alanpoiuyt

fp Fans - here's one from the mountaintop.
 
 

fp Fans - here's one from the mountaintop.
 
 

Seeing that this thread is active again for fp lovers, here's a DJI LiDAR autofocus test using the Aivascope 1.5 with Helios 44 taking lens. This is the LiDAR unit from the RS3 pro gimbal - off gimbal, handheld. 
 

Seeing that this thread is active again for fp lovers, here's a DJI LiDAR autofocus test using the Aivascope 1.5 with Helios 44 taking lens. This is the LiDAR unit from the RS3 pro gimbal - off gimbal, handheld. 
 

I think the colourists refer to the initial adjustments as "balancing" the image (although it's not a universally used term) and they'll then apply a creative colour grade over the whole scene / film.  
I don't know how technical you like to get with grading, and it's a very very deep and technical topic, but I'll try and give you some examples.  It also depends on what software you're grading in, because Resolve uses Nodes and that means that either some things get done differently to a layer-based package, or it means you can do things that can't get done in a layers-based package.
I had a video in mind that showed it clearly but couldn't find it, but this one describes a similar approach - I've linked to the relevant timestamp:
This is part of the node graph from that grade:

Node 4 takes the balanced image from node 2 and does a serious grade on the image that screws up the skin-tones, but node 6 takes the same balanced image from node 2 and has a key on it to only select the skintones and then he grades in node 6 to push the skintones so they look ok sitting on top of the grade from node 4.  ie, node 6 is at 100% opacity over the top of node 4.
An alternate approach, and the one I was describing, would be to have node 4 do the same grade, and keep node 6 as being a key of the skintones, but instead of node 6 having a grade on it and sit at 100% opacity, I'd keep it having no grade at all and starting from 0% opacity just bring the opacity up until the skintones stop looking wrong.  This technique works well if the grade in node 4 is absolutely full-on, because if that is the case and node 6 was at 100% opacity then you'd have to do a lot of grading on node 6 to get the skintones to sit nicely over the top.
A completely different approach is to grade the whole image with a serious grade, then in a node after that you'd try and get a key of the skintones and then adjust them how you want them.  This is a way to do it when you don't have parallel nodes, but it makes pulling the key much more difficult.  One way to make this easier, if the software allows it, is to pull a key of the skintones from the balanced node before the image has been really messed with but use that key for the skintones node after the serious grade.  This is another awesome feature of Resolve - the blue inputs and outputs on the nodes are for the key, so you can pull a key on any node and then connect that Key Out to the Key In on another node.  
(Side note: you can also connect between the key ins/outs and the image ins/outs which allows you to process the key using the normal controls of a node.  I haven't seen anyone else do this but it works and I've used it in real projects to refine keys etc).
There are other approaches as well, and it's worth setting up a test project and trying to think of all the different approaches and different tools you could use, and just trying each of them to see which ones you like and which ones you find easier to use etc.
Just for fun, here's another video that uses parallel nodes and all kinds of fun stuff to create a strong look:
 

Hi all,
about to finish the historical clip. As said, will link it here for your interest.
Meanwhile I have also taken some shots of my little daughter and used that material to give you an idea of how the two LUTs I have posted for you are looking like.
Have not altered anything in the material except for adding the LUTs to show what that camera is capable of. (Shot with my Sirui 50mm 1.6x anamorphic lens wide open, in ISO 400, only natural light, closed some curtains for a little bit of lighting control)
Panasonic Rec709 LUT:

ARRI Classic Rec709 LUT:

 
For me I am personally in love with the rendering of the skin tones and overall colors of the ARRI Classic LUT. Don't ask me how they do it, but the skins are somewhat creamy, whilst the Panasonic approach seems to introduce more contrast.
All in all if you take the ARRI LUT and opt for shooting ISO 800 you will get as well a very nice highlight rolloff. Cannot repeat myself more, love this camera now and what it is cable of doing. 🙂 

I did sell one of my two R5 and added a R5c as I posted in the other thread.
At the beginning I was not too happy about the R5c but now I like it more than the R5 other than the battery issue that basically makes it a rig only camera. And I did not buy it due to the time limit as it was not an issue for me other than 4k 120…. Initially it was for the 8k 60 and audio on the 120fps.
I filmed 5 days of MTB and 2 days of Surfing in the last two weeks, and I reach out more to the R5c (A cam) than the R5 (B cam).
 
They are quite different, the R5 even more with the new FW is a really good hybrid, the R5c is a cinema camera that you can turn in a great photo camera, it seems the same but when you use them both you realize the differences.
 
Plus for the R5c:
8k 60 RAW
4k 60 much better quality than R5
4k 120 with sound and noticeably better quality than R5
S35 5.9k RAW

XAVC much easier to edit than h265
Face only AF, AF around the point only
Cinema OS makes more sense for filming.
False color, waveform, magnification while recording etc…
Customization of what to show in which screen VF vs LCD vs HDMI, safe marks etc.
Port protector let you flip the screen
Media playback UI, I really hated at first, but I discovered how to control it with the touch screen and joystick (not the wheel as I was used) and is better that the R5. Still lacks lut support and a quicker way to delete videos imo.
 
 
Plus for the R5
Battery, battery and battery so no need to rig it and cables that can break etc...
More AF zones type, Animal and Car AF
IBIS (although I find it a problem in some cases like on gimbal with long lenses and wobble on wide angles)
Faster switch photo video (I thought that the R5c would bother me but for my usage is non issue and I do switch quite frequently)
C1-C3 modes this is so needed on the R5c
Bigger UI font
Wifi works in video mode too (this is ridiculous on the R5c that only works in photo mode)
 
 
AF the way I use it is very similar in term of performance some stuff are better on the R5 and some on the R5c I really wish they would merge the two functionalities.

If it would not be for the battery challenge, I would probably sell the R5 and get a second R5c.

Getting at macro video with A7S3. No dedicated macro lens have been used. Check the video description for more clues. 

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 little beast !

Sorry to post my own stuff again but here's my latest pandemic lock down piece. Confined to my backyard.🙄 The FP continues to inspire.
 

A lot of this is due to 32bit float color space in NLEs. As long as the 8bit has enough to not have posterization the 32bit float will likely be able to fill in any gaps as the image is pushed hard. Grading is much easier for math to fill in gaps than say upscaling an image.
In the case of upscaling new pixels can be averaged but averaging doesn't work for fine details like a hair. Grading however we are trying to prevent posterizing.  That is done through smooth gradients.  Sometimes averaging surrounding values does perfectly.
For example if you have a color of value 200 and another value of 250 its easy in grading to averaging an in between value of 225 which still creates a nice smooth gradient.
Where 10bit is important is making sure the shot is captured well the first time.  Once you have posterization it will always be there and no 32bit float processing can magically make it go away. Visually ion the shot has no posterizing than no matter how hard it is pushed it likely never will have any or pushing the 10bit would show just as much. Thats why 32bit float was created.
10bit is a lot like 32 bit audio or 16 stops of DR that are graded down to 10 stops.  We record more so we have it and can better manipulate it.  Most of the shots above likely would have still looked good with 6 bits. You need a very long and complex gradient to break 8bit.  It can and does happen.  The more noise the camera has the less it will happen because of dithering. I think this is partially why Sony always had such a high base ISO for log.
Finally 10bit never promised to have better color, more dynamic range or less compression artifacts. Thats not what bit depth does.  Its all just about how many different color samples can be used across the image. The single and only real side effect is posterizing. Many computer monitors at one point were only 6 bit panels even if they claimed 8bit.  Most never really noticed unless they did something like use the gradient tool in Photoshop to span a full 1920 wide image. In the case of the clear blue sky image in the article that wasn't even a difficult gradient. Most of the sky was a similar shade of blue. To break 8bit you need to create a gradient going from 0 blue to 255 blue across the full 3840 pixels for 4k video. That means there is a unique blue sample every 15 pixels if you create a gradient like that. So your sky needs to go from black on one end of the screen to bright blue on the other side. Not always realistic but you can shoot Skys around dusk and dawn that spread the values out a lot more than mid day. By comparison 10bit has a unique blue color sample every 3.75 pixels for UHD video.
It doesn't even have to be something that covers the full screen.  If you have a gradient over 100 pixels from 200 blue to 205 blue that still means a new blue sample every 20 pixels.  Even though the screen area is very small. I develop mobile apps and when I add a gradient I run into the same problem trying to do a subtle gradient across something like a button. The gradient needs enough range to cover the area of pixels or it will look steppy. 10bit and higher is a safety net or guarantee to likely never have any kind of posterizing. In the professional world thats important and nobody wants surprises after the shoot is done.

Sorry to post my own stuff again but here's my latest pandemic lock down piece. Confined to my backyard.🙄 The FP continues to inspire.
 

Beautiful!  Well done on filming the bees like this - I've tried and it's no easy task.
Also, don't apologise for posting your own stuff, assuming it's relevant to the conversation..  It separates you from the people here who don't shoot anything and just talk about film-making without actually doing it 🙂 

Sorry to post my own stuff again but here's my latest pandemic lock down piece. Confined to my backyard.🙄 The FP continues to inspire.
 

Sorry to post my own stuff again but here's my latest pandemic lock down piece. Confined to my backyard.🙄 The FP continues to inspire.
 

Sorry to post my own stuff again but here's my latest pandemic lock down piece. Confined to my backyard.🙄 The FP continues to inspire.
 

Did I write 24 hours...? ; )
Tonight:

 
I am absolutely sold with this way of giving SUPPORT...
The curious part is that we have this genius among us in these boards :- )
 

COVID safe motor control examples using a Meike 25mm mini cine prime on a Sony A6500 with Nucleus Nano motor.
 

I've never owned a more inspiring camera than the OG FP. I bought a C70 to make work a little easier and tried out a Lumix S5 for a week to check out the advantages for anamorphic shooting but quickly returned it. Nothing has come close to the IQ I'm getting out of the FP.
 

I've never owned a more inspiring camera than the OG FP. I bought a C70 to make work a little easier and tried out a Lumix S5 for a week to check out the advantages for anamorphic shooting but quickly returned it. Nothing has come close to the IQ I'm getting out of the FP.
 

So excited that my AFX showed up today in the US! Just having trouble pairing my BMPCC 4K.🤔 Any tips?

Yes, however sorry to repeat myself but what's the point of the Sigma Fp being just another A7R IV clone?
We don't need another copy cat.
Not denying the Sony offers a lot of spec for the money if you need a 60MP full frame camera with good 4K.
But the Sigma Fp-L offers something different... at least for those who recognise that it's an artist's camera for studio, landscape, portraiture... and for videographers... whereas the Sony is more of an all-round work tool for pros and commercial work.
The Sigma offers better colour science, more flexible grip designs, smaller size, internal RAW video, phase-detect AF for L-mount lenses, and there's many other differences to the Sony.
It is aimed higher than the original Fp, so of course there's the higher price.
The rolling shutter issues and lack of mechanical shutter does hold it back for certain types of shoots, that's for sure. However it is just the first of the future breed of all-electronic cameras. Global shutter cameras will outnumber mechanical shutter cameras in a few years time.
They should do a version with the Sony A9 sensor next, faster readout.
I think the Fp-L is in the top 5 for image quality... GFX 100, A7R IV, Leica SL2, Fp-L, EOS R5... all good sensors and ultimate in stills resolution.
So maybe the price, being lower than all of those is not so bad after all.
And it comes in a very small box, with very wide feature set and nice modularity.
Besides you get to support directly a family run business which is in it for us and their employees rather than to line the pockets of shareholders.

It’s arrived. Just charging batteries but first impressions of the body...
- Great form factor, makes total sense although could be nice to have a compact EVF somewhere. 
- It’s much more lightweight than I thought. Doesn’t feel that much heavier than the A7SIII. 
- Body is solid, but the material is definitely a bit more budget than other C-series. 
- LCD is larger than I thought, although it’s on the flimsy side. 
- Button layout is great. Everything is there although the “media” button is almost impossible to press with your right hand on the grip. 
- The top handle is neat however the texture feels weird. Others might not mind, but I think I’ll have to wrap some extra material round it, haha. 
In conclusion, Canon have stripped back the premium feel a little to give us a camera with great features at a great price point. The form factor makes sense and they’ve done a great job of fusing these bodies together. 
Now, let’s see how it does on the field.