thebrothersthre3
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Posts posted by thebrothersthre3
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Just now, Mark Romero 2 said:
I think I was shooting at 0 saturation.
Although that was a few months back and now I am not certain, I think I may have been using the GFilm recipe, which is actually S Log 2, Pro color mode, and +3 saturation.
Wish there was a way to get the meta data for clips regarding the gamma / gamut / exposure value (meaning, exif for video clips).
Yeah I know, there have been times where I completely forgot what settings I shot at lol.
Sony color settings are confusing tho. I am not sure Slog is the best profile if trying to maintain the most color information. -
1 minute ago, thephoenix said:
i also have the tokina 17mm didn't try it yet
will use it on my xt3, and someday on the bmpcc4k
Yeah it'll be nice on my BMPCC + speedbooster. About a 21mm APSC equivalent. It'll be like an 8mm lens on my Fuj with speedbooster, which will be cool. The widest I've ever shot is 14mm.
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That looked pretty darn good considering the lighting conditions.
Do you shoot with 0 saturation or lower? -
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1 hour ago, Cinegain said:
I'm a bit disappointed with Panasonic to be honest.
They did so well for years following the GH2 even with the small stuff like the LX100. Now there's an update to the latter as well as e.g. the FZ1000, which is, well rather embarrassing. Seems they've taken a page from the Canon playbook: 'minimum effort, regurgitating mostly old stuff, labelling it as new'. GH2, GH3, GH4 used to be the flagships. Now there's 3. GH5, G9 and GH5S. You need the G9 if you want most out of photography, the GH5 for IBIS video and GH5S for best sensor performance. Let's sell you more cameras. What indeed happened to cameras with amazing value such as the G70, G80 and GX80? I'm afraid we're only going to see their focus shift from consumer to high-end as the former will increasingly favor a smartphone. Also, higher-end cameras and less of them mean increasing prices and a focus on high-end lenses as well. See Olympus with their E-M1X. Also, it's been a while since either of them focused on making compact and affordable lenses. It's mostly big chunky Olympus PRO and Leica these days. I'm afraid bang for buck has become out of luck. Btw, people are still asking for a proper GX8 successor. The GX9 indeed is more of an alternate take on the GX80.
I don't know, I appreciate the GH line. I think the GH5S was simply a tech limitation as far as IBIS goes. 4k 60p and 10 bit were big advancements. I think we may see something more like the GH5 in a less expensive body once the GH6 comes out. Putting one out now would take away from the GH line too much which is still relatively new.
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5 hours ago, IronFilm said:
"APS-C to MFT" adapters do not exist, in the sense there is no generic "APS-C mount".
Rather you have "Nikon F to MFT" or "Canon EF to MFT" or etc adapters to MFT, which would all work just the same even with an APS-C sensor behind the MFT mount.Yeah I was just using APSC to refur to all s35 sensors as their is no standard mount like m43, unfortunately.
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I found the GH5 grain pleasing up to 3200 iso. 6400 iso was a mess. I never tried the GX85 at zero NR, at -5 it would like quite digital above 800 especially 3200. It wasn't that the noise was bad but the whole image looked kind of smudgy.
- John Matthews and kye
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Just now, kye said:
The MFT mount has one of the lowest flange distances of any mount, so you can adapt almost any lens onto it. With EF the distance is much larger and so there are a bunch of lenses you can't adapt to EF. it won't matter to most people, but if you happen to fall desperately in love with any of the lenses in that in-between range then it rules out the whole camera because of the mount.
https://en.wikipedia.org/wiki/Flange_focal_distance lists them.
I am an idiot haha. I owned several M43 cameras so I know you can adapt any lens to it (well anything m43 or larger). I was thinking M43 to APSC mount, which is rare. My brain was out of order?
So yeah an M43 mount does make sense. -
10 minutes ago, Mark Romero 2 said:
Thanks!!!
I haven't had a chance to work on the X-T3 files that you sent me yet. But I assume that since the GH5 and the X-T3 or both 10-bit, they would have (more or less) the same flexibility when working with colors??? (Although I guess GH5 is 4:2:2 and X-T3 is only 4:2:0 ???)
Yeah should be very similar. The 422 should have more precision, better for green screen technically. They are actually quite similar when it comes to low light performance too, with the GH5S being a little cleaner but less detailed (4k sensor vs 6k).
Comes down to ergonomics, lens selection, color science, and auto focus. -
Yep definitely the GH5. The S record button looks different.
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7 hours ago, KnightsFan said:
For adapting! And JVC had that neat feature where you put a M43 lens on and it just uses a M43 crop the sensor, or you could put a S35 lens on and use the whole thing. Very flexible. To be honest, though, I'd go for any mount that you can get an EF lens onto.
The only real downside to higher MP is more rolling shutter, if the processor isn't upgraded as well. High MP with downscaling is great for low light. I'm sure all near-future Z Cam products will have 4k60 ProRes in addition to H.265. I don't think they'll have 4k120 though, they seemed to imply that was a unique feature for the E2.
It will be interesting to see if Canon makes a decent cinema camera. Their latest photo cameras have been disappointing for video to say the least. It would be quite forgivable in my eyes if they came out with a good low budget RF video camera, as a complement to the R and RP.
Is it easy to find APSC to M43 adapters though? Seems like a big advantage to a bigger sensor is you can use longer lenses with less crop.
Low rolling shutter is definitely nice too although its lower on the GH5 and even more so the GH5S than the Z cam. The A7S2 still seems to be the low light king, which is why it seems like the low MP 4k sensors seem to be the best way to go.
That would be awesome if they released a low budget video camera, though I don't think that would be a Canon thing to do. ?? -
Shooting at certain ISO's has been found to be a bad idea as shown in the video above. Example being 1600 iso is cleaner than 800. I think it has something to do with the native ISO's. 1600 is cleaner than 800, 3200 is cleaner than 2500 etc..
The banding issues in VFR seem really common too. It seems 60p is really the only good slo motion option. It does 4k 60p so that is not too shabby of an option though. -
20 minutes ago, DanielVranic said:
The LUT's that Fuji provide are pretty bad fyi. Much much better off doing a Color Space Transform and manual curves.
What do you dislike about the Fuji luts?
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17 minutes ago, MeanRevert said:
Hey guys, sorry if breaking up the flow of this thread but Just asking again..
Does the remote app allow touch focus?
Also, if I were to record in flog, are there LUTs to convert to the fuji profiles like Eterna, Astia, Classic Chrome, etc.?
Fuji has an official Eterna Lut, but none for the other color profiles unfortunately. They also have a Wide Dynamic range LUT.
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27 minutes ago, KnightsFan said:
Hopefully, yeah. I don't see why low light would necessarily be worse, if they do a full readout and have a fair comparison (4k vs 4k). I find the XT3 has good enough low light for me, so as long as it isn't much worse than that I'd be happy.
I wonder what mount they would go with for S35. I'd love to see MFT a la that JVC camera, or if they surprised everyone and threw in with the L mount lot.
3k would be nice, but my gut says more like 4k. Fingers crossed though!
Why MFT mount on a S35 sensor?
I am pretty happy with the XT3, though I'd love if they did a similar setup to the A7S2 or GH5S. 4K sensor with 10mp for increased low light performance. A fairly clean 12,800 iso would be awesome. Something like that with 4k 60p and internal prores would be cool. -
8 minutes ago, MrSMW said:
I think if it's going to be a 2020 product as most think likely, they have to move their battery game on.
I'm one of the few that doesn't really have an issue with it and can get 1000-1500 frames out of a single battery on any recent X cam, but seem to be in a minority.
But the two things folks seem to want is a bigger battery (and the equiv Sony does kill it!) and a flippy screen. Personally, not bothered with the flippy either as I use an external monitor for video on my XT3 and the standard tilty job on the XH1 is all I need for stills.
If they don't do something about the battery though, the internet and YouTube are just going to bleat about it!
Maybe even the battery from the GFX series? It exists, - just got to make a body to take it surely plus a bit of electronic tweakery?
Yeah the XH line is supposed to be video oriented so it should have a flip screen. I agree a new battery is in order, though Fuji's solution seems to be a battery grip. They really need to get their grip tech together. The camera stops recording when batteries switch ?. The XH2 should also have no record limits at least in 4k 30p. If its a video camera it really should have that.
4 minutes ago, KnightsFan said:My prediction is 8k S35 in a slightly larger body than the E2.
I'd only be interested if it has better low light performance than the E2. If 8k is going to hurt ISO performance I am not interested.
Definitely would be a pretty innovative camera especially if its under 3k. -
I assume its his personal preference. Noise reduction wouldn't effect color so -5 should be fine. I certainly prefer -5 as the GX80 NR smoothing looks bad.
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4 hours ago, MrSMW said:
Ideally, a Fuji XH2 which according to my spec would be; updated XH1 to include larger battery, XT3 sensor. Maybe in 2020...
However, right now, they could cease XH1 sales and knock out an XH1S with just the sensor of the XT3. Easily.
I am thinking the XH2 will just be an XH1 with an XT3 sensor and faster processor. Hopefully better IBIS.
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1 hour ago, Mako Sports said:
A7siii
They better had release it!
18 minutes ago, KnightsFan said:I am curious to see what z cam does.
I might be on board if they did a S35 sensor, that might be the bees knees.
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"Chromatic aberration, also known as “color fringing” or “purple fringing”, is a common optical problem that occurs when a lens is either unable to bring all wavelengths of color to the same focal plane, and/or when wavelengths of color are focused at different positions in the focal plane"
Its common on lenses when the aperture is open all the way. -
25 minutes ago, Andrew Reid said:
I entirely agree!!
Atomos need to be brave and make a 4K recorder in the mould of a battery grip, specific to certain cameras like the Nikon Z6.
Great idea. They should hire you?
I'd get one for my XT2 and 3 most likely if that was the case. -
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Yes talking about the red dot
What Camera Is He Using?
In: Cameras
Posted
You'd probably benefit from something like the the BM Pocket 4k with the high dynamic range and 10 bit recording. That said there is only so much you can do with mixed lighting even in 10 or 12 bit. Not going to be perfect unless you use daylight balanced lighting inside.