kidzrevil

nikkor auto 35mm f1.4 & nikkor auto 55mm f1.2 w/ tiffen black satin filter on Canon 5D mark iii raw video

3 hours ago, Mattias Burling said:

If I can rent one I can compare to the rolls of s16 Eterna 250D I have in my freezer (stocked up when it was discontinued)

Dope ! I look forward to seeing this !!! After reviewing some more of the fuji footage I think the draw with the new Eterna profile is it is like the modern day version of the Eterna film stock. I’m starting to think they are not trying to emulate the actual film stock but this is more so there answer to the Sony Cine4 gamma & Cinelike V’s out there. It has the color baked in but you can make minor adjustments if need be. No need to dramatically alter skintone like a LOG profile ? this camera maybe a lot more important than we know

On 2/20/2018 at 4:14 AM, frontfocus said:

I really don't get it. 2 years ago Fujis were probably the worst cameras you could get for video. Heavy moire, missing sharpness, no control over settings. The X-T2 changed a lot of it. The image quality was very nice and it added some controls. 

And now, the X-H1 adds another bunch of nice features. No, it doesn't do 60fps or 10bit, but as a whole I think the camera looks very nice. It seems they improved the autofocus, they added a lot of features like 1/48s, linear response of focus or internal Log and added hardware like IBIS and the touch screen. 

No, it's not a GH5 killer, but I don't think it's supposed to be. "Jack of all trades, master of none", seems fitting. It's mildly cropped APS-C sensor won't match the low light performance of an A7S but it will be better than the GH5. Might be very close to the GH5s though. It's improved autofocus will probably not match canons dual pixel, but it might just be up there with Sony, close behind. And it doesn't have waveform or zebras yet (slashcam says Fuji might add those in an upcoming firmwareupdate) but it does have a lot of other small things, like the internal log profile, the 200Mbit/s codec, the DCI 4K option, 1/48s shutter speed, timecode, tally light and so on. And all of that with the very nice Fuji colors. To me it feels like a camera that might be very interesting to people shooting not video only, but both, photos and videos.

I personally think Fuji's goal is to become a hybrid camera manufacturer. An ideal balance between video and photo capabilities. As a freelancer I shoot both photo and video and sometimes you need to do both simultaneously for a client which is very hard to do with cameras who solely focus on video. I can even see this benefiting journalist who now are expected to do both video and photo on assignments. That plus fuji color and a 200mbps bit rate we can guarantee our footage meets the 4k uhd broadcasting standard. I think Fuji covered the basics very very well with how they went about it. I agree that not only isn't it a GH5 killer it was never intended to be. I think most of us our so obsessed with brands competing that we miss the point in their product. I do not think Fuji is threatened or even thinking about the gh5 when the gh5 users aint even their market LOL 

4 hours ago, Mattias Burling said:

Could someone with the camera shoot a second or two with for example Eterna in default and then the same scene with lifted shadows and different DR setting. And then share the clips?
Would be interesting to see if there truly is a difference or if its replicable in post.

The eterna footage I seen looks like it has a light version of the m31 LUT built in. The shadows are shifted towards teal ! Im waiting for some footage of eterna from someone in this forum so we can assess

7 hours ago, Matthew Hartman said:

54 pages on this freaking camera. (Or any) Why is this particular camera so controversial here? I feel bad for the people that actually bought and like this camera, I'm sure they came to this thread to enjoy talking about it with others that like it too. I wonder if Andrew can close this one and start a new one for those that actually care about it? For those that don't, simply disregard it, it's really not that hard. 

I have to say, it's been a long time for me where I've seen people so vehemently debate each other's opinion and preference, as if that were even debatable. It felt like I was reading an Android vs iOS or Windows vs. OSX comment section. 

I'm officially checking out of this one fellas. Seen you on the flip side of the moon. 

Agreed. I really want to learn about the camera but its hard finding the info I need digging through this thread. Especially with all the anti fuji hate an occasional aggression by some of our respected members

Im gonna give LUTs a chance again but only use em with tetrahedral interpolation 

@jonpais you can use a spyder display calibrator. It’s not as accurate as an ISF professionally calibrated monitor but its damn near close. It makes an icc profile of your monitor and the color temperature of your room lighting. Its 99% accurate. If your current monitor is HDR capable you should be fine.

Rec2020 Flog ? From a Fuji ? You sure thats rec2020 ? @Attila Bakos

If it works for you thats cool, I just wouldn’t do it. Maybe in these situations it looks good but I’ve had out of gamut colors look weird with LUT’s especially with artificial lighting so I stay away from those things. A lut has to be calibrated for specific exposures while floating point does not 

https://lutify.me/essential-steps-in-color-grading-when-using-luts/

@Matthew Hartman I wish I still had my nx1 ?

ACES & RCM work with other camera profiles too. There is a generic rec709 conversion option but it doesnt work as well as I hoped. ACES has profiles for BMDfilm,alexa log c, all the slog’s and clog as well and its all done in 32bit precision. I still grade in lumetri I just use resolve ACES too color correct in a big color space without worrying about color channel clipping

21 minutes ago, Matthew Hartman said:

I sure wish this conversation could be a little more laymen.

Lmao ! Basically I think you should master your footage in resolve color management or aces using davinci resolve. Grading like this you can get an accurate conversion of 8 bit LOG (slog2 etc.) to our displays color space without needing 10 bit to avoid banding etc

@Attila Bakos yeah bro not enough math within the space of the 64 cube for color conversion but they work better with rec709 in to rec709 output workflows

@Attila Bakos have you ever tried using aces or resolve color management ? The precision is beautiful try it out. I agree 64 will be enough for most people but these advances in tech shouldn’t be ignored. This is a large part of the reason why people think they need 10 bit, its cause their post production pipeline is outdated. The only way to properly do color space conversion with a LUT is with tetrahedral interpolation but most people are using the default trilinear interpolation which is not accurate at all for color space from lets say LOG to rec709

https://blogs.mathworks.com/steve/2006/11/24/tetrahedral-interpolation-for-colorspace-conversion/

@Attila Bakos I agree that poorly built luts can be problematic but pretty much what I am saying is the typical high quality 64 cube LUT from a brand like deluts,visioncolor and koji does not have anything close to the amount of mathematical transformations as a wide color gamut 32bit floating point color space like ACES or Davinci Resolve does . The math is just way more complex than the adjustments hard coded into the lut. This is part of the reason why the same LUT affects the image in different and sometimes unwanted ways because LUTs are dependent on the source footage. I do know however that tetrahedral interpolation in a program like resolve tremendously improves the accuracy of LUTs

Fun fact our cameras store data in a linear fashion but our eyes see color data logarithmically. You can store a 14 bit - 16 bit linear data in a 10bit logarithmic curve as proved by Cineon since its conception. If this is the case then 8 bit log (lets use SLOG) as an example is storing the 14 bit linear data from the sensor and maps the code values to an 8 bit logarithmic curve to be decoded later. I think why we feel we need 10bits is because of the software we used to use or our reliance on luts which are hard coded to a very limited amount of transformations. I recently changed my workflow from using luts to a 32bit floating point color space like ACES and davinci resolve color management and the difference in image quality is night and day from using those hard coded luts that do weird things to an 8 bit image. Combine that with neat video which literally creates new pixels in 32 bit floating point and PROPERLY exposed video to take advantage of the code values from 0-255 and you get an extremely pleasing image. Image resolution also helps with color depth so 4k 8 bit makes the 10 bit argument less and less of a factor hence why sony is sticking hlg curves in 8 bit cameras. Another fun fact you can convert a log curve like SLOG2 to HLG or REC2020 using a color managed workflow. I have totally abandoned luts

@Emanuel I may have misread @markr041 post. Although it is bitdepth or lack thereof that generally causes banding I guess in this case the image in question is so compressed and of such low quality bitrate is the limiting factor here. 

On 1/23/2018 at 1:04 PM, jonpais said:

The way I understood it is that bit depth, or the number of 'shades' there are for each color channel, is what determines whether we see banding in an image. In 8 bit, there are 256 levels, in 10 bit, 1024 levels, which is why, when we push the image around in post, often (if not always!), the 10 bit image should hold up better. 

source

you are right. It is bit depth not bitrate that causes the banding. The other poster is wrong on this one

On 3/1/2018 at 9:13 AM, Django said:

 

No offense but this is BS. There are a lot more than a few people making money with 8-bit cameras. From YouTubers, to wedding/corporate/commercial videographers, R&G, indie film etc.. one could argue 8-bit is "the normal thing".

Not sure what you consider the "industry" but there is now a whole new digital platform outside of broadcast television that doesn't care about any old "standards". (which btw is what.. BBC/EBU standards?)

Even cinema doesn't really care.. Soderbergh's next movie was shot entirely on iPhone 7+ and just premiered at Berlin Film festival last month..

Anyways i sense trolling.. because we all know only a single mirrorless/dslr camera exists on the market today that shoots 10-bit internally.  

So.. just get that or pony up for a pro video cam. Easy.

 

Facts.

I got a couple of questions about the xh1 as someone who is interested in making the switch from sony. 

Does this downscale from 6k or higher to 4K like Sony a6300-a6500 ? Also how is the 120p quality ?

Can you believe I GAVE AWAY a 85mm f1.9 to a friend ? Guess whos currently regretting that decision ? @mercer

@mercer I bought the 35mm f2, 55mm f1.8, 105mm f2.5 and hopefully I find a 85mm f1.9. One thing I like about the Takumar’s is the uniformity in the rendering. They all look like paintings. Fun fact : the CEO of Asahi Optic’s brother was a painter and was a source of inspiration for him 

13 hours ago, TheRenaissanceMan said:

This is exactly what made me finally take the plunge on my Leicas. It made more sense to have one premium set of lenses vs a hodgepodge, even if it was a lovable hodgepodge. It's made life a lot simpler, since I'm not always sifting through the pile deciding what to use: just pick my focal length and go. 

So I applaud the thinking. Keep your set streamlined. Unfortunately, I don't have any insight on the lens in question. What few samples I can find look good, but who knows. Some Canon FDs I've used had issues with purple gunk, so keep an eye out.

EDIT: In my experience, the FD L lenses do color match with Canon's newer stuff, which is helpful. And a 20-35 sounds like an IDEAL lens for shooting in cars. Nice all rounder for close quarters.

I like @mercer own way too many lenses myself and I am currently downsizing as well. I find it important to build a lens “family” vs a mismash of lenses. I own a set of Nikkor Pre AI era lenses that all have similar image rendering too each other which leads to a sense of uniformity in my images. The same with my voigtlander set which sadly I am getting rid of cause of the cost to value aint adding up in comparison to my Asahi Super Takumar set which is much cheaper, better rendering, and are roughly as sharp. Point is building a uniform set is important. If you buy one Canon L the rest of the focal lengths you buy should be Canon L as well for example. Like you said life is a lot simpler when you can just pick a focal length and go

@Mattias Burling @Cinegain Thanks guys ! I now have my eye on a mir 35mm f2 and a helios 58mm ?the zeiss jena 20mm f2.8 sounds tempting as well

Im very interested in seeing what you come with  !! A short on the agony of dying sounds kinda cool im already seeing some high contrast shots in my head ! You ever try using ACES ? I’ve been playing with it with my Canon 5D raw footage. It seems to be a sure fire way to make sure your content is good to go for hdr and rec2020 spec @Axel

im interested in some m42 glass for my Canon 5d mark iii. Any standout m42 lenses you guys can reccomend ?