billdoubleu

Today we had an early xmas lunch (to avoid the conflicting invitations on the 25th) and I shot it with the GX85 and 12-35mm F2.8.  Shooting was really fast and not under ideal conditions (massive window which is often backlighting people) but it did a great job.
Here are a few random stills, SOOC - zero editing.  




Standard colour profile, with -5 Contrast / Sharpening / NR and 0 Saturation.  People often lower saturation in-camera but I  push my grades to have lots of saturation so I prefer to have the camera do the 8-bit conversion and compression on stronger saturated colours so that I'm not boosting up a weak colour signal in-post.
When I grade it I'll be softening it up, fine-tuning the colours and adding some colour grading secret-sauce but for a someone shooting a family gathering with an 8-bit camera while also being part of the festivities, the images really speak for themselves.

I've seen enough corporate shenanigans up close to know that (unfortunately) it's often the case that the political interests and motivations of the people in charge are completely divorced from the purpose of the business, and sometimes, reality itself.
For example, I've seen decisions between two options which each had pros and cons get taken to a committee of senior leaders and emerge with the decision of a magical new third option that is clearly worse than either option originally proposed.  I've seen this happen more than once across more than one organisation.
Let's hope that some semblance of common sense prevails.  You'd imagine that the demand for products in a marketplace would help drive things in the right direction just by sheer economics, but you'd be amazed at how isolated and deluded organisational decision-making can be, especially in committee.

 

2/3 right here:

I recently asked for book recommendations to learn about human vision and was given a link to a free PDF.
It is incredible.
I'm only a quarter of the way through, but I'm absolutely blown away.  The human vision system looks like it was designed by committee and then re-imagined by Dali and Picasso, while on drugs.  It is a wonder we can see anything at all!
Did you know that the rods and cones (which detect light) are BEHIND a bunch of nerves and nerve cells and blood vessels, so the light has to go through a bunch of crap before you even sense it?   
The book is actually a mix of how the human vision system works and also what we have done with the tech to try and align to it, so it's a nice blend of biology and tech.  It's also very readable and tries to be as non-technical as possible.  This is a rare find compared to other books that are hugely tech heavy.
Take the red pill with me...  download it here: https://www.filmlight.ltd.uk/support/documents/colourbook/colourbook.php (download it by clicking on the box next to the file size).

I've developed a more sophisticated "false sharpness" powergrade, but it was super tricky to get it to be sensitive enough to tell the difference between soft and sharp lenses (when no sharpening has been applied).
Here are some test shots of a resolution test pattern through two lenses - the Master Anamorphics which are gloriously sharp, and the Hawk Vintage '74 lenses which are modern versions of a vintage anamorphic.
ARRI ungraded with the false colour power-grade:

Note that I've added a sine-wave along the very bottom that gets smaller towards the right, and acts as a scale to show what the false sharpness grade does.
Here's the Hawk:

and the Zeiss one with a couple of blur nodes to try and match the Hawk:
 
Here's the same three again but without the false sharpness powergrade.
Zeiss ungraded:

Hawk ungraded:

Zeiss graded to match the Hawk (I also added some lens distortion too):

Interestingly, I had to add two different sized blurs at different opacities - a single one was either wrong with the fine detail or wrong on the larger details.  The combination of two blurs was better, but still not great.  I was wondering if a single blur would replicate the right shape for how various optical systems attenuate detail, and it seems that it doesn't.  This is why I was sort of wanting a more sophisticated analysis tool, but I haven't found one yet, and TBH this is probably a whole world unto itself, and also, it's probably too detailed to matter if I'm just trying to cure the chronic digitalis of the iPhone and other digital cameras.
....and just for fun, here's the same iPhone shot from previously with the power-grade:

If I apply the same blurs that I used to match the Zeiss to the Hawk, I get these:


It's far too "dreamy" a look for my own work, but the Hawk lenses are pretty soft and diffused:
 

I found the breaking point.
Fuji Instax Mini Evo.

I don't actually own one so will have to buy it when we get there.
A bit of a Pyrrhic vvictory then but in the battle of wills with your kids you'll take whatever win you can.

There is an optimum resolution and sharpness.  More is not always better.  
This is why movies aren't all shot with the highest MTF lenses currently available - DoPs choose the optimal lenses and apertures for the scene / project.
However, I shoot with cheap cameras (iPhone, GX85, GH5, etc) which are far too sharp, and look video-ish.  Luckily, we can reduce this in post.
This thread is me trying to work out:
What the range of optimal resolution / sharpnesses are actually out there (from serious professionals, not moronic camera YouTubers or internet forum pedants) What might be a good point to aim for How I might treat iPhone / GX85 / other cheap shitty video-looking footage so it looks the least video it can be These techniques will likely apply to all semi-decent consumer cameras, and should be able to be adjusted to taste.
I'm still at the beginning of this journey, and am still working out how to even tackle it, but I thought I'd start with some examples of what we're talking about.
Reference stills from the Atlas Lens Co demos from their official YT channel, shot on Komodo and uploaded 6 months ago:
(You have to click on these images to expand them, otherwise you're just looking at the forum compression...)


Reference stills from the Cooke SP3 demos from the official Cooke YT channel, uploaded 11 days ago:


I've deliberately chosen frames that have fine detail (especially fly-away hair lit with a significant contrast to what is behind it), in perfect focus, with zero motion blur.  I think this is the most revealing as it tends to be the thing that is right at the limits of the optical system.
So, what are we seeing here?
We're seeing things in focus, with reasonable fine detail.  It doesn't look SHARP, it doesn't look BLURRED, it doesn't look VINTAGE, it doesn't overly look MODERN (to me at least) and doesn't look UNNATURAL.  It looks nice, and it definitely looks high quality and makes me want to own the camera/lens combo (!) but it basically looks neutral.
But, that's not always the case.  This is also from the same Cooke SP3 promo video:

The fine detail is gone, despite there being lots of it in the scene.  Is this the lens?  Is this the post-pipeline?  We don't know, but it's a desirable enough image for Cooke (one of the premier cinema lens manufacturers in the world) to put it in their 2.5 minute demo reel on their official main page.  It also has a bit more feel than the previous images.
Contrast that with these SOOC shots from my iPhone 12 Mini:

I mean....  seriously!  
(If you're not basically dry-wrenching then you haven't opened the image up to view it full-screen.. the compressed in-line images are very tastefully smoothed over by the compression)
More:



and my X3000 action camera also has this problem:

Those with long memories will recall I've been down this road before, but I feel like I have gained enough knowledge to be able to have a decent stab at it this time.  We'll see anyway.
Follow along if you're open to the idea that more isn't better...

Somewhere in France next summer a wedding party recoils in horror.

As you can see here with this Sony rep and his Zeiss CZ.2 lens, shaving those precious millimetres off the camera has revolutionised the way he shoots.
And that is before you even get to the main raison d'être of a 1.4kg weight saving vs VENICE 2.
That 1.4kg is crucial and a game changer when you have 35kg of tripod head, rails, cages, matte box, monitors, EVF and lens attached.
He must really feel the difference in his back all day long.

Here is one of our most adventurous and creative shooters, Nino.
As you can see the size of the BURRITO is once again a total game changer here as it allows the lovely new Cooke to move back a few cm making it necessary to break your wrist to reach it.
The added advantage here is that your hand forms a lens hood, reducing that nasty flare from the single coating!
And as we can see, the ENG style rig high up on the body definitely isn't unbalanced with a high centre of gravity from all the shit mounted on the top handle!

Finally we have the more minimal rig here.
The 2.8kg BURRITO clearly needs the 68 rods under it and a tripod head the size of a bus. Otherwise the whole thing would collapse, giving an unprofessional aura to the shoot.
I think that is an absolute brick of a battery on the back which is all part of the absolute game changing form factor as a cinema camera.
Have you EVER seen a rig like this before!?
REVOLUTIONARY!!!
Yours for only $25,000!
*Or just get a Sony a1 with same sensor from cash converters

Compiled from teardowns and repair technicians:
ILCE-7R IMX094AQR
ILCE-7S IMX235AQR
ILCE-7M2 IMX157AQL
ILCE-7RM2 IMX251AQL
ILCE-7SM2 IMX235AQL
ILCE-9 IMX310KQL
ILCE-7RM3 IMX251AQL
ILCE-7M3 IMX410AQL
ILCE-9M2 IMX310KQL
PXW-FX9 IMX410DQL
ILCE-7RM4 IMX451AQL
ILCE-7C IMX410AQL
ILCE-7SM3 IMX510AQL
ILCE-1 IMX610AQL
ILME-FX6 IMX510AQL
ILME-FX3 IMX510AQL
ILME-FR7 IMX510AQL
ILCE-7M4 IS-1041
ILCE-7RM5 IMX451AQL
ZV-E1 IMX510AQL

Fantastic video! The quality of RAW on a light, slim phone, plus grading software, compared to the gigantic VHS camera my dad had in the 80s is absolutely unbelievable.
I love using motioncam on my Pixel 6a for a 15fps 8mm feel. It's really fun and freeing in the sense that I don't stress about getting a perfect image with it like I do my mirrorless cameras. I just get the exposure as close as I can and let 'er rip. It's easier to focus on framing when you aren't worried about exposure or focus.
Though I do wish the focusing had a better, less chaotic, feel with the slider. I like the feeling on the focus ring in my hand. The only other thing I find frustrating with Android phones in comparison to an iphone is the lack of good accessories due to the inexistence of standardization between manufacturers. I would love to be able to get a nice variND for my phone that doesn't seem janky or third party. I'm not a fan of fluctuating shutter speed for exposure.

Fantastic video! The quality of RAW on a light, slim phone, plus grading software, compared to the gigantic VHS camera my dad had in the 80s is absolutely unbelievable.
I love using motioncam on my Pixel 6a for a 15fps 8mm feel. It's really fun and freeing in the sense that I don't stress about getting a perfect image with it like I do my mirrorless cameras. I just get the exposure as close as I can and let 'er rip. It's easier to focus on framing when you aren't worried about exposure or focus.
Though I do wish the focusing had a better, less chaotic, feel with the slider. I like the feeling on the focus ring in my hand. The only other thing I find frustrating with Android phones in comparison to an iphone is the lack of good accessories due to the inexistence of standardization between manufacturers. I would love to be able to get a nice variND for my phone that doesn't seem janky or third party. I'm not a fan of fluctuating shutter speed for exposure.

Maybe this has been discussed before, (Or maybe people don't care about such things at this point in technology), but I just discovered this app for my Pixel 7 Pro called Motioncam Pro that can do C4K raw CDNG, and to an external SSD at that.
Again, maybe this app has been around for awhile and I'm late to the game, and I know its just a tiny sensor, but for someone broke like me, who can no longer afford my old GAS lifestyle, this is a pretty fun and cheap way to get back into the grueling fun of raw video.
The app can even export gyro data for use in Gyroflow, for stabilization.
Nothing too exciting here-
 

I mean, ok. I said it could shoot C4K, which it can, I just chose a different aspect ratio for this particular video.
It can shoot raw up to 60fps, I choose 24fps, I don't consider either a low frame rate.
The face is blown out I guess at some point, I need to go back to find it, but likely user error, I overexposed.
I also owned the EOS M to use the magic lantern hack, and that DID suck, bc you didn't get a realtime preview, or if you did it was insanely cropped, and the Dr sucked. This looks much better than that, we can agree to disagree, and it has optical stabilization, focus peaking, realtime preview, 4K, 60p.
I'm not claiming this is somehow better than a modern mirrorless, but very few modern mirrorless shoot raw, hell most are just now getting to 10bit. This looks better than the videos I get when using the stock video app. And I'm fucking poor and can't afford a modern mirrorless, so yeah, I have this (relatively cheap) phone that all of a sudden can shoot raw, I'm going to enjoy it.

I'm confused as well... as someone who posts test shots, I understand what it's like to put yourself out there on a public forum. So I applaud anyone on this forum that is willing to share.
Since you post a lot of shots from your camera(s) of the week, I'd think you may have the same reservations and extend the same courtesy.
Truth is, I loved everything about Brian's post and despise almost everything about your reply...
It's a shame that with all of your money, you can't seem to afford common courtesy and manners.

There's a bit of controversy surrounding this topic in regards to the new Anthony Bourdain documentary. Not being a random voice, but, the voice of an actual person.
https://www.latimes.com/entertainment-arts/story/2021-07-26/la-et-anthony-bourdain-deepfake-ai-voice-documentary-audio-cgi
I think these AI voice techniques will become common place much sooner than later. Similar to how AutoTune has tarnished the perceived artistry of a well executed vocal performance, this will degrade the sense of comfort and companionship a great voiceover performance provides.

I would recommend not changing lenses at a concert. Firstly you'll lose time finding enough space to change them, or balance the lenses in your arms and risk dropping everything.
But most importantly, concerts get hot and you will 100% get condensation on the sensor, meaning you'll be unable to shoot anything for a minute or so each time.
Better to have two bodies with a nice combination of primes (say the 21 and the 50)
But I would personally stick to the zoom on cam A with a super wide prime for cam B.

Dear friends, some shutter therapy with the beautiful GX85. Lens is a gem too. I will post the second video in the lens section. 🙂
 

I just noticed that the Panasonic BS1H has dropped down in price now to merely US$2.3K:
https://www.bhphotovideo.com/c/product/1664826-REG/panasonic_dc_bs1h_lumix_bs1h_full_frame_box_style.html 

Every time I get the itch to acquire an OG Blackmagic Pocket Cinema Camera I decide that a GM1 or GM5 would be a much more sound purchase. I have never been able to find either of these cameras, used, for what I would consider a decent price. Three weeks ago the sweet little thing below popped up at a more than reasonable price and I snagged it quickly. It's essentially brand new. The kit lens was never even taken off. I bought a 20mm pancake for it and have been using it for stills ever since. At first I didn't like the blue but I've grown to like to look of it. This thing is quite an engineering marvel and it would be amazing to see a 4k version from Panasonic sooner than later.

Every time I get the itch to acquire an OG Blackmagic Pocket Cinema Camera I decide that a GM1 or GM5 would be a much more sound purchase. I have never been able to find either of these cameras, used, for what I would consider a decent price. Three weeks ago the sweet little thing below popped up at a more than reasonable price and I snagged it quickly. It's essentially brand new. The kit lens was never even taken off. I bought a 20mm pancake for it and have been using it for stills ever since. At first I didn't like the blue but I've grown to like to look of it. This thing is quite an engineering marvel and it would be amazing to see a 4k version from Panasonic sooner than later.

Every time I get the itch to acquire an OG Blackmagic Pocket Cinema Camera I decide that a GM1 or GM5 would be a much more sound purchase. I have never been able to find either of these cameras, used, for what I would consider a decent price. Three weeks ago the sweet little thing below popped up at a more than reasonable price and I snagged it quickly. It's essentially brand new. The kit lens was never even taken off. I bought a 20mm pancake for it and have been using it for stills ever since. At first I didn't like the blue but I've grown to like to look of it. This thing is quite an engineering marvel and it would be amazing to see a 4k version from Panasonic sooner than later.

I do all family oriented photos and videos. The last few months I've mainly been using the Motioncam app on my Pixel 6a to shoot full sensor RAW video @15fps. For photos I've been using my newly acquired Panasonic Lumix GM1. But the love is equally shared with my GX85 and G85.

Perhaps it mostly still comes down to cost and reliability? Mainly in regards to storage media. Cameras are only very recently able to take advantage of low(ish) cost SSDs that are fast and of large capacity. In the recent past storage media was slow, low capacity, and expensive; or slow, high capacity, and really expensive. Couple that with the variance in card speed and card compatibility with different cameras, even with the same card brand. It's difficult to ensure a quality customer experience with these issues.
Also, you're an experienced DP, you may be more willing to work with difficult equipment (like a hacked Canon) to aquire a better image. I would venture to say that the majority of these cameras end up in the hands of jackoffs like me who participate in this as a hobby and don't have the inclination to dick around with a finicky camera.
RED caught a lot of shit for charging astronomical prices for their branded SSDs but it makes sense if you are quality assuring reliability and compatibility. I'm not sure how ARRI handles this aspect of their cameras but I'm sure it's much of the same. Limit the customer to what you're sure will work even though the cost is high. In these two cases you can do that, but with a consumer camera you will probably account for the lowest common denominator and accommodate accordingly. Democracy at it's finest.

I read a few days ago that Sony changed the Imaging Edge app to Creators app, and that then connects to the Creators Cloud. Very creative indeed. It's been happening for some time but only now feels like it's happening all at once.
 
It has certainly become a calling card of younger millennials and older gen z to present themselves as "multi-disciplined". One can't just be a photographer anymore, but a photographer, videographer, model, talent agent, etc. It's not just social media in the creative sector of the economy that has ruined us but work culture in general. In a capitalist dominant world where the few with resources ensure that the many without resources know that they are replaceable, what other outcome could you expect. Make yourself irreplaceable and you'll prosper, right?
 
Regarding older millennials, like myself, and younger gen z I believe; millennials have grown tired of busting their ass to chase a carrot they'll never eat and gen z have seen enough from the older generations to know that the hustle is a fruitless effort. This is all coming from mine own American perspective. I know this forum spans many cultures and generations. If you embrace the hustle, more power to you and I wish you the best.
 
As far as the "good-enough-is-good-enough" goes in the creative world, It has simply become an esthetic for the younger population and of course corporate number crunchers will happily follow suit. The current state of the arts and creative commerce tells us all we need to know. Vinyl records are outselling cds. Music is being made made in Garage Band with cheap instruments and microphones. More people will watch a Tik-Tok video that took 15 minutes to make than will watch a properly produced motion picture that took 3 years and thousands of man-hours to make. Polaroid and other film technologies are being embraced once again. As well, early digital camera technology is exploding on the secondhand market. Look at the success of the horror movie Skinamarink (2022). It was shot with an FX-6 but it looks like absolute shit . The lo-fi look is where it's at right now. Why is that? I definitely have thoughts on the subject, but I'll save everyone's eyes from continuing this rant.