PPNS

if someone forced me to use a photo camera for video, i would probably choose to shoot with the 4:2:2 codec. is it shaming? Or is it trying to tell you that you couldve saved yourself a bunch of time? i was not talking about professional standards, i was saying that no one i know who works in video cares about hdr. I was curious why you did. if people had such unrealistic expectations as you with niche features their only options are the alexa lfs and the kinefinity cameras lol. Luckily most people are pretty normal.

Have you maybe considered that maybe people aren’t trolling you and are trying to give you helpful advice? I can maybe understand that you dont like my nor AF’s tone, but consider the points raised in this thread: - i asked you why you needed to grade in hdr, and this was a genuine question. I dont know anyone in my professional environment who does this, and i am curious. What would a broader gamut help you achieve that you cant with 709? - you’ve explained that you want to shoot open gate out of preference, but you dont actually have a justifiable reason, other than using some cheap theoretical anamorphic lens that would give another theoretical result. you can still shoot 4:3 by cropping the sensor and you will get the extra color information you need. 4:2:2 will give you the bare minimum for working with video imo. - can you actually explain why you think using a smaller format is inherently worse? Because in your case it would genuinely only give you better results. Have you realised your sensor cropped to 16:9 is already too big for most anamorphic lenses made throughout history already? i attached some screenshots to more clearly illustrate my point. - by responding this way to criticism, falling for cheap marketing gimmicks (hdr, full frame, cheap anamorphics, open gate, netflix approval, etc.), not understanding that any 4:2:0 codec is worth nobody’s effort, and then not having a particularly good looking test image to show your point, it kind of makes it easy to assume that you’re not very sure of what you’re doing. i agree with Alexis Fontana here, I think you should start refocusing on the things that actually matter in the field of making moving images. genuinely man, good luck.

Arent you just describing a p6k pro?

Nobody is going to use these for netflix unless they need a crash cam. Not a single serious person is going to use anamorphic lenses on these.

1. Why would you ever need to grade for hdr? 2. You are shooting in an interframe codec with 4:2:0 chroma subsampling, youre supposed to expect macroblocking and banding

Well he wasnt fucking wrong

it costs about 120 euros a day here to rent a terradek bolt

Wireless video transmitter is fine for a directors monitor, but unusable for focus pulling due to the delay

probably some of the nicest lenses to use for video on mft. what might also be interesting is that i had the chance to compare them to Zeiss CP2s. while i dont want to take away the advantages of the zeiss (PL/swappable mount, the majority of the set covers FF, some lenses are faster), they really dont look better than the meikes. the general look is very similar, but the zeiss set has more unpleasant aberrations wide open when pointed towards a light source. the focus breathing is way more apparent on the CP2s as well (cropped to mft, on FF theyre almost unusable due to the breathing imo). pretty crazy for a set thats easily about 1/10th the price.

nothing wrong with shooting 1080p prores, something i do pretty often on the p4k. speaking of black friday deals, check out those meike mft lenses on their site, or look for them on the second hand market where people are tend to be selling them for an insane price occasionally.

reading this forum is so frustrating. why would you ever use a speedbooster on a s35 sensor (or ever really)? it's the most standard format for moving images. if you need "proper full frame" on s35, just shoot a stop wider than you would on FF, and open up your iris an extra stop, maybe add a stop of ND if you're clipping. that's it. there's nothing special about this sensor size. if you want a 24mm t/2.8 on FF, just use the 18mm of the same lens set, and set it to t/2 to match the dof on the fx30 or xh2s. if you want to match a 24mm at t/1.5, then sure, that's most likely not possible, but it's not gonna look very nice anyway, is it? how about just using the right lens set for the right camera, and being a bit more thoughtful, instead of bulking up your camera with oversized lenses and a low quality layer of glass in between? how often do you need a dof thinner than t/2.8 on s35 (or t/4 on ff) for that matter? if most of the image is blurred out mush, i tend to assume its not worth watching anyway.

i might be interested in one without the eoshd logo

i disagree, but it can look pretty good just like in some of the examples. if you need an external recorder to get good results out of your camera i dont think its worth anyones effort.

second hand sony pmw 150s, panasonic AG-AC160s, or panasonic aj-hpx255s if the p2 cards are included? new panasonic HC-X1s or sony PXW-Z150s?

well the benefit of shooting in open gate is that you have access to aspect ratios that look good, without cropping too much of the sensor. everything less wide than 1.78: 1.33, 1.375, 1.5, 1.66 are all very good looking aspect ratios and are easy to compose stuff in beautifully everything wider than 1.78: 1.85, 1.9, 2, 2.2, 2.35/2.4 are also good looking aspect ratios and are fairly easy to compose in to make stuff look good. 1.78 is an aspect ratio that works for displaying other aspect ratios, but i do think that it natively looks bad, and that it's hard to make stuff look good in, compared to every other aspect ratio.

i dunno man, my camera has good internal codecs.

i dont think theres anything wrong with fixing wide angle distortion in post in the first place. did you not like the results from trying that out? as for lens recommendations, i happen to have some similar opinions as @PannySVHS. the meike cine 12mm performs great imo. the first, third and fourth frames i posted from the short were shot on that lens. i think they are coming out now with a stills housed version of the same lens too, if thats interesting for you. if you want something less wide, their 16mm is my most used lens. ive had that same slrmagic 12mm too and i wasnt a big fan due to its rotating front element, which made it unusable with matteboxes. wasn't a true t/1.6 either, and was too soft for me under under t/2.8 as well. it might also be worth mentioning that i have no experience yet with any stills lenses on mft, so i cant recommend any of those myself.

this is a product that makes sense from a manufacturers perspective, rather than from the customers perspective, since i'm sure this is just production parts-related. i guess it would just be weird to see new p6ks in stores looking very different without any anouncements? dont really get the point of the p6k anymore since the release of the pro anyway, i just would've discontinued it. the 6k g2 lacks the most important quality of life upgrade so why bother? i also dont think the internal battery life of the 6k pro is that bad for the type of camera it is. its a bit more than the included battery you get with the fx6 from what i can recall. how is the battery life of your alexa @TomTheDP? i hope they ever end up doing a 4k pro with internal nds, or sort of a smaller mft ursa with the same sensor. would be cool to have a version of the 4k that isn't annoying to use as a shoulder camera. a lot people would probably appreciate a new micro cam with the 4k innards too probably.

cool to hear man, would love to try one of these out!

thank you very much! although i've expressed my skepticism before about inherent looks about cameras and sensors, it does help that the p4k lets you record raw/or if you're a bit anal about definitions, the equivalent of prores444 with metadata that lets you perfectly reconstruct the wb value. it also helps that it doesn't seem like it does any noise reduction which does make the images feel very natural compared some other cameras. for what it's worth i've used this filter for the film and added some of the stock davinci grain while color grading. but that's maybe more related to the behavior of the lenses... thank you as well, i will certainly post a link here once i'm allowed to! the t-stop kind of varied on a shot-per-shot basis, i tend to start at t/4 or t/2.8 and see whether i want more or less dof. some shots were done wide open at t/2.2, while sometimes i had to pull focus a alone on a shoulder rig, where i was more likely to be at t/4 or t/5.6. those shot-reverse shot frames at the school entrance were done at around t/3.5-4 i think on the 25mm for example, because i liked the background at that aperture. i haven't used samyangs since around 2017, but i kind of remember them leaving a sour taste in my mind. from what i can tell their mirrorless lenses and newer options tend to be a bit better, but i'm skeptical about them as well. the meikes are super clean and sharp, which i can't really remember the samyangs being, and that also means that theyre super versatile. the 25 has the most chromatic abberation wide open, but it's completely ignorable by t/2.8. it's very trendy rn to have glass that's very quirky, which is cool too of course, but i think at this point i'd rather have a very compact, matching lightweight set thats made out of aluminium and that basically doesn't breathe at all. since i've stopped using focal reducers i've noticed that my image quality got quite a bit better without weird optical errors, so i can't go back to that either. that supermist filter can give me a similar to vintage low contrast look i tend to like, but without the weird flares and halos coming from light sources, while looking more intentful at the same time. its worth mentioning that i got them my set second hand, so 40% less than the price new (in which case they are still actually an incredible deal). if you're like me, and interested in (attempting) actual fiction filmmaking, i think this lens set and the camera are quite frankly some of the more interesting gear to get, especially for the money. probably a combination of quite a lot of factors, partially being very excited during pre-production, having a bit too much self confidence and expecting it look incredible, and not getting at that level with the finished result. there's also the fact that the acting isn't quite there (although that's not my responsability as a dp), and me only seeing that when watching the end result. most of the dialogue was in spanish, which i cant speak, and i only got to see the end result with subtitles quite a lot later. i tend to be pretty insecure about my skills as a dp too tbh, and i feel like i've done better looking stuff than this as well. there's also the fact that i was a bit selective with the stills. if you're interested, here's some stills of the stuff i'm less happy with for example:

don't really know if it's really worth posting this, but i dp'd a little short by a friend with this camera. it's a coming of age film about an immigrant high schooler kind of finding his place in punk music culture. to be quite honest i'm not quite happy with most of the shots we've gotten, but i've decided to post stills of ones i like the most. maybe some of you will like the images. all done with the meike mft set if that's of any interest. i still think this camera rocks, even if it has quite a few shortcomings.

none whatsoever

no they don't, that's mandated by disney. if you don't adhere to their mandates, you don't get to show any disney conglomerate movies. now its true that the general movie going audience tends to be pretty interested in disney films, but it helps that they're one of the most powerful companies in the world, and they have the marketing budgets that the theater distributors for films like "Madres Paralelas" or "RRR" don't quite get to have. How are you different Andrew? other than losing your clout throughout the years? which creative engaging videos have you made these last few years with your collection of image capturing devices? because you have a lot of links to your portfolio on this site, and i have trouble with finding that content you seek from other people. i agree with your criticisms about Bloom and Gerald, I think they're responsible for a lot of triple online that's only there to motivate people to consume more products. i agree that they (and especially Bloom in regards to his allegations) shouldn't have this level of clout either. i just don't think that the individual gets to decide in this economic system, Andrew, im sorry. btw, how is "oversampling a 7K image into a 4K uncompressed sequence of stills" "Real RAW" exactly? dunno chief, seems like quite a lot of processing going on there to make that happen

i thought it looked very nice. i dont necessarily mind a more extreme color grade, and it fit the more formally daring visual style of the piece.

it's the long awaited sequel: man taking a hat and looking out the mfin window