Video Hummus

Or the very common, EOS R and 15-35 RF combination. That lens has very noticeable and distracting focus breathing that causes a pulsing effect. But no one complains about that....

I love this and can't agree more! Plus you can never forget it!

Sensors in a box that need rigging will always remain niche. Everything in consumer technology grows and heavily favors convenience and ease of use. Sony's news ZV1 vlogging camera is an excellent example of this trend. It fakes bokeh, it smoothes skin, it handles the AF, and sound issues. Putting aside wether it looks good, it's still very easy to use. The way I want to use my camera requires it to have an EVF, a decent image (vast majority of cameras do), internal recording, an articulating screen, some kind of AF, and weather sealing. I want to pack it in a bag and pull it out and have it ready to go. I don't want to rig a monitor and an external hard drive to get the best out of it. That shit gets annoying fast, no matter how good the image is. I prefer easy and good enough. I like to take pictures, even though I don't consider myself a photographer, and don't want a separate device to do it! So far modern mirrorless cameras are the best balance of all those requirements, for me. Would @MrSMW shoot weddings on a RED or ARRI if price wasn't a consideration? My guess is he probably wouldn't because he would need a focus puller, external EVF, and an EasyRig to get through his day instead of his trusty X-T3/4 and a monopod!

Video is much like theater plays; there are a lot of moving parts. Sound, music, costumes, acting, vocals, stage production, lighting...and you have to do it in realtime (in motion)...and you have to meld all of that together. If just one aspect is off, the illusion is over and the audience not only knows it, they feel it too. It’s incredibly difficult. However, the payoff can be incredibly satisfying because you can elicit emotions out of the audience unlike any other medium. I would say literature comes close but even there you have the power of the readers imagination to “fill in the scene” that you never have with cinematography. You have too be a master painter, a conductor, a writer/storyteller and a magician. There is nothing quite like making something and them watching your audience be brought too an emotion. That can be incredibly powerful, healing even, life changing, when done right.

Same. I know Christian Maté Grab has said he ditched Various-NDs and used Reelsmart Motion Blur. The processing times seem bad though with his iMac Pro. Maybe Macs don’t get GPU acceleration ever since Apple dropped support for OpenCL. Hopefully we will see Metal 2 support or even a built in solution from Apple in the next FCPX release. I have heard Apple is finally giving their pro apps some love, and indeed, they recently just released a major update for Logic X.

What was the processing time like and what CPU and GPU did you process it with?

Gain probably would be better. ISOs between cameras don’t tell the whole story. This would take research but would be very nice to have. As we all know, no 4K is a-like. 4K from a Fuji super-sampling from 6K isn’t the same as 4K from EOS R.

I’ve often shot 4K60p with 360 degree shutter for a 30p timeline. Works well for when you want the ability to go into half speed in post and you’re not shooting quick pans or fast objects. Looks terrible for 24p timelines of course. A added benefit of shooting a faster shutter and then adding motion blur in post is things like warp stabilizer often do a better job stabilizing. You could also use gyro based stabilization at fast shutter speeds and then add back the motion blur like SteadXP product. Would like to see a camera manufacture use that type system and work to integrate a open gyro data standard that NLE’s can use for advanced stabilization. Sony seems to be going that direction for their FX cine cameras.

Do any of your clients want more “blur” ie, bokeh, in their shots? Personally I find anything bigger than FF f/2.8 distracting for video. Photos are a different story of course.

What’s the performance like? I wonder if resolve’s implementation is GPU accelerated?

Oops. They shit the bed...

This has been used in professional Hollywood films so it’s probably pretty good. I’ve seen other people on YouTube talk about it and use it to ditch having to use ND filters. It’s very CPU intensive though with something like 7-10 mins to process 1 minute of video.

I was going to say Sony Alpha a99 II?

A lot of us can’t help it! It’s a human tendency to want the next best thing and never be happy with what we have. To be honest I had a itch to pull out my wallet and replace my GH5S...XT-4? S1H?... Then this global pandemic hit and quarantine happened. We also decided to move and sell our house so I naturally grabbed my camera and documented it. To be honest the more I was creative with my camera the more I enjoyed using it to create something. The image with V-LogL is quite fantastic. I decided to use Buttery LUTs in an attempt to just shoot and focus my attention on exposure and white balance and not mess around too much in post (Some screenshots below). We don't think about the specs of our hammer when we use it, we think about what we are making with it. So that's the mentality I'm going remind myself to use. Some other conclusions: I am 100% convinced I prefer glidecam/shoulder strap stabilization and locked-off tripod shots over a gimbal (so I'm selling my dusty Weebill S).

Phones are the new cameras for most people

But then you wont hear about the GFX 150. A very versatile focal range in my opinion. For MFT the Oly 12-100 f4 is an amazing lens for just about anything. I think the FF f8 equiv. DoF is a feature not a detriment.

Don't forget to point to it with your other hand.

Yeah, this is an important point...

I would think the 8-bit conversion would happen later in the pipeline, for example right before the image data is being written to the SD card. Thats how you work with RAW files and such, why would it be different in a camera with specialized hardware to work with all that sensor data in realtime? Sensor Data -> De-bayer -> internal 12-bit format -> processing -> JPEG/H.264 encoding -> write to SD Certainly if you are taking RAW photos the highlight/shadow control is applied before the 12-bit RAW file is written to SD. Not sure it works the same for the video pipeline but I would ASSUME it's somewhat similar.

$6K for Komodo, $300-500 for smallHD monitor or Atomos monitor. If you have those things, great. Then you probably need a grip on the side etc...Not my cup of tea. I do like the concept and I hope it brings more innovation to our industry. I do not however have consumer trust in RED as a company based on past history.

Only thing I don’t like about the Fuji system is the native lenses from Fuji for video. They all seem lackluster in that department with AF and motor noise. Also I’ve seen really good AF and the classic pulsing artifacts from the X-T3/4. It’s likely they are using a crappier version of Sony’s hybrid AF or something with a mix of PDAF and Contrast detect.

It would be interesting to play around with that Olympus curve control and try and dial in a pleasing “graded” image straight of camera in 8-bit. I wonder if it works with OM-Log on the EM1 variants and if there is any advantage of doing adjustments in camera before the image is backed into a 8-bit codec? Does the curve adjustment happen before the encoding?

Wish Panasonic could sort out their AF. If they had reliable AF they would have been close to “the perfect” camera for most of us with their existing feature set and formats (FF down to MFT) It’s a shame.

They most likely share a sensor or sensor tech from Canon. I would take any DR numbers from manufactures with a large pinch of salt as they always seem overly optimistic. Maybe technically there is 16 stops but they aren’t “real” perceived stops. Most are just hovering an ass hair width above the noise floor. The C300 Mk3 is probably going to come in around 13 stops like the C500, which is quite good (S1H is 12.7; very impressive showing from Panasonic for its form factor!) It has been said the Komodo is using a Canon sensor, which is probably using a larger variant of the sensor in the C300. It’s also rumored to have PDAF. So now we have a RED Camera with: REDCODE RAW, PDAF Canon sensor. Very attractive combo if RED can keep their price down below $8,000 dollars. I am not optimistic as the price seems to rise with every tease and with every “feature” they add. We’ve all heard it but if Panasonic would have added Phase Detect AF to their S1H it would have been a mega hit for $4,000! All of it in a modern mirrorless form factor with a versatile screen and IBIS and weather sealing. I much prefer S1H size over Canon C100 or the Komodo which needs a butt load of expensive accessories to work. No thanks! No Canon cripples. No RED accessory-money-pit-of-hell. They missed an opportunity there.

I’m going to say the same as the C300 mk3.