Zeng

I shot a test with an Arri Alexa LF vs 65 to find out which one had better color reproduction. I filmed some dog poob, a real stress test to the sensor and the color science. Neither one of them made the poob look like it was a delicious strawberry. Then i did the same test again with my Olympus Pen EP2 and it gave me very similar results. I think the camera companies are just lazy and not doing their homework. I feel ripped now with my two Arris. The youtube test video hV2yvzYzix4 really shows the pain some testers like me were willing to go through, producing really challenging footage, so challenging to the eye.

No, it's linear RAW, just like Nikon Z6. It will be interesting to see how Panasonic handled all processing things. Supposedly it should be a stream without any processing applied, which S1H log internal does quote a lot to give you clean shadows, etc. It is mostly apparent when I compared S1H to Z6 RAW - they both share the same sensor. As Panasonic does full sensor readout, this should be without some artifacts found on Z6 image. Currently I work on Z6 raw differently than suggested by all these tutorials. I open them in Assimilate Scratch, interpret as Rec2020 gamut and assign Arri Log C gamma, then output with additional converting step to Arri wide gamut. The resulting prores log files are very close to Alexa in color, which was very difficult to achieve when working on Nikon log files. It will be interesting to see how S1H raw behaves in this regard.

My newest Camera is the Pocket 4k, a really great camera for what I do.
Nevertheless, I bought a cheap Blackmagic Micro Cinema Camera last year and really like the images a lot.
It´s maximum is 1080p60, but the images really look great and offer great options in the grading process. Combined with vintage lenses it creates really organic footage and there are a lot of situations I prefer this compact Camera to my Pocket 4k.
Overall it depends on the look I want to achieve and the recording modes I need, but for a mid 2015 Camera in this small form factor, it´s insanely good. 

Looking at recent posts objectively, it is always the same users who end a perfectly good discussion on this forum with toxic bullshit.
I am coming after you.
It is a cull.
It isn't about politics.
It's about values!
To protect a community I love... I have no choice.
To be clear, it is none of my business which way you vote. What matters is behaviour, character, values.
If you've been a good contributor here and kind to people you get to stay.
If not, then you are going to be asked to leave and I will pursue people who return under a different name.
This is purely because there are now far too many posts being trashed and too much arguing driven by people with the wrong values which I despise.
I am going to use this week to draw up a list of people who strongly align themselves with Trump's politics of America First.
And I will be getting rid of the lot of you.
Yes you can say it's a political purge but I prefer to think of it as purely about values and about protecting users who DO contribute positively to the forum.
If these idiots are allowed to get away with bringing Trump idolising bullshit into this community then all our work will be for nothing and Russia with their fake-user farms will have won too, because I am 99% sure at least a few of the idiots are completely made-up shill users whose role is to divide us politically and weaken our online communities.
At a time when we must pull together as a camera-community, as filmmaking industry, even as a country, indeed as a world - to get through tough economic times ahead - dumb arguments which ignore factual data are a waste of time.
What has happened to the world in recent weeks is stressful enough and I personally do not need to hear from certain people in every thread. I will not be providing a platform for Red cap wearing idiots who haven't contributed a single shot or image to this forum.
I get that EOSHD has a big US readership, in fact the US contribution to my site is the largest in the world and I want to keep as many of you as possible and not lose any friends who just happen to disagree with me on politics.
But if you are going to be a shill for Trump's politics or somebody who is a complete shit-stirrer and troll, then I will no longer be turning a blind eye to it and the cull starts now...
Have fun on your way out.

Since the XT3 and XT4 are so good, they should just go all out with the X-H2 and make it first and foremost a video camera. Make it an XC-15 style camera (or a smaller C100), with modular XLR adapter,  internal NDs, all the video codecs, timecode, etc etc - plus the things people don't believe belong in a cinema camera - like IBIS. 
Go right up against the lower end ($2,500 - $4,000) cinema lineup that Sony, Canon, and Panasonic have abandoned (other than the S1H, which is still a hybrid mirrorless photo camera). 
Finally give the X-Mount a reason for their beautiful X-Mount cinema zooms and great mini primes. Make the ultimate doc/journalist/one-man-band camera. 

Sigma has come close to offering an affordable package that gives you everything you'd need. No compressed RAW or good auto focus though or intermediate codec. 
Full frame is cool as it gives an edge in low light. At some point that will no longer matter and sensor size will become pretty irrelevant. 
Once someone comes out with the equivalent of an S1H with Canon like auto focus there won't be need for much more for most people, especially if it has compressed RAW as well. 
In terms of more professional filmaking there really isn't a huge drive for better cameras. Its really this one man band stuff that is pushing the innovation imho. There will come a point when the one man band has everything he needs and that will drive down innovation as there simply won't be a demand for more. 

close? the A73 has the worst codec out of all current-gen FF cameras! 

If it meant dropping the 6K resolution, I'd honestly prefer that the XT4 shoot 422 internally over 420. I love my XT3, but I really don't like the 420 color space, especially for grading. I have a Ninja V but I really dislike external recorders. Once you start throwing cages and external recorders onto cameras like these, I just don't see the point. If I'm going to do that, then I'd rather have a legitimate video camera then some awkward, Frankenstein rig with cables, adapters, clamps and mounts dangling off the body. So many failure points. So many things to jostle loose. It all just ends up being a huge pain in the ass. 
I think Fuji has absolutely beautiful color science and their lenses are amazing. I'm really looking forward to the XT4. I hope they include 422 on it! I'd take 4k 422 over 6k 420 any day. BETTER pixels over MORE pixels!
 

I've been playing around with it and can't fault it really. In fact for me, so far, it's been more reliable than Nikon's own FTZ adapter.
All my EF lenses have worked on it even old weird shit like Tokina 28-70 F2.6
It works well in video mode and has so far been far more reliable and bullet proof than Techart E-mount adapter for Nikon Z.



Going to continue to test but it looks like we did finally get that full frame 4K camera from Canikon.

You can't freeze time or be satisfied for very long, where's the fun in that... Always chasing knowledge, perfection, performance is what this forum is about. I find it fascinating that the image in ProRes RAW on the Z6 has the weird attributes it does compared to the internal H.264. I guess that makes me a camera nerd. So be it.

If a 2500$ pro chart is the only way to see aliasing from this camera then I guess we're all ok haha

This discussion looks similar to Sigma Fp topic regarding their raw DNG having some issues. Problems in downscaling 6K to 4K Raw? Very interesting. Still waiting for my Z6 to come back from Nikon. Will do some testing. Although I don't have a pro resolution chart at hand either.

Why sell us 1 adapter when they can sell us 3
I think that probably went through their heads.
Hopefully AF is going to actually be reliable on the Fringer EF. I feel the Z6 has it in it to do it... somewhere... Just needs the right firmware

Ah didn't realise it was parfocal as well. Not bad for £200.  I might try and fine the Zeiss but none on UK eBay at the moment, mostly seem to be in Japan.
This is where I get my old lenses from when I'm in Berlin:
https://www.shphoto.de/catalogsearch/result/?cat=0&q=anamorphot
Highly recommended
I'll see if they have any in.

ah dang, was hoping on a RAW tot Cfast recording module  
These kind of sizes for raw recorders would make a lot more sense for me, then carrying around a external monitor/recorder.

Very nice!
From this morning, here is an interesting one. This is GHa Tun v4 extreme gamut finished with the new system (Tungsten extreme gamut is the most difficult scenario). GHa v4 Tun actually outperforms the Alexa in extreme red (Arri has the edge in blue though). Also note the slight banding apparent in blue/cyan/green (VLog All-I), a non-issue on the P4K  (GH5 on the bottom):
 

So i said i'd post some stills, these are basically ungraded.
This frame is in a sequence with car lights, i like the tonality of this very subdued moment. Shot 12bit to manage shadow tonality.

From a different point above. All shot on a 50mm M Summicron probably wide open.

I think i hit the saturation slider here in Resolve. But this had car rolling over camera. It's a 21mm CV lens and i see some CA aberrations from the lens that i would deal with in post. But i'd never let a car run over a Red!

shot on an 85mm APO off a monopod. Nice tonality again and it's day light from windows with some small panel lights bouncing and filling in

A reverse of the above.

Some fun shots.
I think the true benefit of something like the fp is the speed at which you can see something and grab it. Using it just with an SSD plugged in and manual M lenses gives a more spontaneous feel. Now most of the film will be shot on Red, in controlled conditions with a crew and that's the right approach for multiple dialogue scenes and careful blocking. But the fp has it's place and i may hand it too someone and just say grab stuff.

 
cheers
Paul

Its almost certain to be the case. Efficiency is vital. I have been deep in the code bunker this week, writing a special segment for the EC engine. This will greatly accelerate supporting new cameras, as it minimizes the amount of intervention necessary to conform data (with superior results). As of today, I have a new luma conform tool that is completely free of either hue or saturation distortion, and I am thrilled with it right now (not even Resolve's luma tools work this way). Now, I have to finish the second piece of the puzzle, and (accelerated) camera support will commence.

Sorry, but if one doesn't see advantage/difference in using 12bit color then I guess one is better to keep using something like Sony A7III with its glorious 8bit log.

Sorry, but if one doesn't see advantage/difference in using 12bit color then I guess one is better to keep using something like Sony A7III with its glorious 8bit log.

Sorry, but if one doesn't see advantage/difference in using 12bit color then I guess one is better to keep using something like Sony A7III with its glorious 8bit log.

Thank you Zeng; I need the cameras in hand, as the measurement phase is the trickiest, now that Gen4 is figured out. The code is based around a sample system I made that has ~1k samples per slice, with ~40 slices, and the measurement conditions are defined; often it must be redone several times before everything is sorted out with a new camera. I will move with considerably more efficiency to support new cameras, now that Gen 4 is finalized.

Amazing job. Wish you could do it for more cameras. I could provide you with samples of most of them side by side with Alexa, and you just do the math. How about it? :).

I'm afraid the only one looking like an idiot is the person who claims to have opened a factory after he got a tour at a plant that has been running for years. 
Couldn't invent it. Who needs comedians when we have trump? 

He's nothing if not consistent.