HockeyFan12

*where do you go from the cineon conversion

50 minutes ago, jack jin said:

Have you tried filmconvert nitrate? The cineon log conversion has spot on colors and contrast, it's their normal emulation laced with their heavy print film colors that looks crap. 

Interesting... where do you from the cineon conversion? Is there a good cineon to rec709 LUT? The normal emulation looks like magic bullet to me, yeah.

On 10/16/2020 at 2:47 PM, Sage said:

@jack jin That's the ticket; one might also opt to use day balanced bulbs or CTB gels indoors

Will the S1 power grades work for EVA1 and Varicam?

Also is it possible to make these transforms into LUTs? Can't you export a power grade as .cube?

Would it be possible to do a more accurate "film look" this way? I don't understand why FilmConvert doesn't really look that good to me, but the Brim does a pretty good job to my eyes and Arri originally had a special Log C setting meant to emulate film scans. It was problematic and they discontinued it, but the colors were a perfect math to 5219 I think. Log C now has its own look, a bit more like reversal than color negative imo.

I agree with @BrooklynDan although IBIS on the S1 performs way better than I'd expected. And for the intended purpose of having a small camera that delivers a useable image it's pretty stunning and complements the form factor remarkably well. It's way way more usable than I expected and a pretty good option given a lack of viable alternatives for small form factors.

But I prefer the Aaton/Arri 416 form factor or the Amira over the Red/EVA1/Alexa Mini form factor, too, and it's an issue with prosumer cameras that the form factor really makes no sense ergonomically. Too big for IBIS to make sense, too small to be shoulder-mounted comfortably.

I keep going back to the $30 cowboy studio stabilizer, which somehow distributes weight evenly even with a front-heavy camera by clamping around your back. For 2-4 pound prosumer cameras and cameras without IBIS, I've found it preferable to a shoulder rig.

2 hours ago, Video Hummus said:

?

https://phillipreeve.net/blog/review-olympus-om-zuiko-50mm-f1-2/

2 hours ago, currensheldon said:

I've had to sell a couple clients on the S1H but both have been amazed with the quality next to a C300 II and an FS7 II, both of which I think the S1H image trumps. They didn't ask for anything else the next few times I went with the S1H. Add in that a 24-70mm f2.8 can cover almost every situation on a full-frame and the stabilization is amazing, I can just get better shots and images with the S1H. 

I wonder if they could give us a firmware update to add-in 120fps in 4k. That would put it back in the specs league with the R5 and A7sIII - as it is way more usable and better camera than those two. 

Put a matte box in front of it. 😉

21 hours ago, TennisGuy said:

I'm obviously late seeing this thread (only about 3 years:)), but thanks for your post @HockeyFan12- very helpful info. I have a Canon C100 mark i and have to shoot some handheld tennis footage and looking for a lens that's relatively light with fairly quiet and fast AF & IS. Are you still a fan of the STMs? Good to hear you especially like the IS on the 55-250 STM since I'm looking at that one, though I'll be shooting some stuff behind players on the court so may need something wider. I'm also looking at the EF 24-105 f/4 L IS II though I'm not sure if the IS & AF are as good/quiet as on the STMs or whether the image is significantly better to justify the higher price. If there's a lens suggestion that springs to mind for what I'm doing, I'd love to hear your thoughts. 

I've only use the 24-105mm L IS version 1, which was okay. Haven't used the V2. The 24-105mm is a more complicated design, it goes from wide angle to slight telephoto and it's full frame and a stop faster so it's entirely possible the STM is a better performer except you lose the 24-55mm range. Probably the image quality is really close from both.

I would choose based on what focal lengths you need, the image quality from both will be great. I got the 55-250mm for $99 on Black Friday refurbished from Canon I think so at the very least it's (more than) worth the money...

Lately I've been focusing more on narrative/home movie stuff (well, except for the lockdown making that kind of impossible so just camera tests right now) so others might have better advice. I haven't tried the 24-105mm v2 with DPAF so I really have no idea.

35mm Schneider Cine-Xenon

Trees and windows. 

Anyone tried it? I think the Cinegon does but I prefer the Cine-Xenon's bokeh.

18 minutes ago, jack jin said:

The footage that I'm finding this issue on are all transcoded and edited prores 422/hq sequence, because they are the only ones with underexposed and lowlight shots with a lot of skintones. And I'm pretty sure that the s1/s5's 10bit codec is h.264, not hevc.

Yes I think you're right. I was having a similar issue in 6K photo mode with colors blotching/banding, I think that is HEVC. And transcoding solved it. But I think you're right that the 150Mbps is h264. No idea what's going on in that case... 

Steinheil Cassar S 50mm f2.8.

Running out of trees to photograph. 😞

4 hours ago, jack jin said:

Just wondering if any of you have seen some artifacts from your 10bit s1 vlog footage. From what I downloaded back then I am seeing color blotches on slightly underexposed skintones and surfaces, which makes me kind of worried about the s5's vlog footage since they are using the same codecs. Have anyone else experienced a similar artifact?

Are you using Adobe or transcoding to ProRes with Apple software first? Adobe's interpretation of HEVC is broken. I can post comparisons if you're curious. I transcode to ProRes (in Finder, actually) first and it dramatically improves the HEVC image.

Any chance of 5.9k raw out on the S1 or is a hardware limitation?

That's a killer feature. 

Just got V Log yesterday so no nice whether to shoot under. 

50mm f1.2 Olympus here. No floating element so sharp at portrait distance and soft at infinity.

4:3 photo mode is.... excellent.

10 hours ago, Andrew Reid said:

The 85mm F1.2L is a work of art on the GFX 100. A thing of beauty. The 55mm F1.2 FD Aspherical as well - it covers. The 50mm F1.2L FD isn't quite there. Too much vignetting and doesn't stand out against other similar fast old SLR 50mm lenses on it. Actually some of the surprising fits are with the Minolta and Voigtlander glass. Some pancake, smaller stuff works surprisingly well. Voigtlander 40mm F2.0 Ultron in EF mount for example. Pentax 43mm F1.9 Limited is nice as well. Gives you the fast 35mm wide angle look on medium format for cheap. Just don't expect the corner sharpness to be as good as Fuji's own GFX lenses for landscapes. You can stop down but there's still a bit of a drop off in the far corners in 4:3. But in 16:9 for 4K filming, it's fine.

85mm and 135mm do tend to go well. Wider than 40mm and you tend to struggle with vignetting. The 24mm F1.4L FD I did try and no luck with that! This is why I think it'd be really nice to have a full frame crop mode in 4K video by firmware update, for the gems like that, and also even a 4:3 anamorphic mode that uses the medium format 16:9 height of the sensor equivalent to how tall the active imaging area is in 3:2 for full frame, but crop the wide sides of the sensor to 4:3 in that mode.

Very interesting..... I have tried the 55mm Aspherical on the S1H and it's stellar. Can't imagine how great it looks on medium format.

Not a big fan of corner sharpness. More into lenses with a lot of curvature of field (soft corners and swirl bokeh).

S1 and S1H have a great hidden anamorphic mode but it's only 30p. 6k photo mode set to 4:3 is 4992X3744, 95% of the full sensor height. Not sure how 4992 is 6K but the image is excellent. 75mm Lomo anamorphic should cover.

Leica Summitar and Kodak Ektar (47mm) are also interesting if you like swirl bokeh. No idea if they cover more than 135. I suspect the 47mm Ektar is what Arri is rehousing in DNA.

I would also like to see anamorphic IBIS on the S1. 😞 

Olympus 50mm f1.2 OM

https://vimeo.com/453630540

https://vimeo.com/453633037/

Have you tried any of the FD primes other than the 85mm FD L? 50mm FD L is rumored to cover Alexa65 I think. I assume the 24mm FD L wouldn't cover, but wouldn't know. I have read many Nikkors cover Alexa65, too and that is an even larger image circle.

I wouldn't be surprised if most 135 glass covers 2.35:1 on Fuji. The image circle is only 3-4mm larger than they're designed for.

Some madman should try E mount speed boosters on full frame and see what kind of coverage they get with 135 glass. Wish there were more L mount speed boosters out there.

I have this but I got it for half price open box:

https://www.amazon.com/gp/product/B07N1B4LNX/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1

It's not bad at all. Slight warm cast but really good otherwise. It might even be the same OEM.

You can always use a step up ring fwiw.

Is the APS-C mode in the S1 pixel/pixel? The manual seems to indicate otherwise?

I'm assuming 6k photo mode is pixel/pixel at least. It's very good. Probably easy to record a clip in each mode and compare the UHD center crop.

39 minutes ago, billdoubleu said:

Something feels odd about this video. Something with the shutter speed or stabilization, maybe?

It's such a tease for Panasonic, with the 6k mode, to all but tell you that the camera will record 6k perfectly fine.

It's in 30p for one thing but it also feels like there's a bit of skew or IBIS wobble with it, too.

Nice image, though.

I know the anamorphic adapters themselves aren't... very good... 

But how complicated can a one-element diopter be?

The 95mm 0.5 and 95mm 1 diopters are $200 for the set, about 1/4 what a bespoke set would cost from Schneider and 1/20th what it would cost to get Digidiopters. 

Has anyone tried these?

Not the variable diopters, either, but just a close up filter.

Yeah, it looks good:

Another question: I'm assuming this 5K is pixel/pixel. It just makes sense given the FOV.

The "video" pixel/pixel mode is like 1080p or something... is the APS-C UHD mode also pixel/pixel? 

Thanks... but I am assuming no way to shoot photo mode in 24p? That would just be too cool.

Can IBIS be enabled in "6k" photo mode? 

If only they had a 24p photo mode...