Adept

Any excuse to pick it up again !
Here are variants of the Portrait with the different Tone settings.

PORTRAIT - NO TONE

PORTRAIT - AUTO TONE (MILD)

PORTRAIT - AUTO TONE (STRONG)

PORTRAIT - AUTO TONE (MANUAL)
With the manual one, I'd set quite a big boost in the shadows and the highlights and you can see here I was able to pull everything back even on a jpeg into something sensible.

PORTRAIT - AUTO TONE (MANUAL) - GRADED
One of the good things about the Colour and Tone functions of the camera is that they are both on dedicated buttons on the camera so you don't have to dive through menus to get to them which makes it easy to quickly tweak the curve for a shot.

Desperate for any excuse to actually use my fP again, I've just gone outside to shoot this very quick, non-scientific and, indeed, slightly not focused on the ColorChecker test to show you the different profiles.
I actually quite like the Portrait one as a flatter profile myself.
STANDARD
VIDID
NEUTRAL
PORTRAIT
LANDSCAPE
CINE
TEAL&ORANGE
SUNSET RED
FOVEON CLASSIC GREEN
FOVEON CLASSIC BLUE
FOVEON CLASSIC YELLOW
MONO

I read your article right before a Zoom meeting so I gave it a go and it connected just fine, but there are some caveats which I imagine may apply to other clients like Twitch as well. First the autofocus is quite atrocious and that alone limits its use as a webcam, probably for most people. With the 45mm Art it really struggled to track my face and I can't always be close enough to adjust it manually. Also once connected all the camera settings are locked. You have to disconnect the USB to change anything. On the 45mm I could at least change the aperture and toggle AF/MF using the lens controls so hopefully the lock on the camera side can be removed in a firmware update. My take on it is it's great in terms of plug&play--if nothing else then as a proof of concept, but not quite there yet in overall user experience. 

New blog post - read it here

NEW BLOG POST!

Yes its the small rig cage, I'm happy with it
I allows me to connect to the smallrig focus oled.
 

Taking a deep breath.
Nikon 16-35 F4G on the Sony F3
 

Some time ago I accidentally bought this bad boy...

It's a Cine-NIKKOR-C 13mm F1.9 Nipon Kogaku Japan D-Mount cine lens.  It's pictured above sitting on the hot-shoe of my GH5 for scale.
Ironically, with all the lenses I've bought thus far, it's the only Cine lens I own, and it's the only lens I own that I haven't ever used - I have no idea what its images look like.  I've hatched several plans to mount it and see what it's like but I've never actually carried any of them through.  
This thread is to kind-of publicly shame myself into actually doing something about this, but I thought it might be of interest to others as well, as I kind of see D-mount lenses as maybe being the most under-utilised vintage lens mount system, especially considering they were all cine lenses.  Of course, I'm under no illusions that these will be the best lenses ever, but they must have been pretty good - even 8mm film was still film, after all.
Anyone else interested in D-Mount lenses?  anyone shoot with them?

No, it's linear RAW, just like Nikon Z6. It will be interesting to see how Panasonic handled all processing things. Supposedly it should be a stream without any processing applied, which S1H log internal does quote a lot to give you clean shadows, etc. It is mostly apparent when I compared S1H to Z6 RAW - they both share the same sensor. As Panasonic does full sensor readout, this should be without some artifacts found on Z6 image. Currently I work on Z6 raw differently than suggested by all these tutorials. I open them in Assimilate Scratch, interpret as Rec2020 gamut and assign Arri Log C gamma, then output with additional converting step to Arri wide gamut. The resulting prores log files are very close to Alexa in color, which was very difficult to achieve when working on Nikon log files. It will be interesting to see how S1H raw behaves in this regard.

Obviously Canon made improvements, they couldn't be as bad as they were. Just look at this quick test I made between my two camera bodies (Canon EOS R and Panasonic S1H).
Same settings (except I had to put iso 400 on eos r and iso 640 in S1h as I was shooting Log and compensate with aperture), same scene, 30 seconds apart.
Guess wich is wich. Easy to spot the bad highlights handling right? 😅
So much room in the highlights with the S1H compared to the Canon EOS R !! I really hope the R5 (or R6) would do better than this cause I'm very interested in it. DR will be the main selling point for me as I know the AF, the colors, the handling would be great. I just want improved DR and maybe I'd consider it over my S1H for video, to complement my EOS R wich serves me so well for stills.
 

Hello (and sorry for my english). I am waiting to see some examples of the new GH5s version of the Ghalex lut, but in the meantime I tried to use the official Arri Log to Rec709 Lut included in Davinci and I have found that it works really good as a starting point. I haven´t done any color space conversion, just applied the lut, and I like the colors much more than with the Vlog to rec709 from Panasonic (that I think Panasonic should  have developed specifically for each camera model colour science). Then a few tweaks in exposure, wb and contrast, and finally another lut (a 709 Kodak Vision from Impulz) and grain to get this result with direct sunlight mostly, the worst situation for the gh5s highlights rollof capabilities. I´m very happy with this first test.
 

Quarantine boredom hits, so I decided to experiment with some things...
 
What do you guys think about these frames? 
 
Cheers!

The V4 email should be out to everyone; if you haven't received it please let me know. A month ago, my father was diagnosed with advanced colon cancer at the same time that the virus situation was taking off, and life was thrown into disarray. March is colon cancer awareness month, and we are aware now (get screened every 10 years, starting at 50)
The GH5S is, at last, supported. V4:
 
Emotive Color Component ('EC709')
- Remade in 'HDR', preserving intense values (exceeding 0.0-1.0), that are incorporated into final Rec709 envelope
- Using the new engine, Arri Rec709 primaries are recreated at lower saturation, while 'projecting' this primary behavior to HDR gamut extents (beyond Arri Rec709 gamut clipping)
- Raised highlight ceiling for Main (average between Soft and Linear)
- Significantly refined saturation envelope for Main and Linear (& Soft, to a lesser extent)
 
Core LogC
- Remade with new engine (Incorporates initial baseline HSL conform)
- Fixed chart scan error that added 1/18th incorrect neighboring sample value to each sample average (hidden mistake in my very earliest code)
   (Corrects for persistent slight inaccuracies despite multipass, such as magenta bias of shadow skin tone in Tungsten)
- Fully linearized highlight rolloff (true to LogC) with maximal detail retention (effective highlight DR increase)
- New smoothing algorithm (incorporated into engine) - 12 passes, combining two hue-aware algorithms for new smoothness standard while preserving hue lines
- Most extreme gamut is now directly measured and preserved (i.e. colored Leds in night environments)
 
Misc.
- Added Exposure Compensation [PRE]s - actual exposure color conversions for use ahead of the conversion (interpolated from sample data, incorporating rolloff)
- Added Auto Black Level POSTs - for use following the conversion; quickly conform black level in any NLE 
   (No accompanying relative hue/saturation distortion whatsoever, unlike standard luma tools)
- Remade all PREs with new engine, taking new NLE measurements to accommodate NLE profile rendition shifts since original release
- Direct monitoring variations included for HLG and Cine-D, and VLog external monitoring variation (includes levels fix)
- Rewrite of Pdf (for Gen.4)
- Direct FCPX support added (with distinct PREs and Pdf)
- Significantly more efficient file sizes
- 16 bit Gradient Chart included to test smoothness of theoretical & far gamut, and reveal pipeline banding issues
- Each file is now unique to its owner at coordinate level

 

A little vignette I fiilmed last week with the beautiful Canon FD 20mm and the awesome Vivitar 90mm macro lens plus 50mm 1.4 SSC for the slomo at the end.
First shot is in BW and colored in Davinci, filmed with GX85. Arrow shots at sunset between 12800 and 25600 ISO, which worked impressively well in 4K, not so well in slomo of course. I am very, very impressed by this camera. Battery life is good. With two original batteries one should be happy for the day. Sorry for the sound quality and lack of sounddesign. All shot in L monochrom and portrait with manual color temperature, 8bit 4k and 125fps HD at the end. High shutter speed for the fans of motion cadence. cheers
 

Hey Guys,

Since starting in this forum I progressed from the GX80 to buying a Pocket 4k which I use for all documentary shoots and trying to built a showreel. 
Meanwhile, the non rigged out GX80 is way easier to take on trips and fun shoots and I still think it is one of the most underrated cameras in terms of price/performance.

For the last trip to Loen in Norway (where a rock falling into the lake caused a 70m wave extinguishing to villages in early 1900), I took the gx80. Normally I shoot CINE D with all settings around -2, but this time I decided to shoot a dialed down natural, and furthermore I heard on youtube that AVCHD supposedly holds up way better to grading. So I tested it and used the internal noise reduction and grain from davinci. 

What do you think? I am quite pleased with what I can get out of the 24mbit files, even with several nodes, vignettes etc. The opinion is well established that the Full HD on the gx80 seemed to look softer than on the g85 or g7. Even the slow-mo to me looks way better than what I am used to from the 24mbit 60p in mp4. 
Way easier to edit than 4k as well and easy on the storage. 

At 250 Dollars or Euros used, often including a lens, I think this camera is still a steal, especially for people in the mft ecosystem who need a second/third camera. In my backpocket I had a tascam dr05 to record audio and a short interview with a habitant of one of those villages. 

 

Here is a Nikkor AF 28-85mm f/3.5-4.5 SLR zoom lens mounted on my X-T3,
with the basic Fotodiox adapter for Nikon F.
The lens focus is parfocal from 28mm to 85mm, with a smooth zoom ring, great for video zooms:

 
So I was surprised to find weeks later that it suddenly was not
holding its focus, it was focusing farther at wide angle (??)
At 85mm, focused manually (a screen grab cropped into the video):

 
Then zoomed out to 28mm, the focus shifted behind the subject:

 
Eventually I realized that I was using a different Fotodiox Nikon F adapter this time,
and the only difference was an aperture control ring built in for G lenses:

 
I compared the thickness of the two adapters with a small C clamp.
The G adapter was a hair shorter than the basic adapter,
and the G adapter had the lens focus going too far past infinity.
So I decided to extend the G adapter’s length a slight bit.
I removed the back of the adapter by removing four screws,
and I added a thin layer of tape to extend the adapter’s overall length:

Finding the right thickness of tape was trial and error.
Thin cardboard, too thick. Duct tape, too thick. Black masking tape worked.
Now after zooming out it is back in focus:

 
So a mounting error of the thickness of masking tape threw off the zoom’s parfocality!
How thick was this tape? I have an old caliper from my grandfather, and it measures
in 1/1,000 inch increments. (But not wide enough to measure the Nikon adapters):

The masking tape is seven thousandths of an inch thick. That's about a sixth of a millimeter.
The moral of the story: if your vintage zoom lens adapted to your mirrorless camera
appears not parfocal for video, try another brand of adapter, especially if it has infinity focus
adjustments. Apparently all it takes is a few thousandths of an inch to throw it off.
 

I pulled the trigger on the BM5 and decided i'll do a little review on it.
PROS
Very bright with a solid build quality. Colors are accurate and I love being able to load and store luts in the monitor. SDI + HDMI are also a bonus. Monitor comes with a few cables like a dtap and camera control. You will need to supply your own mounting hardware and batteries.
The False color is solid, no crazy latency issues either. The monitor is VERY sharp, so sharp you might need to dial it down. Depending on what your shooting you might not even need peaking as the perceived detail is enough to pull focus from.
I really enjoy the fact that you can do monochrome viewing + color peaking. Makes manual focus very easy. 
Use NPF/Sony L batteries = cheap and very abundant. 
CONS
There are some things that irk me about the monitor. For instance you have toggle through every view mode when using the waveform. (I only want to use the view mode when it takes up a smaller portion in the corner of the screen.)
With the focus peaking it will put the color edges around your camera screen icons which is annoying. I don't remember either of my SmallHDs doing that.
The Zebra setting has numerical values that make no sense, its not the typical 0 - 109 IRE.
The fan when set to high is pretty loud but that's to be expected with a 5 inch monitor that's 2200 nits! I leave mine set to medium speed usually.
The UI as a whole sucks compared to SmallHD's, its slower and not as intuitive. This is by far the biggest pitfall of the monitor and what keeps it from be a 5 star product.
I use it with my FS5 and A7iii. Its a fantastic monitor for outdoor viewing with the 2200 Nits. I shoot sports outdoors and a lot times under the mid day sun and I haven't had any viewing issues with it. With the FS5 I use batteries with a dtap port so I don't have to use extra NPF batteries on the back of the unit.
CONCLUSION 
Overall a very good value for $500, a good alternative if you want something more rugged than an Atomos Shinobi/Smallhd FOCUS but think the SmallHD 502B/503 ultrabright are to expensive. 

Here are a few frame grabs from the S1H with the Canon 50mm f/1.4 @ f/2.0. I didn't shoot the whole mini doc with FDs, but in some of the lower light scenes, I did use the 50mm a bit. 😊

1. Sigma fp + Lomo OKC 4-28-1 (28mm T2, Super 35mm/APS-C).
2. Working as a teacher at a design school + photographer + video maker.
3. Since this site is based in the UK, I'll list my favorite British music: Daphne Oram, Brian Eno, The Pop Group, favorite sport: boxing, with huge nods to Tyson Fury and Anthony Joshua. Otherwise, privileged that my job is my hobby and vice versa. 
4. Hopes for EOSHD: I most appreciate DIY/self-help/community mutual help coverage and discussions. The current thread on the Sigma fp (and how to work around its quirks) is a brilliant example, as is the thread on shooting RAW video on the EOS-M. My hope for the future of EOSHD is to further explore this direction. IMHO, progress in camera technology is slowing down, and we are almost "there".  (For example, a mirrorless camera with an s35 sensor, clean 6400 ISO, good IBIS, good video autofocus, good color science, good manual controls, internal 10bit log + RAW recording would basically be "it"; which means that a camera like the Fuji X-T4 is 95% "there".) At some point, it might become more exciting to max out existing, cheaply available technology, than wait for the next great camera to come out. The EOS-M with MagicLantern Raw is a brilliant example.
5. There's better food, better climate, better street manners and now even better public services (transport, health...) in other parts of the world than in the Northern European country where I live; and as the Corona crisis shows, maybe generally smarter societies. (I'm particularly thinking of high-tech Asian countries such as Taiwan and South Korea.) But what I do miss elsewhere is my local arts community, aside from living in a stable part of the world with lower political threats/risks than elsewhere.
6. Must have been in 2013 when MagicLantern's RAW video recording on the Canon EOS 50D was reported here.
 

1. Currently the GH5 and the 10-25 f1.7 (previously the Sigma 18-35 and SB). GH5S and 12-35 2.8 are gaining ground...

 
2. Scottish/European - grew up between Greece, Cyprus, London and Scotland. Lived in Spain for over 17 years. Work as freelancer video/photo. 1 wife, 1 daughter, 2 cats and presently dealing with the lockdown shit storm that's already hit businesses hard here.
3. Music: Present favourite group is All Them Witches
Also like Jimi Hendrix, The Faces, The Black Crowes, Faith No More, Rage Against The Machine, Van Morrison, Funkadelic, James Brown, Bob Marley, Love, The Stooges, Terry Reid, Naxatras, Pink Floyd, Black Sabbath, Mogwai, Spooky Tooth, Slint, Soundgarden to name a few.
Sports: Celtic FC
Hobbies: gardening in my terrace, camping, day dreaming...
4. In general the content is interesting (minus the rammies!). I hope it continues as a positive space where professionals and enthusiasts can share experiences, knowledge and opinions.
Looking forward to the GH6 as I enjoy the video centric design of the GH series along with the reduced weight and costs (although the 10-25 1.7 was pretty pricey!). A slightly more ergonomic BMPCC 4K/6K would interest me.
5. My home town is now Madrid. I miss the openness when I'm away.
6. No idea
 

1).
My current most powered up camera is the Pocket4K but I wouldn't class it as most used as its purely for the development of that project. Not that any camera is really being used at the moment due to the total lockdown we have here so I will go for the one that was the most used, which is the Sigma FP with the 7Artisans 35mm f2. Sadly even that was only briefly as I'd only had it about a week before being locked down and even that period it was only used whilst wearing a mask! 

2).
The first "real" camera I had of my own was a Nikon EM that I got new in 1979 (yes, I'm that old) which had to be replaced three months later after it was broken when I was by pulled from a crowded city centre street by a Special Branch anti-terrorist snatch squad, held face down in their car and driven at high speed to some sort of warehouse and interrogated on suspicion of taking surveillance pictures of targets for the IRA. 
I am a survivor of the Hillsborough disaster and at the official enquiry the Police presented doctored CCTV footage of me escaping from the crush to support a fictitious timeline of the events that would absolve them of any culpability.
I have some trust issues with the UK Police.
3). Indie/new wave from 77 to 85 with an honourable mention to Kraftwerk who sit outside of that genre but influenced a lot of stuff inside it.
Sport as a fan would be Liverpool FC but I've also been fortunate enough to shoot the two greatest players of the recent era (and statistically in any era) in Messi and Ronaldo and you can't help but be a fan of both when you witness it at such close quarters.
From other sports, shooting Mark Cavendish at the Tour de France when he explodes out of the pack to win stages was something special and even his sometimes "challenging" demeanour when trying to shoot him post race if he'd lost made him more endearing to me because of the honesty of it.
4).
Unfortunately, it seems pretty clear that we will be presented with a new normal after all this and it will likely be one with less money for a lot of people. 
It could be that in the new normal film making and photography etc will be seen as frivolous but it is as equally likely that creative pursuits will be vital to keep everyone's mind engaged, as an escape from the bleakness but also as a reflection on and documentary of this next period.
So for that reason, the forum can and should be a great resource and support network for that.
Inevitably, with the expected financial downturn, it should probably have more features about doing more with your current gear than getting more new gear.
That should not only call for more articles about DIY projects and lighting/composition tutorials etc but also for retrospective reviews on older gear that is still perfectly serviceable and how to eek everything out of that.
So as well as sub-$200 film challenges maybe look at "$2000 camera vs $2000 complete setup" type of comparisons as well.
Some stuff about sound design as opposed to just recording sound would be cool as well. 
5).
Family, obviously.
But also that triggering of memories when you walk down particular streets.
Mainly, though, I miss having a decent chippy.
6).
I think I started contributing at the end of 2016 or early 2017 but was a long time reader before that.
I first came across @Andrew Reid at a two day film making conference in London about ten years ago that was mainly devoted to using EOS cameras, where, if memory serves, he was barracking Phil Bloom from the audience about the GH1 being better than the 5DMarkii.
I thought he was rude, opinionated and extremely disrespectful.
Naturally, after seeing that, I felt sure this was the place for me  
 

Forgot to add my pic...
XT3 with Meike battery grip. I would prefer not to use a grip but it does transform the handling and triples the battery power and when shooting 4K...
Sirui freestanding monopod about 3 years old because I still can’t find anything better.
16-80mm f4 lens which is a bit slower than I’d ideally like (have some f2 primes if I need them) mainly for the range and OIS for handheld stuff.
It’s also got a Gobe variable ND on it that is controlled with a marked up rotating Nikon lens hood I glued on.
Good old Rode Micro for a better audio to sync to from up to 3x Sony pocket recorders and lav mics. Fluffy for outdoor use.
For dancing stuff at weddings it’s just a case of whip off the mic and put an LED on the hotshoe.

 

6. Joined about halfway through 2018 i think. Not sure if there are other video forums around. I googled anamorphics.
   This was the first video forum i found, haven't bothered to look elsewhere yet.  
5. Not my words, but it does sum it up rather nicely.
    
   I love a sunburnt country, A land of sweeping plains, Of ragged mountain ranges, Of droughts and flooding rains.
   I love her far horizons, I love her jewel-sea, Her beauty and her terror, The wide brown land for me!
4. I'd like to see more people participate in the video challenges.Their kinda fun and every time i get involved,
   i tend to learn some thing new in resolve or on the p4k. I also enjoy seeing other peoples direction or take on things
   Not sure i am looking forward to the next great camera. I kinda feel that now i am 4k capable, in many ways i'm ahead of the curve. Its up to the tv stations and internet to catch up and i cant see them throwing themselves at the problem. I think hd will probably be a standard for a long time yet, at least in australia.
3. Definitely 80's music, by the end of the eighties all the good notes had been used up i think
   The only concert i have seen was the black sorrows at twin towns. It was great and loud.   
   Movie wise, the usual suspects, topgun, beverly hills cop, miami vice, good movies, good soundtracks.     Movies that i liked but didn't do so good at the box office, the princess bride, brotherhood of the wolfand anything with jackie chan in it

   I'm a fan of sport up to the point of where it gets commercialized. When you start throwing large sums of money around
   then you can't really call it sport anymore. Not sure what you call it but its not sport.
   I'd rather watch torvell and dean, than two teams crash tackle each other into the ground.
2. typical aussie bloke, pretty casual attitude. presently aged 52. I probably need to structure my content more,
   not sure if it shows in my videos or not. 🙄
   About the time i got the p4k i became a carer for my dad. Going from fulltime worker to a carers pension has been interesting.
   Sounds kinda corny but i bought an artists sized sketchpad, been doodling and putting down some thoughts for a music video and a movie. I tend to float between various projects rather trying to multitask.  
   
   I really like the wide screen look of anamorphics. Had some issues with headaches last month or so, done some tests not sure what goes on but they seem to have settled down a bit but its left me depleted. When i can find some enthusiasm i plan on playing some more with the elmoscope even if it is dual focus at the moment. Its definitely pre corona virus, if you were wondering
1. There can only be one, and for me its the bmd p4k. Lenses are currently attached via the viltrox speedbooseter, either an  asortment of pentax m42 lenses or the tokina atx pro 28-70 zoom.   😉
 

1) A7s and Canon 17 f4 L TS-E (other most used lenses FD 24 1.4 L, Sony Zeiss 55 1.8 and Sigma 150 2.8 APO macro) See below.
2) Barely functional human.     I have had a VERY "Homer Simpson" life ...EG do not drive but managed a Motor Registry (DMV office), EG, qualified as an aircraft maintenance engineer (instruments and electrical) as well as a powerhouse watch keeper but can barely change a light bulb .
3) Love most types of music and my main interest has been photographing live bands and artists and despite being very average have gotten the best seat in the house for some wonderful (mostly Australian but a few from overseas) bands and had some very good bands have used my pics (videos less often but did not really do any until a couple of years ago but have been shooting stills since 35mm film days).   Have been the/A official photographer at many festivals including Jazz/Blues, rock, pop, metal and others. 
Sports nut when younger (again some Homer moments)...the worlds worst Rugby player (both types) but I played with and against people who played for Australia at times (including some who beat the All Blacks at Eden park....yes they could once or twice).    Competitive weight lifter (silver medal state championships) in school but have friends who's DAUGTHERS are stronger than I EVER was.
4) Just glad EOSHD is a thing....Thanks Andrew!
5) Not planning on leaving much (and currently can not due to you know what).
6) Can not remember but a lot earlier than I joined.

Hello from the USA!
Current camera Fuji X-T3, with my latest lens
acquisition AF-n Nikkor 28-85mm f/3.5-4.5,
And DIY lens support rails built with old chem lab hardware.

I’m married with two boys in high school, retired.
Favorite music: classical (Bach & Beethoven),
and British ’70’s rock (Yes, ELP, Who, Tull, etc)
Hobbies: playing an old grand piano, Hammond M3, Minimoog, Prophet,
Rhodes 73, Peavey DPM-C8.
Recording Multi-track (used to be Tascam 38, now Macintosh).
Lionel train layout & miniature village,
Old movie film production equipment & projectors in 16 & 35mm,
Tinkering with various hardware & old equipment parts to do something new.
EOSHD coverage: looking forward to new tips & tricks for mirrorless video,
best vintage lenses, and comparisons of the new cameras.
I found EOSHD early 2019 after getting the Fuji X-T3.
My 1st DSLR was Fuji S1 Pro (great color! https://***URL removed***/reviews/fujis1pro,
pictured with the same Nikon lens I used.) Next was the Canon T2i.
But I did not use these for video and never looked at photography forums online.
But Fuji X-T3 is a completely different animal!