hyalinejim

Because I'm a cheapskate who is recycling his 5D Mk II era EF glass on the latest and greatest Panasonic body thanks to the wonderful Sigma MC21 adapter, I can't take advantage of in-body camera corrections for things like vignetting and lens distortion. And sometimes I would like to do that. It's a lot of fun using the phase detect AF in the S5II to shoot wide open and get in-focus footage with my Canon nifty fifty. But wide open, that lens has something like 2.4 stops of vignetting. That can look really cool sometimes but other times it's not. I first noticed it when editing some interview footage shot against a plain white wall. I wanted to do a little bit of reframing and it looked kind of bad because of the heavy vignetting.
I know there are effects that attempt to add or remove vignetting, but I was interested to see if there's a way to do it perfectly, as you can when shooting RAW and using Lightroom. And there is!
First of all, I put a semi-opaque piece of white plastic over the lens, focused it to infinity, set the aperture to wide open, pointed it at the sky and did a manual white balance. The aim here, in terms of exposure is to get the brightest part of the image (the exact centre) at exactly 50 IRE. Or you can use ACES to make a linear change to the data to get it looking like this:


Then desaturate it, invert it and export as a 16 bit TIFF or similar.
Place this image file on a layer above your footage. Change blending mode to Linear Light and Opacity to 50%. Hey, presto! Bye bye, vignetting!

(Note: doing this in ACES linear gives perfect results, but it works pretty well in log Rec709 too - the center needs to be 50% IRE in both methods)
This is how it looks on real world footage.
Before:

After:

 
Obviously, this isn't as convenient as doing it in camera as you would need a different vignetting profile for each f stop. But it will allow you to finally shoot your Nocticron f0.95 or whatever wide open without that pesky vignetting! I'm not quite as flush as all that, but I'm quite pleased that my old Canon plastic fantastic that I had in a drawer behaves a little more like Panasonic's version which costs 4 times the price. And a simple Lens Distortion filter at -2 knocks back the distortion. Now if only there was a way of making the focus motor perfectly silent...

Because I'm a cheapskate who is recycling his 5D Mk II era EF glass on the latest and greatest Panasonic body thanks to the wonderful Sigma MC21 adapter, I can't take advantage of in-body camera corrections for things like vignetting and lens distortion. And sometimes I would like to do that. It's a lot of fun using the phase detect AF in the S5II to shoot wide open and get in-focus footage with my Canon nifty fifty. But wide open, that lens has something like 2.4 stops of vignetting. That can look really cool sometimes but other times it's not. I first noticed it when editing some interview footage shot against a plain white wall. I wanted to do a little bit of reframing and it looked kind of bad because of the heavy vignetting.
I know there are effects that attempt to add or remove vignetting, but I was interested to see if there's a way to do it perfectly, as you can when shooting RAW and using Lightroom. And there is!
First of all, I put a semi-opaque piece of white plastic over the lens, focused it to infinity, set the aperture to wide open, pointed it at the sky and did a manual white balance. The aim here, in terms of exposure is to get the brightest part of the image (the exact centre) at exactly 50 IRE. Or you can use ACES to make a linear change to the data to get it looking like this:


Then desaturate it, invert it and export as a 16 bit TIFF or similar.
Place this image file on a layer above your footage. Change blending mode to Linear Light and Opacity to 50%. Hey, presto! Bye bye, vignetting!

(Note: doing this in ACES linear gives perfect results, but it works pretty well in log Rec709 too - the center needs to be 50% IRE in both methods)
This is how it looks on real world footage.
Before:

After:

 
Obviously, this isn't as convenient as doing it in camera as you would need a different vignetting profile for each f stop. But it will allow you to finally shoot your Nocticron f0.95 or whatever wide open without that pesky vignetting! I'm not quite as flush as all that, but I'm quite pleased that my old Canon plastic fantastic that I had in a drawer behaves a little more like Panasonic's version which costs 4 times the price. And a simple Lens Distortion filter at -2 knocks back the distortion. Now if only there was a way of making the focus motor perfectly silent...

Because I'm a cheapskate who is recycling his 5D Mk II era EF glass on the latest and greatest Panasonic body thanks to the wonderful Sigma MC21 adapter, I can't take advantage of in-body camera corrections for things like vignetting and lens distortion. And sometimes I would like to do that. It's a lot of fun using the phase detect AF in the S5II to shoot wide open and get in-focus footage with my Canon nifty fifty. But wide open, that lens has something like 2.4 stops of vignetting. That can look really cool sometimes but other times it's not. I first noticed it when editing some interview footage shot against a plain white wall. I wanted to do a little bit of reframing and it looked kind of bad because of the heavy vignetting.
I know there are effects that attempt to add or remove vignetting, but I was interested to see if there's a way to do it perfectly, as you can when shooting RAW and using Lightroom. And there is!
First of all, I put a semi-opaque piece of white plastic over the lens, focused it to infinity, set the aperture to wide open, pointed it at the sky and did a manual white balance. The aim here, in terms of exposure is to get the brightest part of the image (the exact centre) at exactly 50 IRE. Or you can use ACES to make a linear change to the data to get it looking like this:


Then desaturate it, invert it and export as a 16 bit TIFF or similar.
Place this image file on a layer above your footage. Change blending mode to Linear Light and Opacity to 50%. Hey, presto! Bye bye, vignetting!

(Note: doing this in ACES linear gives perfect results, but it works pretty well in log Rec709 too - the center needs to be 50% IRE in both methods)
This is how it looks on real world footage.
Before:

After:

 
Obviously, this isn't as convenient as doing it in camera as you would need a different vignetting profile for each f stop. But it will allow you to finally shoot your Nocticron f0.95 or whatever wide open without that pesky vignetting! I'm not quite as flush as all that, but I'm quite pleased that my old Canon plastic fantastic that I had in a drawer behaves a little more like Panasonic's version which costs 4 times the price. And a simple Lens Distortion filter at -2 knocks back the distortion. Now if only there was a way of making the focus motor perfectly silent...

Yes, I think the first shot of the sun coming up on the landscape has a fade in of something like sixty seconds. So like, it is indeed getting brighter in the scene but I'm also doing a one minute fade in from black. At the time I probably needed RAW for this. I think it was just before the GH5 10bit 422 era.
You mentioned in a DM that the original file downloaded from Vimeo is much cleaner. There is terrible banding in the streaming version for the first minute, but the footage itself is pristine.
What's interesting to me looking at it now is the softness of the footage as I'm used to looking at 4K (and I think the softnes looks great). I may have shot it at 2.8K or something, I'm not sure, for 2048 x whatever DCP delivery. But then I may even have blurred it a little bit! I know I definitely blurred the title and end credits as they looked a bit too sharp to me.

Because I'm a cheapskate who is recycling his 5D Mk II era EF glass on the latest and greatest Panasonic body thanks to the wonderful Sigma MC21 adapter, I can't take advantage of in-body camera corrections for things like vignetting and lens distortion. And sometimes I would like to do that. It's a lot of fun using the phase detect AF in the S5II to shoot wide open and get in-focus footage with my Canon nifty fifty. But wide open, that lens has something like 2.4 stops of vignetting. That can look really cool sometimes but other times it's not. I first noticed it when editing some interview footage shot against a plain white wall. I wanted to do a little bit of reframing and it looked kind of bad because of the heavy vignetting.
I know there are effects that attempt to add or remove vignetting, but I was interested to see if there's a way to do it perfectly, as you can when shooting RAW and using Lightroom. And there is!
First of all, I put a semi-opaque piece of white plastic over the lens, focused it to infinity, set the aperture to wide open, pointed it at the sky and did a manual white balance. The aim here, in terms of exposure is to get the brightest part of the image (the exact centre) at exactly 50 IRE. Or you can use ACES to make a linear change to the data to get it looking like this:


Then desaturate it, invert it and export as a 16 bit TIFF or similar.
Place this image file on a layer above your footage. Change blending mode to Linear Light and Opacity to 50%. Hey, presto! Bye bye, vignetting!

(Note: doing this in ACES linear gives perfect results, but it works pretty well in log Rec709 too - the center needs to be 50% IRE in both methods)
This is how it looks on real world footage.
Before:

After:

 
Obviously, this isn't as convenient as doing it in camera as you would need a different vignetting profile for each f stop. But it will allow you to finally shoot your Nocticron f0.95 or whatever wide open without that pesky vignetting! I'm not quite as flush as all that, but I'm quite pleased that my old Canon plastic fantastic that I had in a drawer behaves a little more like Panasonic's version which costs 4 times the price. And a simple Lens Distortion filter at -2 knocks back the distortion. Now if only there was a way of making the focus motor perfectly silent...

Because I'm a cheapskate who is recycling his 5D Mk II era EF glass on the latest and greatest Panasonic body thanks to the wonderful Sigma MC21 adapter, I can't take advantage of in-body camera corrections for things like vignetting and lens distortion. And sometimes I would like to do that. It's a lot of fun using the phase detect AF in the S5II to shoot wide open and get in-focus footage with my Canon nifty fifty. But wide open, that lens has something like 2.4 stops of vignetting. That can look really cool sometimes but other times it's not. I first noticed it when editing some interview footage shot against a plain white wall. I wanted to do a little bit of reframing and it looked kind of bad because of the heavy vignetting.
I know there are effects that attempt to add or remove vignetting, but I was interested to see if there's a way to do it perfectly, as you can when shooting RAW and using Lightroom. And there is!
First of all, I put a semi-opaque piece of white plastic over the lens, focused it to infinity, set the aperture to wide open, pointed it at the sky and did a manual white balance. The aim here, in terms of exposure is to get the brightest part of the image (the exact centre) at exactly 50 IRE. Or you can use ACES to make a linear change to the data to get it looking like this:


Then desaturate it, invert it and export as a 16 bit TIFF or similar.
Place this image file on a layer above your footage. Change blending mode to Linear Light and Opacity to 50%. Hey, presto! Bye bye, vignetting!

(Note: doing this in ACES linear gives perfect results, but it works pretty well in log Rec709 too - the center needs to be 50% IRE in both methods)
This is how it looks on real world footage.
Before:

After:

 
Obviously, this isn't as convenient as doing it in camera as you would need a different vignetting profile for each f stop. But it will allow you to finally shoot your Nocticron f0.95 or whatever wide open without that pesky vignetting! I'm not quite as flush as all that, but I'm quite pleased that my old Canon plastic fantastic that I had in a drawer behaves a little more like Panasonic's version which costs 4 times the price. And a simple Lens Distortion filter at -2 knocks back the distortion. Now if only there was a way of making the focus motor perfectly silent...

Well, it's certainly true that the GH6 has not made the same kind of splash that the GH5 did. Personally, I don't find M43 to be too much of a burden when shooting with a 0.64x Speedbooster. It's kind of a sweet spot of boosted light for exposure and manageable DOF. For me full frame has too little when shooting wide open with fast glass and I think that approximately APS-C or Super35 sensor size is pretty good. M43 is too small, but with a 0.64x speedbooster it's actually "bigger" than APS-C at 1.28x crop relative to full frame.
Here are a few clips shot wide open with an Iscorama 36 on an Olympus OM 50 1.8 manual lens. Talk about making life difficult for myself with an Iscorama shooting wide open - swapping diopters between almost every single shot! A lesson in patience! Oh well, it's worth it for the bokeh and the flares I guess 😂
 

Ha ha! Even 6 is enough for most uses. During lockdown, to give myself a project I bought a few 300Ds and 400Ds on eBay and sent them around the country, asking people to take self portraits which I then edited.

Ha ha! Even 6 is enough for most uses. During lockdown, to give myself a project I bought a few 300Ds and 400Ds on eBay and sent them around the country, asking people to take self portraits which I then edited.

The issue was with light streaking when a bright area is adjacent to a dark area. I was able to reproduce it on my cam but never saw it in real world footage. I'm not sure if some cameras are affected more than others, but people were having conniptions about it on FB and YT.
I think it's such a pity that phase AF did not make into the GH6 as it would have reinforced the iconic GH line's standing.
Ha ha! No! Not for the GH6 or any other camera these days. People just make videos about cameras, it seems 😂 Joking aside, there was Olan Collardy's launch video for the GH6.
 
 
I mainly use mine for work and holiday stuff, but I did shoot this with an Isco 36 and gave it a bit of filmic colour treatment, grain etc.
 

The issue was with light streaking when a bright area is adjacent to a dark area. I was able to reproduce it on my cam but never saw it in real world footage. I'm not sure if some cameras are affected more than others, but people were having conniptions about it on FB and YT.
I think it's such a pity that phase AF did not make into the GH6 as it would have reinforced the iconic GH line's standing.
Ha ha! No! Not for the GH6 or any other camera these days. People just make videos about cameras, it seems 😂 Joking aside, there was Olan Collardy's launch video for the GH6.
 
 
I mainly use mine for work and holiday stuff, but I did shoot this with an Isco 36 and gave it a bit of filmic colour treatment, grain etc.
 

Forum member @essbe mentioned this in another thread, but I think it deserves it's own topic.
Magic Lantern developer theBilalFakhouri is showing compelling evidence that he has figured out how to implement full real-time preview in most raw recording modes across the EOS-M, 100D, 650D, and 700D. Live HDMI output is supported across all recording modes too. Many have found that these are the last two major usability hurdles for these cameras. He is trying to crowdfund £2,214 (about $2750 USD) for the 300 hours he's spent figuring this out before he releases it, and says that he will begin work on full real-time preview on the 5D iii after this campaign gets funded. As of this morning, he's about 2/3 of the way to his goal, but donations have slowed down significantly over the last 24 hours. If you'd like to pitch in, instructions on how to contribute are in the link above.
I haven't used either of my ML-enabled cameras in about three years, but this feels like it could be the final chapter in ML history. I would love to see it succeed and keep some of these cameras out of landfill as well as to provide the next generation of broke filmmakers with a truly affordable 16mm/S16 raw camera.

The issue was with light streaking when a bright area is adjacent to a dark area. I was able to reproduce it on my cam but never saw it in real world footage. I'm not sure if some cameras are affected more than others, but people were having conniptions about it on FB and YT.
I think it's such a pity that phase AF did not make into the GH6 as it would have reinforced the iconic GH line's standing.
Ha ha! No! Not for the GH6 or any other camera these days. People just make videos about cameras, it seems 😂 Joking aside, there was Olan Collardy's launch video for the GH6.
 
 
I mainly use mine for work and holiday stuff, but I did shoot this with an Isco 36 and gave it a bit of filmic colour treatment, grain etc.
 

The issue was with light streaking when a bright area is adjacent to a dark area. I was able to reproduce it on my cam but never saw it in real world footage. I'm not sure if some cameras are affected more than others, but people were having conniptions about it on FB and YT.
I think it's such a pity that phase AF did not make into the GH6 as it would have reinforced the iconic GH line's standing.
Ha ha! No! Not for the GH6 or any other camera these days. People just make videos about cameras, it seems 😂 Joking aside, there was Olan Collardy's launch video for the GH6.
 
 
I mainly use mine for work and holiday stuff, but I did shoot this with an Isco 36 and gave it a bit of filmic colour treatment, grain etc.
 

The issue was with light streaking when a bright area is adjacent to a dark area. I was able to reproduce it on my cam but never saw it in real world footage. I'm not sure if some cameras are affected more than others, but people were having conniptions about it on FB and YT.
I think it's such a pity that phase AF did not make into the GH6 as it would have reinforced the iconic GH line's standing.
Ha ha! No! Not for the GH6 or any other camera these days. People just make videos about cameras, it seems 😂 Joking aside, there was Olan Collardy's launch video for the GH6.
 
 
I mainly use mine for work and holiday stuff, but I did shoot this with an Isco 36 and gave it a bit of filmic colour treatment, grain etc.
 

The issue was with light streaking when a bright area is adjacent to a dark area. I was able to reproduce it on my cam but never saw it in real world footage. I'm not sure if some cameras are affected more than others, but people were having conniptions about it on FB and YT.
I think it's such a pity that phase AF did not make into the GH6 as it would have reinforced the iconic GH line's standing.
Ha ha! No! Not for the GH6 or any other camera these days. People just make videos about cameras, it seems 😂 Joking aside, there was Olan Collardy's launch video for the GH6.
 
 
I mainly use mine for work and holiday stuff, but I did shoot this with an Isco 36 and gave it a bit of filmic colour treatment, grain etc.
 

The issue was with light streaking when a bright area is adjacent to a dark area. I was able to reproduce it on my cam but never saw it in real world footage. I'm not sure if some cameras are affected more than others, but people were having conniptions about it on FB and YT.
I think it's such a pity that phase AF did not make into the GH6 as it would have reinforced the iconic GH line's standing.
Ha ha! No! Not for the GH6 or any other camera these days. People just make videos about cameras, it seems 😂 Joking aside, there was Olan Collardy's launch video for the GH6.
 
 
I mainly use mine for work and holiday stuff, but I did shoot this with an Isco 36 and gave it a bit of filmic colour treatment, grain etc.
 

Lovely lighting here!

I'm using an S5II as A cam and GH6 as B cam.

I have it yes and not 100% sure of the answer…
It’s packed up right now as I am heading off to my second job of the year in a short while but I think so…
I’m only shooting it 4k 50p and just edited 1 job with it that had a lot of vertical architecture in the background and it just looked ‘normal’?
My tech skills go as far as:
A: Does it look right?
B: Did it do what I needed it to do?
The only changes I am making between this next job and the first is whacking the sharpening down to -5. Because I forgot to do that when setting it up for the first time.
Otherwise the only thing I have noticed is the colour difference between it and the S1H. The S1H is just better.
Define better?
See A: & B: above 👆 

Personally, I would never, ever in a million years add sharpening to a video clip.

Or fold the packaging flat, so that you can post it back to yourself cheaply. 
Then you can reuse the packaging to get a bit higher selling price when  you inevitably end up selling your gear in six months time. 

I wish Sigma would come out with something like this for L, F and N Mount as well as the usual E because many of us non-Sony users are crying out for a lens like this.
In fact, if anything, scrap the f2 aspect which is only available something like 35-40mm and just make it a constant aperture f2.8 so maybe a little smaller and lighter…
And internal zoom if possible…
E Mount certainly has the most exciting glass (for me) right now, especially Tamron with their zooms.

I'm using an S5II as A cam and GH6 as B cam.

Personally, I would never, ever in a million years add sharpening to a video clip.