tupp

Cinemarting achieved first light from an 8K cinema camera in a relatively short time, and within ten months of that milestone they had self-contained, working prototypes.  Some would say that such accelerated steps ("strides") were remarkable ("impressive").
 
 
One can almost hear the echoes of snickering coming from a junior high school classroom.  Glad that we can all laugh at jokes that avoid personal digs.   Keep 'em coming!
Actually, I would say that "impressive strides" sounds less like an Austin Powers 1960's Carnaby Street shop and more like the extraordinary accomplishments from someone who creates wireless camera accessories and camera apps (in addition to those who create cinema cameras).

Ricoh just announced a monochrome version of the Pentax K-3 Mark III DSLR.
Evidently, it is 25.73MP, and it shoots up to 4K 30P video.
Here is a video showing footage and stills from the camera.

With a dark teal subject, it should be possible to remove a key green or a key blue background.  Many digital keyers come with parametric filters that allows selection of a precise keying range in regards to hue, saturation and luminance.
Of course, the same parametric controls can be used to key out other colors than key green or key blue.
If your camera can be locked down, you could use a difference mask.  In this method, one shoots the background without subject, and, then, with the camera still locked down, the subject is shot  in front of the background.  The difference mask then keys out any part of the image that is identical in both videos.  So, the unobstructed background becomes transparent.
Here is a video that shows a few other possible keying techniques using After Effects:
 

Ricoh just announced a monochrome version of the Pentax K-3 Mark III DSLR.
Evidently, it is 25.73MP, and it shoots up to 4K 30P video.
Here is a video showing footage and stills from the camera.

Compiled ML builds are only around 2MB-3 MB.  It appears that one of those files is the git repository (possibly many MB).
To install ML on your EOSM, follow the instructions at 03:14 in this video by @ZEEK:
 
  
 
A lot of the ML documentation is way out of date.  It's best to find recent online tutorials and/or post questions at the ML forums.
 
I don't know where one can find the older builds.  Perhaps post the question on the ML forums?

Here is a video showing ways to install and use AgX in Resolve:
 
It's free and open source.  The way it attenuates saturation in the highlights is similar to what Arri does in-camera (and similar to film emulsion).  I think that AgX additionally reduces saturation in the shadows.
If you have suffered "rat piss yellow" and "nuclear cyan" in the brighter/highlight areas, it might be good to try AgX.  After using the related Filmic RGB module in Darktable, I want to go back and regrade all my images with AgX/Filmic. 

Impressive Strides sounds like the name of a shop in 1960s Carnaby Street where Austin Powers would go to buy his best kecks.

Impressive strides?
😆

I also liked Grimors joke. I think he for sure developed a good taste regarding insider camera jokes. If we have camera developers with a sense of humor around, I would love that for both facts, for their development skills and their humor as well. 🙂 
Too bad that out of the 3ccd 2/3 sensor cameras like the Varicams there never materialized a camera in the body of a DVX100 or HPX250, the latter though with great codec, but without ccd magic and 1/6 sensor size.

I was only joking here with the character behind that project, in the same way that he did. I apologize if I have offended you. I have never developed a camera. I don't even dedicate myself full time to filmmaking. Sorry

Nobody is allowed an opinion if they haven't first developed, designed and marketed a cinema camera.
I guess we should all just shut up then
Apart from tupp?

My vote is for Cinemartin 🤪

 

They also mentioned ages ago, 35 weeks ago, on instagram:
"What if we ported the OCTOPUSCAMERA system software to a Raspberry Pi Compute Module 4? Well, you might get a 12-bit 4K RAW cine camera that costs under €150 and fits in your pocket! A little companion project we're investigating while other things are brewing 😉"
https://www.instagram.com/p/CaaLmwyKNhO/ 

The test videos from the still-unreleased Octopus Cinema Camera looked very natural and organic to me. Who knows if it'll ever materialize though.
 

Funny we were just discussing Octopus above; they just made this announcement:
Following lots of feedback, we have decided to consolidate our camera development work so far into a new camera product better poised for ultra-low-budget filmmaking — an underserved area.
Internal RAW. 5K+ resolution. True pocket-size. Under 700€.
We will make an official announcement of the product in the new year. The current high-end 8K model is still in development for bespoke client camera requirements.

Global shutter and the motion cadence were very nice on it. I don't expect to nail the look identically just see what gets closest to it. Because the big full frame, high resolution, noiseless, super-duper £6k stuff of today is miles off from that look, at least out of the box

Maybe the AJA Cion? (or the Blackmagic equivalents) So long as you light it carefully. 
 

It really depends what people define the "film look" to be. The OG pocket gets close, but the Jello ain't it.
The HPX and HVX will probably become more popular as the years go on. Especially for things like mixed medium etc. It has deep depth of field, but it has the caked on color look due to the CCD sensor. There's also nice look noise and really nice baked in looks.
You can also just shoot film... There's more resources than there have been in the last 10 years. You can have processing and scans turned around in a few days.

If you are doing a multi-camera shoot, first put the grey/white card and color chart together, lit by the dominant full-spectrum light source of the scene/event.  Flag other light sources from hitting card and chart.  To avoid glare, the light source should be at about 45 degrees (or less) to the plane formed by the card and chart.
Position all the cameras side-by-side as close as possible to each other, about 6-8 feet directly in front of the card and chart, and perform a custom white balance on each camera.
Then, record about five seconds of footage of the card and chart with each camera.
If the dominant light source of the scene/event is intentionally not full-spectrum, perform the above procedure using a separate full spectrum source with a color balance that is close to color of the dominant source of the event/scene.
If you are shooting at separate times/locations with each camera (not a multi-camera session), do the same procedure above at each time/location with the one camera.
Of course, if you are shooting raw, the white balance will not affect the captured image, but having a custom white balance should provide a decent starting point for your NLE and for color grading software.  The footage of the charts will help in more finely "dialing-in" the color correction in post.
 

I don't know which method is more "accurate"  in matching the cameras to the reading on your meter or in matching the cameras to each other.  I would guess that the difference is minor, but it would be interesting to see a comparison of  the two methods.
I know that merely using the custom white balance on each camera without a color meter will get a close enough color temp match, and it is quick, easy and consistent.  Either way, you will still be tweaking sliders (or clicking eyedroppers) in post to get the final correction.
By the way, it is generally a good idea to avoid mixing light sources of different colors on the same side of the subject, especially on a person's face.
Also, you might try leaving a slight difference between the color temperature of the exterior light and that of the interior lights.  I usually keep the interior key light neutral.  If a window is visible in frame and if only skylight is streaming through it, I tend to keep it around 1/4 CTB -1/2 CTB from neutral.  If direct sunlight is visible in the background, I sometimes keep it at neutral -1/4 CTO.

@tupp thanks for the perspective. I've been in talking head interview scenarios where the lighting is a mix of LEDs and natural light in a space with big windows south and east facing. And so I've been setting up lights and cameras first, and then been using the Sekonic C-800 to:
(i) get an initial read of the color temp of the natural light hitting the grey card and color checker located in the central area that the talent will be sitting (it's a lot of natural light so not at all too low) and using that as my base color temp reading.
(ii) get my bicolor Litepanel Astras as close to that natural light base reading as possible using the C-800's multi-light color match function and manually tweaking each LED.
(iii) I then get the overall LED lighting levels roughly set with respect to recommended IRE levels for each cam via my monitor.
(iv) calibrate WB of each camera individually
Now here's my question. At this point should I calibrate each camera using their individual custom WB functions or by inputting the initial base temp I got via the Sekonic C-800?
I ask because I've gone the route of calibrating WB using each cameras custom WB and noticed that in the case of the R5C (which actually displays the color temp reading) that the color temp reading is way off from the Sekonic C-800 base reading. And while I know the WB calibrations from each camera will be off from each other to some degree - I wonder whether using the base color temp of the C-800 will result in the cams being off by the least degrees.
Hope this makes sense.
At the end of the day it's not like I've had to struggle much to match colors for my needs - but it would be good to know which approaches might give the best results.

If you are doing a multi-camera shoot, first put the grey/white card and color chart together, lit by the dominant full-spectrum light source of the scene/event.  Flag other light sources from hitting card and chart.  To avoid glare, the light source should be at about 45 degrees (or less) to the plane formed by the card and chart.
Position all the cameras side-by-side as close as possible to each other, about 6-8 feet directly in front of the card and chart, and perform a custom white balance on each camera.
Then, record about five seconds of footage of the card and chart with each camera.
If the dominant light source of the scene/event is intentionally not full-spectrum, perform the above procedure using a separate full spectrum source with a color balance that is close to color of the dominant source of the event/scene.
If you are shooting at separate times/locations with each camera (not a multi-camera session), do the same procedure above at each time/location with the one camera.
Of course, if you are shooting raw, the white balance will not affect the captured image, but having a custom white balance should provide a decent starting point for your NLE and for color grading software.  The footage of the charts will help in more finely "dialing-in" the color correction in post.
 

Hey all,
Based on your individual experiences, how would you get accurate WB/Color Match across cameras if you had an R5C shooting in Clog 3 (which has the same quick custom WB button as the C300s etc), a 1DC shooting in original CLog, a 5D MK III using Magic Lantern, a Sekonic C-800 color meter (which I got for really cheap at an auction a while back), an X-rite color checker and a grey card?
To be clear, I know how to WB with all these tools and color matching has been totally fine using Resolve - just curious how others might approach it with the aforementioned tools?
Thanks in advance!

Here you go:

 

Here you go: