billdoubleu

Many times it feels as though Androidlad is the source.

I shot a couple rolls on my honeymoon and had them developed last month. I guess you could say I'm into the whole vintage film thing, as my honeymoon was ten years ago.
I took photography in highschool but it didn't take. I did take all the courses because cute girls love photography. I think film is beautiful, but ultimately a pain in the ass.
If you are looking for a lab in the US, I had a very good experience with The Darkroom when developing my honeymoon photos. They seem to have a stellar reputation and didn't disappoint me.

Many times it feels as though Androidlad is the source.

is at the final stages of development and will be announced soon.
One exciting feature I can share is that the dynamic range is rated at 16 stops (actual ARRI stops, so 2 stops higher than current ALEXA sensor).

I don't think anyone would consider now an ideal time to build a new machine. But, perhaps you could explain your workflow and list the programs you use?

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 just got my hands on a Ninja V. I did a test shooting towards a window. Today is a bright sunny day so the light is very heavy outside. I exposed to retain the highlights and then pushed the ISO from 640 to 6400 to bring up the shadows. While it's very noisy I don't see any banding or fixed noise pattern. The noise seems free from any artificial noise reduction, would probably clean up nicely in neat video. 





Below is normally exposed, while trying to retain the highlights a bit. It retains a lot of highlight detail while remaining noise free in the midtones and shadows. 



Overall RAW from the S1 off the Ninja V is amazing. The one thing I'd like is a curves tab in the RAW control panel in FCP. Outside of adjusting ISO you can't push and pull the shadows and highlights much as it doesn't seem to be modifying the RAW data. 

The only hindrance on the S1 is moire from the lack of anti aliasing filter. I'd also note the RAW to VLOG conversion is not giving the same colors as VLOG off the S1 internal files. 

 

I feel that the Panasonic Varicam LT is one of the most underrated cinema cameras of the recent era. 

Just the timing and market was bad for it. 

Varicam S35 before it wasn't too successful (too expensive, and too heavy? And late-ish to market), thus even though the Varicam LT was 98% of the Varicam S35 but at a cheaper price and a lower size (addressing the two biggest issues of the Varicam S35), there wasn't the strong success of the Varicam S35 to build upon. 

Plus by the time Varicam LT arrived, it was already too late, ARRI had their claws solidly into the higher end market, and the Varicam LT was still too expensive when the likes of the Sony FS7 / Canon C300mk2 did the job well enough for the low/mid budget and were massively cheaper. The Varicam LT just couldn't find a large enough niche to be a huge hit with.

I rarely shoot music videos but I made one for a friend a couple of months before the pandemic. Shot with GH5, with Pana/Leica 15mm 1.7, 25mm 1.4 and 42,5 Nocticron. And two Aputure HR 672s. No pre-production, no storyboard, It's was all improvised, a very stressful couple of hours so bear with me 🙂 I used Emotive color v3 when editing. 
 

Based on the same 28MP design of the S5KVB2 announced in 2014 and used in NX1 camera, but with completely refreshed logic layer.
BSI & Stacked
All pixel dual cross-type AF
14+6bit readout
100dB single exposure DR
Dual native ISO 40 & 160

Some Angenieux 75mm glory, c-mount for S16 format. covers full m43 sensor with some light vignetting. Another gem to support the yearning for a GH6 with prores, oplf, sdi out, internal nds, super16 glory, 10bit HD up to 240fps, etc. 🙂 Lens has a glorious glow wide open at f2.5, which is like a light source of its own. I love everything about it. Hopefully it will become more thant just a magical item but for pratical use in a short film or wait, why not shoot a paid gig with it for some talking heads footage! Photo taken with the beautyful GX85. Hope that body gets the GH5 sensor and codecs some time. Now that would make m43 my format of love again.
I saw a Nikon 35mm f2, a lens from the 60ies vignette pretty strongly on a S1H in 16to9 video mode. So this little lens is doing pretty okay in that regard I think. And it´s my first and only Angenieux lens.:)
 

No imaginary control is more real than when Apple can't out lawyer it and China can't ignore it.

Sony Semicon's Exmor RS line has now fully matured and will come in various sensor sizes - all 8K capable.
One of the first to make the debut is a 45MP Micro 4/3 (MFT) sensor with 2.24um pixel size.
More to follow.

I get it, you're a professional and use purpose built tools. I watch your beard...I mean vlog occasionally.
This would be for chasing my toddler around and maybe a few other fun things I'll hopefully think of along the way.

No one tell him about "Birth of a Nation"

Here is my preliminary setup. This little setup here is amazingly powerful. 

One would think Samsung would be able to jump right back into the enthusiast camera market using the same technologies they already use for their phones. Big beautiful screens, blazing fast processors, computational photography, etc. Why not try to capture that extra slice of the market? Adding the benefit of lowering BOM cost and improving the margin on a product you sell millions of every year.

Something has gone badly wrong with the camera market.
New blog post:
https://www.eoshd.com/news/collapse-in-unit-shipments-means-6000-cameras-could-be-the-norm

I’m looking forward to all the ‘Why I Switched’ videos on YouTube when the thing gets launched.
 

Providing Fujifilm don't completely cripple it then I'll be having a fire sale to get the upcoming GFX100S.
If it is too compromised then I'll be having an inferno sale to buy a used version of the original GFX100.
And then switch the internet off.
 
 

You build what you want to an acceptable baseline that satisfies you and then release it into the wild.  What happens after that is anybody's guess.
If you think video is bad, you should try making music recordings and then giving it over to the world.

I feel like I am wasting my time in the pursuit of nice looking, quality, well graded footage.
The majority of people that are in my social circle have no idea what a calibrated TV looks like. Most have the colour and contrast set to "Irradiate" and sit within 6 feet of their 60-85 inch TV's whilst they tan. The sharpness is set to "stun" exhibiting awful halos and because they sit so close you can practically define each pixel. And... because frame rates used by filmmakers are not smooth enough for TV manufacturers the TV's now interpolate a few extra frames between the original frames making for a "much smoother viewing experience". On Christmas day I was watching "Singing In The Rain" on a relatives 85 inch TV, it looked dreadful with the interpolated frames and over-sharpened image but when I pointed this out it didn't go down to well, so I kept quite for the rest of the day and suffered in silence as so many classic films were simply ruined.
I've tried to explain the problem to my friends and convince them that an adjustment is required but it falls on deaf ears, they simply don't care.
I have never seen one of my videos look remotely the way it was graded with my calibrated monitor on any TV owned by people within my circle or any of the customers that I visit within my profession.
I have to blame the TV manufacturers, but I also believe that the public is generally ignorant with regards calibration, either way a lot of painstaking creativity is currently going to waste.
If you made it this far, thank you, I feel better for the rant.
Cheers.

Another year over and what a shit one it was, to be quite frank about it. We all deserve a bit of peace and happiness at Christmas after this, to get our spirits up so that's my hope for all of you - have a good one, and cheers for your EOSHD-ing all year through thick and thin, keep the passion and let's keep our heads above water!
And I hope all your front rooms look as great as this...
 

Shot this with the S1 in 1080 25p. 

Really happy with the visuals. 

Same can be said about "Proud Mary", link below. Of course these are extreme examples, with multi-million dollar budgets that allow for big productions with very expensive lenses, rigs, lighting, crews, etc. Then you have access to the best coloring and grading in post. So while it's true that it can show what the Sony sensor can do, for people here, they won't be able to get there so easily. And that's when a larger camera like the FX6/FX9 will help, with more flexibility, more I/O, etc.
I think the key is to focus on flexibility when you are a one man band or a small crew. Which camera will offer you the most flexibility and make it easier to get the end results you seek. Yes they can all get there, but choose a realistic path (e.g. not the "Possession of Hannah Grace" or "Proud Mary" paths), and that will lead to the best camera choice for you personally.
https://britishcinematographer.co.uk/dan-laustsen-dff-asc-proud-mary/