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my serials are all pretty close. but I wouldn't worry to much about color. any difference, if there even is one, is going to be a minor shift that's easy to account for in post. This is my first camera with IBIS and it takes getting used to. When using manual lenses you have to remember to set IBIS for the correct focal length and I've managed to bungle that a few times already. I also learned (the hard way a few months ago) that IBIS is not something you want to use with an 18mm lens. Ruined more than half of my footage. Now, what I'm liking about the IBIS is that it doesn't feel like stabilization (unless you screw up the settings). It almost feels like the type of handheld camerawork you get with a nice heavy 20lbs+ cinema camera rig. Oh he was really happy with it. But he has a healthy approach to it. He sees it as a separate work of art and encouraged them to make it their own and to not feel beholden to make a straight adaptation. That being said, it's pretty damn faithful. Some shots are basically live-action recreations of his panels. I was surprised just how faithful they were.

A while back I posted a tutorial on film emulation and recreating halation and grain in a realistic way. I recently came out with a new video that goes over it in a better, more concise way. I see quite a bit of people asking how to achieve the look of film and it's characteristics so hopefully this video can help them out! A big thanks to the Lift, Gamma, Gain forums for figuring a lot of this out also feel free to share your results and download the PowerGrades I've provided on my website!

Here is a little travel video of my family and I going around the East Coast of North America: https://vimeo.com/373737780 Shot with a Sony a7iii using Andrew Reid's ProColor 3.0 settings (specifically his HDR color using the HLG3 Gamma), then graded in Premiere Pro CC using basic Lumetri Color effects (curves, fine tuning with exposure/temperature, etc.). I used adapted Nikon lenses on the Sony, and it was mostly on a DJI Ronin-SC (a little bit of handheld and tripod mixed in). There are a couple quick clips from phones but they'll be obvious. I just bought Andrew's Procolor 4.0 so I'll shoot further demos with that in the near future. Enjoy!

Been away over the break and also shot a bunch of scenes for a longer form thing whilst at it, i'll post some frames later but now i've spent quite a bit of time with the sigma. I'm liking it more as a stills now, i left a summicron 50mm on it mostly and that combination is lovely - the leica is better on it than the A7s - perhaps the lack of OLPF and filter stack has something to do with that. It's the perfect camera for M mount lenses for sure. I brought a limited lens set with me, just what i needed for shots - 21mm voightlander, 50mm summicron and 85mm APO HyperPrime. The 85 is an insanely good 85mm, one of the best i've used and the sigmafp works well, resolves everything the lens sees no problem. In terms of footage i shot some MOS as 23.98 to get 12 bit, sped up to 25 in Resolve is usually not noticeable and i'm working with snow at times - so range with sun and everything is tough. The rest was 10 bit with sync audio. I shot some plates for vfx elements as well. I even ran the camera with a car going over it. Overall it performed really well. The 12 bit cine vs 14 bit still is nigh unnoticeable and 10 bit is great so long as you don't push the shadows up too much. I want to do a dynamic range test - i have a step wedge around here somewhere. I feel the range is the same as the a7sII which is also a 14 bit RAW container. I suspect the range is pretty much the same as all the current sensors like this and in fact 12 bit in cine mode seems very very common too. Issues: Well, i find myself hanging the SSD off a cable sometimes - when moving fast and rigging it's easier to leave it dangle and that's probably bad. My screen exposure seems to change and flicker (in terms of the brightness of the LCD itself) A RAW exposure tool is really vital IMHO But shooting RAW is so damn simple, as filming should be. Just nail exposure and you're good to go. I read in Film & Digital times that sigma themselves recommend interpreting this as Blackmagic Film - i think that's nuts - what does everyone else feel? cheers Paul

Orange and teal/blue works when you shoot with mixed lighting sources. The reason is simple: Shoot with a tungsten source and a daylight source and WB somewhere in the middle, and you'll get orange and blue tints on the lights. Then you can apply this to use colour contrast to separate your subjects/background/compositions in realistic situations. Warm interior light mixed with "moonlight" coming in through a window. Dusk exteriors with flames or lanterns drawing focus. A candle or warm overhead lamp to make one table stand out in a restaurant/bar scene. By emulating real mixed-lighting situations, we can use the colour contrast very effectively. Pretty much every scene that uses mixed-temperature lighting is using the orange-teal technique to create contrast and draw focus or interest. If you're just throwing a couple of LUTS and maxing the saturation on a scene that lacks colour contrast, it's not going to work.

Indeed, I see some others noticed on YT comments but you didn't address the note... so nothing about the performance of the device then? Just circumstances how you operate the whole thing?

In the industry, I'd agree that legacy attitudes and craft work will remain. People that are considerate of what they're doing tend to make more artistic decisions. However, The YouTubers and social media influencers will be leading a certain aesthetic moving forward, I think. Hard to run from that avalanche. We'll get used to (have gotten used to?) 60p and vertical video, for example.

Indeed, charging time is almost 2x faster than useful time with the p4k. from the website specs : Recharges in around 2.5-3.0 hours full charge via the BatPower Adapter, 8-12 hours full charge from a 5V Micro USB adapter/charger. I only charged it 3x for now, but it does indicate 4/4 leds charge after only 2h. It would seem that the last 1h is to get the last few drops in ... The charger that comes with it is 68W. The 148Wh model can be taken on-flight, but not without clearance from the airline company. Maybe you could check, as it has (seemingly !) the same dimensions (maybe you should check that one too ...)

I just import with blackmagic film in resolve and try to get it look good from there. works well enough for me.

That is a reallly bad solution, only 7.4v. Extended use will probably destroy the camera. My solution above stays above 14.5 V all the time.

Never had Danne's build freeze while shooting but I did think that my 5Diii RAW (14 bit lossless) looked slightly less detailed than my EOS M footage - albeit the 5Diii eliminates aliasing. I've never used the Nightly Build. What record setting did you use for it? (Full 14 bit RAW?)

I have never shot a thing with the 1080p, even though I have a custom setting set to the 1080p 120hz HFR mode with audio and autofocus! ?

I think the only thing that will be disappointing to you with the GH5 is the autofocus. Its useable in certain situations but entirely unreliable. Levi Allen (search him on youtube) shoots many of his vlog stuff (I would recommend watching his Road to Alaska series) with the GH5 using the autofocus. It's good, but if you demand 95% accuracy, it won't give it to you (neither will the EOS R, really.) I would always recommend sticking with whatever you have, because you can make great stuff with it regardless. But as Mercer said above, the G9 is fantastic now with the new firmware and the Vlog-L upgrade. The autofocus is also much improved over the GH5 and the IBIS is absolutely excellent. It's was under 1K on B&H as well for the holiday but now its back to 1,200.

Great looking stills. Nice work! Awesome to hear that your brother was behind FEOTFW, that was one of the shows I binge watched when I first saw it - it was just a bit different to the normal narrative tropes and cookie-cutter plot lines. There seems to be a ground-swell of comic adaptations to TV/Cinema so your brother may have many shows in his future. While i’m not a huge fan of the medium, I think that comic books have a huge untapped potential in terms of narrative innovation. Hollywood has only had the ability to create worlds that don’t function like our own (eg, aliens, outer space, different laws of physics, etc) for a few decades, but comics have had full creative control since the first cave paintings were made thousands of years ago, and so the plot-lines are much more creative. They are also much more mature, instead of having a world like ours but with one twist (like including the afterlife and ghosts for example) instead you get a rich world where that twist has been fully integrated and all the ripples and implications are also present. Lots of potential there I believe!

Just make sure it's a UHS-II card. I've got the SanDisk Extreme 90MBps which can do the data rate easily but isn't UHS-II so won't do that mode.

Thanks - it was shot 24p greenscreen, in my tiny studio space. I shot it 24 to synch the vocals, when we shot it I just had a rough visual idea and had done zero tests for style, in fact I didn't decide to posterize the time for a "stop-motion" ish look until I was well into it. I edited/delivered 1080, since I relied on slow mo for most of the girl's scenes. If I'd had more time, I would have worked more on the time effects to see if I could get a better sense of synching, but this went from "can you shoot a video??" to delivered in like 9 days, much of which was spent trying to find a model for the budget! The post work was really immense, every character shot got a color pass for the final animation color-look, a pass to make footage that then got more of a "line art" pass, and a mask pass (just keylight - the Z6 keys REALLY nicely, even right off the card - I have the Ninja but I skipped it for the girl since the Z won't send 120fps via HDMI, even for monitoring). I shot most of it with a Kessler crane with the 5' setup, on wheels, just to quickly configure shots - it's a really fast way to work. Most of the elements were photoshop, I had a few images left in my monthly shutterstock account, and I have a big library of skies and textures, and then image-search-swiping to the rescue! Some photos, some just digital paintings, some a mix. The gears and picture frames were done in Daz Carrara, a POS aging 3D software that I've used for like 12 years. It has zero AE integration, but since this was mostly static shots using the 3D camera in AE, I just did a pass with camera trackers pasted onto planes to get track data for camera moves, which were all just simple pull-outs. (I really really have to learn some basic Cinema 4D, don't I???) (Imagine what we could accomplish if we didn't need sleep!) Anyway, it was supposed to be "just shoot the guy and, I dunno, float some pictures in or something", but I feel like most rock covers are "why did ya even bother", but I felt this was a nice take, gave a different angle to the song, and the singer's become a good friend over a few shoots. Overall pleased with it, The Cure songs to me are sort of "dark fairy tales" and I wanted something that felt almost like children's book illustration. Hope it gets a zillion views!

I am not sure I understand the question? Are you asking why it is shaky between 1:09 and 1:24 and not after? If so, I believe I am running between 1:09 and 1:24.

Working on it as we speak Its really neat; now I think several new cameras are achievable (in 2020). Days have been compressed to minutes

So I tested and bought the lens. Despite seeing tonnes of reviews its a lot wider than I expected. I've only done some simple tests, and I'm looking forward to shooting with it in a car. Edge sharpness is not a problem in what I've shot so far, though I'm going to limit it's use to f4 on the booster. Interestingly, when I first put it on my XT3 with Viltrox booster, I saw some pretty bad vignetting which really surprised me. However I changed modes and now I can't replicate it...

Yeah exactly, 2020 is going to be my rental year. On cooler projects, Im gonna skip my fee and just rent nicer lenses. Which is going to be better for my portfolio anyhow.

Today I learned: Buying the "sharpest" lenses available according to, for instance, DXO Mark scores, doesn't necessarily mean I'll see any of that detail because there are different frequencies of sharpness. "All of the fields I’ve shown you have been at 30 lp/mm frequency, which is a good ‘overall’ picture. It’s important to remember, though, that depth of field, as well as sharpness, varies with frequency. (For those who aren’t up on this, lower frequency is more about larger objects and lower resolution sensors. Higher frequencies are about small detail and higher resolution sensors. If you want a contrasty object on a 24 megapixel sensor, 20 lp/mm is good. If you want to look at leaves or blades of grass on a 50 megapixel sensor, you probably are interested in 60 lp/mm.)" (From the same lens rental link @noone posted https://www.lensrentals.com/blog/2019/11/practical-use-of-field-curvature-graphs-the-50mm-primes/)

Speaking only about purchasing used and/or refurb...I've had great success (luck) with B&H, Fred Miranda's Buy and Sell board and Lens Authority (best to be price savvy when using all). Haven't heard of MPB until now (thanks, where have I been?!). As for selling or trading in...my daughter has seen to it that I've never had to concern myself on that matter! LOL :D

Yes but f4 or 5.6 is far from what we are seeing so often now. I think its a little ridiculous to think the audience is going to be concentrating on a backdrop, if that's the case the storytelling is probably very lacking. Maybe a more creative use of it would be if you want the character to feel boxed in as that is essentially what you are doing to the audience. Anyways that's just my little rant as I really hate the overuse of it in a lot of films I see. Not so much low budget stuff as they are often trying to work around non existent set design, but in hollywood stuff.

@mojo43 what happened there going along such extreme variable results comparing the footage in-between 1:09 and 1:24 with the next other to come from minute 1:44/1:45 as for instance on the following video?

To the letter. Every inch Joker's cinematographer Lawrence Sher said from that video posted by @Emanuel a couple of posts above...

So, after using the 14bit Lossless mode, on my 5D3, for the past 6 months I have decided to go back to the regular nightly build. At first I didn't think there was a loss in quality but after looking at older footage, I definitely see a slight loss in detail. It wouldn't be a huge deal except, for steady 2 year usage I never had one issue with the camera or FW. But since switching to the Lossless mode, I have had multiple freezes. And of course it happened on my best take the other day. Just wondering other people's experiences and throwing mine out there in case it is useful to anybody.

Seems people like pairing their S1H with Leica-R lenses... and I'm one of them! I'm shooting a short doc on my brother about his comic book, "I Am Not Okay With This", as it's currently being adapted into a series for Netflix. This will be the second time he's had a comic book adapted into a series. The first was "The End of the F*cking World" which did well, however, he told me that people would see him signing copies of the original comic at cons, and accuse him of "ripping off the show". So this time, i wanted to help raise his profile a bit when "I Am Not Okay With This" is released, and it gives me something to flex my creative muscles on. Anyway, some sample stills... Panasonic S1H, Leica Summicron-R 35mm, 50mm, & 90mm. Not a final grade -- just wanted to get some images out.

The Muxtronics man answered : there were still a few little problems, and he has zero time to finish the development. In the meantime I got this BatPower EX7D 98Wh. It fits the smallrig powerbank holder on my smallrig cage. Great. The EX7D is about 18cmx2.3cmx8.4 - so is slightly larger than the website & manual state. If the size of the next model is correct, you can get 148 Wh in exactly the same case ! My first tests (after what I think was a full load, but not completely sure about this): BMCCP4K with an old 4/3 lens with OIS enabled / p4k lcd at 60% / recording to T5 drive : genuine Canon LP-e6n 1865 mAh battery : 44 min BatPower EX7D 98Wh : 270 min (with the Canon battery fully charged in the camera) Retested the Canon LP-e6n, this time OIS disabled / p4k lcd at 30% / recording internally to SD card : 55 min In theory this would result in 337 min on the BatPower EX7D 98Wh - need to rerun a very long test to confirm this ! Bonus : the powerbank outputs an almost steady 15V. There is also a 20V mode, but that does not seem to work on the p4k (need to test if this is maybe defective ?). When the capacity goes to 0, it switches off. Transition to the internal battery is flawless and recording continues ! This gives at least an extra 44 min to the 270. Or 55 + 337. In theory, with the 148 Wh version, this results in 7-9h of actual recording time. I think the 98 Wh is enough to get through a full day of (30%?) shooting. You can also charge the powerbank while it is powering the camera ... The only downside for me is that I expected a slightly smaller enclosure, but it fits the Smallrig holder perfectly. I either mount it on top, or I can hang it under the camera, which is much more stable handheld, but needs some time to put on a tripod. edit: i was shooting max 4k dci, braw 12:1

No I did not have any problems with dynamic range And make sure you set the bit depth to 14 for stills and 12 for cinema if you want to get the max out the camera. This is a frame from a 12 bit cdng graded in photoshop. its shot trough a window and with a 30 year old lens.