docmoore

It's an interesting strategy to say the least because it means video shooters end up buying two bodies.

Like I said in the article, you can't put them in the function menu or on a custom button... so you would have to assign them to one of the mode dial "memory modes" instead, but problem I find using those is that it also saves preset shutter speed, aperture, white balance, etc. so you could have exposed one way in Movie mode then gone to memory mode and have it all nicely fucked up for you.

​Cheers! I altered the SLOG2 profile a little according to Kholi's recipe, then used Sony SLOG 2 > SLOG2_Fuji Pro 400_FC.cube file. I always tend to use the FC versions of the LUTS.

Sony F35 with ultra prime lenses .

Until then, you gotta make it look good for a 5' (12 cm) display.  That's the future of people watching films.  On their little iphone and android phone (which I think look better in contrast and color than most consumer Televisions).

​

It's also sad people who love to form an opinion on others without understanding my "strong mouth" point as you say.....  If you've ever had to light a large space, you would understand the benefit of being able to have a camera that is sensitive to light. The difference of 10 lights to 5 is huge on budget. Those extra 5 lights cost more, require additional space + additional wattage to push. Having a camera that is able to combat this is huge + you're able to choose your dof as well.

Using a smaller sensor / low iso camera such as the DB16 you are also forced to basically shoot with all of your lenses wide open or you you would have to require even more light to shoot around F/5.6 - F/8 and get good exposure in a dark environment. A Canon C100, C300, Sony A7s, Fs7, F55, etc you could shoot around F/8 and easily push your iso to 3200 and basically still have a very nice looking image if you chose to have a deeper dof.

 

Iso is also very important as the higher you go you lose color/dynamic range, so if I'm constantly having to shoot my camera at the max iso then I am losing quality..... I can go on and hopefully some people can understand my "strong mouth" comes from being placed in the worst situations and how having better cameras has allowed us to work better/more efficiently. In 2015 and moving forward one of the most important features of a camera is it's noise floor/dynamic range in my honest opinion. DB16 has a great Kodak sensor that can deliver amazing colors, global shutter for film like motion, professional audio and a plethora of other great specs, but my problem with the camera is the reason why I simply haven't hopped on board....... Noise , Iso and partially sensor size

 

Problem with the DB16 is noise/iso ,simply unacceptable in 2015 for a camera to not be able to go above 800 iso.

This is a very specialized camera that came out a couple of years too late and overpriced.....

​I forgot about the CCD.  I was always fixated on the Digital Bolex's global shutter.  It's been so long since I've taken a hard look at that camera.  What you say makes sense.  It is unique.

 

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Oh, you were interested in the monochrome.  I think it is just too niche.  I shoot, develop, and print my own black and white analog photographic film and I am not a fan of black and white movies.  I don't know why.  As much as I love black and white prints I really can't stand black and white movies.  I watch them because the story and acting is good but I merely tolerate the black and white aspect.  Technologically though I do understand the benefit of a B&W sensor versus a traditional Bayer.  I've wondered why B&W DSLRs aren't more popular.  B&W pictures are used somewhat commercially.  Considering the thousands people spend on lenses they could spend a fraction of that on a B&W sensor and pick up a lot more resolution and tonality.  Again though... maybe it is too niche.

it's a pretty specific niche camera, but of course it's interesting. can you post footage you've seen?

Blackmagic Micro Cinema Camera does 30p global shutter and active M43 mount for $995.  $1,500 with monitor.  Why would anyone pay $2,999 for a dumb mount camera?  Besides XLR inputs what does the Digital Bolex have the BMMCC doesn't?  Honest question.  Why the $1,500 premium for a dumb mount?

 

Oh, hold on you are talking about the micro four thirds mount Digital Bolex.  That thing is $3,699!  I think these guys missed their opportunity.  I guess we have to see what the image from the BMMCC is like.  If it is comparable to the Digital Bolex then they are toast.

No offence Bob, but the subject is a tree. I think most people have been complaining about skin tones?

The only bad thing about the A7S's colour is people's limited grading skills

Hi all!  I've been following this forum for almost a year now, so I thought I'd finally jump in and join discussions!  Glad to be a part of the great community here.

I've been an owner of an a7s for about 3 weeks now, and I'm loving everything about it, from low light abilities to its dynamic range (8-bit or not).  There's just one big deal breaker that has me ready to sell it to a potential buyer tomorrow on craigslist: the colors from the camera.  To be frank, I despise the color rendition.  I've taken great measures to ensure that white balance is on point with my scenes, and that my exposure reflects what has produced great results for others online.  Even still, I find that color accuracy is just plain off, usually containing too much red/yellow, and other times just plain iffy.

So do I throw in the towel, or do I keep this amazing camera and subscribe to Color Grading Central and continue to get my color correction/grading skills up?
Thanks again guys!

 

​It's a storm in a yorkshire teacup!

It goes without saying bullying and fist fighting are unacceptable. You're absolutely right, if the producer had hit Clarkson he would be dead and buried. Career over.

But if the Queen smacks Prince Philip in the mouth if he hasn't cooked he goose properly, you don't throw out the entire royal family.

He's not the pope. He's not an Ambassador for Good Manners. Clarkson's responsibility to us is to entertain us, not morally reinforce our values.

He should absolutely 100% apologise to his producer, take him out for a lunch and have a hug in front of the cameras on the next episode as well.

It really should be that simple. Otherwise, he will be off to Sky like half the BBC F1 team. Jobs will go. Extreme Facilities supply Top Gear with GH2 / GH4 drones for example and their contract is with the BBC. Sad to kill such a consistently creative and popular show over a bit of bad behaviour.

If Clarkson is not bigger than the show, as the BBC claim, then pulling the show because of Clarkson implies the opposite.

Also I was really looking forward to the Ferrari vs McLaren vs Audi shootout

I'm not even a petrol head. I like the humour. I like the bravado and the journeys. It's a travel adventure and spectacularly filmed in parts.

Of course some of the blog post is speculation, none of us are truly a first party to what went on. We get our info through the papers and the internet. Therefore we have to remember that there's a whole section of the left wing political spectrum out to get Clarkson because he's a buddy of Cameron. Most of the earlier Top Gear controversies were hyped in just the same way, in order to damage Clarkson and Cameron's popularity with the public. In some ways, Clarkson actually doesn't deserve the reputation of oaf. In real life I expect he's a caring dad. He's playing it up for the cameras in the same way an actor would play a character. At this rate we'll be hanging Eastenders characters in the street when they murder someone! Occasionally a flippant remark will be attributed to him rather than to the script. Nobody is going to be pitch perfect over a thousand hours of scripted television especially when it's also improvised on top of that. You are going to have a joke go wrong or cross a line or go creatively wrong and it's simply unreasonable for the BBC to have no tolerance and to pander to every person who might be offended because they claim "Clarkson's a racist dickhead". That isn't a sustainable way to run a broadcaster. They had 150,000 complaints over the way a dog was handled on Crufts! A bloody dog show!! Looking at the numbers, you have to say Crufts is cruel and should be taken off the air. At this rate the BBC will have a lot of empty spaces in their schedules....

​Thanks man.  I agree.  Lets see what happens:)