doc. work for my students and myself but I am having major buyer's remorse now that I see how great of an image x-t2 is achieving. I'm actually strongly considering selling my c100 II and 24-105 with less than 2 hours of recording time.