HockeyFan12

Arri had a film matrix (page 9 I think) that allowed for colorists to intercut between film and Alexa footage more easily:
https://www.samys.com/images/pdf/ALEXA-Color-Processing-White-Paper.pdf
But they discontinued it. I've heard it's difficult to work with, but I think over time the digital look has become more standard anyway. The F35, C300, and Alexa all felt like different imitations of film to me, whereas today everything feels more like Alexa or an imitation of Alexa. Which makes sense. You imitate the contemporaneous standard format.
There are technical difficulties from a sensor design perspective, but I don't really understand them. Full well capacity is a physical limitation (think of each photo site as a bucket collecting drops of light) that dictates highlight dynamic range (once the bucket fills, the highlight clip). Bigger pixels mean a greater full well capacity, but so do improved sensor designs. It's no coincidence that the Alexa has the lowest resolution and the most highlight detail. With film it's sort of the opposite: Kodak added smaller grains of film to get two stops more highlight detail in with 5219 500T film stock than with the prior generation.
But if you like the look of S16... why not shoot S16? It is definitely the cool thing to do now.

I usually work with Alexa footage that's shot at one of three presets (3200K, 4300K, 5600K). Sage’s LUTs work really well, but getting the best match requires white balancing both the S1 and Alexa to neutral white before converting. Alexa white balance presets are not neutral–they're orange/green.
I wanted equivalent white balance presets I could use (5600k, 4300K, 3200K) with the S1, where I could shoot V Log, apply Sage's LUT, and get a ballpark match to Alexa presets–even if it might be a little less precise than doing this the right way.
I lit a white card with a Luxli RGBW light at 3200K, 4300K, and 5600K and then shot Alexa footage shot at 3200K, 4300K, and 5600K presets.
Then I shot the same with an S1 and and applied Sage’s Log C conversion LUT. I adjusted the white balance settings manually until I got a good match.
I've only tried out the 5600K preset so far in the field but it matches pretty well.
K1: 5600K A: 6 G: 9 (should be G: 10, but it doesn't go that far) – apply Daylight Log C conversion 
K2: 4300K A: 6 G: 6 – apply 4200K Log C conversion
K3: 3200K: A7: G: 4 – apply Tungsten Log C conversion
Beyond that, a bit of extra noise and a bit of unsharp mask after downscaling S1 4k to Alexa 2k/3.2k (amount 24, radius 3) also helps make S1 footage look more like Alexa footage. 
If this isn’t for you, ignore this post. It's not as precise as doing things the right way but for my needs is much more convenient.

Arri had a film matrix (page 9 I think) that allowed for colorists to intercut between film and Alexa footage more easily:
https://www.samys.com/images/pdf/ALEXA-Color-Processing-White-Paper.pdf
But they discontinued it. I've heard it's difficult to work with, but I think over time the digital look has become more standard anyway. The F35, C300, and Alexa all felt like different imitations of film to me, whereas today everything feels more like Alexa or an imitation of Alexa. Which makes sense. You imitate the contemporaneous standard format.
There are technical difficulties from a sensor design perspective, but I don't really understand them. Full well capacity is a physical limitation (think of each photo site as a bucket collecting drops of light) that dictates highlight dynamic range (once the bucket fills, the highlight clip). Bigger pixels mean a greater full well capacity, but so do improved sensor designs. It's no coincidence that the Alexa has the lowest resolution and the most highlight detail. With film it's sort of the opposite: Kodak added smaller grains of film to get two stops more highlight detail in with 5219 500T film stock than with the prior generation.
But if you like the look of S16... why not shoot S16? It is definitely the cool thing to do now.

Arri had a film matrix (page 9 I think) that allowed for colorists to intercut between film and Alexa footage more easily:
https://www.samys.com/images/pdf/ALEXA-Color-Processing-White-Paper.pdf
But they discontinued it. I've heard it's difficult to work with, but I think over time the digital look has become more standard anyway. The F35, C300, and Alexa all felt like different imitations of film to me, whereas today everything feels more like Alexa or an imitation of Alexa. Which makes sense. You imitate the contemporaneous standard format.
There are technical difficulties from a sensor design perspective, but I don't really understand them. Full well capacity is a physical limitation (think of each photo site as a bucket collecting drops of light) that dictates highlight dynamic range (once the bucket fills, the highlight clip). Bigger pixels mean a greater full well capacity, but so do improved sensor designs. It's no coincidence that the Alexa has the lowest resolution and the most highlight detail. With film it's sort of the opposite: Kodak added smaller grains of film to get two stops more highlight detail in with 5219 500T film stock than with the prior generation.
But if you like the look of S16... why not shoot S16? It is definitely the cool thing to do now.

I usually work with Alexa footage that's shot at one of three presets (3200K, 4300K, 5600K). Sage’s LUTs work really well, but getting the best match requires white balancing both the S1 and Alexa to neutral white before converting. Alexa white balance presets are not neutral–they're orange/green.
I wanted equivalent white balance presets I could use (5600k, 4300K, 3200K) with the S1, where I could shoot V Log, apply Sage's LUT, and get a ballpark match to Alexa presets–even if it might be a little less precise than doing this the right way.
I lit a white card with a Luxli RGBW light at 3200K, 4300K, and 5600K and then shot Alexa footage shot at 3200K, 4300K, and 5600K presets.
Then I shot the same with an S1 and and applied Sage’s Log C conversion LUT. I adjusted the white balance settings manually until I got a good match.
I've only tried out the 5600K preset so far in the field but it matches pretty well.
K1: 5600K A: 6 G: 9 (should be G: 10, but it doesn't go that far) – apply Daylight Log C conversion 
K2: 4300K A: 6 G: 6 – apply 4200K Log C conversion
K3: 3200K: A7: G: 4 – apply Tungsten Log C conversion
Beyond that, a bit of extra noise and a bit of unsharp mask after downscaling S1 4k to Alexa 2k/3.2k (amount 24, radius 3) also helps make S1 footage look more like Alexa footage. 
If this isn’t for you, ignore this post. It's not as precise as doing things the right way but for my needs is much more convenient.

I usually work with Alexa footage that's shot at one of three presets (3200K, 4300K, 5600K). Sage’s LUTs work really well, but getting the best match requires white balancing both the S1 and Alexa to neutral white before converting. Alexa white balance presets are not neutral–they're orange/green.
I wanted equivalent white balance presets I could use (5600k, 4300K, 3200K) with the S1, where I could shoot V Log, apply Sage's LUT, and get a ballpark match to Alexa presets–even if it might be a little less precise than doing this the right way.
I lit a white card with a Luxli RGBW light at 3200K, 4300K, and 5600K and then shot Alexa footage shot at 3200K, 4300K, and 5600K presets.
Then I shot the same with an S1 and and applied Sage’s Log C conversion LUT. I adjusted the white balance settings manually until I got a good match.
I've only tried out the 5600K preset so far in the field but it matches pretty well.
K1: 5600K A: 6 G: 9 (should be G: 10, but it doesn't go that far) – apply Daylight Log C conversion 
K2: 4300K A: 6 G: 6 – apply 4200K Log C conversion
K3: 3200K: A7: G: 4 – apply Tungsten Log C conversion
Beyond that, a bit of extra noise and a bit of unsharp mask after downscaling S1 4k to Alexa 2k/3.2k (amount 24, radius 3) also helps make S1 footage look more like Alexa footage. 
If this isn’t for you, ignore this post. It's not as precise as doing things the right way but for my needs is much more convenient.

Took the a7s3 with me to Cocoa Beach last nights for the SpaceX launch. This is the first time I've seen a launch in person so I wanted to grab a couple shots and just watch history in the making. I got a shot of the rocket in the sky with the a7s3 and a FE 200-600mm lens. No video, just wanted to enjoy the moment.
Chris

He has a direct to 709 conversion as well as Log-C. Ive personally used lut Calc and GHalex. They definitely produce different results. He also has a specific version for Premiere as well as under and overexposure LUTs. I highly recommend.

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.

I found the Arri film matrix numbers, and used the Matrix drx printer code to inject them into DaVinci. I'm not sure what to make of it.. it is a lot more saturated for sure. Here are the numbers and the lut/powergrade:
1.271103    -0.284279   0.013176
-0.127165   1.436429   -0.309264
-0.129927  -0.510286  1.640214
Arri Film Matrix Download

It lives! The Sony a7s III conversion is now complete as well.

35mm Schneider Cine-Xenon
Trees and windows. 
 

35mm Schneider Cine-Xenon
Trees and windows. 
 

Yeah, it's not cheap. Arri also had a similar mode on the Alexa that they discontinued, it was used when the Alexa was to be intercut with film.
Anyway, thanks for the info on the cineon mode. Very cool.

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 think the light and amount of contrast of the scene makes a huge difference to the image thickness.  When you have a good amount of contrast in your scene with areas of shadow and bright highlights, and your object is well exposed then you can bring the blacks down were they belong and help with the perceived thickness (and also reduce the perceived grain/noise).  Were I notice the main difference with cameras that produce thicker images like the digital Bolex is with skin tones and also foliage/leaves/trees etc.  Whether it's the tonality/colour gamut/saturation/shadow saturation or all of these when combined with good light they just look more alive. Here is a screen shot from the D16 (not mine) which while compressed to heck look 'thick' and alive to me.
 
 
 
 

Definitely match in heaven for Panasonic shooter!

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.

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.

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.

IBIS is not a substitute for a properly shoulder-mounted camera. It tunes out micro-jitters, but it doesn't help you when you're trying to shoot handheld with longer lenses because the lack of inertia causes the frame to swing around when you're trying to move. Also, digital stabilization is a machine interpreting human input. It always looks artificial to me somehow, ever on high-end gimbals and stabilizers.
When you have a properly shoulder-mounted camera, you can press it into your shoulder and into the side of your head, which creates far more stability. I've been shooting with a Canon C100 on a rig with an external monitor and heavy counterweight, and while it's doing my back no favors, I can shoot long takes at 35mm and up with no problem, and even 50mm and up with minor shake. Try that with your mirrorless camera hovering in front of you.
 

35mm Schneider Cine-Xenon
Trees and windows. 
 

35mm Schneider Cine-Xenon
Trees and windows. 
 

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

I'm a lucky owner of an Iscorama Pre-36 since May 2020. I had a few opportunity to film some clips this summer, here they are.
After having the experience with Bolex Moller 16/32, babies Hypergonar and Isco, SLR Magics, I think this Iscorama Pre 36 is a total gem. It's small and light, sharp and single focus. It's only default is its 2 meters minimum distance focusing. I'm so in love with it 🙂
You will see different taking lenses (mentioned during the movie) here such as :
Helios 44-2 58mm f2
Super-Takumar 55mm f1.8
Pentax-M 40mm f2.8
Pentax-DA 70mm f2.4
Pentax-M 135mm f3.5
Everything was most of the time shot wide open.
I'm surprised how the Iscorama performed well with tele lens such as the 135mm from Pentax.
The Pentax-DA, which is an APS-C lens, is working on FF, even with the Iscorama. It's maybe one of the smallest and lightest 70mm ever made (131 grams for 26mm long).
The pancake Pentax-M 40mm f2.8 gave slight vignetting.
The Super-Takumar 55mm f1.8 is working very well.
And of course the Helios 44-2 58mm f2 is pairing very well with the Iscorama, for who who like vintage and organic look. It's design is also great, it's deep front is perfect for the Iscorama protubing back (with the add of one 49mm spacer made from a filter).
Shot on Sony A7RII 4K 24p, full frame mode.
Diopters : Tamron 0.5x and Pentax 6X7 close-up achromatic (1X ?)
Fotodiox Pro Vizelex variable ND Throttle EF mount
Musics : Andrea Laszlo De Simone "Immensita" and "Mistero" 
Thanks to Hayley, Olive & Delphine, Izy & Elliot, Liliane, Florent and their family, Lucas Gautier and the Havana Moons, Tchi-Kung, the seller of the Iscorama and the people of bordeaux.
 
 

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