seanzzxx

So this camera is going on sale soon, and the first footage from what I suppose is a (near)-finished model has been released and ... ho, boy:

Vignetting is apparently very well-controlled, so nothing to worry about too much: https://www.ephotozine.com/article/slr-magic-25mm-t-0-95-hyperprime-cine-lens-review-22999

Hm. Should your resolution not be something like 2048x858 for 2.39:1 rendering? Maybe you can try that.

Okay, I just figured this out: it's the HOOD. With the sunhood on I get significant vignetting (on the left especially). Without it it's, like you said, not worth mentioning.

As someone who clipped skin tones on the old Ursa and had to recover them, I can really appreciate that.

That's weird, because I definitely am. Are you shooting at the full sensor width? I'll get some screen caps later today Also my comment about full frame was in reference to Emanuel saying the lens is usable at full frame except for the wide end while my experience is that that's not really true.

For people getting their hopes up, this is slightly misleading. My experience has been the following: The 18-35 will vignette even on a .71x ('ultra') speedbooster until about 20mm in DCI 4K (only barely and not worth mentioning in Ultra HD). It's sort of usable but the vignette is definitely there across the whole left and right side and it's relatively severe. It will basically be unusable on full frame on my A7RII until 35mm, at which point you might as well use the lighter, better, brighter 35mm 1.4 ART.

I had the same problem with FilmConvert, for some reason only 17 cubed LUTs ended up working for me, not 32 or 64.

This camera records RAW 3:1 at 25fps just fine to Sandisk Extreme Pro U3 (so not the UHS-II ones) cards by the way, that's just insane.

Lenses are not uniformly sharp across the entire focus range, often the closest focus suffers most. The differences are quite small most of the time, mind you.

The P4K will actually be better for small-budgeted crews in that regard because Prores runs much, much smoother than h.264 (because your computer doesn't have to do as much decompression in real-time). My old laptop tore through Ursa 4K Prores 444 files but stuttered with a7s II 4k footage.

What did you film the vlog on? Nice skintones!

Just FYI, Kamera Express is terrible with sending out pre-orders in the correct order. They basically just seem to pick a name at random from their list and ship it to them - I know people who ordered on the 9th of April who haven't gotten anything, and people who ordered in September(!) who did.

That's awesome, thanks for correcting me!

Cameranu has a 3-4 month expected waiting time for non-preordered cameras. Kamera Express has delivered like three cameras, so far.

You can shoot in Video, Extended Video or Film, you cannot bake in third party LUTs (although you can see them on your monitor)

This is a really nice testament to how resolution really has gigantic diminishing returns when it comes to perceptual image quality. Manufacturers should be investing in things that actually matter such as color-depth, color-science and dynamic range. This footage looks like it was shot on a 2010 handycam, except with somehow worse color-science.

Do you think the top four videos in this gallery could be? Aside from maybe the 'Color of Light' one. Genuinely asking. https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera/gallery

Jesus Christ, those look good ... Also of course it was Film Convert, Jon Pais, thanks! Don't know why I didn't think of that, I own the software even, haha.

What does the FC stand for?

He didn't even bother to switch out "GH5" in some of the descriptions but he'll explain to you how this camera works after having owned it for two weeks.

The in-built mic actually seems to be really good - cool! Other than that Redshark News really seems to go out of their way to talk about anything other than what you might find on a spec sheet, don't they?

https://www.bhphotovideo.com/c/product/1321239-REG/fujinon_fujinon_mk18_55mm_t2_9_lens.html At least mount for this can be adapted to MFT with a small plate (not that specific mount though, I don't think).

Unfortunately not, sorry! I'm using an A7R/S II most of the times.

The reason I stopped shooting Slog was the fact that by overexposing by two stops the skin tones get really pasty and thin most of the times. I much rather have good skintones than some extra dynamic range, however I agree with you on the fact that the Cine curves have terrible highlight roll off.