Geoff CB

Voigtlander 40mm with Promist filter. Really is an incredible image for the form factor. 

2 hours ago, kye said:

Great looking setup!

I'm curious how much you use the colour part of the colour wheels in comparison to the levels (rings) of the wheels?

I have the Beatstep mod and it gives the levels for LGG as dials, which is awesome, and it occurs to me that I generally don't use the LGG colour controls that much, but I'm wondering if it's just that the convenience (or lack of it due to no 2d controllers) has prevented me from using them, or if it's something else.

I'm rarely called to adjust the colour of various luma ranges differently to others, so using temp/tint seems to work for me.

Of course, I'm still just getting used to the LGG levels and have only recently realised how good they are for grading footage - so much more powerful than I thought they'd be considering how simple they are.

Use the color adjustments mainly for creative project.  For day to day editing what I use the most is hitting offset and I can adjust the white balance with the left wheel, tint with center wheel, and the exposure with the right. I use that adjustment constantly. 

Have the stream deck setup to create new color nodes and for switchin between editing/color/fairlight/deliver pages.  

My desk setup.

Love hard buttons and jog/shuttle shuttle wheels for edit and the color wheels being physical. Just makes editing and grading more fun for me. 

For those considering I would AT LEAST get a jog wheel, so nice to go through the timeline with it and very hard when I'm on another computer without one. 

22 minutes ago, herein2020 said:

Do you get an x pattern at the stronger end? I have a Tiffen variable ND which is great at the weaker end but it produces a very faint x pattern at the strongest end...what's worse is it is too faint to see in the back screen so I don't even know it's there until I start editing.

It can result in an X if you push it past max. The filter does not have hard stops on either end of the ND range.

Prefer the internal ND of any pro camera, for obvious usability reasons. 

Hope it comes in and undercuts everything at $1500.

Also would kill for the option for true 24p, no full frame has it under 3 grand.

32 minutes ago, photographer-at-large said:

Vazen 85mm T2.8 1.8x anamorphic lens covers GFX:

 

Who cares what it looks like on the camera? I want to see an image from that combo.

Voigtlander 40mm f2 on Panasonic S1

1 hour ago, Jeremy Clark said:

Looks like it doesn't come in 72 MM though unfortunately 😞

I would get a 77mm or 82mm filter anyway and use step up filters. A lot of big modern glass is in those filter sizes.

I have this one https://www.adorama.com/hykvc77.html. Great image quality with no color cast for me. A bit difficult to get used to at first because you can adjust the circular polarizer on it as well but I haven't found anything with as good image quality as it produces. 

Willing to bet they added glow/had a filter to smooth the skin tones and dropped the exposure on all the greens. Bottom shot definitely added a mask to the main character and dropped the exposure on the entire background. 

Additional one where I lowered the contrast in the background.

17 minutes ago, kye said:

 

If you upload at a higher resolution then that resolution will have a higher bitrate, but the other resolutions don't.

That's actually not true, if you upload in 4K youtube uses a different compression method for 1080p as well (VP9 vs H264) making it look much better. 

9 minutes ago, aaa123jc said:

I will be filming a very short (only a few minutes) documentary next week. And this is actually my first time shooting a documentary. 

Since I now own a Sony FS5, I am thinking should I shoot raw for this project? I had never considered using raw before for my event works, but it seems like this project requires something more serious than especially the internal codec. Yet, I also believe you can't change settings like white balance and iso when using ProRes Raw, so I don't really see the point of shooting raw except for the 12bit color. 

Normally, I edit and color grade with DaVinci Resolve and I think the software doesn't support ProRes Raw. I can use Premiere or Final Cut Pro though. 

I would like to shoot 4K (UHD) 50P so I will be renting an Atomos Shogun Inferno anyway. I want to crop in (perhaps quite heavily) during the interview and shoot some slow motion for b rolls.

Is ProRes 422 enough for these applications, or is ProRaw going to give me an edge in terms of image quality and grading headroom? 

Thank you. 

 

Is your client asking for 4K high bit depth delivery?

If not I would NOT ad the variables of the external recorder and RAW that you've never shot with on top of you shooting for the day.  If you do go that route give yourself 2 days to get used to the setup and editing it before shooting. 

1 minute ago, MicahMahaffey said:

If this is cheaper than the s1 then they really should add a firmware upgrade to the s1 to give it all the recording options like 4k animorphic 24p. 

4k 60fps 10bit 420. 

And have VLOG be free.

 

The Panasonic s1 isnt that old and as someone who literally went all in on an s1 last week specifically for video this announcement is kinda worrying me.. will the s1 suffer a price drop? Did I just get ripped off? Or depending on the new cameras price, will the s1 get an update to match specs? 

 

This is my first time using panasonic as I've switched over from sony so I'm not too sure how they handle these things as a company. 

I honestly would return it if you can. You can just repurchase it if the S5 isn't better. 

4 hours ago, MrSMW said:

1080 to Vimeo and they download from there at whatever options are available/they choose.

This is what I have been doing recently, clients really like it because they can watch and download in one spot. Also it's doesn't take up space like dropbox/google drive or expire like wetransfer.

My usual process:
1) Export a DNxHR 12-bit 4:4:4 file  in Resolve
2) Handbrake to create a H265 10-bit 4:4:4 file that I set on slow render speed for very high quality at a lower bitrate
3) Upload to Vimeo

If I have a DCP delivery for a short film/trailer I use the DNxHR file and run it through DCP-O-MATIC.

Of course some clients I know don't care about resolution or image quality that much, for that I just export using the Vimeo preset in Resolve. 

17 minutes ago, Daai said:

just you also get banding with slog2. and youtube is 8 bit so banding anyway?

You loose color information in log images in 8-bit codecs. The more DR here you are trying to accomplish the worse it will look. S log2 is really the limit for 8-bit and even then sometimes that's pushing it.

8 minutes ago, Clément Gabriel Jolivet said:

Yes, gyroscope data seems to be asked for by VFX guys (from what i understand this could be useful to simplify tracking - less motion blur & a way to stabilize footage, composite, then i guess remove it if shaky cam is needed after ?).

The way i understand it, Active mode uses the gyro data in camera, so, without the ability to tweak it in post, it should be working with any lenses (manual, vintage, ...) which is great.

I've heard in a video that E-mount zoom lenses could be controlled via the A7siii screen to do zoom movement "electronically", without touching the barrel of the lens, anybody has some footage of this feature ? I'd be interested to give it a look.

Now, I'd like to know which standard lens (zoom or not, Sony native or not) is the best overall for autofocus video, lowlight, speed, etc...I'd be ok going with the FE 35mm 1.8 but i don't know how it performs. I hope someone would do a serious comparison for the enhanced AF of the A7SIII with 28-75mm range in Sony, Tamron & Sigma with the latest firmware, etc...And if anybody has some feedback or content to share, thanks !

 

 

 

When I had the A7III the AF on the Tamron 28-75 was absolutely excellent. 

I've pretty much decided to buy this camera over the holidays or next spring. Unless Nikon REALLY knocks it out of the park on it's next release. 

Thankfully it's on a solid color. Select the red of the shirt with a qualifier and use a little blur and it should reduce it.

3 minutes ago, zerocool22 said:

Yeah the problem with this is you need to use a different software. I dont like cutting, exporting, importing, stabilizing, exporting, importing for 100 clips.

If they would create a resolve plugin it might be a different story.

Yeah they really need this integrated in resolve and premiere. 

Very few mirrorless cameras are sold to shoot a feature on, and if they are they are NOT the main audience and buyer for these cameras. DSLR's are being bought buy one man bands, or as gimbal cameras, or for people to take photos/video (Weddings/concerts/music videos) All of those situations benefit from AF. 

Also these camera's do not exist in a vacuum, all the other brands now have decent video AF.

10 hours ago, kye said:

"Tag Team, back again
Check it to wreck it, let's begin"

Just as predicted by Tag Team in their 1993 epic hit "Whoomp! There it is!" about recording in 8-bit with LOG profiles, I'm back with the XC10 footage, getting wrecked once more.

Take this delightful image of a cluster of lovely buildings on the Cinque de Terra in Italy:

As you can see, the combination of an overcast day and the C-Log profile makes for a pretty flat image:

So, we adjust WB, levels and some saturation, and get this lovely starting point:

Problem is, look at the noise!

Perhaps our 8-bit file doesn't do a good job with a log profile - let's look at the vectorscope:

Yes.  This is real.  

We talk about colour density and thickness of image....   well, this isn't it.

Luckily, Resolve is the love child of a Swiss Army Knife, a tank, and Monet, so with a little Temporal NR and a touch of sharpening, we can pull this phoenix out of the ashes.

Now look:

Obviously I have more work to do on this shot - a lot in fact - but I'm learning.

Grading with this camera is a learning experience, I just wish it wasn't like being pushed into the deep end at gun-point.

That codec is really hurting it. Especially in a scene like this. Had fun and pushing it around though.

37 minutes ago, sev7en said:

Ciao Geoff, I guess I need a tripod because shooting with the Rokinon without autofocus it is not easy to keep it steady. Maybe a gimbal could be useful to add some stop to the NX1's IBIS?

Only you can know that, which one you would prefer. Having a great tripod is very important with the NX1 if shooting 4K.

I will say if you don't own the 16-50 f2-2.8, GET IT, that lens is magic on the NX1. Very well stabilized, sharp, and excellent AF. Still miss using that lens to this day. I would recommend that over buying a gimbal for handheld work. 

As other's have said, unless you HAVE to upgrade your camera or you need a lens to cover a range your missing concentrate on grip gear. Tripod, lighting, audio.  

1) A reflector kit with diffuser/bounce.

2) Aperture 300D to simulate the sun.  

4 minutes ago, PannySVHS said:

Exactely. They should give the S1 the update for free. Plus th 200mbit 10bit in 4K60. Anything else makes me rather want to sell the S1. Even moreso, if the HD out of the S5 is perfect like it is from the GH5.

For the S5, no 24p mode in 10bit in the rumored spec list.

 

 

Oh god if they give it 4K 60p but not 4K 24p that would be awful.  

10 minutes ago, fuzzynormal said:

I rarely use auto-focus.  I am curious though, for those that seem to prioritize it as a needed spec before buying a camera body, why exactly?  What are you doing so often that it's invaluable to you?  This isn't snark, I just don't shoot in way where I feel I need it, so I'd like to know why it moves the needle for others. 

Is it vlogging?

It's vlogging, isn't it? 

For me it's photography. I need a hybrid camera to  have great AF for photography  work. The S1 is NOT good enough for low light photography needs. 

For video it is far less important for me.