Jonathan422

Yes, two phrases come to mind...  "cautious optimism" and "hope for the best, plan for the worst"  

Hi friends! I fulfill the request of all who asked to show a phased color grading of Fujifilm F-Log (XT3). This is not a tutorial, but simply a process of color grading from the source to the final result.
 

I'm just trying to figure out how big the image circle is to see if it will work on the Komodo at 6K. I know it won't cover full frame. Are you able to test this?

Field of view differences below. Same distance.
 
4K
iso 200
Canon 50mm f1.8
Standard Canon EF Adaptor f1.8 

 
4K
iso 200
Canon 50mm f1.8
Metabones Canon EF Adaptor f1.2

So @rawshooter's right it's def larger. "27.03 x 14.25mm (30.56mm image circle)" 
It's only a ~2.5mm wider circle than Sony aps-c so maybe the speed booster will still cover it 

Update
I still haven't had much time to use the new SLR Magics (10mm T2.1 and 25mm T0.95 MFT) because I'm in post on a tv doc, but I'm disappointed:
In the stills I posted above, I was very happy to have the crazy T stop and get all that light, but upon further use I discovered the 25mm didn't focus to infinity unless stopped down to about 2.0. I'm not talking that it wasn't sharp wide open: it would focus about 25 ft in front of me and that was where the plane was. So I replaced it with a new copy and it's only marginally better. It can go about 40 feet I'd say wide open, and you've gotta stop it down to about 1.6 to get infinity. There's also a noticeable color shift when going wide open vs stopping down even a little bit.
Then I figured I should make sure the 10mm doesn't have the same problem and it's a lot harder to tell since it's so wide, but I think it does. Just eyeballing it but it looks like it makes it about 100 ft max when wide open. WHAT? It's a lot harder to tell because overall I'd say it's just not a sharp lens, and we're dealing with a lot more depth of field, but come on it shouldn't have a problem focusing to infinity on a 10mm.
So, very disappointed. Guess I'll be returning these. I was excited for the small size but it's not worth it.

This thread has really inspired me to take another look at my lenses.
As much as I'd love an S1H or a C200, I'm definitely better off investing that money into lenses, filters, lights and support equipment. I may eventually trade in my Micro for a Z-Cam e2c when more footage comes out from it, but that's really the least of my concerns right now.
Great thread, I hope it continues for a while longer. 

Yeah, once you're getting in that price territory the difference in price becomes a bit less of an issue, though there are exceptions. 
I do think though that the versatility of the S1H is a difference maker more than price. Being able to just throw a lens on and start shooting will always be a nice benefit for a camera like the S1H. 
I'm very glad that I was wrong about Z-Cam though. They're going to be market disrupters and that's a good thing.

it's like a cheat code. you have a giant diffuser around the room making everything flattering. 
Especially for the light beam from out side the window like this picture 
   
without haze machine it's near impossible to see those 

It came early! (Which means I have to wait to be able to mount it to anything ?) But both my Z Cam and MFT to Sony E adapter come tomorrow so I’ll have multiple bodies to try it on soon 

Same here! I can't believe it's taken me so long to get one (now two!). Completely revolutionized my entire lens lineup - breathed new life into my most used and even least used lenses. Almost feels like I've doubled my collection.

First, auto tune your motors, then set the joint angle as described in this thread:
forum.dji.com/thread-163729-1-1.html
Then...
1) With the app on your phone/device connected to the Ronin-S, go into the SMOOTHTRACK setting.
2) For Pan set Speed=High, Deadband=0, Sensitivity=100. Pushpan=Off
3) For Tilt set Speed=High, Deadband=0, Sensitivity=100. Pushpan=Off
4) For Roll set Smoothtrack and Pushpan = Off
This has fixed my Ronin

Internet is going to be truly done for when AI progresses to next step. Maybe at some point they'll be so believable we'll all be rubbing our cameras in CBD oil.

Coming from a non-expert, non-industry professional.
What I notice first in a large format video is the shallow DoF in wide shots and a slightly more pronounced separation of things in the frame.
But there was probably so many more variables of directors choosing an Alexa 65 over a large format film camera.
When I watch a movie I would rate what it was shot on at the very bottom. In Hollywood they always go for that last 10%. I would put the size of the sensor in your camera in that 10%.
Would I have enjoyed The Revenant less if it was shot on S35? No fucking way. Its the last 10% of that film.
Good luck trying to put your finger on what exactly it is about large format. I think it’s a moving target. 

Thank you.
From that other thread:
I'm about to get my first MFT camera so I'm excited to do my own tests vs FF, but it really seems to me that mathematically there's no difference between formats, it just comes down to real-world imperfections and real world availability of manufacturing.
For instance, one thing that I think stands out with larger formats is shallow depth of field at wider fields of view: 24mm 1.4s are commonly made for FF cameras, whereas a 12mm f/0.7 doesn't exist to my knowledge so you can't match that look on MFT. It's technically possible it just doesn't get made because the cost wouldn't be worth it.(.64 speed boosting a Sigma 20mm 1.4 would be pretty close though)
 

I can't really recommend enough getting the cheaper 1.8. It's SUPER light, obviously super cheap, and unless you need to do HUGE crops I'd say it's plenty of resolution. I haven't ever wished I had more, anyway.
It's actually got the best chromatic aberration score:

Yep, just need to sort out the overheating issues.

I'm also going to keep reminding myself that this is firmware 1.0, bc as I'm going through and editing what I shot this morning, I'm getting a bunch of DNG clips where, maybe every 10 frames, a frame is off by like 10 frames, so the whole clips keeps jumping all over the place. Fixable by combing through frame by frame and renaming them all, but a serious pain in the ass.

...and adding a bunch of green tint in post ?
But seriously, yeah it's what you see in a lot of promotions, too, where any camera can look good, including an iPhone, if you've got the production design,  makeup, location etc etc which really teaches a lesson if you think about it - the camera just needs to give you a clean image and after that it's up to you to captivate an audience.
I have to publicly apologize and retract my last post, though, because I'm already back to looking at cinema lenses. Thinking of picking up some SLR Magic hyperprimes to go with either a Z-Cam or MBPCC4K. Just a couple lenses I swear... 

At least I get to keep my money in my pocket on this one. I'd love the improvements but not worth the cost to upgrade by any stretch.
No these are not the same (OLPF is for anti-aliasing, ND is for cutting light). The variable part is a cool concept though that I've never heard of. I never really had any problems with moire/aliasing on the A73 unless I was shooting high frame rate HD so maybe this means it would have cleaner slow motion by being more aggressive, but turn off when shooting 4K or stills so it's even more detail than before?
I'm just hoping...

More like others are still trying to catch up while Sony is in a very comfortable lead with high profit margin on their cameras, 4K60P is not important for majority (99%?) of user tbh, sales have proven that 4K30p is enough for most user, no point to add extra cost (R&D, material, size) for heat related stuff on 4K60P.
Anyway I do miss Samsung, they definitely give Japanese manufacturer some whoop ass.
 
@androidlad  You can probably start your own Sony alpha rumor site, the current SAR is a fucking joke 

Nice!

.........and drive it to the store to buy all the Meike lenses!

Your positives about the S1H are everything I would want in a camera. Your negatives, which I have yet to encounter, should be fixed in a firmware update as they seem to be directly tied to VLOG, which is a positive since its something that could be fixed, similar to the GH5. With that said, you have brought up a valid concern - but  you have brought it up over and over and over, to the point where we get it, but we are not Panasonic - you should be voicing this to them at this point in order to actually get it fixed. If you have already and they are aware, then you should give them time to fix it. There has yet to be a first real firmware out yet to even see if its addressed. To be clear, I have no issues at all with you voicing concerns that need to be fixed, nothing will get fixed if we are all silent. But you made your point and now you are just stating the same thing over and over again, in this forum, on facebook, on review sites, etc. I am not sure what you want out of it. Are you hoping Panasonic read and fix it? If so, why not just contact them?
Lastly, I disagree with your notion of the pocket 6k or any of these mirrorless cameras, including the S1H, having an "organic" image. An organic image to me, would be an original Blackmagic pocket, Blackmagic micro, Blackmagic cinema 2.5. Those actually used a Fairchild sensor and had a nice organic look to it. You didn't need to add grain to those those cameras to make them look organic, it was organic out the box. 
 

ehm, ok?
There's nothing wrong with the source file. No oversaturation or even clipping in your example.
Also in sequence settings. At least in CC2019 the issue with both settings being set should be gone.
That's great news.

Still not sure about keeping my S1H.
Postives: Great color, works perfectly fine in ACES, no clipping issues, great DR and roll-off, IBIS and battery life, ease of use
Meh: Mediocre Codec choices which may cause issues, but all good so far
Bad: Temporal Noise reduction ruining many shots - barely usable honestly. Even recorded externally to ProRes HQ (tried an Atomos Shogun and Odyssey 7Q+)

Pocket 6K:
Positives: Organic looking image With grain and no artifacts, good dynamic range, great screen, great codec choice with flexibility and no macro blocking nor banding which is also speedy on older machines
Meh: build quality, will put it into a cage anyway
Bad: Battery Life, no viewfinder - needs rigging and can't really use it in ACES atm due to clipping issues and color looking - one dimensional and brown?
On a yRGB timeline I can fix many issues by myself but it's quite time consuming and the next big project coming up soon will rely on many VFX shots, so ACES would be great - like it has been on my other projects before.
On the other hand the temporal noise reduction resulting in ghosting and smearing on the S1H made tracking a nightmare already in another project I'm working on atm. Basically have to do everything manually because the tracker gets confused.

Maybe I should just switch back to the GH5 lol

You just proved his whole point ?