jack jin

If the FX3 has the same image processing, autofocus and eND as any of the other FX cameras it'll be a no-brainer I think especially given its price tag. If it comes with the Sony Alpha processing (strong sharpening and noise reduction) they can keep it. 😉

Interesting; what comes to mind is that the latest files allow projection below zero. This only happens in theoretical space (i.e. below legal LogC / VLog), and projects sans clipping (an offset immediately after can bring sub-zero data into view).  This area shouldn't be encountered in real footage, so it may be the higher Isos which change the lower data range (S1a is optimized for VLog 640 Iso, 100 Cine-D, 400 HLG). Also, luma grade maneuvers in advance of the Pre/conversion is another way to bring this range into view.  I used to have an artificial rolloff to 0 black for theoretical black projection, but this caused problems downstream, so I removed that cap with the latest files. For noise, increased color separation will amplify noise, despite completely smooth tetra interpolation, if the footage has noise macroblocks. Higher bitrate codecs and lower Iso is optimal for clean imaging. Can you send me .tifs of the raw footage to noodle around with?

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...
 

I can't see it myself. Those with an interest in cinema have already bought all of that stuff.
What changes?
Just because Matrix 4 comes to streaming first, and you can't go to the cinema - you are not, as an average mainstream ex-cinemagoer, going to spend $3000 on gear for that are you?
I disagree with that too I'm afraid. What is the point of a director at all if the customer makes all the decisions?
(Yes The choice of viewing device is a creative decision)
Sure, and they can already spend their money on Netflix, or whatever. I don't care.
But depriving cinemas of content at a time like this is a bad move for culture.
We need the rousing blockbuster social experience like never before. New Bond film at Christmas. That kind of thing.
Short sighted beancounters at the studios risk killing that future.
It's short term thinking.
The math and damn statistics are nothing to do with it. Emotionally I can tell the difference between a big cinema screen and a TV! It's a completely separate experience.
sounds quite charming to me 🙂
Music streaming has killed music.
They are not paying per film. It's a monthly sub, creative cloud style. Do you want to tie yourself into 10 of those all at once just to get the same selection of studio content you would at any one time in one cinema? Sounds fucking expensive to me!
I can just see it following the music industry to a tee.
Smaller artists lose out from Spotify in big fashion.
The pirated copies of HBO Max streams will be full HD, 1080p, probably identical quality to what you get from the paid service.

I am indeed! I meant to thank bloggers (including Andrew specifically) for bringing the issue of overheating up so much. The pressure about the timer nonsense forced Canon to change the way the camera monitors temperatures, which is the reason the mod works at all.

I also heard it in a FX6 presentation video. The Youtuber (can't remember who, maybe cineD) says he asks Sony why no IBIS, they told him they can't do it yet with an E-ND in the camera. It may be related to the room needed for the sensor to move around in the camera body and the ND filter being very close to the sensor...

Thanks for the explanation.
It's a 50MP Quad Bayer sensor in the phone, almost 1" size.
Quad Bayer can use Dual ISO in one exposure, the pixels at different exposures are merged in the 12MP shot.
Also it is RYYB. The yellow diodes let in more light than traditional Green ones with bayer sensors.
Then there is neural network and AI processing side.
And probably a very high speed readout in some modes with multiple frame merges.
Smartphones are leading the way for camera technology at the moment.

It does look great in low iso and with sharp glass, but it's not as sharp as the fullframe 6k downsampled to 4k where the detail just pops off the screen, in lowlight the noise is approximately 2/3 of stop noisier in my experience.

It does look great in low iso and with sharp glass, but it's not as sharp as the fullframe 6k downsampled to 4k where the detail just pops off the screen, in lowlight the noise is approximately 2/3 of stop noisier in my experience.

Btw the autofocus is surprisingly a bit faster with the 18-135 compared to my tamron 24-70 g2, even though on a native ef camera the 18-135 is a lot slower then the tamron. Also apsc is limited 12mp, so the resolution you get out of your photos won't be great, same for 4k video, where it is only a one to one readout, so the noise and resolution isn't gonna be the best.

I found the Arri film matrix numbers, and used the Matrix drx printer code to inject them into DaVinci. I'm not sure what to make of it.. it is a lot more saturated for sure. Here are the numbers and the lut/powergrade:
1.271103    -0.284279   0.013176
-0.127165   1.436429   -0.309264
-0.129927  -0.510286  1.640214
Arri Film Matrix Download

It lives! The Sony a7s III conversion is now complete as well.

Yeah, it's not cheap. Arri also had a similar mode on the Alexa that they discontinued, it was used when the Alexa was to be intercut with film.
Anyway, thanks for the info on the cineon mode. Very cool.

Have you tried filmconvert nitrate? The cineon log conversion has spot on colors and contrast, it's their normal emulation laced with their heavy print film colors that looks crap. 

@jack jin That's the ticket; one might also opt to use day balanced bulbs or CTB gels indoors

Apologies, I was away for a bit. An update - first, my dad is out of the hospital and recovering from surgery.  We are ostensibly through the worst of it.
Second, I ended up rewriting the complete engine. All legacy code has been replaced, in order to make extreme saturation projection more accurate, as well as make some improvements along the way (for example, the engine now features a 1D function at core)
Third, I've completed the S1/S1H/S5 conversion, as of yesterday.
It is the most recent LogC (SUP 11.1.1)
Fortunately the S series seems to have a better internal codec. The GH5 was uniquely problematic with its red/green macroblock splitting. To test gradient motion, film a white wall in darkness. Then, move a spotlight back and forth to see If there is banding revealed as the spotlight falls into darkness. Better codecs will handle this smoothly, while more compressed codecs may have some visible bands moving in the gradient. This is the kind of thing that can crop up in lens flares, or panning across gradients.

The other advantage Sony has with E-mount is they can coordinate the entire E-mount roadmap and strategy, under one roof.
With L-mount, Panasonic, Sigma and Leica cannot collaborate fully over strategy due to antitrust laws.
So if they both end up releasing a similar set of lenses or similar cameras that cannibalise each other, there's not much they can do about it.
In my opinion Sigma would be wise to invest in more than one mirrorless mount.
The SA2 mount I suggested to Kazuto in the interview could do really well, with adapters from SA2 to E-mount, L-mount, RF-mount, etc.
It gives this range of lenses a unique selling point (buy one lens for multiple systems), to differentiate it from Panasonic L-mount lenses.
Sigma were going to develop their own mirrorless mount anyway before the agreement was signed to use L-mount.
Also Panasonic need to push like crazy on the camera side. GH6 should be L-mount and APS-C sensor. New cinema cameras with L-mount to compete with Sony FS cinema line. They really need to up the investment.

Panasonic were first to the mirrorless market but late to the full frame mirrorless market.
They need to take a long term view and hope that Canon RF / Sony E-mount lenses don't come to dominate.
The lenses are very important.
Panasonic have made great cameras, and in Micro Four Thirds had a great range of optics at all price levels.
With the S-series optics they are starting all over again, but E-mount is already very well established.
This is a problem.
Sigma are competition in their own backyard with more appealing lenses across the board at better prices.
With Leica and Sigma on board, L-mount has a enthusiast and professional niche of customers, who will be around long after the mainstream has moved on from cameras entirely and Canon has gone back to concentrating on medical and selling photocopiers.
But if Panasonic want to compete for Sony and Canon proportions of the market in terms of volume, I think they need to take the long term view... And get people on board with the L-mount system. Lacking phase-detect AF or good AF with EF lenses doesn't help.
Fundamentally I think Panasonic can only continue to move forward in cameras.
It is Nikon I am more worried about!

Haha holy crap dude, can't believe that you are still gonna do this. Thank you very much for the sacrifice bro. I also do wonder what the 4000, 6400 and 12800 looks like in vlog, so if you can maybe shoot some footage at those iso levels as well that would be amazing. Thank you so much!

Not the reason at all.
Both Nikon and Sony do heavy processing on their footage. Strong NR creating all kinds of artifacts and strong sharpening with halos around corners. 

If you want a proper Sony camera which doesn't look like video, the FX9 and above are your only choices. While Panasonic starting with the S5/S1 and above looks really organic.

Yeah that's just pretty retarded, but obviously nobody in their right mind would actually spend 1k plus just for custom body color on a $6k cameras. And apparently everyone hates Sony ergonomic in this forum, but have y'all actually tried out the newer thicker a7r4 body? It really does feel pretty nice, I would say on par with the z6 or eos r. Obviously not as thick as the s1 but it's up there.

I'm happily using my A7III for paid work and so are many others... so, I guess? I sold an M43 lens to someone that ranted away at how trash the Sonys were and how they fell apart on him after a year... Mine looks more or less the same as the day I bought it, and all the buttons still work fine. I don't love the A7III but I love it for its price point and capabilities when it was released. It has many flaws and things that I don't like, but the old school of "it's not metal and hard therefore trash and will fall apart" is... old school.
The materials aren't "really cheap", I don't do handheld so how it feels doesn't matter as much, but there's nothing wrong with how the A7III feels, the menus aren't great but they're fine, I set up the custom menu and I can scroll... 
Why do you think people use BMPCC 4K? For it's useability on a gimbal? for the tilting screen and long battery life, as well as external ssd and no af-c? It's for the IQ and price...  So yeah, lots of people will put up with whatever you apparently "can't" put up with. I can't deal with no AF-C but I don't tell other people they need it and then ask them why they don't...

You ain't gonna see what the footage look like just from youtube, and the a7s3's slog 3 and 2 is meant to match the fx9, and from the slog samples I've downloaded it seems great, especially if you use the right rec709 coversion lut like the alister venice or phantom luts. And the dynamic range of the a7s3 is the same as the c300mk3 with the dual gain enabled. And it still manages to beat out the fs7 even at 16000 iso.  The a7s3 also won't overheat from testing, since Philip Bloom literally managed to record over 8 hours of footage in a hot room before he gave up on the overheating tests.It also has a flip screen, ibis, great eye tracking af even at 240fps. With the xlr module it also can record 4 channel sound, 2 from xlr and 2 from 3.5mm. And of course there are internal nd adapters for e mount to ef if you want to go that route as well.

So the red komodo for 1500 dollars more is going to have: 
1, True internal Redcode raw at 8:1 in mq mode and 4-3:1 at hq mode
2, Internal 4k and 2k prores recording
3, Global Shutter
3, Much better dynamic range
4, 6k
5, Red ipp2 colorscience
5, Better lowlight then the c200
 
However, the canon is going to have:
1, Internal nd filters
2, full sensor 4k 120 compared to cropped 4k60 on the komodo
3, canon c series reliability
4, Better DPAF
5, 1500 dollars cheaper
 
Personally I don't see the point of the canon, since the a7s3 will blow the canon's image quality and usuability out of the water, while being 1000 dllars less, in a much smlaller mirrorless form factor. At least the red has global shutter and internal raw and 6k. The canon just sound like another 1dc all over again.
 

So the red komodo for 1500 dollars more is going to have: 
1, True internal Redcode raw at 8:1 in mq mode and 4-3:1 at hq mode
2, Internal 4k and 2k prores recording
3, Global Shutter
3, Much better dynamic range
4, 6k
5, Red ipp2 colorscience
5, Better lowlight then the c200
 
However, the canon is going to have:
1, Internal nd filters
2, full sensor 4k 120 compared to cropped 4k60 on the komodo
3, canon c series reliability
4, Better DPAF
5, 1500 dollars cheaper
 
Personally I don't see the point of the canon, since the a7s3 will blow the canon's image quality and usuability out of the water, while being 1000 dllars less, in a much smlaller mirrorless form factor. At least the red has global shutter and internal raw and 6k. The canon just sound like another 1dc all over again.