Cinegain

Well, as those of you who are existing users of 3C will know, the new update rolled out last week and you now have support for wireless focus control of your native and EF adapted lenses using the Nucleus Nano focus wheel.
As we have a couple of other things to include shortly that will make up a bigger v2 update, this new update is now called v1.4.
3C is available to buy from the Google Play Store here https://tinyurl.com/3CbyCDATEK
And here is a little video of it in action.
 

On the Sigma Fp it is definitely worth shooting 12bit RAW to a USB C SSD drive, if you want to make full use of the dynamic range.
If you don't need to boost the shadows by 3-4 stops, or under expose by 3-4 stops to prioritise a particularly bright part of the frame, the 8bit RAW to SD card offers beautiful results too.
Read the full article

True. Although... those are now hard to come by I imagine. I did managed to cop me like two swappable E-mounts for my MFT-standard lenses when I thought I was going APS-C when the Sony A6300 was rumored and just around the corner. But I was rather disappointed with that one and stayed true to MFT. Fujifilm hasn't really been floating my boat either yet, maybe an X-H2 could change that, but I doubt it. If you look at the jumps from GH2 - GH4 - GH5 and now the GH5S/BMPCC4K, there's no doubt in my mind that the GH6-series will be a very special and capable camera. I don't even want to go and switch to APS-C or FF-mount ecosystems.

Dunno, never needed lens support, aside from a physical rod system lens support. ? A good lens is a good lens period. Same goes for anything vintage. They don't have to be manufactured actively to be worth getting. Besides... all indications have it that Meike has taken over production plans, putting out just about identical lenses (CM (with intellectual property loss for commisioning party; waiving exclusive rights) turned ODM). No R&D from Meike's side means way lower prices. Of course... who knows if they changed materials to lesser quality ones... if QC is compromised, etc.

Seems a 'now shipping' update rather than an announcement. Already saw some videos on it (actually... saw it in person @ IBC).
 
 

Since Comica got a mention there... at IBC they had something in the works that was on display that seemed a 3D printed prototype. Not sure if that was the WD01, might've been, but that's been around on Amazon since July already apparently. $139 bucks. Probably not very high-end tho.

I think I'm on a "screw buying new lenses I'm spending money on filters and light modifiers" phase. Layering diffusion, colored lighting and practicals, haze, actually caring about incidental bounce enough to use negative fill...  aaaand FINALLY got a black pro mist! Should get to use it out for a talking head shoot on Friday, but so far I'm really liking even just boring test shots.

I’m invested in MFT at the moment. I think the yelling and screaming about the death of MFT is partisan format bullshit. I like the trade offs of the system. Newer technology is making sensor size less of a “compromise” so I look forward to seeing what’s next in this format and I reckon the GH6 will push the envelope yet again.
Fujifilm is also doing great stuff with their medium format and APS-C stuff. It’s a great time to be a camera nerd.

You forgot to mention Z Cam E2 / E2C / S6!

Thanks for that link. Haven't been up-to-date with drone legislation for the last year or 2. Used to be a nice grey area... and people (and even police) were interested with what the hell you were flying. Now... it's an nuisance to people or worse... instils fear in them. Of course there were the ones that didn't act responsible... and as usual, the few spoil it for the many.

I believe that in most European countries you are allowed to fly anything up to 250gr without much fuss... provided you stay below 30m... don't run risk of hurting life or property and adhere to privacy guidelines. That is... until you start rolling the camera... then suddenly you're no longer flying for the flight itself (rc model flying) but to capture footage. Then you still need to adhere to all the UAV rules and legislation regardless of the fact it's 249gr only.
And to have the videos straight in here:
 
 
 
 
 

aw okee. I never like opening topics. Too much responsibility. ??

True. Although... those are now hard to come by I imagine. I did managed to cop me like two swappable E-mounts for my MFT-standard lenses when I thought I was going APS-C when the Sony A6300 was rumored and just around the corner. But I was rather disappointed with that one and stayed true to MFT. Fujifilm hasn't really been floating my boat either yet, maybe an X-H2 could change that, but I doubt it. If you look at the jumps from GH2 - GH4 - GH5 and now the GH5S/BMPCC4K, there's no doubt in my mind that the GH6-series will be a very special and capable camera. I don't even want to go and switch to APS-C or FF-mount ecosystems.

Indeed : )
Even though, the range of shots you can do with a 'toy' like this one goes beyond the restricted regulations in crowd and public locations anyway, here is in Europe ( sorry brexiteers : D ) so you won't be able to avoid the registration as owner at least:
https://www.easa.europa.eu/easa-and-you/civil-drones-rpas

LOL You beat me here for a couple of minutes...
Let's this one open for new DJI 'toys' to come?
I guess this bird is worthy of a new thread by its own, so a new one is there:
 

True. Although... those are now hard to come by I imagine. I did managed to cop me like two swappable E-mounts for my MFT-standard lenses when I thought I was going APS-C when the Sony A6300 was rumored and just around the corner. But I was rather disappointed with that one and stayed true to MFT. Fujifilm hasn't really been floating my boat either yet, maybe an X-H2 could change that, but I doubt it. If you look at the jumps from GH2 - GH4 - GH5 and now the GH5S/BMPCC4K, there's no doubt in my mind that the GH6-series will be a very special and capable camera. I don't even want to go and switch to APS-C or FF-mount ecosystems.

Dunno, never needed lens support, aside from a physical rod system lens support. ? A good lens is a good lens period. Same goes for anything vintage. They don't have to be manufactured actively to be worth getting. Besides... all indications have it that Meike has taken over production plans, putting out just about identical lenses (CM (with intellectual property loss for commisioning party; waiving exclusive rights) turned ODM). No R&D from Meike's side means way lower prices. Of course... who knows if they changed materials to lesser quality ones... if QC is compromised, etc.

Ah gotcha.

I'm not really directing this at you but just to anyone in general who isn't aware or wants to learn more, and I'm probably being a 'stickler for accuracy' here but obviously a sensor/camera has no inherent highlight rolloff as the sensor is linear (as close as practically possible with calibration) so highlight rolloff is mostly down to the dynamic range of the sensor, how the image is exposed and how the colourist chooses to roll off the highlights. All typical CMOS sensors will have "hard clipping" though, being linear capture devices.
I only say this because I see a few people mention 'highlight rolloff' as part of a log curve or colour science or something when in that respect it is just a by-product of the log curve optimising the dynamic range of the sensor in the container its being stored in. It's still assumed the user will create their own highlight rolloff in grading (I'm speaking just of RAW and log captures, not "profiles" or looks applied in camera intended for display on Rec.709 devices).

ARRI for example have a lot of stops above where they recommend middle grey be exposed for - due partly to their very large pixels and the large dynamic range they have - and when a log curve is calculated for mapping that dynamic range from middle grey to 940 (video white in 10bit where they map sensor saturation to in their log curves) you get a very flat curve at the top as it maps that range. When you flatten contrast that much it also appears to desaturate. I've seen some mention they believe ARRI purposely desaturate their highlights, but if they did that in processing before creating RAW files or LogC ProRes clips you wouldn't be able to inverse it correctly into linear for ACES workflows etc because processing like that is non-linear. They possibly do something like that for their LogC to Rec709 LUTs etc but people seem to attribute it to their LogC/RAW files too.

For our cameras we map sensor saturation at our "native ISO" to 940 also, but for ISO curve's above we go into "super whites" to make better use of the bit depth available especially since we deal so much with SDI output (10bit) and ProRes 422HQ is common for our customers (10bit also). ARRI says ProRes 444 (12bit) is the minimum for LogC because they don't use the full range available. We may change that in the future but the caveat would also be you would need to use 12bit for best results.
In theory you could expose a 10 stop camera/sensor so that you place middle grey at the second bottom stop, giving you 8 stops to create a very gentle highlight rolloff. You would just have VERY little range for the shadows. ?

So long story short, the question I would suggest people ask is 'what is the dynamic range like compared to other cameras' as that will really tell you what kind of highlight roll off YOU (the user) can create for your preference with how you like to expose given the amount of shadow information you like to retain, tolerance for noise, etc.

I'm contemplating other lenses to 'match' the Voigt but I'm not so certain that matching is the issue as the Voigt doesn't actually match with itself over its aperture range.  It has significantly different colour at f0.95, 1.4, and 2+ (it's quite purple wide open), and it has perceptibly different resolution at 0.95, 1.4, 2.0, and 2.8+.  
I'm beginning to think that the Voigt is the MFT equivalent of Zeiss Super Speeds, in the sense that it has two (or more) fundamentally different 'looks', but that each of them is great.  I'll post more in my lens rabbit-hole thread when I've gathered more thoughts, but in this sense, they're Dr Jekkyl and Mr Hyde, or the 17.5mm is at least.
In this sense the Veyrda, Meike, and Laowa are likely to be much more consistent.

Shot on the GH5!
https://www.historytv.pl/programy/zrodzeni-do-szabli

You forgot the Veydra / Meike....  ???
Sold to the gentleman with the very prestigious beard!

Yeah sure, If you already have any of those lenses then your set. But for $150 this is still a very nice manual only starter lens or a affordable lens for a second camera body where you don’t want to buy another Voigt.

Which is why all roads should lead to Meike for you and your GH5
When the additional focal lengths are released shortly the entire 6 lens set will be available for less than £2500, which is a seriously good deal based on their "similarity" to Veydras.
The bigger investment for you though if you went that route would be in adapting to the practicalities of using them, predominantly in terms of using some sort of follow focus.
On the upside, with a matched cine set having commonality in terms of focus gear placement, filter thread size means swapping lenses is simpler than when using a disparate bunch of stills lenses.
I'd actually say that in terms of adding bulk and conspicuousness to your shooting rig, the Tilta Nucleus Nano wireless follow focus is neither here nor there compared to a small shotgun mic with a furry on it and the difference it will make to your focusing control is well worth it.
Of course investing in the Meike's would tie you in to sticking with MFT mount cameras but with BM and Z Cam offering more pure cinema paths should you want a different alternative to your GH5 then its not a particularly bad cul de sac.
Well, I say it keeps you tied in to MFT mount cameras but I'll put up a thread later on that actually disproves that
 

Ah, never leave your kids alone with scissors or in a room with an open window. Accidents lurking around the corner. Coming up with things posing a hidden threat to the little one. Stuck too long in such a worrying mindset can consume one. I think I get it now. ?

Thanks for your feedback! The theme for me was the anxiety and dread of becoming a new parent. The blank face was sorta being afraid of something that you can't understand.
I definitely thought about just starting at 4:00 (and I still might make a cut starting there as a straight horror short).