PPNS

So, I’m an amateur with zero training, but I saw the sequel and it was abysmal. Michael Keaton kept it alive for the duration but man the writing and PC culture behind it was bad. 
 
anyway, I’m watching the original and I’m BLOWN AWAY. The rich pastel colors, the detail combined with soft images etc, make the original so much more appealing than the sequel visually! Cinematic and filmic are real terms worth using daily. I can’t think of any digital image that rivals what I am seeing from the original Eastman film stock of Beetlejuice. 
 
id love to Get this pastel softness with deep colors and image on my log footage (iPhone and dlogm)

you post the dumbest shit in the world. if you can only make an image look nice on a shitty 1st gen red and not on anything better you are straight up not talented.
in the grand scheme of things, if we’re talking pure image quality, when composing your shot, the color of the walls and curtains are variables that are a lot more important than camera choice.

you post the dumbest shit in the world. if you can only make an image look nice on a shitty 1st gen red and not on anything better you are straight up not talented.
in the grand scheme of things, if we’re talking pure image quality, when composing your shot, the color of the walls and curtains are variables that are a lot more important than camera choice.

huge fan, i own a set of formatt hitechs black supermists. shot a whole short on the 1 strength filter. 

serious question, what is your background zlfan? 
 
you keep making the same comparison threads and theyre all pointless. if you’re good at making moving images, all you need is a camera with at least a decent codec (10 bit 4:2:2, and ideally with a log profile). Once that threshold is met, you can start thinking about the actual important facets of the job. 
 
maybe documentary based dps will go towards newer hybrids for their assisting features, but other ones will probably never care. If you’re shooting in a context where you get to call yourself the dp, the implication is there already: you’re the head of a department. You already have an assistant delegated to getting the focus right. Ibis will never be as good as a dedicated means to have certain camera movements

serious question, what is your background zlfan? 
 
you keep making the same comparison threads and theyre all pointless. if you’re good at making moving images, all you need is a camera with at least a decent codec (10 bit 4:2:2, and ideally with a log profile). Once that threshold is met, you can start thinking about the actual important facets of the job. 
 
maybe documentary based dps will go towards newer hybrids for their assisting features, but other ones will probably never care. If you’re shooting in a context where you get to call yourself the dp, the implication is there already: you’re the head of a department. You already have an assistant delegated to getting the focus right. Ibis will never be as good as a dedicated means to have certain camera movements

its almost as if everything other than the camera is more important than the camera itself…
(which makes this 90% of this forum’s topics basically entirely pointless) 

its almost as if everything other than the camera is more important than the camera itself…
(which makes this 90% of this forum’s topics basically entirely pointless) 

huge fan, i own a set of formatt hitechs black supermists. shot a whole short on the 1 strength filter. 

its almost as if everything other than the camera is more important than the camera itself…
(which makes this 90% of this forum’s topics basically entirely pointless) 

its almost as if everything other than the camera is more important than the camera itself…
(which makes this 90% of this forum’s topics basically entirely pointless) 

its almost as if everything other than the camera is more important than the camera itself…
(which makes this 90% of this forum’s topics basically entirely pointless) 

I know that this music vid was shot on the 6k FF. It looks good, but it would’ve looked good on most other cameras, because of the talented crew
 
  
 i’m going to go against the grain and say that most of stuff online i’ve seen that was shot on the og (as well as the 4k and 6k) looks like shit tbh

Zooming in = going telephoto. You can’t get shallow DOF on wide angles on small sensors. Telephotos always inherently give you a shallower dof at the same aperture compared to wider angles at the same distance from subject. 
you’re just describing depth of field again (and maybe the corresponding vignetting, since that’s harder to correct on larger format glass). 
Going wide open on a 24, 35, 50, 75 on FF at 1.4 for example, is a level of shallow dof that didn’t exist on moving images before 2007. I’m excluding anamorphics here, since their distortion has significant other impacts on visual language, as well as vista vision and 70mm, because you’re not gonna shoot at 1.4 on some of the most expensive film stock in the 50s and 60s. 

shooting f1.4 on any focal length on FF or f2 on alexa 65s is the ‘unique look’ of larger sensors, since manufacturers aren’t particularly interested in making f1 lenses on s35 (even though they could)
if you limit yourself to f2 on FF, you can recreate the whole look with super speeds, or certain leicas on an alexa mini or 35 (and even voigtlanders on mft)
limit yourself to 2.8 on FF, and you’re in the same ballpark as most s35 lens sets dof wise. 
limit yourself to f4 on FF, and the look becomes completely recreatable on mft, and even on s16 with arris ultra primes. Just make sure to scan it well if you’re trying to fool people that you’re going for a modern look
i think its worth mentioning that contrary to people’s belief, the magnification number of focal reducers is there to explain what it does to your lens, instead of confusing you even further with crop factor mental gymnastics.
A 0,71x focal reducer turns a 35mm f2 lens with a FF image circle into a 25mm f1.4 lens with a super 35 image circle. Its a wide angle adapter that converges light at the aperture. An f2 at 35mm gives you the same size of aperture as an f1.4 at 25mm, and thus the same depth of field, regardless of sensor size.
Optics is just math. Not that crazy. If you know this, it’s easier to know, pinpoint and elaborate what you like. In most cases for you guys it’s just shallow dof.
also, if you understand the relations between the numbers, you can also understand that manufacturers can just scale down certain lens designs/sets to get the same super shallow looks for smaller sensors. they just don’t want to, because some asshole called 36x24mm “full frame” and accidentally created one of the most successful marketing/disinfo campaigns ever.
Also speedboosters suck

the fov is dependent on the focal length as well as the imager size. 21mm is not inherently a wide angle focal length. It’s
- very wide on MF
- wide on FF and s35
- a widish medium on mft
- mild telephoto on s16
- regular telephoto on B4 broadcast.

lf you had an f/2 20mm lens on ff, and an f/1 10mm on mft, with similarly designed optics, your shot would look the same if taken from the same spot. 
https://www.yedlin.net/NerdyFilmTechStuff/MatchLensBlur.html
 
 
 

yes. And i’m saying that even if you could take advantage of it, you would still have to put in the extra work to get it to match.

1. learn the color temps of things irl
2. set the camera wb based on what looks good and vibes 👍

1. learn the color temps of things irl
2. set the camera wb based on what looks good and vibes 👍

hey we’re actually posting our work on here again, finally! 
 
some nice looking stuff there marty!
 
while it looks decent, i do think this is incredibly vapid

and if you’ve ever worked with arriraw you would know how stupid and useless uncompressed raw is if if the camera also has a good codec built in.

hey we’re actually posting our work on here again, finally! 
 
some nice looking stuff there marty!
 
while it looks decent, i do think this is incredibly vapid

Thank you for sharing! @kye That 45 - 150 is very intriguing and tiny! I've been owning one for years now when it came with my Lumix G7 and I still haven't ever used it. It is time to change that!
As two of my friends here on Eoshd already know, I have been out filming with my Bmpcc lately. I could write a longer paragrsph about it. No ibis, coupled with a 25mm lens felt challenging but also very freeing from perfectionism and especially rewarding. Four internal batteries lasted for 30min of material so I came to appreciate every time I pressed the recording button. In the edit I was grateful for every stable shot that DID get recorded and not screwed up by an empty battery. I got "full" four batteries waiting to fool me again. Maybe tonight. Last weeks magical night during blue hour with the Bmpcc and a Zeiss Tevidon 25mm:
 
 

i guess its a nicer starting point than the v log conversion.
 
 
Pure nonsense. human eyes are not closer to 40mm on FF than 21 on MFT. FF only makes it easier to get shallower DOF. Focal lengths dont “round out” your subjects, lens design does. FOV is created between relationship of the focal length and the film back size. Dof by the size of the aperture. 
 
If the colors of the cameras, as well as the dof and fov, were matched, you wouldn’t see a difference. Read the yedlin articles again.

it’s a trick to understand optics and basic math?
jesus fucking christ man
if any of you gave as much shit about making, or working on interesting art on here and sharing it instead of jacking off your lil dingdongs over new gear, resolutions, different starting point looks of shitty fucking sensors, or being mentally insane about 24 fps this place could actually have interesting discussions. 
 
I fucking hate gear. i fucking hate lenses, cameras, shitty lights, cables, rigs etc. Sadly its necessary to understand at least some of it, as it is a means to an end to create what i actually want to create. i suggest others to view it same way. Or learn color grading, like kye said. That has generated a bit of income for me from time to time.
 

it’s a trick to understand optics and basic math?
jesus fucking christ man
if any of you gave as much shit about making, or working on interesting art on here and sharing it instead of jacking off your lil dingdongs over new gear, resolutions, different starting point looks of shitty fucking sensors, or being mentally insane about 24 fps this place could actually have interesting discussions. 
 
I fucking hate gear. i fucking hate lenses, cameras, shitty lights, cables, rigs etc. Sadly its necessary to understand at least some of it, as it is a means to an end to create what i actually want to create. i suggest others to view it same way. Or learn color grading, like kye said. That has generated a bit of income for me from time to time.