kidzrevil

@mercer fuji’s color is incredible. Im about to pull a trigger on a g9 when I sell my g85 but something is telling me Fuji will come out with an ibis camera soon. For now g9 it is cause 6.5 stops of stabilization sounds nits

Looks good ! I love Fuji’s black and white color science ! None of this content requires any of the features of the GH5 though. Was any of this footage commissioned for a client or is it all personal work ? @jonpais I got commissioned to shoot this last month. I had the option of renting a high end camera but the Panasonic G80 was more than sufficient for the shot list provided to me. this is my only point about the extra features of the GH5. As good as they are they will have little impact on the end product depending on the delivery. A Panasonic G9 would cover my personal needs especially the stabilization. Another stop and a half of stabilization would have a direct impact on my work. 10bit hlg would get lost in a project like this that is going to social media which you can expect will be viewed on phones and tablets. I do however see the importance of a GH5 I have friends that do VFX work so 10bit 422 is crucial to them. @jonpais

Maybe it all comes down to why you use the camera. I don’t ever see you post content outside of test videos so Im taking your need for features with a grain of salt. No narratives, no short films,fashion stuff or other content just test videos so I can’t see how what you shoot and what you need applies to the general or even the professional user. Maybe testing tech is your thing ? I don’t shoot for my personal use, I shoot for profit or to entertain people but either way I aim for what works over whats new. All those features in the GH5 are great but half the people even going on about it dont even have the skill set to take advantage of the extra data in those files. Worse yet even though the camera is very forward thinking some of the GH5 headline features like HLG are only available on a miniscule amount of TV sets on the market today. Imagine if someone owns a 3-5 year old display ? That feature will be wasted cause no one is going to be able to see it but you and only you. You’re supposed to shoot for the lowest common denominator. The lowest common denominator in todays market is a 1080p 8 bit SRGB display unless you know the delivery requires something specific. You will shoot HLG with the understanding the end user is using an HLG compatible display. Most consumers do not have one and the sales #s for HLG tv’s aint quite flying off the roof. I can almost guarantee you most people on this forum are not using a wide color gamut 4k display with hdr. So knowing this it was definitely a no brainer. Idk why people say “no brainer”, maybe a young whipper snapper like me isn’t old enough to get some of these colloiqual terms but I said it because it didn’t even require a second thought. It was so obvious to me that the GH5 will be better for some people who need the features but to me and what I shoot and who my clients are the features on the G9 emphasizes what works and focuses on currently available technology everyone could enjoy. Def a no brainer for me @jonpais Again HLG is a great feature but by the time it becomes a standard there will be way more cameras on the market better than the gh5 that supports it. Sometimes being the first to do something aint always a good thing. The tech is too young, the market hasn’t even caught up to 4K as a consumer standard yet ??‍♂️

@wolf33d same here ! I’ll neglect using half the gh5 features. HDR ? What am I shooting it for the two people with HDR tv’s i’ll pass. SRGB 16-235 luma still owns the lionshare of the tv market (I was just TV shopping btw lol). All I really need is the 4K @ 60fps & the IBIS is worth its weight in gold. Also lets not forget the image processing of the sensor has been improved. If its anything like the jump in quality of the g7/g80 sensor over the gh4 im sold. Im cool with the 8bit recording its only like....16 million colors anyway right ? ? also fun fact most of the TV’s on the market actually display up to 99% of srgb...some cheapers models cover even less than that ! I don’t think we’re missing out by skipping on the HLG wave for now

@homestar_kevin I can’t wait to see, Im a fan of their rendering just couldn’t afford a set of my own ?

Seriously ?! @homestar_kevinNow I am VERY much so intrigued

I rather pick this up than a gh5 to be honest. 4K 60p with improved image processing over the gh5 AND better stabilization is a no brainer

@anonim lmao I guess I can relate as long as you know a Leica kinda girl is an expensive date ! Make sure she’s worth the headache ?

@anonim yeah I had a set of nikkor ais glass and I sold them for an all pre-ai set. The rendering and 3D separation are far superior to modern goass because of the lack of optical & no digital correction built into them. A lot of the pre ai lenses are low element count and SHARP stopped down they clean up nice. They are even sharper & contrastier on a speedbooster ultra. I prefer the look & feel to all the other lenses I’ve own and I’ve used everything from zeiss,contax zeiss,canon fd,sigma & voigtlander. Voigtlander is a close second imo

@Terry Lee why dont you just keep the speedbooster and buy some old nikkor primes since you already like the 50mm f1.2 ? I find nikkor to have very similar rendering in their lens lineup so I guess you cant lose if you already like the 50. The voigtlanders are good but not sure if they are worth giving up the speedbooster for. sidenote** zeiss milvus is overrated unless you want a super clinical look imo. Those lenses are just about the sharpness and contrast

@anonim not at all. The softening of the transition between bright and dark areas of the image brought on by diffusion filters is an absolute neccessity for me. Working with cameras like the Panasonic GH3 that produce a max 10 stops of DR in video the diffusion filtration tend to help smoothen out the heavy contrast giving you a more filmic highlight rolloff with negligible softening of fine detail.

I went digging through my vimeo looking for some old voigtlander footage. I found this video shot with the 17.5mm w/ tiffen black pro mist on a panasonic gh3 back when I was in the Navy. Sometimes I consider ditching the speedbooster route and grabbing all the fast voigt’s again. Even the E mount voigtlanders look promising @anonim voigtlander has a signature rendering hands down. The microcontrast is phenomenal and the lens doesn’t have that clinical accutance/edge sharpening that makes the deep depth of field of M43 look so videoish. I think the voigtlanders give M43 cameras a high end super 16mm look and thats their secret

Yup. The Sony is absolutely gorgeous. I find the image to be extremely versatile @Don Kotlos im still tweaking mine for better color

@Phil A no big deal man ! Do you think you could shoot it over again without the use of the app ? I do recall manual focusing that lens being smooth and it being sharp at all focus distances. Take another shot at it when time permits im curious to see what you come up with ! I really miss that lens !

@EthanAlexander wow this looks really good ! I know what you mean about depth it doesn’t have that punchy contrast that slog2 or the eoshd pro log has.It’s how the curve is built. I just expose all the way to the clipping point to get as much shadow detail as possible. Ironically I like the look slog3 gives with the “open shadows” because it looks surreal in comparison to how the scene looked to my naked eye. The shadows are lifted without blowing the highlights. Its flat looking but it isn’t so flat that it looks milky. I like that it focuses on midtone contrast and the saturation is gorgeous to me and gives a different look than the other in camera profiles. I guess its just another tool to add to the arsenal you know ? Im going to try out the eoshd pro log one of these days cause that look will definitely be useful on certain projects. Love that contrast

shooting LOG has its caveats but man does SLOG3 SGAMUT3.CINE look good. The way it handles saturation and shadows gives the image a unique character imo. I prefer the approach to giving more data to the shadows than the highlights which is slog3’s approach vs slog2. I can go as high as 3 stops over which is a real testament to how well sony’s xavs-c files grade in post. Next I’ll be testing the cinegammas for a faster workflow and hopefully a better quality image

slog3 sgamut3.cine test. Surprisingly SLOG3 hasn’t let me down yet. The end result is worth the hassle

Ok man. I give up on shooting LOG ! Your work is so amazing ? @markr041

@Phil A nothing beats that voigtlander rendering on a micro 4/3 body ??

@Mark Romero 2 hmmm I can’t confirm that yet as I haven’t tested the 1080p yet. I would assume it would help because the mushiness and aliasing is from the sensor skipping lines of resolution. The less fine detail you allow to hit the sensor the less work it has to do compressing all that info down to 1080. Phillip Bloom (?) once reccommended that you use a Zeiss Softar filter to get rid of the nasty aliasing that was present in the venerable Canon 5D mark ii. Here’s the link http://philipbloom.net/blog/moire-2/

Absolutely ! I have a g85 and with a tiffen black satin filter the details look more refined without looking blurry & out of focus. The a7riii just cane out with a way to render fine detail better in stills mode using some new pixel shift tech but that hasn’t surfaced for video yet. This is why diffusion filters are vital to me on any camera I use.

@Mark Romero 2 I use the tiffen satin and black satin for general work because they have tremendous technical benefits and do not look overbearing (too glowy). The halation/glow from the highlights look more like film than digital. Get one in a light grade and they look damn near invisible for general use but they help remove some of that color and sharpening artifacting you get in fine detail especially with these cameras that are high resolution and no AA filter

@Mark Romero 2 no need to be baffled its quite easy to understand if you are familiar with the order of operations with how a camera processes the image.The light hits the diffusion filter -> enters the lens -> hits the sensor -> the image processing works its magic -> the compression discards information it deems useless and assigns the rest of the stops of light to a code value and saves it to h.264,prores etc. The camera sensor in question here is 6k downsampled to 4k resolution. 4k is 8 megapixels so you are already starting off with quite the advantage in perceived resolution as the noise gets shrunken down as well which takes up less data and helps free the bitrate to be used in other areas. Shoot a JPEG with a a6300 or a6500 and take that and downsample it to a 8 megapixel image in photoshop. You see how the noise and other artifacts shrink to the point where they almost seem to vanish ? Well the same thing happens when you shrink a 6K image to 4K plus the added perceived sharpness. If you are using a sharp lens that is more than plenty. I shoot with old nikkor auto lenses from the 1970’s (mainly because of the way they render images. A very classic aesthetic) with a diffuser on it and the image is still sharp especially stopped down. Now imagine a lens like the zeiss otus outresolving the sensor at 6K which will then be downsampled to a 4K image. That extra information will either overload that 100 mbps codec or the image processing will discard it somehow leading to artifacts like macroblocking etc. which will deteriorate your image and this is why diffusion filters are still beneficial for video. Moral of the story the difference in perceived resolution between using a diffusion filter and shooting without one is negligible at bests. What we walk away with is more efficient compression of detail after the sensors image processing and an aesthetic that handles highlights and transitions in tonality more like film without a reduced perceived resolution. ** This test is so self explanatory you can completely skip the long winded essay I wrote and just watch this and you will be endowed with the wisdom of a buddhist monk when it comes to the effects of diffusion on digital video.

nikkor auto 24mm f2.8 & nikkor auto 50mm f2

Dude I loved Aliens so much I made a fan edit of it ! Im considering doing the same with blade runner @Bioskop.Inc @Andrew Reid