Oliver Daniel

2 hours ago, hyalinejim said:

I'd guess that if you check the highlight clipping point at 100 in SLog3 there'll be fewer stops above middle grey.

I’ve not looked it up yet, but sounds like the right answer. 

6 hours ago, Robert Collins said:

You can shoot SLog3 at 100 iso?

My camera lets me do it. I am baffled. 

1 hour ago, SteveV4D said:

So explain the purpose of the R5 having RAW video capture???  Do hybrid shooters need it more than the examples you give??   I've shot Promo, Music Videos and events on BRAW and have benefitted from the smooth editing and extra freedom it gives.   

Look I like the C70.  I may well buy one.  But its not negative to wish for a feature I would value and which can be found in a cheaper Photo camera.  

Maybe everyone here loves H264 and H265 so much, they're happy with these codecs.  Except they're not.  They're transcoding it half the time or limiting grades so as not to bog down their computers.

R5 8k RAW video? Marketing. It worked a treat. 

Also, bringing the Canon name back onto major motion picture sets. 8K RAW crash cam? Great press for Canon. 

BRAW is incredible technology and more people will adapt it in time. However, most shoots in this segment will ask for ProRes or the nearest thing (XAVC-I on the FS7 / FX9).

RAW would be a “nice to have” on the C70, just like it is with the A7SIII. I agree with that. 

I have the A7SIII in my hands now and I’m wondering if I’ve spent my money incorrectly. 

I don’t understand some of the negativity I’m seeing with the C70. It looks like a fantastic concept and will serve many people very very well.

People who want RAW from this aren’t understanding it’s purpose. At least in the UK - documentary, corporate, music videos, brand promos.... 99% shot with 8bit or 10bit codecs. 

From the people who brought you the blockbuster A7SIII. This fall, the A7III is back! But smaller. Not mightier! Just smaller. And flippy. Not floppy. Sell a kidney. Buy tickets now. Sponsored by Squarespace. 

23 hours ago, Trek of Joy said:

Jealous. A few in Europe are reporting the same thing. Looking forward to it being in the hands of real owners. Please update with any tests.

Chris

The way I do tests is to throw it in the deep end on a paid shoot straight away. Also have the Ninja V to pair it with. 

Good news. 

My A7SIII is arriving early next week. If I like it, I’ll buy my reserved 2nd body. Awesome. 

There is so much conflicting info out there, I don't know what works! 

So far I understand that you need v90 cards for all modes apart from S&Q modes, where you need the CFexpress Type A card that costs $100,00,000,00. 

I'm now seeing some people say that v60 cards work for non-S&Q modes then others saying they don't and yadda yadda. I own 6 of these cards. 

What exactly is it? @Hangs4Fun know? Anyone? Thank you. 

CVP sent me an email to say they are receiving the A7SIII in the next few days! 

It’s not “necessary” at all ut more of an aesthetic choice for me. 

Its a drastically different look to M43 and for some things, much preferred. 

I feel it is easier for creative flexibility, but certainly not easier to manual focus. That’s the trade off. 

1 hour ago, Grimor said:

Helios with rear element inverted

Wow crazy. Guess there’s a YouTube tutorial on how to do this? 

1 hour ago, bjohn said:

I think you'd like them.

I shot this with the 55/1.7 Rokkor, wide open, with a Hollywood Black Magic diffusion filter to add even more glow to the highlights:

Inuit carving by Brad Hurley, on Flickr

And this was with the same lens, also wide open, at minimum focal distance:

Backyard Art: Chardon et bourdon by Brad Hurley, on Flickr

The 28mm is a little soft and has a very painterly quality to it:

Hydro station and clouds by Brad Hurley, on Flickr

I haven't used them for video yet as my cinema cameras are all Super 16-size sensors (Blackmagic Micro Cinemas and original Pockets) so they all become telephoto lenses. There aren't really any good speedbooster options that I'm aware of.

Thanks for sharing these. Seem right up my street! 

16 minutes ago, newfoundmass said:

I have no problem if the GH6 is $2,000 as long as it has the features to justify the price tag. If Panasonic ignores/abandons their loyal M43 user base, particularly those of us in the enthusiast and professional community, I would also likely end up with Sony or Fuji, instead of their full frame offerings, out of principle alone. I couldn't justify supporting a company that abandoned me; I see people that stick by Canon no matter what and that will never be me. 

The GH6 will need to be an absolute monster now the A7SIII offers up to 4k120 10bit full frame with no cripple hammer, and ProRes RAW. 

I think they should use a Super35 sensor but with MFT mount with 6k60p 10bit, external RAW and internal ND filters for less than $2000. 

That would be very relevant and head turning enough. 

30 minutes ago, bjohn said:

That's the one I was looking at...I'm just not convinced it would give me anything I couldn't get from the Minolta Rokkor 85/1.7 which has similar qualities: low-contrast and dreamy wide open, very sharp stopped down. Most of the Rokkors are like that, and have amazing bokeh and painterly colors, but they have poor flare resistance.

The other Lensbaby I would consider using is the "Sweet" and also the Omni filters; the filters in particular could be useful.

The Edge really doesn't seem much different from blur effects you can achieve in post, and the post-effects are adjustable in height, width, falloff/softness, etc; of course if you use the Edge you don't have to bother with keyframing. But I think that lens is probably going to be more appealing to stills photographers.

I’ve never tried the Rokkor’s, so thanks for bringing that to my attention. I’m a sucker for imperfect vintage lenses, it’s like a crack addiction.

Im with you on the Edge, not too bothered  about that lens. I don’t find that effect useful. 

Check out the Sol45, that thing is nuts. Got some work to share soon using that and other Lensbaby’s. . 

1 hour ago, bjohn said:

It really depends on which of the many Lensbaby effects you're talking about. I agree that duplicating the "Sweet" lens line look in post would be difficult (or at least a lot of work and not as convincing). But the "Edge" look is not so hard to duplicate in post; Resolve and probably most of the other NLEs have tools that allow you to selectively blur as much or as little of the image as you like, leaving other parts untouched and sharp.

I don’t use the Edge as I find that less appealing and useful. I feel that this could be the most easily replicated, yet it’s still better to plan it on a shoot. 

You mentioned the Velvet and I’ve got that in 85. It’s a a love it or hate it. I’m not overly keen on the wide open dreamy effect, but 2.8 looks lovely. Very paint like bokeh. F4 is sharp and good for all purpose. 

1 hour ago, bjohn said:

 

As for Lensbaby, I think you can achieve some of that stuff in post (especially the lenses with selective blur)

That's a bit like saying you can replicate a 16 blade helios 44-2 bokeh and it's lens flares in post. It's just not the same, not by a long shot. 

For most people who are not crazy absolute genius masters in post effects, I don't believe this is true at all. At least, from the quality and character of the effect achieved. With Lensbaby you will get far better results and save yourself many hours and headaches trying to replicate it believably. Same goes for any lens effect like prisms.

The same is true of the Omni filter kit. Yes you can do  plenty of light effects in post, but what naysayers don't realise is that the filter kit reacts to the actual light in the scene, which you just can't honestly replicate in post e.g a room full of neon signs reflecting on the filters and creating unique refractions. 

10 hours ago, kye said:

Good post.

How would you say that lens baby products differ from a normal tilt/shift lens?  My impression was the lens baby look had character on top of the t/s properties, but I'm curious to know what your impressions are.

I've never really used either, but I understand how a t/s lens works and I've seen a bunch of lens baby images.

Yes, Lensbaby’s add character into the lenses that you can modify to your taste.

For instance, the Twist 60 has a petzval effect and the Sweet 50 has a dramatic “sweet spot” effect. You can’t do this with a normal tilt shift lens. 

Also they do standalone lenses. The Sol45 gives a stunning warped bokeh effect, the Burnside 35 a wide angle swirl effect. The Velvet range, a soft focus dreamy effect. 

I love the Omni filter kit. I initially dismissed that system from the online samples but after using it, it can help you produce incredibly abstract and ethereal images. 

These are not lenses for anything moving fast. The focus can be so unbelievably shallow at the most extreme usage case. It takes a very delicate approach. Also I wouldn’t shoot in a softer recording option such as line skipped 1080p 200fps. 

I’ve only been using them the last few months, and recently on some pro shoots. The image and character certainly turns heads and gets people asking excitable questions. 

I sound like a Lensbaby ambassador haha. I am not. These would be terrible lenses for some people. They are not for everyone. But they are certainly not naff. For the right purpose, they are absolutely excellent. 

5 hours ago, gethin said:

I love playing with charactful lenses, but can't decide if that lensbaby look has passed it's sell by date 😄

Its on sale in aus.  🤔

No, Lensbaby’s are not naff. The problem is too many people don’t understand their purpose. 

They are all about isolating the subject in different ways. They have a steep learning curve, but for the right use cases, the results can be spectacular. And no, you can’t replicate what they do in post. 

My favourite ones are the Sweet 35 and Sweet 50, plus the Sol45. I also love the Omni Filter Kit, which again, so many people dismiss as an Instagram gimmick, but when you actually use it, you realise it’s not. It’s very clever actually. 

These are not the type of lenses you keep on your body and do an entire shoot with. I use them for specific shots where the aesthetic will contribute to the story. 

I would try before you but too, they aren’t for everyone. 

For actual character lenses, check out Iron Glass Adapters or search for modified Helios 44-2 on eBay. The Mir 1B 37mm. Trioplan 100m. Vivitar 28mm. Helios 85mm. 

There’s also lenses from Lomography and new ones from Dulens. 

Good release from Panasonic. Looks like a full frame GH5. The GH6 will have to be very special to stay relevant after all these new releases. 

Besides price, the A7SIII still has some big advantages. 

Im seeing it in this thread again, but what is it with people saying the A7SIII is a boring, underwhelming release? They gave us: 

up to 4k120 10bit full frame at full pixel readout, new PDAF, 240fps HD, crazy EVF, swivel screen, very low rolling shutter, higher DR, bigger battery, new menus, better button layout, full size HDMI... it goes on. Certainly not underwhelming or boring! 

I’m still using my EVA1 and GH5, both help me make very pretty pictures. I just wish one of them had 4k120fps 10bit with PDAF  for gimbal use. Hence, A7SIII is in my sights. 

Interesting topic. 

Most product marketing sells off the “transformation”. Basically, how much better will your life be when you buy that product? Will you be as handsome as Brad Pitt if you buy that cologne? Will you have the ultimate family life by going on that holiday? Will you have a glossy filmmaking career if you watch Peter McKinnon videos? 

Also what life do you DEFINITELY NOT want? Simply, we don’t want to fail. Our instinct is to survive and form tribes with those we feel will help us survive. We give more time to people or things we believe will help our survival. If Peter McKinnon or other Youfluencers show they can survive and thrive in this crazy world, we should listen and believe every. word. they. say. 

Clickbait works because it tricks our brain into thinking that we need to know this exclusive information, because knowledge is survival. We cannot bear not to know it, even if it’s irrelevant. We must know it for our survival. The funny thing is, the brain will throwaway this new information almost instantly if it isn’t relevant towards our survival. 

So many things contribute to our survival, and being as part of a tribe is one of the most significant. It’s why you buy someone a coffee, as opposed to someone else. This is why we get fanboys and a cult like user base around RED owners. It’s why glossy YouTube channels of pretend filmmakers get followed. It’s why we read newspaper headlines and get our heads in a spin. Everything is biased, because of survival. Always. 

Youfluencers survive because brands give them free stuff. They do a stupid face thumbnail, get clicks and boom. Win! If that brand helps them survive, they will have bias towards them no matter what you do. It’s not really their fault. The problem is with the brand, as they have the power to help you survive. Canon helps Peter McKinnon survive. His fans help him survive. Why would he suddenly change? It ain’t going to happen. His brain wouldn’t let him. 

For what’s it’s worth, check out this guys YouTube channel. It’s not sexy, but it’s genuine and just totally spot on content - if gaffer stuff floats your boat... 

https://www.youtube.com/channel/UCOgN351K45vTrozaadFPXlA

21 minutes ago, neosushi said:

What about internal prores raw ? Where does Canon stand on Prores raw compatibility ? 

They probably have a deal with RED. “We’ll give you an RF license if we can use internal RAW.” Or something. 

This is pretty much the camera I said I wanted a few years back. An XC-10 style S35 Cinema EOS up to 4k120. 

But I wouldn’t get your hopes up as this lives in the world of the C200, 300 and 500. So the cripple hammer will exist. 

It will do something weird like shoot at 4k120 but only in RAW at 5000mbps, and 4k60 at 8 bit only with DPAF disabled intermittently. 

Jokes aside, if you’re buying RF glass then this becomes C300 III and even C500 II price range. Don’t get too excited, we all did by the R5 and that managed to win the Crown of Cripple Prize 2020. 

14 hours ago, Matt Kieley said:

I'm rebuilding my kit and just got the Feelworld Lut7 7" monitor mainly for the price/brightness ratio (2200 nits/$269) and it's good but it's way too big and heavy for me, even without the f970 batteries. So I'm going to return it. I'm looking for a 5" (ish) monitor that's bright enough to be visible in daylight without horrible reflections, that runs on f970 batteries but won't drain them in a short time, for the $300 range. I've read good things about the Atomos Shinobi so I'm leaning toward that. The Portkeys BM5 is intriguing but maybe a bit too expensive. I thought I'd toss it to you guys in case there's something I don't know about, or if I should just go with the Shinobi. I'm using it with  Z Cam E2C.

Portkeys LH5H

On 8/22/2020 at 4:33 AM, Matt Kieley said:

I know a couple of guys who bought brand new Red cameras, cine lenses, and gimbals but didn't own lights, or had one or two of those $50 Neewer LED panels you can buy in pairs on Amazon.

There’s a lot of people like that. But to be fair, some people get a lot of freelance work being the RED guy or the C500 II guy. Depends what you do. 

Like with the Titan Tubes, they are £6k for the kit and the customisation is deep. So if you own them, you’d master them and be the Titan Tube guy. Depends on how you want to earn and the problem you solve for others.