tupp

It has gotten easier to use ML in the last year. The duration of time has increased by miles lately. They are a magic camera no doubt.

Yes!  The EOSM with ML raw is amazing, and @ZEEK has a great eye!  EOSM ML raw videos are constantly appearing on YouTube.
This guy also does nice work with the EOSM.

As I recall, the noir SD piece was shot on a Panasonic DVX-100A, but this 240P trailer is all I ever saw of the footage.
In regards to the clips from the short, a Panasonic AF-100 captured the interior sequences, and the exteriors of the woman on the street were shot with a Canon T3i and vintage Nikkor glass.

I found a couple of black & white projects that I shot awhile back.
Here is a noir trailer that was made to raise funds for a feature (sorry it's tiny SD):
 
 
Here are some random (and highly compressed) clips from a black and white short cut to music:
 

I think an earlier Bosma camera appeared at BIRTV in 2019, but here are the two more recent models shown at NAB 2022 (sorry for the subpar image quality):

 

 

 

I think that the one with the AC-side LCD screen is brand new.

Here is a video with more details.
They appear to be broadcast oriented, and Bosma seems to have some affiliation with Astrodesign.

Cinematographers have long been using vintage lenses with digital on Oscar-nominated films.  Only relatively recently have shooters on smaller projects commenced utilizing the beautiful character of vintage glass.
Certainly, a lot of beautiful and powerful cinematography has been created in the square format, but it is perplexing why anyone would shoot an entire project with anamorphic glass only to crop it square in post.  To make such square imagery impactful, one usually must compose for that for that format while shooting.  If they did so using framing guides, then one wonders how they could reconcile all that wasted image space (and wasted sensor resolution).  Are linear flares and oval highlights worth the sacrifice?
In regards to Oscar-nominated films only using Alexas and mostly vintage glass, here is an interview with the DP of "Ex Machina" (2014), in which he explains why he used the combination of old Xtal Express glass with a Sony F65.

@ZEEK has made another EOSM Super16 instructional video!:
 

Awesome! I was obsessed with the Andromeda hack a few years ago. I member offered me one with PM iirc, but never answered my questions who it was from oringinally. 720p 3ccd 10bit uncompressed 10bit to a mac with a stabilized pana-leica zoom lens.
Yeah, DPing shorts and longer pieces even on a no budget level is a rough thing to do artistically.:)

Cannot wait to try mine! C-mount adapter still traveling across the world though. Thinking about getting the 22mm pancake for shuttertherapy. Reminds me of the good old days when I read with exitement about the GF1 on Steve Huffs blog, which was my internet leisure time spot No 1 back then. I can feel some of that old exitement with the outlook on using this little beauty soon! Fujinon 12.5mm and here we go. EOS M and Angie 75mm on a light photo tripod (baddie even covers S35 with soft vignettes) and we are set for ultimate nerdom camera pleasures! Gotta get a kewl hat like Zeek🙂

Here is another free GUI app to view Y Cb Cr:
https://www.gimp.org/
Use the drop down menu COLORS / COMPONENT / EXTRACT COMPONENT,
and then there is another drop down menu to select the type of component to view,
including Y, Cb, Cr.
Alternately there is also COLORS / COMPONENT / DECOMPOSE.
Must admit I am finding it difficult to see any loss of red details or color blurring comparing
my X-T3 to my Canon T2i.  But so far I've shot indoor subjects only.
No wonder it took 4 years to notice!
 

I watched the gaffer and gear review a few times.
Normally with a projection mount he says if it's any good for product and fine detail work or not.
 
There's currently a promotion running but it ends soon.

So my question, is it also good for fine detail work?
Is there a difference quality wise when paired with 60 or 150?
Other thoughts?


Has anybody had there hands on the Jinbei EF-ZF3? How does it compare to others?
 

I found a couple of black & white projects that I shot awhile back.
Here is a noir trailer that was made to raise funds for a feature (sorry it's tiny SD):
 
 
Here are some random (and highly compressed) clips from a black and white short cut to music:
 

As I recall, the noir SD piece was shot on a Panasonic DVX-100A, but this 240P trailer is all I ever saw of the footage.
In regards to the clips from the short, a Panasonic AF-100 captured the interior sequences, and the exteriors of the woman on the street were shot with a Canon T3i and vintage Nikkor glass.

tiny SD:) What camera did you use for the second clip? @tupp I like the vibe, looks like 90ies neo noir without neon and without Neo.:)

I found a couple of black & white projects that I shot awhile back.
Here is a noir trailer that was made to raise funds for a feature (sorry it's tiny SD):
 
 
Here are some random (and highly compressed) clips from a black and white short cut to music:
 

@ZEEK has made another EOSM Super16 instructional video!:
 

@ZEEK has made another EOSM Super16 instructional video!:
 

@ZEEK has made another EOSM Super16 instructional video!:
 

@Attila Bakos
Do you mind if I draw attention to your video on the blog's main page? Let's get Fuji's attention.

What impact if any does Color Chrome Effect have on this in the Fuji menus?
Is it possible Fuji's processing by default blurs the chroma channel so that dialling in certain film simulation settings brings it back and changes the look?
It must be on purpose they have done this.

@tupp nice analysis, I really have to take a look at Darktable again sometime 🙂

It appears that Fuji is essentially using wavelet/frequency-separation in the chroma channels to isolate and blur certain areas.
I tried that scenario on your "5D3 Raw" chroma channel image (captured from your Resolve viewer with MPV), using the Darktable Contrast Equalizer module:

I didn't get it to look exactly the same as the X-T3 chroma channel image, but the "blotchiness" achieved is fairly similar.
Here is the curve used in the Contrast Equalizer module:

The scale from left to right delineates coarse patterns to fine patterns in the image.  The mostly flat line going through the center is the sharpness curve, and the "S-shaped" line is the smoothing curve.
Many use the Contrast Equalizer for denoising and sharpening, but in such applications, the smoothing curve always lies below the sharpening curve.  Nobody ever inverts the two curves as shown on the right side of the graph.
I also used the Soften module with a parametric mask to add extra blur to the brighter areas, because the Contrast Equalizer did not provide enough blur.
The excessive chroma blurring from the X-T3 way too much for demosaicing, and it's extreme overkill for noise reduction.  There also seems to a bit of coarse pixelation revealed when you zoom-in in your video, so perhaps Fuji is additionally doing a pseudo chroma subsampling.
Whatever Fuji is doing (and for whatever reason), the process is effectively reducing the color resolution, which results in a perceptible loss of color depth.
 
The X-T3 is excessively lowering the effective chroma resolution with blurring, which dramatically reduces the color depth.
The raw files don't have that problem, because their resolution is not being reduced.
The "processing" is likely something similar to what I have shown above, and it essentially is reducing the color resolution, hence the lower color depth.  Remember, with digital imaging:
COLOR DEPTH = RESOLUTION x BIT DEPTH
By the way, when are you going to take back that lie you told about me?

It appears that Fuji is essentially using wavelet/frequency-separation in the chroma channels to isolate and blur certain areas.
I tried that scenario on your "5D3 Raw" chroma channel image (captured from your Resolve viewer with MPV), using the Darktable Contrast Equalizer module:

I didn't get it to look exactly the same as the X-T3 chroma channel image, but the "blotchiness" achieved is fairly similar.
Here is the curve used in the Contrast Equalizer module:

The scale from left to right delineates coarse patterns to fine patterns in the image.  The mostly flat line going through the center is the sharpness curve, and the "S-shaped" line is the smoothing curve.
Many use the Contrast Equalizer for denoising and sharpening, but in such applications, the smoothing curve always lies below the sharpening curve.  Nobody ever inverts the two curves as shown on the right side of the graph.
I also used the Soften module with a parametric mask to add extra blur to the brighter areas, because the Contrast Equalizer did not provide enough blur.
The excessive chroma blurring from the X-T3 way too much for demosaicing, and it's extreme overkill for noise reduction.  There also seems to a bit of coarse pixelation revealed when you zoom-in in your video, so perhaps Fuji is additionally doing a pseudo chroma subsampling.
Whatever Fuji is doing (and for whatever reason), the process is effectively reducing the color resolution, which results in a perceptible loss of color depth.
 
The X-T3 is excessively lowering the effective chroma resolution with blurring, which dramatically reduces the color depth.
The raw files don't have that problem, because their resolution is not being reduced.
The "processing" is likely something similar to what I have shown above, and it essentially is reducing the color resolution, hence the lower color depth.  Remember, with digital imaging:
COLOR DEPTH = RESOLUTION x BIT DEPTH
By the way, when are you going to take back that lie you told about me?

I used ffmpeg first to extract the chroma channels into grayscale videos and I used that to validate the results of my plugin. They were identical so it's safe to say that it's not an NLE/GPU decoder issue.