Eric Calabros

Thanks to you guys I don't click on YouTube links to consume 15 minutes of bad journalism. I'm deeply grateful. 

Thanks to you guys I don't click on YouTube links to consume 15 minutes of bad journalism. I'm deeply grateful. 

And budget for several lighting trucks. 
And budget for a six figure sound package. 
And budget for all the crew, and actors. And feeding them. 
And budget for all the locations. 
  
Yiiiikes, that doco starts out harsh
"There is no reason this shot ever has a boom shadow", the director shouts while pointing an angry finger at the Boom Op. 
Poor guy

You don't need the upper part, its A7siii. 

You don't need the upper part, its A7siii. 

You don't need the upper part, its A7siii. 

As a Nikon user you really need to follow these two men on YouTube: Hudson Henry and Steve Perry. They're wildlife photographers 99% of the time, and don't shoot video a lot, but they have a tone of info to offer about how your camera works. 
 
 

Just thought I'd mention I've revisited the Z8 with now better understanding of how the camera operates (read the manual beforehand) and of how to work with N-log (using color management bypassing the awful official LUTs) and well I guess all I can say is it is my new favourite camera! 4K ProRes HQ on an SD card edits like butter on my ageing iMac Pro and the IQ gives so much room for grading. Neutral & Flat profiles are also great SOOC profiles and 8K60p is of course top notch and I haven't yet even explored RAW. 
I guess ultimately the switch back to Nikon would be quite effortless as Z mount has smart adapters for my Sony & Canon EF glass and even my Leica M glass. Alongside my old Nikkor AIS, every single lens I own could be supported!
I do have a question for Z8/Z9/Nikon users: does the camera have custom banks like C1/C2/C3 etc where you can have various custom settings like codec/frame rate/resolution settings and recall them quickly?

Famous Sony footnotes kicks again:
Sync speed with "External" flash is 1/500. With base ISO of 250, its the same as 1/200 with ISO 100.

Camera Conspiracies will address that in new video. 

Famous Sony footnotes kicks again:
Sync speed with "External" flash is 1/500. With base ISO of 250, its the same as 1/200 with ISO 100.

Famous Sony footnotes kicks again:
Sync speed with "External" flash is 1/500. With base ISO of 250, its the same as 1/200 with ISO 100.

Making a CPU with state of the art node doesn't make a PR fenzy, "World's first" in sensor tech, does. They really really want to show they're leader in sensor tech, all else is secondary. 

Camera Conspiracies will address that in new video. 

Imagine this applied by camera processor with accelerated hardware for this specific effect. 

Before I started to develop the Rec709 conversion for the SIGMA fp I did quite a bit of research on how different manufacturers are creating theirs as a starting point.

One of the main ingredients seems to be that after the tone mapping of the cameras dynamic range into Rec709 nearly all manufacturers LUTs have a baked in default contrast around a pivot point of middle grey.

This looks great in a controlled studio scene, because it will be quite punchy out of the box. Additionally, it is hiding shadow noise because it will push these down as well.

However, in reality this means you are always pushing highlight information much higher by default than you would need to. Same goes for the shadow details. So usually the first post step would be to counter this effect.
My conclusion out of this was to create Rec709 LUTs, which are only tone mapping correctly and possibly create a smooth rolloff. Contrast has/can be added in post around a custom pivot point, or by adjusting the curves.
Let me demonstrate that effect on some sample stills, guess that is easier to understand. 

SIGMA fp Rec709 LUT (only colour and tone mapping into Rec709):

SIGMA fp Rec709 LUT + default contrast at a pivot of 45 IRE (intentionally a little bit too much to show the effect):

SIGMA fp Rec709 LUT + custom contrast at a pivot of 75 IRE

Guess this is one of the main reasons so many professional colourists are using CST/ACES workflows, to have a better starting point compared to manufacturer Rec709s. Maybe this information can provide useful for some of you. 🙂
 

My experience shooting 8K RAW with the Nikon Z8 is similar - the 8K videos look stunning even viewed in 8K on 4K monitors.
Of course, extracting stills from video slips runs up against shooting at low frame rates and shutter speeds. I shoot at 8K 60p because I am into "you are there" video, not filmic video. And shooting at 1/125th is sufficient for most stills-from-video to avoid blur.
An 8K video, and extracted 8K stills:
You can only watch this in 8K using the Chrome browser - neither Edge nor safari will display in 8k no matter what (actually I got to select 8K just clicking on the video here and I am using Edge!?).
Some extracted stills:
 

I would take the industrial design team and lock them in a room with:
- A Hassemblad 907X 50C kit
- An Insta360 One RS kit
- An old Zenza Bronica with grip.
Essentially I would want a camera consisting of:
A squared brain with buttons, inputs and outputs, and a minimal display (like a ZCam or the front one of a GoPro) that would allow me to configure the machine.
A high-resolution 3.5 inches display module to attach to the rear that can rotate as we are used to on a GH5. I am not talking about an external monitor but a module that adheres to the butt of the brain and forms a complete body capable of controlling and configuring it like an integrated display. The whole thing a parallelepiped like an FX3.
A Hassemblad-style handle/grip complete with controls and wheels to add to the brain and get the ergonomics of a current camera.
Throw in an adapter with ND.
Put the pieces together and you have a complete camera suitable for photo and video.
If you just use the brain you have a komodo/zcam/BS1H style stuff that you can configure as a cinema rig.
add display and handle and you get a complete camera.
Hassemblad 907X 5C has everything (but the touch display is built-in)
P.S.
Choose which piece costs 2K 🙂
 

 

 
 

Let's assume you are product manager in a Japanese camera company. You want to add a new video oriented hybrid to your line up. By video oriented hybrid I mean a video camera that can be used for still photography, rather than a still camera that can shoot video very well.
Please be specific about the specs. And consider, as a product manager, you should have a clear plan for future updates releasing every 2 years, and at least one firmware update in between. Also be realistic to keep the price at $2k.
I don't want to know what you personally want. I want to know what you think the market wants.
 
Thanks.

Somehow relevant to my question.
Now they're comparing iPhone 15 pro 5x camera to 24-70mm lens at 70mm. 

Yes, DSLR image has higher quality, but the fact that we're now doing this comparisons shows that a $3000 camera lens combo should deliver a lot of value to stay attractive for younger generation. 

Let's assume you are product manager in a Japanese camera company. You want to add a new video oriented hybrid to your line up. By video oriented hybrid I mean a video camera that can be used for still photography, rather than a still camera that can shoot video very well.
Please be specific about the specs. And consider, as a product manager, you should have a clear plan for future updates releasing every 2 years, and at least one firmware update in between. Also be realistic to keep the price at $2k.
I don't want to know what you personally want. I want to know what you think the market wants.
 
Thanks.

Nikon started at 2018 and now has more 400mm lens than Sony has 40mm. Glass business is hard, and Canon/Nikon are basically optics company. Canon didn't start the full frame mirrorless transition with a bold sensor message, it started with a bold glass message: 28-70mm f/2.

Another active cooling solution I forgot to mention:
 

To be fair its mostly a Sony thing in our community. A lot of video/hybrid shooters these days know nobody other than Sony (a side effect of superiority of one brand's marketing strategy over the rest of industry), so when you question Sony, you're in fact questioning their career. 

Americana:
12bit RAW, and I needed all the latitude I could get given the very mixed lighting levels (luma adjustments in post) and the different colors of the lighting (WB adjustments in post).