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Hello, This is the official topic for all Colorizer products. My main focus is bringing high-precision Fujifilm Film Simulation LUTs to multiple cameras. The following formats are supported at the moment, click the links for videos and details: Fujifilm X-T3/X-T4 F-Log Sony S-Log2/S-Gamut3.cine Panasonic V-Log L & HLG I also sell ACES IDTs for cameras that are not natively supported by Davinci Resolve: - Fujifilm F-Log/F-Gamut - Nikon N-Log/BT.2020 - Sony S-Log2/S-Gamut3.cine - Z Cam ZLog2 - GoPro Protune These packs include a lot of 3D LUTs simulating the A

Often the digital look of video is because of clipped highlights and crushed shadows. A sudden step from detailed shadows to sudden black or missing details in highlights are often a sign that the full luminance range of your camera file is being clipped by the hardware you use to edit and playback footage. More info here: https://www.eoshd.com/dynamic-range-enhancer-H264-H265/

These YouTuber's switch cameras faster than I change my underpants. It took him 2 weeks to go C300 Mark III -> A7S III And now A1!

She's pretty smart, by the 3rd or 4th month, she'd probably catch on... I wonder how long it would take for her to realize her car isn't parked out front. That could get me halfway there.

Here you can clearly see the reason I got the H3D-II 39 megapixel Kodak beast. Brightened it up a bit so you can see the sensor size vs GFX 100... It is "only 39 megapixel" but that is enough for me. I have found my affair with the GFX 100 a bit financially draining and exhausting to be honest! Who the fuck buys a 10 grand camera 1 month before a global pandemic?

Fucking hell. Its UK only so I'm glad I can't get back in for a while ! This is covered in Chapter One of my new e-book "The Gear Addicts Guide To Relationships - If All Else Fails, Ask How Many Pairs Of Shoes She Has" "Honestly, they were empty. I knew you wouldn't believe me so I took this photograph to prove it. I didn't have my camera to hand so I popped into BH to grab one."

Staring at my collection of unemployed HC lenses as my H3DII is broken and breaking out the justification excuses...

Made a video

The great thing is you can just stick it on Aperture priority and Auto ISO, and concentrate on getting the shot perfectly with pristine image quality, no noise to speak of. Try doing that on the A7S III or EOS R6!

12,800 is too high for a native ISO. You will be shooting at base 640 boosted to 3200 or 6400 most of the time in dim light or indoors. Therefore the A7S III has a problem especially in S-LOG 3. The files look a bit shit. They are noisier than the EOS R6 and Panasonic S5!

"We don't need no thought control" -Facebook, unironically Lol, I saw this story earlier. Roger Waters may be a prick himself, but he's our prick and we love him for it. I really want to see this proposed instagram ad now. Do you think they'd have a little choir of wannabe Instagram models singing "We don't need no education" or would they go with the bigger picture album theme of how (Instagram) fame drives people crazy/turns them into fascists? Actually I hope they were going to use the verses. Whichever marketing genius was going to make an ad out of "certain teachers who would hu

Being principled is a thankless job and Roger is in a very privileged position so he is able to do what the fuck he likes. For normal people principals have a huge cost. Yet it is always much healthier to act on principal, and let true feelings come out. Principled people are actually quite rare and as soon as money or business is on the line, principals go out of the window. It is why the world is in such a mess and why horrible people like Philip Bloom have Sony sponsorship even after all we know. I think back to the Canon shenanigans of last summer and the lies which were told abo

Attila's work is fantastic. Please do check it out!

colour science is very personal cripple science is real, objective

P2K and not Micro, but almost identical image....

Omg, this must be the best article online regarding cameras and gear. The sigma FP & FP L are fantanstic, revolutionaty cameras AHEAD of their time. Unfortunetly, Gerald and people like him arent real artists or filmmakers; they will never know the worth of these innovations from companies like Sigma. What is really sad is that they come out and ruin the image of these fantastic brands/cameras just because they dont know sh** about filmmaking, just tech nerds. thank you so much for this article, im enjoying my Sigma FP everyday, I have no regrets selling my A7III for that littl

Yeah, that's a weird take and a misplaced analogy here. Who is saying taht there is no point in making the image (food in your anology) look (taste) good? Did you miss the comment I made about how I'm adding a color calibrated monitor to my editing workflow right now? Hell, I literally just had to stop typing this to go get the B&H package off my doorstep with the X-RIte Display Pro in it. What I said was "Having people view them on a variety of devices in a variety of conditions is even better, in that it replicates what the average viewer might be seeing." So, a better analogy woul

Clar 350 on sale for $399. Not sure about the fan noise on that one but looks like it could be a good alternative, I like the remote and the PSU looks ok. But there's 3 fans and a fan in the PSU so... good luck if you want to change anything. I'm sure next year there will be even better lights! But at these prices, fighting daylight has never been more accessible. I put 4x 300w through a full grid, getting around 11.5-12EV. Finally can light against windows!

Yeah, the image quality is better than A7S III too. OK, there's no 4K/120p (or 100fps for us in PAL land) but you can do a lot of creative stuff with 60p in 4K and 180fps in HD. 60p can easily be Twixtor'd. I'd prefer if it looked a little more cinema camera and less Lumix but the ergonomics are superb. Colour is better than Sony too. For manual focus, tripod and handheld cinematic shooting there is nothing better for the price and size, I'd take it over Blackmagic's shit any day.

Is sensor envy a thing? What struck me the most about the 100c video was the depth in the frame... for a two-dimensional image, it feels like you can walk into the frame in some of those shots. It's pretty wild. When you add the texture from the raw image, the 16bit color and the advertised "15 stops of DR" I don't know if there are many cameras that can top that look. I'm sure my 2014 MB Air would cut right through those files... haha.

Woman finds out man having affair with 7 medium format cameras. "As if one wasn't bad enough!" The self confessed gear slut started dating a Pentax 645D and his fascination grew from there. "He was away in the evenings pointing his zoom at birds, I knew something was up!" If you read the quotes in the monty python faux-lady voice it works better...

BH has one for $18k... I'm trying to figure out how long I can convince the GF that the supermarket was out of food.

I'm waiting 10 years for it to come down to £2k like my Hassy H3D II with Kodak CCD sensor larger than GFX 100

Yum

The oversampling doesn't mean anything. In both the 24p and 60p it is the same and looks sub-sampled with some aliasing visible. The 10bit 422 is a pain to edit. The 120fps HD isn't unique, that has been around since the Sony A99 II several years ago. The IBIS is no better performing than the competition. Actually DPAF is no longer even top dog. The newest Sony AF systems are better. I don't mind 20MP. I do like the C-LOG 10bit image quality on the whole it nails the rendering of a shot with perfect colour and white balance. It's a good sensor and that

Sorry I have no idea as I hate external recorders.

Sony A1 in 8K video has exactly the same rolling shutter as the R5 15.5ms..... don't trust marketing bla bla. Why you want to use ProRes Raw instead of Canon Raw Light? Did you test both 8k RAW in your machine?

Yeah don't get me wrong I think it's fantastic and very rare to have such clean 12,800 and 25,600 results. The other way you can get around the noisy S-LOG 3 results between 3200 and 10,000 is to simply change to a Cine gamma mode instead or use a flat profile like EOSHD Pro LOG. It is just that if you want maximum dynamic range at these commonly used ISOs in S-LOG 3 then other cameras like Panasonic S1H will give you much cleaner results from a higher resolution sensor and 6K.

The F2 lenses are nice I just never found them to be great with continuous auto focus for video. I'd probably go with Viltrox if I was going the Fuji path again.

Speaking purely from a personal perspective why I don't use an external recorder (either Ninja, or anything else): - A second complex interface to operate, on top of the one already on the camera distracts me from the shoot - The bulky ergonomics makes handheld shooting a chore at double the weight, unless you go all the way and turn it into a shoulder mounted ENG camera - No weather sealing on the recorder, and big brick of a battery on the back rather than it being internal and discrete - I absolutely can't stand HDMI as an interface. It's so flakey and unreliable. Easy t

Are you the resident Atomos salesman or something?

Loving the AFX so far. Can you get the setting for having it upside down, and the offset be made permanent?

Nice work. Crazy that there are companies charging money for editing software without proper color management. Glad you've got a solution available.

Easier said than done! People are dependant on Facebook as they have planted themselves smack in the middle of our most important social connections, even between members of the same household!

You might be thinking of the minor diversion in the GX80 Cinelike D thread where someone wanted to build a slow motion photo booth-ish type of device and monitor whilst still shooting. The solution I proposed was to use a FlashAir card in the camera as this can be recording the file but simultaneously be accessed by another device over wifi to begin playing it whilst is still recording. So a cheap SBC computer like a Pi with a network media player on it and a screen would be able to monitor it and then re-stream it if necessary online. Can't remember whether they went ahead wit

Don't hold your breath, I don't think there is a solution, and neither do I feel one is ever coming in the future. Best solution is: buy a GH4, E1, or G85 secondhand

Yeah, I remember the colour titans Attila and Sage exchanged compliments for one another. Kindest words between these wizards. If picking up paid work, I will consider both their work.

@MrSMW, what is the issue with the 35mm f/2? (got it - since I like the 50mm eq. focal lenght - but did not tested it too much; living in a Covid ravaged place does not let too much testing time).

Just to add, when I talk about f4, for me it's more a low light thing than shallow DOF 'issue'. F4 is f4 for light gathering regardless of sensor size (though that one will be debated forever in some quarters) but equivalent to f6 in FF terms re. shallowness of DOF. I'll take a faster aperture over a higher ISO if I can and this for me has always been the issue, the smaller the sensor, but anyway... I'd be tempted to just go 18-55 and ONLY if it flags up any shortcomings, look beyond that. Depends on your needs... I have an f4 zoom for my FF camera and on anything othe

Viltrox seem to be great at tracking but for subjects moving in and out of frame you have abrupt focus transitions. The Fuji F2 line up is pretty good but there are a lot of random focus hunting issues. The 18-55 is actually the best lens I've used auto focus wise. Doesn't seem to hunt and tracks well. I've heard the OG Fuji 1.4 lenses are actually quite good, they just aren't as fast as newer lenses and are also a bit noisy.

Title says best AF lens but then you ask for cheap AF glass? Best one is XF 16-55. Cheap one is the kit lens you have.

I had the Sony AX100 for that kind of thing but sold it and replaced it with it’s tiny brother, the Sony ZV1. Same sensor, unlimited recording (if you set it to do so), constant faster aperture, but doesn’t have the same zoom reach obviously. If weddings start up for me in the second half of this year, it will be on a lightweight tripod doing full length ceremony and full length speeches. Next year however, it will go to backup as my S5 will take over that roll. 30 minute limit in 10bit I know, but that’s OK as I will just stop/start at an appropriate moment. Battery life i

I was thinking about that. The footage from the 1DX3 looks fantastic. I'm kinda hoping the R3 will either be cheaper, or drive the price of the IDX3 down.

From Panasonic's Official Press Release: "Providing 4:2:2 10-bit DCI 4K/60p recording capability, the LUMIX GH6 achieves unlimited video recording when the camera is used under the certified operating temperature. It is reliable enough to record continuous footage for a desired duration. It also provides a 10-bit 4K 120p High Frame Rate (HFR) and Variable Frame Rate (VFR) for high resolution slow/quick motion video. Moreover, the GH6 records 10-bit 5.7K 60p video by taking full advantage of the newly developed Micro Four Thirds sensor." I shared the photos of literature of the

@Sage I'm still absolutely loving this LUT, and it just keeps getting better and better! I use it for pretty much every single project I shoot, S1 for A-cam and GH5 for b-cam, but lately, combined with anamorphic and pro res raw, it has felt extra tasty. I just love what it does to greens, especially. These screenshots are some standouts from the past couple weeks. Thanks for all your hard work! I recommend your Alexa LUT to all my lumix-shooting friends

David Thorpe passed away on May 25th. For those that aren't familiar, David was a huge proponent of M43 and shared his love of photography on his blog and YouTube channel. A message from his family can be read in the description of this video: His channel is well worth checking out. He was a very thoughtful reviewer. His blog is also excellent: https://m43blog.dthorpe.net/

I think the GH6 may not need an attention grabbing feature to stand out considering the price bump. People who were at the limits of the GH5 might find that the GH6 is worth the upgrade, considering how much money they might have in lenses and the total cost of changing systems. For example: 120p going from 1080p to 4K is a useful upgrade for those that use that mode, sports shooters for example 60p going from 4K 8-bit to 5.7K 10-bit is a meaningful change too, especially for those shooting log Even in an incremental upgrade there are likely to be other minor improvem

I've been on the good ship Panasonic for 11 years now, using the GH series for my video business. Last year I got an S1 to pair with my GH5. I love the combo as an A/B setup for interviews, and for location shooting having the GH5 with the stellar Leica 8-18mm on the gimbal ready to roll. It's a small and powerful system I can put in a single backpack and the Lumix cameras have never missed a beat for me, bullet-proof in professional environments. However... after a brief flirtation with a C200 I crave built-in NDs and more video-centric ergonomics. The C200 was too heavy and large f

Spider-Man maybe, but not Batman as there’s zero contrast and good luck with The Flash.