Cinegain

Alright I have talked to the small business man, and he has agreed to help me with filming him. I will say that I will be patient with the process and having to film this will take a good amount of time, and also there will be a lot happening during this time, so again I have to be patient. Is there any advice you all have in filming a small business for an advertisement on Facebook and Youtube?

I got the bunch of f/2.8D ED ones after I found out about their 'Bourne' affiliation. 😛 17-35, 28-70 & 80-200mm. Nikkors like that are proper workhorses!

Nikon 16-35 F4 G


 

omg 😆 
its sooo funny cuz its true, ive p much done all that stuff at one time or another 😂
update: got one message only from sloogan floogan, confirming his existence. the plot thickens...
@Andrew Reid + @BTM_Pix any chance you all can meetup for the vlog with sloog...? id like a long form thing: spend like 20 min having curry, 20 min doing some nonsense and 3 min shooting. im getting into vloggers now i just discovered adam the woo

I'll do you one better! The A7III is already out. 🤯😱 Freaky...

Haha, I bet you'll enjoy this one too @kaylee
 

Literally so!

Is @Kisaha EOSHD's Nostradamus? O' Wise One, please tell us of when the date of the a7mk3 will be announced!

How am I doing.....




 
This like Scrabble, right? Where I get a triple bonus word score, for combing 5G / chemtrails / anti-vax all into one conspiracy theory!
 

"Taken care of", that's very ominous!

Hope they were not "taken care of" like they do with suspected cases in North Korea!!
 

I got one coming in tomorrow and a review coming up soon-ish.

I guess both of you have the same common focus ' x works for me. You do you and use what you use, I don't care'. There's no hate towards FF aside from the FF shooters that pretend it is the one and only and best way as of course it depends and it is not.

I guess both of you have the same common focus ' x works for me. You do you and use what you use, I don't care'. There's no hate towards FF aside from the FF shooters that pretend it is the one and only and best way as of course it depends and it is not.

No need to wait, the tinfoil was already in full effect on here over a week ago
 
 

Here is something to get you going. 
 
Unfortunately, there is no option for 1.33x desqueeze, so you are either stuck with having to look at squeezed image on your camera monitor or using an external monitor with more desqueeze options. 
Shooting Open Gate 4:3 with 1.33x Sirui will roughly result in a 16:9 final video. 
( :

M4/3

M4/3

I've posted this idea previously, but for those that don't know, this is about trying to make a GH5 look like a BlackMagic Micro Cinema Camera.
I have a few goals with this project:
Learn more about colour grading Learn what makes the Micro have the reputation it has for image quality (and Mojo!) Learn what I can do to make my GH5 footage better The project was born out of the backlash of the P4K and the "it's too sharp" "it looks too modern" "they don't make them like they used to" and at that time I asked if anyone could shoot some P4K and BMMCC / BMPCC footage that I could play with, but it didn't work out.  I began thinking about that, and I realised that one of the foundations of my film-making philosophy is to capture the best image I can but to try and shift as much work to post as I can, where there's time to optimise and really get the best out of the footage.  Anything you learn in post can be retrospectively applied to all your previously shot footage, which for me as the family historian, has significant value.  This project then became partly about proving my own hypothesis, that if you get a good enough image then you can do whatever you like with it. 
So, I bought a BMMCC, a cheap colour chart, a halogen flood light, an IR & UV cut filter, and here we are.
Attempt #1 was shooting random footage and after I realised I forgot the IR/UV filter that was a bust.  
Attempt #2 was with a colour chart I printed off the internet, and gave me an interesting feel for what the footage was doing, with the various colour shifts that were exposure dependent and other squirly things going on.  I learned some interesting things from that, especially that the Micro did a lot of the things that film-emulations do, like rotate hues into the warm/cool axis and saturate that axis a lot more than the other axes.
Attempt #3 was with the same internet colour chart but starting again knowing more about the footage, and I learned a bit more about the nasties going on.
Which brings us to attempt #4.
This attempt was with the real colour checker, my face for some office-worker skin tones, and a different approach.
BMMCC frame (graded with a WB, Colour Space Transform, and no other alterations):

GH5 frame (attempt #4) :

GH5 frame (graded via Colour Space Transform from Rec.2100 to Rec.709):

One thing to talk about is that the GH5 was shot in normal 4K 10-bit HLG mode, but the HLG mode doesn't actually correspond to Rec.2100 or Rec.2020, and there isn't a clear specification that I could find that it actually aligns to, so there's kind of no standard way to convert it to Rec.709 that I know of.  Certainly the above isn't the nicest colour grade, but it's for reference.
The approach is based around a workflow that goes:
Colour Space Transform from Rec.2100 to BlackMagic Design Film Gen 1 Simple curve to get the greyscale roughed in Main colour node, with a Hue vs Hue curve, Hue vs Sat curve, Hue vs Lum curve Fine-tune colour node with Hue vs Hue and Hue vs Lum Hue vs Hue and Hue vs Sat selectively applied to more saturated colours Lum vs Sat to desaturate blacks and whites Saturation boost on skintones Minor Gaussian Blur to match sharpness levels This isn't the only frame I am matching across - I took exposures 2 stops above the ones shown above, and another 2 stops below, and was matching those too.  The +2 image matches pretty well too, but I have more work to do on the -2, although unless you are seeing them side-by-side then it's probably difficult to tell.
The plan is to match:
Colour Resolution Mojo / Motion Cadence / Coffee-making-ability I also shot the above frames in the 1080 10-bit ALL-I 200Mbps mode but haven't really looked at them yet.  I'll also likely include the 5K h265 mode too.
More to come.

The whole 5 pages of this topic is why pre-production models and firmware makes zero sense to me. How am I supposed to get anything from these videos if everything they show is subject to change? How am I supposed to know if the jerky warpy IBIS is just pre-prod firmware or will be there in the camera I can ACTUALLY buy? How can I make a decision about the autofocus performance when everyone says "oh it's just pre-prod firmware it will be improved"? 
All I can get from these videos is that the camera looks nice, but I could also take it from reading a spec sheet and looking at the images online. Everything else isn't representative of what I'll find in the store.
 
I just want a GH5 with proper autofocus. 

Well, if it costs 2 kidneys then you'll only live 2-3 weeks after buying one, but on the up-side they'll be cheap second-hand!

Honestly Panasonic could take the GH5, slap PDAF into it and they'd sell a shit ton. 
While I'm not one to complain much about auto focus, I think there's a good chance that Panasonic would've killed all the other crop sensor cameras if they'd had PDAF for the GH5, particularly among the influencer/YouTube crowd. While many went with the A7 III, a significant number went the a6xxx route even though they're inferior cameras in every other way but auto focus and low light. While it's not a deal breaker for me, their auto focus obsession hooked them into Sony. 

Fashion/music is one of the toughest to make a good living from though!

Stick to weddings / real estate  😉 :-P 
 
 
  


Even WORSE! By far
(when it comes to making a commercial living that is)

Yosuke Yamane has said there won’t be 8K soon from Panasonic, wether that means this year or not until after the Olympics.
I believe the only contenders for 4:3 STARVIS sensors that @androidlad has hinted at is a ~42 MP sensor and a ~54 MP (quad-bayer design?).
With the Covid-19 heavily affecting production of parts and supply in most manufacturing sectors, I feel like we will get an announcement but may have a much later launch.
When you look at the GH5 today, a 2017 camera, I find it absolutely amazing it’s still a top tier camera.
5K open gate, 6K anamorphic, 4K60p, 10-bit 4:2:2 internal, unlimited recording, waveforms, great audio, dual UHS-II slots, 400Mbit All-I,  built-in time-lapse, and the list goes on! Even a fucking stop motion mode!
Hopefully Panasonic continues the legacy and truly gives us something special. I love MFT and as you can see, it makes trades offs that give us all of the above I listed in a weather sealed, relatively compact, workhorse of a camera.
Meanwhile Sony users are STILL waiting for 10-bit in a A7 body...

GLS in Brazil is an acronym to "gays, lesbian and sympathizers" movement, it made an interesting topic title. 
 

Just arrived... Mk III. 

Gearing up for a very large documentary in terms of volume of footage, cannot afford the hard drive space to shoot it 4K off my Nikon Z6. Want LOG for grading flexibility.  Also desired something with long battery life and internal ND's. At this point the F3 is looking like the ideal for me that I already have access to. 

Also shooting a low budget feature soon (If financing comes through), so deciding what to shoot it on. Thinking of using the 2 F3's for it and renting high end cinema glass and a grip truck, instead of renting cameras and  having less to spend on lenses/lights. It's a horror film that doesn't need a 4k deliverable.

I mean... they are pretty dope! Got a bunch too. Whether the good ol' HELIOS... MIR-1B, Industar or Jupiter series or TAIR-11A etc, all good fun lenses, some of which still available as NOS (New Old Stock) and rather affordable, so it's hard to contain yourself. And not every year and generation of each lens instance is the same... so then you start getting different kinds of the same lens to compare... then you get into the 'Red P' editions and the ones with 'cm' expressed focal lengths.
Supposedly they'll soon be shipping my IGA HELIOS 44-2 58mm f/2 VLEV cinemod. Rehoused. 16 bladed aperture. PL-mount metric (with their Iron Glass Adapters PL to EF adapter). That one is going to be with me for a long long time. Hopefully one day I'll actually shoot it native PL.