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Everything posted by seku

  1. @Sage: i'm a happy user of your conversion for the GH5 and A7s3. I remember you talking about the releasing the same color science you used in A7s3 for the GH5 too, is it out yet? thanks 🙂
  2. Looking forward to get the AFX, participated on indiegogo!
  3. that reminds me of talk we had ages ago 😄 back then i was chastised for going for motion blur in Resolve. Filming at a higher shutter also an edge when stabilizing footage... as you skip the motion blur from that... you have to deal with rolling shutter tho. Just apply motion blur after stabilizing
  4. when you use ibis on panasonic cameras on manual/anamorphic, you also have to dial in focal length/squeeze. Dialing in focal length would be cumbersome with zooms.
  5. heh nifty 50... im experimenting right now with convex Zeiss stuff... it's fun! so many nifty 50ies out there to find your own jibe!
  6. i recommend watching this : if you want to get into production... lighting is much more important than any camera/lens
  7. i wouldnt say panasonic is out. their s1h is still my first pic. by far. 10bit, awesome varicam color science. also custom LUTs, and dedicated anamorphic recording modes AND anamorphic IBIS modes. As long as Canon doesnt do those... ill stick with the S1H. im waiting for mid February to decide We anamorphic nuts might just be a few, but we are vocal xD
  8. mighty interested in this as well. Heck, we have the S1H and XT-4 for anamorphic nuts like me already, i really wonder what Canon will pony up in 2 weeks. The canon really got one big advantage over the other 2 : the RF to EF ND adapter. that alone could sway me.
  9. heck, if this is even half-truth ... i'm interested. means i could use my old L glass, lots of anamorphic adapters with the RF to EF ND filter adapter. I guess i am salivating. For me, a nice ND filter solution with good anamorphic ratios (3:2, 4:3; 6:5) feels like the next step to me. with anamorphic IBIS support
  10. thanks @Attila Bakos! i'll give it a try tonight and see which i prefer
  11. I'm really curious what you came up with Right now im using CST's to linear and back to do my pre-GHa exposure. Looking forward to your solution!
  12. the clamp came with the aivascope but for others, i like RAFCamera lately.
  13. talked a bit with Max about them ... they really are everything they should be. Heck, for a Gottschalk lightweight and close focus design, they aren't that expensive either!
  14. wow @hyalinejim, that blew my mind ? Usually only transform v-log to linear and back in resolve for printer lights WB, but i have to admit that ACES is way over my head
  15. I'm curious, how are you using ACES with the GH5? Afaik there is no IDT for it?
  16. The production value of those media division bids is incredible, only topped by the content quality. They are easily my fav channel concerning video on YouTube, alongside Juan melara.
  17. can't wait for the release either... Just got an OLED TV that i want to calibrate tonight. the new GHa release comes at the perfect time!
  18. Wow, what a difference in the V4, in the middle ones too! Can't wait to get my hands dirty!
  19. @Lars Steenhoff: thanks for the great footage you've shown here ? How to say, i am still on the fence. as an ex-5dmk3 RAW user, now GH5... i am pondering if i should go S1H (with the awesome vlog/lut workflow (i love using false color luts for exposure on my gh5) ... or if i should return to a RAW workflow with the Sigma... both entice me. (i know i should just get both >.>) I was wondering about colorspace. With 5kmk3 RAW, i used the cinelog LUT to conform ML RAW to cineon log in Resolve. Do we have any conforming LUTs for Sigma yet, or even better some ACES input transforms? or what is your workflow? ?
  20. heck, if lenses were more affordable. i would go that route immediably... i fell in love with the xelmus lenses. Being a hobbyist, i will stick with scopes a while longer tho
  21. Give us old GH5 users some v4 love as well ?
  22. agreed, it is getting more and more difficult to get a hold on some nice ones. I know i will be keeping mine for a long time. But with makers like SLRMagic, Aivascope, and lately Sirui, it looks like there will be some affordable glass on the market. Albeit no small scopes (except the Aiva).
  23. The Yashica is a minuscule little thing, smaller than all other scopes i know off. i dont see myself mounting front clamps and a focusser on it Good luck finding an affordable 1.5x tho. Even the 8/19 bolex is approaching 1k fast.
  24. There's quite a few ways to go lightweight, but you didn't mention what sensor size you are going for The Aivascope that @heart0less linked you to is an awesome, single-focus 1.5x for fullframe. It does not need a focusser, but imho it does need support, because it is rather heavy on the taking lens at around 700 gramms. But Aivascope also makes a smaller scope, for smaller sensors. Here's mine for instance : GH5 > speedbooster > Nikon 50mm 1.8 pancake > Aivascope 1.75x v2 > ProtoDNA. Quite lightweight, does without rails. (see attached picture) This gives me perfect 2.40:1 when desqueezing opengate 4:3. Then again when you go vintage scopes there is quite a lot of choice : Baby Hypergonar (the 1.75x aivascope is a modern take on that one Yashica Scope (a cute small 1.5x one, which i would double focus) Bolex 8/19 (1.5x bolex flare goodness, one of my favorite baby scopes) Baby Kowa (2x, even more elusive than the Bolex) So you can go for light and small scopes, especially if you stick to m43 or s35 sensor sizes ... but it might take a year or 2 to hunt some baby scopes down... and you better have deep pockets.
  25. Iirc they just put the RAW stuff into an SRGB/gamma 2.6. Which seems quite ... unusual. whenever i do raw stuff in resolve, i go for blackmagic film, as flat as possible, then onwards to cineon and other log stuff. as i understand they tried to emulate the RAW to something they can compare to their other measurements. For me, RAW needs special treatment : ETTR, normalisation, and then noise reduction (i love neatvideo for that). it's difficult to compare the fp's dynamic range, because all other cams lower the noise floor already. you need to do your part in RAW yourself.
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