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Well, they just launched the Canon R6V, so I hope Panasonic enjoyed their 20 hours of PR!

So there are indeed some details in the video specs that will be of note to some. Internal RecordingH.264/H.265/MOV/MPEG-4 AVC 4:2:0 8/10-Bit 5674 x 2988 at 23.98/24.00/25/29.97/47.95/48.00/50/59.94 fps (200 to 300 Mb/s) 5184 x 3888 up to 23.98/24.00/25/29.97 fps (200 Mb/s) 4352 x 3264 up to 47.95/50/59.94 fps (300 Mb/s) 4096 x 2160 at 23.98/24.00/25/29.97/47.95/50/59.94/100/120 fps (100 to 300 Mb/s) 3840 x 2160 at 23.98/24.00/25/29.97/47.95/50/59.94/100/120 fps (70 to 300 Mb/s) 1920 x 1080 at 23.98/24.00/25/29.97/47.95/50/59.94/100/120/200/240 fps (16 to 200 Mb/s) H.264 ALL-Intra/MPEG-4 AVC 4:2:2 10-Bit 4096 x 2160 at 23.98/24.00/25/29.97/47.95/50/59.94 fps (400 to 600 Mb/s) 3840 x 2160 at 23.98/24.00/25/29.97/47.95/50/59.94 fps (400 to 600 Mb/s) 1920 x 1080 at 23.98/24.00/25/29.97/47.95/50/59.94/100/120 fps (200 to 400 Mb/s) Interesting to note that Panasonic have sidestepped the Micro HDMI bleating by just fucking it off altogether. Although it was playback only on the original anyway.

I like film and retro filmic looks, but shooting Super-16 (or even Super-8) is still an expensive PITA. After some testing of my equipment, I've realised that my GX85 has image quality equalling or surpassing a Super-16 film camera (with some categories surpassing a Super-35 film camera) so in my pursuit of a pocketable, portable, fun, simple, and fast setup that looks like film, this project is born. The criteria is to work out how to get great images from the tiny setup that are enough like film that most people would believe it if you said it was shot on film. My approach is simply to compare the two and find the biggest differences and then work on bringing them closer together, 80-20 rule and all that. The first point of comparison is already known, the crop factor is similar (2.2x vs 2.88x) so making sure I don't go too hard into shallow DOF then this should be comparable. Second consideration is camera movement, shake, and how they'll be used. S16 film cameras can be hand-held, but they've got some weight so are relatively steady in use. 8mm cameras were designed to be hand-held and are much lighter, so will move more. The GX85 is far smaller than either, but has IBIS (and OIS with some lenses) so that should make it feel larger, but I'll have to watch out for parallax, which will give away the cameras lack of heft. Third is the DR. Film has a huge DR and I wasn't sure how this would go - harsh clipping of highlights and blacks will be a dead giveaway. Without knowing anything about its rec709 profiles, I shot an exposure test where I took shots one stop apart. Film negatives have a lot of DR, but print film has far less, with stocks like Kodak 2383 only having about 5-6 stops in the linear range of their exposure (between about 10% luma and 90% luma, before the rolloffs kick in). Bringing in my test shots and matching the contrast within my standard colour pipeline (based around the Film Look Creator tool in Resolve) I realised the GX85 has enough DR to push its highlights well up into the highlight rolloff curve of the FLC, and same with the shadows, so this is fine too. DR, check! Fourth is resolution and texture. The images should be soft and noisy, but how much? After reviewing a number of sources, I realise that there are all kinds of factors, such as the speed of the negative, how it was exposed (0... or -1 and pushed in post, etc), but often the biggest factor in softness was the lenses used, and the biggest factor on the grain is the processing that the streaming service does when you upload it! In this sense, I have a lot of freedom in these aspects, but I'll have to do further tests on uploading to YT. I have seen videos that have really nice grain in 4K, so I know it can be done, but my previous tests showed the YT compression really changes things, so I'll have to do more tests. Then we're into testing with real images and just seeing what we see. My first test was some random shots in the garden, just to have a starting position. The feedback I got (including one friend who practically lives to talk about film!) was that it looked good but needed more saturation. My thoughts were that I exposed too high (I'd forgotten that the LCD is deceiving and the GX85 has a lot of shadow info) and as such the highlights in the first image were clipped in the file and still show in the graded image. After this test I happened to watch a YouTuber go through their grading process and they said they exposed by putting the image in the middle of the histogram, which made sense to me and I realised this is what I should do with the GX85. Second test was just a few images while out and about. It's the GX85 and 14mm F2.5 pancake lens. I'd previously forgotten this lens is both a 31mm and also a 62mm (with the 2x zoom) and so is much more flexible than I was remembering, so I made sure to include some 2x shots to see how useful that was with this level of image degradation. I also decided to push the images to get more of the kind of look I'm chasing. The 2x seems completely fine too, having quality far more than this level of softening will show. I also re-graded them in B&W, pushing the contrast much further. I may even want to go harder on these. Much more work to do, but I'm really liking the process so far. In these days of digital perfection, the attraction of film is in the colours and the texture. If you want the colours and not the texture, wanting to keep a much more modern level of sharpness and noise, emulating some of the properties of film is so ubiquitous that I think it's just called "colour grading". The phrase "film emulation" then is for the texture of film and deliberately wanting the imperfections and aesthetics of it. You don't have to go hard like I have with Super-16 film + Super-16 lenses levels of softening, but if you did this is easily possible too and FLC has 35mm presets which soften, but do so far more subtly than this. I'll continue to iterate on the colours and textures, but moving into moving images is probably next, with all the testing of the YT processing and compression that comes with that. But seriously, imagine telling someone in the 80s that you could fit an interchangeable lens camera capable of shooting feature-film level images in your pocket... Feedback welcome.

https://www.43rumors.com/just-announced-new-panasonic-lumix-l10/ I wasn't that interested until earlier today when I went to set my S9 up for the imminent season only to discover the audio on it has stopped working. Or is at least intermittent enough I can't use it until it's fixed and as there is zero chance of that happening before my season starts and I am between 2 countries so which to even have it fixed in, is a bit of an issue. So ordered a used S5ii from @Andrew - EOSHD favourite used camera emporium to tide me over. But then, less than 2 hours later, my YouTube feed gets flooded by the Lumix Bros who have been on another jolly and...actually, as above, wasn't particularly interested as I had my S9 as my compact C cam and social media unit...except, this would work even better, so probably going to put a preorder in as they should be available in June. The only thing I find odd is that every man and their dog has a video or press release and the only one's who don't seem to have mentioned it yet, is Panasonic Lumix themselves. Same funny old Lumix marketing department 🤔

It’s the Frank Sinatra of camera review retirements then.

I may have dreamt this but either in Flickr itself or an external site that used it’s data, you were able to search by EXIF so you could look at the extremes of the lens range and in this case it would be to display all LX100 images at 24mm f1.8 and 70mm f2.8 which was a more informative way to do it. People can fuck up the composition and the processing but even they struggle to overcome the physics. Welcome to episode two of the series! Fixed. The EIS is an additional crop as far as I can recall.

Unless of course they got me mixed up with Gerald Undone.

From Canon's support people, someone has to examine the camera to determine the level of work, but a rough estimate of prices, based on the perceived difficulty is: Minor = $269 Standard = $359 Major = $499 That's before my CPS discount on repairs which is, I think, 30%. So I guess that'd be $180, $270, or $340, give or take. Added to the approx. $1,500 below new price (and about $1,100 below most used prices I've been seeing), that ain't bad at all. (Though I do really need to sell something now, my gear list is getting ridiculous - anybody want a used Z Cam E2-S6G in good shape with a bunch of accessories including the eND?)

I originally read the title as “This Guy Makes Any Camera Shite” and thought my cloud account had been hacked. I enjoy watching Brandon Li’s stuff, particularly the self shooting ones. Self shooting as in shooting on your own as though someone else is shooting rather than self shooting in the vlogging context. Tripods basically.

The clearest sign yet that people's critical thinking might be in a dodgy place... 7K RAW on a content creator's camera with a tripod mount to shoot in portrait orientation. Now let's remind ourselves: Why do people shoot vertical video - because of phones How big is a phone screen - Erm, about 7 inches tall How much resolution is 7K in vertical format... 1000 dots per inch! What DPI are the best flagship phone displays? Well, iPhone 17 Pro Max is 2868 ×1320, so about 450dpi, and that is overkill already because to make out the individual pixels you need a microscope. Those Instagram stories never looked so good.

Typing that reply certainly did make me warm even more to the LX100 and L10, but considering I have the GX85 and 14mm F2.5 already (and are therefore a FREE option!) it's pretty hard to beat for a number of reasons.. The size with the 14/2.5 is similar, and it doesn't get larger when you turn it on: As I edit in 1080p and am softening the image in-post rather than sharpening it, the 14/2.5 on the GX85 can be a 31mm and a 62mm (with the 2x zoom function) which are both absolutely awesome focal lengths for shooting how I like to shoot. I can easily bring other lenses if I am shooting something worth putting some effort into shooting (ie, it's not just an EDC opportunity). I've shot an absolute ton of tests on the GX85 so I know it inside and out. Like most of us here, I both crave the simplicity of having a fixed-lens setup that would do most of what I want, but I crave the choice and freedom of the options that an interchangeable lens mount provides!

The secret sauce is skill. As someone that used to make my living doing travel videography decades ago, this Brandon guy has really honed the judgement it takes to get the shots. There's so much going on out there in the environment and he's able to omit it, control it, and/or shape it into something impressive. It's really quite a thing to do. He could make any camera in manufactured in the last 15 years look similar to this. In fact, he has. This guy is a cinematographer that really knows how to chase the light, compose a shot, and also create advantageous serendipity. Which might sound like a paradox, but it really isn't. But, yes, images like this sell cameras. Okay, buy the camera if you'd like and start the path to making an edit like this. You can't buy his boots-on-the-ground experience though. He's casual about it all during his "how-to" segment, but it really is the biggest factor here.

I'm still a weirdo because I just bought a Yashica ML 50mm 1.7 hoping it will give me 80% of the micro contrast Zeiss offers in their 1.7 50 for 80% less but the catch is I want to use it to shoot 1920x818 on my 5D3. So the idea of shooting 8K sounds so alien to me. Of course, I am liking the 5.7K on my GH6... go figure.

This sort of question comes up often in a photo context on GFX forums and the most correct/accepted answer to it is "it doesn't matter." And any discussion of that sort of thing is going to quickly devolve into arguments about how bayer sensors work (hint: 4K from a bayer sensor isn't 4K of actual information and is actually closer to 1.5K-3.5K, depending on who you ask). But the short answer is "that depends on the lens, but some do for sure, some do near the center and not at the edges, and some definitely do not."

I'd like a dollar for every time he says oppo find... I believe the more youtube camera reviews i watch, the more cynical i become and the cynical part maybe exponential... i did like the intro, for a guy who lives in the country, its nice to see some travel footage. Although the title, travel film could be "code" for you, secretly need a new 8k camera phone. That in turn would probably necessitate a new tv, new computer, and maybe some other peripherals. So for me, probably not going to happen. Perhaps this new oppo is amazing, and good on them if it is. Personally i cant take a camera phone seriously if it doesn't have a lens cover. Every single lens i have bought except a couple of 2nd hand lens from japan have had lens covers. If smart phone manufactures cant put a plastic lens cover on it then their not taking their product seriously. During the into did think to myself one could do a similar thing with a gimbal and any phone camera or perhaps even an action camera. Sure enough a gimbal seems to be the secret sauce, oh and add 8k of course and the occasional hand held shot for added realism. I shouldn't knock the guy, at least he's out and about doing stuff, while i'm content to simply watch it, in my comfortable desk chair.. It was nice of oppo to send him the phone to vlog with, after that my mind boggles at the boat trips, plane trips, bike hire, and i'm thinking at this point his his business financials must be going backwards. 🙃 I did learn a few things from the behind the scenes part, so thanks for that . PS. Somebody should probably tell the dude, that you ride bikes, you don't drive them. It sounds kinda lame to anyone that does actually ride one.

It is nuts isn't it?! I'm shooting 4:3 ratio, 4.7k APSC 300mpbs on my S1RII's, specifically so I have the biggest box for both orientations with 50p. That is 3552 pixels tall so even with a 9:16 end product, plenty of scope to punch in if needs be. 2x crop markers, one set at 2.4:1 landscape and the other at 9:16, 75% blackout. No need to tilt the camera 90 degrees and no need for a dedicated social media camera. The only 'compromise' is visually composing for shooting for 2.4:1 and 9:16 within the same frame, but I personally like being able to make 2 entirely different end products from the same original footage, - there is both continuity yet difference. But 7k raw files? Nuts!!

Oh, you have met some of my family then?

About the lack of IBIS, I suspect…but could be wrong, that they deliberately skipped it as another point of difference with a future S9II which not only would have an interchangeable lens mount, but extra bells & whistles, ie, your P&S can’t be too sophisticated. Re. the size, back when these things were competitors, I went with the Sony RX100v over the LX100 and thought that was an ace little camera and truly pocketable whereas the LX100 was less so. I am not bothered about pocketable and though the new ‘LX100’ might have grown, just as the Fuji X100 line did, I think it’s just about right and for years have wanted a fast zoom lens ‘version’ of a Fuji X100/Ricoh GR and skipped everything, every year. Until now, - it’s time.

I missed your point about it being in the S9 chassis, but that makes total sense and gives a lot of hope for a GX10, as if they can fit a FF IBIS sensor assembly in there they should be able to fit a MFT IBIS sensor assembly in there too. If they announced one of those I'd be very tempted to pre-order one. I'm super happy with the images from my GH7 but the size is cumbersome for a lot of things, and my GX85 still softly calls to me because of the form-factor. Once you add a large lens to it the difference becomes less significant of course, but there are lots of small lenses. This is the GX85 vs the GH7 (they haven't put the L10 in yet) but it shows my general point: Looking at the size this way really does show the genius of the LX100 and L10. This is the LX100 vs the GX85, but the GX85 has the 12-35mm F2.8 lens, which not only is MUCH larger than the LX100 (open and closed), but the lens is 1.5 stops SLOWER at the wide end than the one in the LX100 and L10!! In order to get an MFT camera to match / surpass the LX100 / L10 lens, you need to go to the 10-25mm F1.7 lens, which isn't a fair test as it's wider and constant F1.7, but the size difference is.... stunning. The more I think about it, the more I realise the F1.7-2.8 lens and GH7 sensor combo really an 80% combo, where with its speed and aperture and the GH7s ISO performance, for general travel / family / hobby / creator / vlogging / etc stuff you'll only really miss the odd situation here or there where you'd wish for something more. This is absolutely in contrast to the other little cameras I've looked at (the Sony ZV-1 comes to mind) where as soon as you go inside or after the sun sets the image turns to mush with the poor ISO performance, plus the DR of the GH7 sensor will seriously embarrass lots of the alternative options too. This is because most of them are just old, but that seems to be the state of the market for these smallest options. I'm not really sure what the current alternatives are for the L10, but happy to hear if someone wants to make a list...

Oops

Amazing spec really. Looks like it could be my forever camera….

If Megadap's website/YouTube is to be believed, sometime this month or next, their M mount autofocus adapter (M2RF) will be released this month sometime. 🤞

Perhaps the biggest mistake was inviting a bunch of influencers with tiny hands to come to Japan and make it look enormous by comparison. They could have just had someone the size of Shaq in the lobby holding one and posing and every video would have started with a very different tone! Sounds pretty normal to me, but my household has a rather eclectic purchase history, so I might be an outlier!

Same intern that is currently doing their marketing is also in charge of product naming.

Looks decent and loved my A7RV, but I have nailed my colours to the LUMIX mast for what remains of my career. But if I did switch, it would be to Nikon. Or Leica. Or dammit, maybe even Canon. Or possibly Sony actually. The simple reality is they all make good shit these days. Remaining a Lumix bro, - it does what I need it to do.

It won't feature Ibis, probably, if they are about to keep the size. I could live with that.

Turns out I didn’t dream it. https://www.shutterdial.com However, what I did dream )or maybe they’ve removed the function) was that you could search by specific camera on addition to the focal length/aperture.

The Leica variants of the Panasonic cameras like the RX100 always hold their value far, far better so the initial premium that you pay is offset somewhat when you sell it. Join me next time for another episode of “Flimsy Justifications I Present To My Wife When Buying Cameras”. The good thing about a fixed lens camera is that you can just forget about all of that. What you’ve got is what you’ve got. When the full spec for the L10 comes out then I would look for some devil in the detail regarding this as well in the video modes. I saw something regarding it being 4.2.0 in some modes and 4.2.2 in others for example. Not sure about numbers but the Flickr pool for the LX100/ii should give you plenty of visuals to evaluate it. As with most pools on Flickr for older cameras I’d recommend going back to closer to the end and working forward as the advent of faster internet has led to a proliferation of any old shit being uploaded. People were a lot more selective ten years ago 😂 https://www.flickr.com/groups/dmc-lx100/pool/with/55214982443

This looked and sounded really good until they said there was no IBIS. I suppose this makes sense as they emphasized this is targeted for photographers, but I do hope they release a video focused model that includes IBIS because I would love a genuinely pocketable video camera like this.

A mix of two glass, Schneider cinelux front and Moller 32 on the rear. Taking lens was a Soviet Vega 20mm C mount

Just looking at the specs for this on B&H, it seems beyond exciting. It's almost like someone from Panasonic is reading our messages on this forum and paying attention to what we'd want! At $1,500, I'm not a buyer, but between $1,000-1,200 on the used market or on sale, I'll definitely become more interested. Maybe some vendor will give a deal on a trade-in for my Sony ZV-1 that I still have kicking around here somewhere.

It's a pity we can't reply to these emails with something like "Is it just a hobby or a real business?" "Did you mean to send that email?" How do these marketing boffins come up with this tone-dead stuff - are they psychopaths? yes

What was this custom anamorphic, and what was the ground glass adapter? Liking the look

Simply unique :- )

@kye Sorry I have not published those porno links. My account somehow has been stolen, sorry again for this inconvenience. Thanks 🙏

I hope MPB have looked at this thread at some point because I’ve just had an email from them entitled “Was it just a phase?”. I thought it was going to be something punny about phase detect AF and trying to alert me to their range of manual focus lenses or some such but no, it’s suggesting that photography must’ve just been a phase because I haven’t bought anything from THEM for a while. Entitling the email “Is it because we have gone really quite expensive and frequently lose your mate’s cameras?” then I’d have agreed with them as that being the reason I haven’t bought anything from them for a while. My “phase” of being a photographer which began a comfortable three decades before your company even existed remains intact MPB but I tell you what is now a phase and that’s ever buying anything from you, you cheeky patronising pricks. When someone who has been a frequent customer since you began, you might want to look inward as to what might have caused their buying to fall off a cliff.

The video was an improvisation test focused on capturing the human face using my modded phone. It wasn’t a planned shoot, just a quick experiment to see how the device performs in real conditions. Unfortunately, many clips were deleted because I didn’t have a tripod and was holding the phone by hand, which made some recordings unstable or unusable.

Or in their QA department - for all I know, the first owner received the camera with the dust already in place! Maybe they didn't care or notice - if I hadn't been told of its existence, I don't think I'd have sat here with a lens off clicking through the ND filters and I probably wouldn't have seen it until I filmed something with a solid that happens to be behind it, probably stopped down a little bit. Anyway, I registered it with CPS. The website didn't want to give me a price estimate since based on my purchase date, it's likely under warranty (maybe?). So I sent them a note explaining that I bought it used, asking if there is a way to know if it's still under warranty from the original purchase date, and if not, what the price would be for them to remove the dust. Sadly, a somewhat vigorous shaking doesn't seem to have dislodged it and it didn't budge when I blasted a little air in through the exhaust (the intake is not in a place to have a direct path) This is the way!

The GH5 has been my workhorse for almost a decade now. For whatever reason, the need to move on from it has never been necessary, so I've stuck with it. For instance, AF is not an issue. Manual focus is how lenses get used by me. Slow-mo is a thing to do less of, not more of, imo. A full 10 years on, what does a different camera offer; like really offer? An extra stop of exposure? An extra bit of DR? Looking at a GH7 the thought is, "MMM, pretty nice." But then what? A big difference in ... what ... gets captured? Maybe the market has matured TOO much for me?

Back from a visit to Japan. We spent most of the time in a small town but went to Tokyo for a weekend, so I shot a lot in Tokyo and used the rest of the time to test a range of lenses I took just for that purpose. I tested the 12-35mm F2.8 for Night Cinema and it worked great and I loved the images, but as it got darker I kept cranking up the ISO and in the end it just didn't have the levels for the truly dark backstreets. I also tested the tiny 35mm F1.6 c-mount CCTV lens I got off ebay some time ago. It produced some really nice images in the right scenarios, but the plane of focus was so incredibly distorted that any scene with stuff off-centre in the frame would look really strange. It had more level than the 12-35mm but still fell short of my better options. My themes for the place emerged very quickly.... vending machines, bicycles, and lanterns. Anyone who has been to Japan will be surprised by this exactly zero percent. At this point we went to Tokyo and I treated it like a Night Cinema interval event, basically shooting as much as I could. I shot a whole sequence from the hotel window as the sun set using the Takumar 50mm F1.4 and SB, my go-to setup. I did a number of walks around the local area with the same setup. Each time I went out I liked using the setup more, and each time I reviewed the files I liked the images I got from it more as well. After China I was feeling like it was a bit too vintage / low-fi but I've really warmed to it since. I found myself a bit at odds with Japanese culture, especially in regards to the fervent dislike of badly-behaved foreigners and the locals dislike for being filmed in public (despite the fact no-one will tell you they don't like it), so I mostly filmed the place and not the people, or at least I didn't tend to film individual people, instead including them small in the frame, or en-mass, or out of focus. I think that lent itself to the cultural experience as well. The city, and to many extents the culture, dwarfs the individual, placing the focus on the group. As a tourist I can only glimpse the culture from afar, so taking the perspective of the outsider in the compositions is very much representative of the experience. My "big" outing was a walk from Shibuya to Harajuku on our last night there. As these places are known for youth and fashion and culture (and the counter-culture that fashion normally draws from) I concentrated on the grittier side of these areas. I also leaned into the layers and the overall chaos of the place, taking advantage of the Takumars ability to focus on a small slice of the chaos, both through the 70mm FOV and also the shallow DOF. Back in the small town I did more "test" walks with the TTartisans 50mm F1.2 (100mm F2.4 equivalent), the Helios 44M + SB combo (82mm F2.8 equivalent) and Takumar + SB combo for comparison (71mm F2.0). As the small town was much less dense I found the extra reach of the TTartisans to be useful, and the DOF was shallow enough to be useful at distance, and the image was much cleaner across the frame compared to the Tak. The Helios 44M was a different beast. I felt like I was fighting with it basically the whole time and came back from the shoot thinking it was a bust and I'd wasted an outing. The FOV often seemed wrong, it lacked the aperture to get enough light to the sensor and I was pushing the ISO a lot, the DOF was also deeper and so I found myself having to get closer to objects to get the separation I wanted, which then meant I was too close and the parallax motion from my hand-held movement was really distracting. The focus on my copy is very stiff and it is a very low gear so to go from distance to closer focus had the ergonomics of opening a jar where something sticky had gotten into the threads. Still, I got back from the shoot and lots of the images looked really nice, which I think is to do with the extra diffusion this has. It was also better behaved on the edges of the frame compared to the Tak too. One thing that isn't obvious from the frame grabs is the ghosting from the strong light-sources in frame, and because I shoot hand-held and have IBIS active, they move in unnatural ways. At first I thought they were coming from my vND but if anything they got worse on both the TTartisans and Helios after I took it off. I think due to this I'll have to lean into the imperfections in the grade and edit and go lo-fi, which is why I've applied a film emulation softening equivalent to 20mm film to the Helios footage. I also shot a lot with the iPhone 17 while there, normally during the day for non-cinema purposes, but that's a different topic for another time.

His choice... It's always a choice. Needless to say there's only so long you can go on liking cameras but never shooting anything with them. And the social media skit can make one thin skinned and insecure - people look up to you like a God, which is ridiculous, or tear you down - not much in-between. So while part of me understands The Gerald Dilemma, the main part of me thinks, well, he chose to milk it for all it was worth didn't he? And it was a very privileged position that many would kill to be in, he could have used it as a springboard into an artistic career, but there wasn't an artist inside, nothing on the springy board. The problem is the system. YouTube / Alphabet is a billion dollar industry based off the hard work of content creators, who get a very small share of the overall pie and Google's Ad Business the lion's share. The internet has pivoted from a place where the artist owned the platform themselves (own website, own server) thus able to keep the benefits of 100% of their labour, to big tech owning the platforms and us becoming mere commodities as consumers/creators in a hive mind, whereas before we were founders, builders and owners as well as artists. The shift is noticeable in the language too. In 2012 we were all saying 'filmmakers' or 'musicians', but now everybody is lumped in together as a 'content creator', which got shortened even further to simply 'creator'. It's really dystopian shit. This is at the heart of what created The Gerald Dilemma - being a little pawn in a PR machine and ad industry rather than an individual. Being on a treadmill of content creation for the benefit mainly of big tech platforms. I don't see how anyone can take any personal satisfaction from it other than the money.

Anything like Foolcontrol for RED? I know you like posting links but sometimes commentary or, at least, comment would be appreciated!

Oneplus 8 pro modded with Vega 20mm wide open with custom anamorphic lens, Motioncam pro app.

8-bit rec709 profiles are much more flexible in post than you might think. I'm not saying they're as good as an Alexa or whatever, but they're a million miles better than people give them credit for. Here's a latitude and WB torture test of the GX85, in the standard profile (8-bit rec709) customised to have reduced contrast but normal saturation. For each of the below, the left image is the properly exposed reference image, the middle one is the graded image, and the one on the right is the image SOOC. Exposure latitude test - +3 stops: Exposure latitude test - +2 stops: Exposure latitude test - +1 stops: Exposure latitude test - -1 stops: Exposure latitude test - -2 stops: Exposure latitude test - -3 stops: Exposure latitude test - -4 stops: Exposure latitude test - warm: Exposure latitude test - cool: Exposure latitude test - magenta: Exposure latitude test - green (as far as it would go!): Notes on the testing method: GX85 shot in manual mode on cloudy day Exposure varied by changing lens aperture WB varied by changing colour temp and tint Tools used in Resolve were mostly Lift/Gamma/Gain, saturation, and some had a bit of Shadows/Mids/Highlights Notes on the results: If it's clipped then it's clipped, there's no getting around that If you've shot a whole sequence in the wrong WB then shoot a test chart replicating the error, spend some time on the correction, then apply to all the shots... a bit of work but worth it to rescue a days shooting If you've shot on auto-exposure / auto-WB and want to correct the small errors then this is easily possible - it won't have gotten it nearly as wrong as what I have shown above Most cameras shooting in rec709 will do funky stuff to colours depending on their luma value as part of the look of the profile, so when you over/under expose and then pull things back the hues and saturation levels will have shifted around in odd ways compared to a normal exposure, but if it's a real shoot then you most likely won't have many dominant hues in the image and you only have to correct the ones that are in the frame and distracting, so the above is far more work than normal shooting would be The days of needing RAW or even LOG to change exposure or WB in post are gone, and although the rec709 profiles often have lower DR than log profiles, they're much better than you think. If anyone wants me to post full-sized versions with titles so you can flick back and forth then just let me know. Happy shooting!