Jump to content

Lars Steenhoff

  • Posts

  • Joined

  • Last visited

Posts posted by Lars Steenhoff

  1. 8 hours ago, Andrew Reid said:

    Try the old Canon 28-70mm F2.8 EF, it's parfocal and can be had for as little as £250

    Best kept secret of the EF lenses this one is.

    Yes its a nice lens the Canon but also 880 gram vs the 320 gram of the zeiss.

    And zeiss is also parfocal.

    I'm trying to make a travel kit, very lightweight for filming.


  2. yes I used it to film the moon yesterday, really nice quality the crop, and the fact that every prime lens become two focal lengths as you mentioned. 

    I'm planning to get an old contax zeiss 28-70 f3.5-4.5 to get by with a small zoom lens, and also take a prime lens like the 45.

    The sigma 24-70 2.8 is also good looking of you need autofocus and do also stills

  3. Why would it be nuts to import as black magic film raw?

    It's a flatter image in resolve than the rec709.  Please let me know your thoughts

    And in stills mode with manual lenses the camera always shows a brighter preview than the actual shot image. and it adjust the exposure when it should not.  This seems like a bug

  4. 9 hours ago, seku said:

    @Lars Steenhoff: thanks for the great footage you've shown here ?

    How to say, i am still on the fence. as an ex-5dmk3 RAW user, now GH5... i am pondering if i should go S1H (with the awesome vlog/lut workflow (i love using false color luts for exposure on my gh5) ... or if i should return to a RAW workflow with the Sigma... both entice me. (i know i should just get both >.>)

    I was wondering about colorspace. With 5kmk3 RAW, i used the cinelog LUT to conform ML RAW to cineon log in Resolve. Do we have any conforming LUTs for Sigma yet, or even better some ACES input transforms? or what is your workflow? ?


    I just import with blackmagic film in resolve and try to get it look good from there. works well enough for me.

  5. Yes it works well for me.

    But I don't use autofocus for video

    I use the sigma 45 mm for stills and the autofocus is fine for that

    I still would like to have a wideangle lens with autofocus in the same size of the 45 mm.

    For video to not have to worry about in camera settings such as

    white balance


    picture profile

    is what makes this camera great for me.

    I can put the sharpness in camera at +5 and get a clear picture for focussing

    and later in resolve I set the dng sharpness to what I want.

  6. The workflow with raw is very easy for me, I have realtime playback in resolve at 4k and even adding effects like filmconvert still play in realtime. ( I do have a radeon 7 that helps )

    If you add a small hd oled, you also get your headphone output back

    and the flipping screen

    and the peaking and zebras at the same time

    and lut support

    Its what makes the camera complete for me.

    Now I'm waiting for in camera playback and I'm all set

  7. Quote

    12 bit data gives you 4096 discreet values, 1/15th of the values, a small fraction of what 16 bit has. ( 65,536 discreet values.)  This presents a problem as to record 14 stops with linear data you need more than 12 bits.



    The difference is in the way the data is encoded into 12 bits. Canon outputs 14bit data but it is linear. The human eye sees on a logarithmic scale, so this means that there's quite a bit of "wasted" precision on the high end. BM cameras output data on a logarithmic scale, so there's much less "wasted" bit depth, and so the cameras are making much "better" use of all the values that are possible to encode into 12 bits. You can think of this as a form of lossy compression, because truly that's what it is -> throwing out "unimportant" data so as to maximize the effective use of available space.



    The bit depth of this conversion is what's being discussed in the video. This conversion is almost always going to involve some kind of logarithmic interpretation because even 14-bit RAW doesn't contain enough code values for linear encoding of 12 stops of dynamic range. On the video side of things there are only 2 recording formats that are truly linear, RED RAW and Sony RAW/X-OCN, which are 16-bit. Sony tried a 12-bit "linear" RAW which was underwhelming and required some pretty significant reallocation of bits to achieve.


  8. There is no plugin needed, resolve and adobe ACR open the files just fine. 

    The problem is that in order to preserve the dynamic range from the sensor you should use linear 16 bit or non linear other formats. 14 bit linear is also good

    but the others (12 bit, 10 bit, 8 bit ) should use a non linear way to preserve the highlights in the raw.


  • Create New...