PannySVHS

100 mbit sounds perfect for what it is. Might be the GH4 sensor, readout and additional crop. Not bad. Kinda thrilled by that little cube. No gas in 2024, even moreso no corny gas. Sorry for the depreciative wording. Just sounds too cool to resist. 😂  I love the fact that you put this little oddity to use and put it on the table. Fascinating nerd gem from the recent past. Perfect camera to observe on this lovely forum imho. So big thanks to you! @homestar_kevin

Coolest thing is a well lit set making many cameras look good. Some ooc looks are still lackluster. I found the G6 had to be graded, no matter what. But what 709 beauty it revealed. It was only after some grading tricks that I built into a powergrade and later into my first own worthwhile lut creation. We should or could do an 8bit ooc challenge. But noone has been liking a challenge for years now:(

There's a name for this already, which I've heard on occasion in videos.  IIRC it is "Hollywood" - ie, "we grabbed a few runners and just Hollywooded the lights because we had to shoot quickly as the sun set".

https://www.cined.com/camera-foundry-cineback-for-sony-fx3-and-fx30-launched/
We're making cameras smaller, just to make them bigger again. 

It's definitely a super brittle codec/bit rate combo. There is little to no leeway with the files. There is a hack to bump the bitrate to 100 mbps but I have never done that. The good things about the light codec is a 256 microSD card will record for hours and hours. 

The LCD is a whopping 320 x 240 rear screen. Not entirely useless, but a good way there.

The thing that's really helpful is it connects to your mobile phone with an app like a gopro would that allows you to monitor remotely, change settings and modes, as well as trigger recording. 

Awful in my line of work as any change/changes mid scene is near impossible to overcome in post. Just a headache.
But otherwise yes, fixed WB of ‘5500’ works nicely and is my go to (not 5600) as it’s the recommendation for the conversion LUT I use.
I also meant 4500 indoors not 4000, so 4500 and 5500 are my two programmed default options.

@homestar_kevin 60mbps is not really oozing confidence. The 100mbps Pana codec for 8bit 4k is pretty good, emphasize on pretty. Where is the monitor on this tiny toothpick?:) I love the size.

Being a hybrid wedding/event shooter, I don’t have the time to be setting WB every single scene so it’s 5600 outdoor and 4000 in and adjust in post if needs be.
Otherwise indeed trying to get as much SOOC internally as possible.
Works for me.
I shoot log these days/this last year, but no issues with shooting a flat profile and do so for all low light/after dark stuff.

Hopefully it’s reasonably priced!  While the ZF looks tempting I am not loving it ergonomically. I want a more utilitarian design personally. 

Shoot 60p, edit on a 24p timeline, colour grade on a 24p timeline, do sound design on a 24p timeline, do VFX / titles on a 24p timeline, then when you're finished, copy all the objects on the timeline to a 60p timeline and hit export!
Despite most education professionals being genuine and having the best of intentions, much of the learning happens despite the educational system rather than because of it.  Follow your own path by default, submit to their nonsense where needed, save your energy for the work, and then when you graduate go off and have the best life 🙂 

In a world where you can push and pull a camera’s image to your hearts desire, I’ve found that getting things nailed in-camera is not only under minded, it almost is becoming a lost skill. Shooting log and 10 bit made me lazy with white balance for example. I can correct it in Davinci Resolve to such a great extent that I don’t worry about nailing it on set. 
 
Let’s chat about tips regarding nailing things in camera. A lost art if you will. It’s something I’m trying to get better at. I shoot more and more in 8-bit internal on my NikonZ6 because of the convenience of internal recording. But I have to really nail my exposure and white balance to have a pleasant grading experience. 
 
Here’s my question:  what’s a good method to quickly dial in white balance that is as accurate as possible, when in a run and gun mixed lighting environment?  And you are stuck with 8 bit colors too. And you are doing it by kelvin only. I don’t find myself shipping custom white balancing very often during run and gun. 

@homestar_kevin 60mbps is not really oozing confidence. The 100mbps Pana codec for 8bit 4k is pretty good, emphasize on pretty. Where is the monitor on this tiny toothpick?:) I love the size.

Speaking of lenses, the size of the camera body is only part of the equation.
The smallest lenses I have include...
Olympus 15mm F8 Body Cap
Tiny lens, tack-sharp, has all the advantages of a fixed-focus manual prime.  Only downsides are the focusing lever can easily get bumped, and F8 is sloooooow
  Panasonic 14mm F2.5
Fast, sharp, small.  A favourite for a reason!
  Laowa 7.5mm F2.0
Thin but potentially getting too long for convenience / pocketability.
Fast and sharp, wide with zero distortion, but it's expensive.
  SLR Magic 8mm F4.0
Only one stop slower than the Laowa and not really much smaller, but hugely cheaper.  Ergonomics are crap though - it's designed for drones and the focus mechanism isn't damped, but instead has a locking screw that you have to loosen/tighten every time you want to adjust it.  But, it's so deep DoF that you could easily use it as a fixed-focus lens. Other interesting small lenses I don't have include:
7artisans Photoelectric 18mm f/6.3 UFO 7artisans Photoelectric 18mm f/6.3 Mark II Olympus M.Zuiko Digital 17mm F2.8 Pancake Panasonic Lumix G 20mm F1.7 Lumix G Vario 12-32mm F3.5-5.6 Olympus M.Zuiko Digital ED 14-42mm F3.5-5.6 EZ A batch of lenses from AstrHori have shown up on B&H, a manufacturer I've never heard of, which also look small..
AstrHori 27mm f/2.8 II AstrHori 10mm f/8 II AstrHori 14mm f/4.5 What are everyone's go-to lenses for these tiny cameras?
Or are you giving the middle finger to the lens size and just being a rockstar?


 

I recall that it was said to have shocking RS, although others chimed in at the time to say that that was only a show-stopper if you classed it or used it as an action cam, which despite its size, it wasn't.

There's definitely a few gotchas on the E1, like using microSD cards and low bitrate. It does have autofocus, but it's really not great. I tend to use it with a wide lens as a plant camera, again mainly for live theater productions where it can be hidden or discretely capturing the band or some other element we can dedicate the camera to capturing. 

I typically use it with either the olympus 9-18mm or the panasonic 14mm, often with a sony wide angle adapter on the front to get a wider image out of the 14mm.  

The size is awesome, but definitely does carry it's own set of issues, for example the camera is insane looking on a typical sized manfrotto 501 QR plate. 

Still a very worthwhile camera to have in the bag and one that can be had pretty cheap. I originally picked mine up for the $200 camera challenge we did on here a few years ago and have been using it on a few gigs a year ever since. 

I had that lens briefly just before I got the GX85. I really liked the output and usability. I liked it because it didn't seem too sharp. It seemed organic. I'd also like to try the 14-140.

For nerds they are gems. This is a forum providing plenty space for nerdom.:) Put the mft Voigtlaender 17mm on the AF100 and it sings.

I love the AF100 body. To me it's one of the coolest looking camera bodies. Gigantic eye piece iirc. I bought my F3 partially because i found the body design appealing. Internal 8bit 420 in Slog on the F3 has a lot of mojo. Hard to believe how well it grades.

That's the spirit, why I am in this forum, guys! @kye@John MatthewsWill watch the Gf3 goodness later. Thumbnail looking great already. cheers

That's the spirit, why I am in this forum, guys! @kye@John MatthewsWill watch the Gf3 goodness later. Thumbnail looking great already. cheers

This was tonights project.  Just for fun...  
 

You live in a wonderful place. Another great example of not blowing out the highlights. It almost always looks better. ...not an easy task on the GF3.
I just realized I've been saying I have a GF3 and I don't- it's a GF5! 🤪
I have some some quirky Lomography lenses (set of 3) made for MFT- they cost me a whopping 20 euros and they're total crap, but that's not the point. They also come with some filters!

I've been sick the past few days, but you're giving me desire to get out there.
 

I feel you. @kye I would love my G3 to be a G6. When I still had the GF1 it was the same obsessive wish.😊 Video is on all auto though and brittle on the G3, Gf1 only offering 1080i i think. You could try a GM1 or GM5, both sporting great HD. The 24p HD on the GM5 is stellar, just as good as the G6 with nicer color science ooc. GM5 does 50p as well. Haven't tested it yet though.

I love the AF100 body. To me it's one of the coolest looking camera bodies. Gigantic eye piece iirc. I bought my F3 partially because i found the body design appealing. Internal 8bit 420 in Slog on the F3 has a lot of mojo. Hard to believe how well it grades.

Use your nano flash. It was used on one of the best martial arts films of the last decade. AF100 at its best. AF 100 spits out 8bit 422 only afaik, AF100A supposely 9bit. CineD would  already be tuned to sensors max dynamic range. That camera has mojo for sure. Friend of mine is doing some magical stuff with it. That coming from a nerds perspective of course. Established camera pros in the narrative field don't talk this kinda talk, as they don't have time or interest in debating 8bit niche cameras of the past. But I always love to. Internal Cinealta F3 might smoke external AF100 though in tech specs and quality but AF certainly has its own mojo beyond that.