filmmakereu

To neglect motion, I wouldn't call it stupid instead, I'd call it to get the wrong end of the stick.
It's not about style but intrinsic features related to the inherent traits of the medium.
Motion is everything, it's the name of the game. In a word, language.
 
- EAG :- )

Hard to say it better.

Because I'm a cheapskate who is recycling his 5D Mk II era EF glass on the latest and greatest Panasonic body thanks to the wonderful Sigma MC21 adapter, I can't take advantage of in-body camera corrections for things like vignetting and lens distortion. And sometimes I would like to do that. It's a lot of fun using the phase detect AF in the S5II to shoot wide open and get in-focus footage with my Canon nifty fifty. But wide open, that lens has something like 2.4 stops of vignetting. That can look really cool sometimes but other times it's not. I first noticed it when editing some interview footage shot against a plain white wall. I wanted to do a little bit of reframing and it looked kind of bad because of the heavy vignetting.
I know there are effects that attempt to add or remove vignetting, but I was interested to see if there's a way to do it perfectly, as you can when shooting RAW and using Lightroom. And there is!
First of all, I put a semi-opaque piece of white plastic over the lens, focused it to infinity, set the aperture to wide open, pointed it at the sky and did a manual white balance. The aim here, in terms of exposure is to get the brightest part of the image (the exact centre) at exactly 50 IRE. Or you can use ACES to make a linear change to the data to get it looking like this:


Then desaturate it, invert it and export as a 16 bit TIFF or similar.
Place this image file on a layer above your footage. Change blending mode to Linear Light and Opacity to 50%. Hey, presto! Bye bye, vignetting!

(Note: doing this in ACES linear gives perfect results, but it works pretty well in log Rec709 too - the center needs to be 50% IRE in both methods)
This is how it looks on real world footage.
Before:

After:

 
Obviously, this isn't as convenient as doing it in camera as you would need a different vignetting profile for each f stop. But it will allow you to finally shoot your Nocticron f0.95 or whatever wide open without that pesky vignetting! I'm not quite as flush as all that, but I'm quite pleased that my old Canon plastic fantastic that I had in a drawer behaves a little more like Panasonic's version which costs 4 times the price. And a simple Lens Distortion filter at -2 knocks back the distortion. Now if only there was a way of making the focus motor perfectly silent...

Looking forward to it and to your findings! @QuickHitRecord
 
 

I dusted off my EOS-M today and loaded the new ML. It's feeling a lot more user-friendly than before. 2.8K with accurate monitor display? Heck yes. This is potentially an acceptable level of 'frustrating' and I might actually shoot something with it.

I guess the answer, my friend, is blowin' in the wind, the answer is blowin' in the wind ; ) And this answer responds to your subsequent post @markr041, funny to say the least : )
That's what's going on when people forget one thing is to celebrate technology, something else is to ignore what fabrication means or we risk to end to make our stuff look like all of them the same.
This is what everyone or the majority here is trying to tell the world.
Nothing about dictatorship of taste or any beef against your videos, Mark.
I am used to praise them posted.
As tests, yes.
As piece of aesthetics is a whole other subject.
Point and shoot never brought anything special.
There's need for elements those already mentioned.
The technology constraints of past led those filmmakers before us to learn how to handle with. They established a language.
No technology will reinvent the wheel because aesthetics depends on them but aesthetics is beyond. Just mediocracy can pop up when people kill the set of know-how available these other fella are trying to express it by their written words and examples mentioned.
Aesthetics is complex. Requires form. This can be simple but not unusual-reducer. If this makes sense. Up-to-date cannot mean this. To lower the standard. « 'Democratization' of image making » is effectivelly a challenge itself. Open doors. Poor or to be poor is what it is, though.
It's not because raspberries are available your strawberry milkshake will be any better. A skate on fragile thin-ice features is prone to end ruined. Cinema is the proposal of an alternative reality, truth or not, nothing else. Or it's not that.
For something mismatched, dissimilar as chalk and cheese, call it some other name.
- EAG :- )

99% people shoot 60p for slow motion purposes on a cine cam. here is for example your parade in 60p conformed to a more standard 30p timeline for slow-mo:
30p is a good in between if you want more fluid motion. Direct 60p output is what gives the dreaded "soap opera" look or "home video" look or "camcorder" look, pick your choice of attributes. The reason why a lot of sports is shot at 60p is to allow the editor to slow-down the footage during replay. The fast motion is also suited to fast action. Shooting humans at regular motion in 60p just feels awkward. That said you are free to do as you please and "innovate" with your faux cine/tv broadcast combo of high motion widescreen aspect ratio..

This is a representation of reality... Invariably fake. There's no point to look like that's what our eyes take.
- EAG :- )

fwiw I have never liked the look of this person's videos & I've clicked on a bunch.
Do whatever you want, mix it all up in an incoherent, unpleasant looking way & blame people's reactions on whatever you want. At the end of that process maybe ask yourself who are you even wanting to watch your videos.
On one level they're right -- considered use of previous convention is kind of all out the window as audiences turn into evermore complete mushheads; largely forgetting the 'content' before it's done flashing in front of their eyes answays. Alongside that, is a flood of people who don't have a lot of knowledge making all this filler. All that shared naivety IS - and will continue - to shape how mass audiences consume this form of media; but we have our choices to make too. It's the price to pay in the 'democratization' of image making.

The funding goal was just reached. Thanks to everyone who donated!

They need to hack Sony firmware and make a Magic Torchlight or smth. Lots of ppl would support that in a heartbeat. I would. 

Gave the equivilent of a beer. Magic Lantern is wonderful. Love the raw film that these cameras can be hacked to shoot.

bump

Forum member @essbe mentioned this in another thread, but I think it deserves it's own topic.
Magic Lantern developer theBilalFakhouri is showing compelling evidence that he has figured out how to implement full real-time preview in most raw recording modes across the EOS-M, 100D, 650D, and 700D. Live HDMI output is supported across all recording modes too. Many have found that these are the last two major usability hurdles for these cameras. He is trying to crowdfund £2,214 (about $2750 USD) for the 300 hours he's spent figuring this out before he releases it, and says that he will begin work on full real-time preview on the 5D iii after this campaign gets funded. As of this morning, he's about 2/3 of the way to his goal, but donations have slowed down significantly over the last 24 hours. If you'd like to pitch in, instructions on how to contribute are in the link above.
I haven't used either of my ML-enabled cameras in about three years, but this feels like it could be the final chapter in ML history. I would love to see it succeed and keep some of these cameras out of landfill as well as to provide the next generation of broke filmmakers with a truly affordable 16mm/S16 raw camera.

Impressive to say the least : )
You've used anamorphics right? ; )
Do you upsample it once when desqueezed from anamorphic acquistion to the timeline or export?

400 ISO. Yes, 4k 120fps has audio recording no matter what the bitrate.

What ISO values?
BTW does 4K 120fps offer audio recording included @200 Mbps too?

I really have no bias at all; I literally just grab whatever camera works for me and go shoot with it; I don't do the pixel peeping thing, I am not an IQ purist, I don't sit on YT and watch reviews all day...in fact I am probably one of the least IQ purists on this forum. I also have never even watched a GoPro IQ or review video, I think I watched a single GoPro video on stabilization when I was buying the 8 (the guy mountain biking down a rocky trail and still getting stable footage sold me on the 8), but I have never purchased a GoPro for IQ.
BTW I am not basing my opinion on the Hero 8, I am basing it on the videos you posted along with my own firsthand experience with small sensors starting with the Hero 3 and drone cameras.  I honestly couldn't care less about sensor size as long as it is producing the IQ that I need.
With all of that said, I still see the "sensor/lens haze" in the videos you posted and in every video out of my drones and GoPros. I do think with some very precise color grading and some very specific scenes with perfect lighting and colors in the scene it could be possible to eliminate it, but unless all of those conditions are met, I see the haze instantly when I am watching your sample videos; not because I am looking for it but simply because it is there; in fact I have seen the same haze when using the Canon EF 75-300 F4-5.6 lens, or when looking at dashcam or CCTV footage.  The exact same camera with the Canon EF 24-105mm F4 L lens is a night and day difference proving whatever is the weakest link will decide the final IQ.
Like I previously mentioned, I think some of it may be due to the lens quality that they use on GoPros or it could just be the resolving power of the sensor; either way it is immediately noticeable to me. But you don't have to convince me, shoot with whatever works for you, maybe when the GoPro 20 comes out they will have eliminated it; either way, its no big deal, my Hero 8 is still perfect for what I got it for and its IQ is good enough for what I need when I need a camera that can do a job none of my other ones can; all I am saying is that for me; GoPro has IQ problems that codecs, bitrates, and color profiles can't fix.

...which proves 4K 120fps works as casual street photography tool.
 
It would be interesting to see more contrasty outcome, B&W as for instance from same frame rate acquisition.

I've just saw this video that shows very well what's going on with these settings.
Enable English subtitles and then it's straightforward.
NR01=1 effectively improve the image details but you are forced to use a denoiser (he uses Resolve temporal denoiser).
LOGB=400 doesn't add any improvement.
Just jump to 1'42"
 
 

Almost twenty years ago or not so far, this level of footage coming from so tiny form factor (body-worn, go figure!) capture devices would put all of us on the edge of the most legit excitement through these or some other boards, this is the pure and straightforward truth...
Why not today anymore?
Or people now are merely obsessed in-between latitude and the whole subjective mantra on organicity of the outcome?
Read it as cinematic structure of the elements to frame, among them the infamous skin tones palette to celebrate this art and craft as the most human synthetic medium.
 
And then?
People tend to forget filmmaking is not reality in the same proportion they/we all seek the organic Holy Grail, it's all about something anyhow undeclared fake. That's it.
It is what it is.
 
- EAG

Compiled ML builds are only around 2MB-3 MB.  It appears that one of those files is the git repository (possibly many MB).
To install ML on your EOSM, follow the instructions at 03:14 in this video by @ZEEK:
 
  
 
A lot of the ML documentation is way out of date.  It's best to find recent online tutorials and/or post questions at the ML forums.
 
I don't know where one can find the older builds.  Perhaps post the question on the ML forums?

I missed this when it was announced a few months ago but Meike have released an EF>M adapter that has a drop in filter slot.

It ships as a package with both the Variable ND and clear filters but also has a polariser available too and of course supports all AF and IS functionality 
€165, I'd say its very reasonably priced for what it will add to EOS-M rigs but of course thats all relative when it costs more than the insanely cheap prices the actual camera itself goes for these days !
I know for many people using EF lenses goes against the grain of using such a small camera but the flip side of that is that with this adapter and a compact EF-S all in one zoom like the Tamron 18-200mm or Sigma 18-250mm (both under €200 used), the EOS-M can become a stabilised, RAW shooting, pick it up and go camcorder for under €500.
 

No idea who's creepier to Doc... Freddy or Homer? : D Love those miniatures, that's true film love, pal : ) Nice zoomshoot BTW (let's not confound with zoom shoot ; )