mercer

Thanks for sharing this. And yeah, this is amazing! The filmmaker really made great choices in that film. And I cannot believe he shot that in ProRes LT onto SD cards. He may have just single handedly restored my faith in this camera.

Yeah that’s actually what’s interesting about the SMC “K” versions... they’re the same lenses as the Takumars but in a K mount and they didn’t use Thorium glass, so the glass won’t yellow. The 28mm f/2 and your Takumar should match nicely. Two legendary lenses. If you pick up the Tak 85mm 1.8 or 1.9 or the 105mm... you’ll have a nice little set. The Fotodiox Pro M42 to EF adapters are really solid. So you can stack on your Viltrox.

Thanks @kye !!! I am going for this “look” due to the film I’m working on. Great tips for Resolve... of course some of it was Greek to me, but I will look into this. The JM method required a lot of nodes and transfers from Linear to Log. Since ML Raw is linear, IDK if that method helped with that shot or not. Prepare yourself for a PM, if you don’t mind?

Yeah, I have like two tricks so I can make most footage look either way with any NLE... skillz. But seriously, I am just trying some different things. I prefer coloring in FCPX, I think the curves are smoother but I think I prefer processing the footage through Resolve better than MLV App. MLV App is just too slow. I wish I could get the LogC curve in Resolve. My next test is to use the CST that Juan Melara uses in Resolve. I tested it once a while back and with just a simple LogC to Rec709 LUT and an S-Curve I came up with this... That was shot with either the Canon 24-70mm f/4 or the 35mm f/2... I forget.

That is pretty cool but according to their spec sheet, it only does ProRes at UHD 50p, 60p... weird.

Did you get the Pentax-M or just plain old SMC Pentax?

Sweet!!! Get yourself the SMC Pentax K 50mm 1.4 to go with it... a nice lens as well. Yeah, I shot that wide open at f/2. I think you’re probably right on both accounts. He was moving and I added zero sharpening. ML Raw doesn’t have any Sharpening and I forgot to add some default. The one thing I do miss is the Midtone Detail function in Resolve which adds a little crunch to skin and takes away that smoothness but for a wide open, fast Nikkor ai-s lens, I was surprised by how sharp it is. I’m in the process of putting together a teaser for my film. So stay tuned for a moving image.

Haha, no I thought you may have thought that. @Matt Kieley ‘s video looks great! I was going to ask him if he was planning on getting the P4K, then after watching the video, I was going to ask him not to get it because what he’s doing with the Pocket and Micro is just too good to change. Gotcha, my dad used to say that as well when I worked with him. Thanks, BTW... I’m trying a simpler workflow in FCPX with a camera LUT and just some curves.

Well... I thought it looked pretty good until you posted that...

So, I was able to get my lead actor to sit through another one of my lens tests. This is the Nikkor 24mm f/2...

Very cool... I wish something like this was available for the Micro.

@thebrothersthre3 thanks! And thanks again for posting that the first time I asked a couple months ago... sorry I forgot. Was that shot in the actual 2K setting or 1080p? And I forget... was that F-Log?

Wow they give you a lot of information... was that in the manual or do they have a white page published somewhere? Shit they even give you where 80% zebras hit... which I assume is an important zebra setting if they’re including it in this graphic. Has anyone tried to ETTR skin tones at 80% zebra level and then let everything else fall where it may? Can you assign FC to a function button and toggle it on and off? How about while recording?

Does anyone know where skintones should sit on the BMD Film curve? As long as you know that, you can use false color and either hit them dead on or go up a stop or so? But it sounds like a 2 iso camera and that’s how I would treat it. I think, @BTM_Pix burns in his LUTS, so I imagine he is hitting his exposure dead on. How’s the noise?

I just watched a bunch of great comparison videos between the X-T3 vs P4K by @jsfilmz and although popular opinion gave the win to the P4K, I really must say I thought the X-T3 won and when you consider the specs, it probably shouldn’t have. I am more and more intrigued with this camera with every passing day as a great hybrid second camera for me. I also love that it shoots actual 2K... can anyone confirm the quality? I don’t know if this has been posted but I think it’s a real nice example of a different look you can get with F-Log...

Canon is now the highest seller in the mirrorless market and the DSLR market... I think they’ll be fine.

Okay, sorry... let me rephrase... how much information was there in the highlights as you ETTR’d... did you notice if a channel was clipping sooner than another channel?

No doubt, I’m definitely in the former category. But I think the OP made some valid points in his video and backed it up with video. The X-T3 could not handle the lowlight as well as the 6D Mark ii did. And with a low DR shot like that night exterior, 4K adds nothing to the equation.

How is it? I’ve been salivating over Scarlet-X videos lately.

Very cool! What lens is that?

How’s the rolloff seem on the scopes at 100 iso?

And I think that’s my point. On a video forum, some of the users don’t even realize what people use in the real world to make money. Go to IG and search any camera a lot of people here would scoff at to get a rude awakening. But I think this is more a video gear forum.

I don’t know... there are probably more photographers and videographers making money with a 6Dii than there are with an X-T3. The internet can be so vast... and such a bubble at the same time.

Any ProRes updates or videos popping up?

I thought ISO worked the same in the P4K as it does with the Pocket/Micro... you’re taking a DR/noise hit when you stray away from the native ISO? I believe that is why the OG Pocket originally used ASA instead of ISO. Obviously, you can use ISO to expose, but aperture, NDs and light has kinda been the go to method for exposing on cinema cameras since forever. In the P4Ks case, the Dual ISO feature was so exciting at the announcement because the OG Pocket only had a single ISO that was usable... 800. And since the P4K’s native ISOs are 400 and 3200, the camera instantly became a goodlight and lowlight camera where you could use less ND filtration and less light than the Pocket needed. With that being said, times change and if you’re not noticing that much of a hit in noise/DR/saturation, then that’s good news!