FHDcrew

Other than DR I can find no fault in the image. I don’t even think 5d II RAW aliasing is a big deal. I’d go with a 5d iii and just install a stable build, use plain old uncompressed full sensor 14 bit 1080, beautiful image and stable enough for pro work. 

Dynamic range is the only weakness of the 5d raw image I think. And at least with it being RAW we can maximize the lower DR to help it look better!

Exactly!  And they have such a good image!  The fact that you could even compare then to like an R5C is testimony enough!

I mean at the end of the day, it just never seems like a big leap in IQ anymore!  Yeah improvements are made. Canon R5C 8k RAW looks better than Fuji xt3 10 bit, but is it an astronomical difference?  No. Astronomical price difference?  Of course! Remember the days when we went from 8 bit canon line-skipped 720p, all the way up to GH4 clean 4k?  Or to Sony A7S, bringing log, high DR and smooth highlight rolloff to the masses?  What about going from 5d mark III mush to 5d mark III 14 bit RAW glory?  Those were huge differences. We are well past that type of image quality progression. Everything looks the same, everything looks really good. All that’s left is for this IQ to keep trickling down into the sub $1k territory. 

On 6/21/2022 at 7:37 AM, IronFilm said:

Yeah for all the horrible insane prices increase we see, with pricey cameras like the Z9, FX6, or R5C etc, we've actually never been living in better time ever in history for filmmaking!

As cameras such as the Panasonic S5 / GH5S, Z Cam E2-M4, Pocket 4K, Fujifilm X-T3, all offer amazing image quality for very very low prices!

 

I totally agree. So many “older” cameras at that price point ($1500-2000) that really deliver, no major image quality compromises. They all have good DR, nice color and good codecs. The Z6 plus Atomos Ninja V is also an honorable mention. I think this price point gets you considerably better than what you can get sub 1k. And I also think diminishing returns really sit in after this point. How much better will a Z9 look than a S5 or a Z6/Ninja?  Probably a *little little* bit better, but the *enormous* differences we all obsess over are all so small and minor. My Z6 does not have as much dynamic range for example, as the A7sIII. But even if you looked at them side by side, both shooting log, that extra difference would be super minor!  I just don’t get what all the obsession is about.  Ergonomics?  Usuabillty?  Quality of life improvements?  Sure, I’ll take those. But image quality?  We really are at high levels of diminishing returns. 

Very impressive. My results using a Z6 and an iPhone as the gyro logger, bringing things into gyroflow have not been so good. Using Tamron 45mm. Should I maybe invest in a different gyro logger, such as a GoPro or Runcam?

Looking pretty seamless so far!

This makes me jealous of the Blackmagic cameras right now. Solves a HUGE issue. 

I have a Z6 using gyroflow and an iPhone for logging. Right now I only have a 45mm lens so obviously not ideally wide for this technique. I want to get a 24mm 1.8 at some point but not right now. Any tips for getting decent results saying I’m at such a tight focal length?  I tried it once, just handholding Willy nilly without extra support. Stabilization worked but needed to crop in to utterly insane amounts. 

Neek-Hown!

There’s more!

“Hello peeps!”

For sure. Will be useful technique if I need to use premiere for future jobs. Which I think I will need to do. But I am holding on to resolve for as much as I can. It’s just amazing what resolve can do

Man this is huge. I loved this style of functionality in Davinci, in Davinci you can use the HDR “global” slider and set color space/gamma to your log curve, giving very accurate exposure adjustments in post. Works well for my Z6 as N-log has no native ACES support. This is HUGE for premiere pro users and makes lumetri much more viable. Resolve is still a better grading software though :)

Panasonic G6!  Beautiful 28mb AVCHD (actually very underrated organic image. Reminds me of a C100)

Sony A7S original. Oversampled 1080, high DR. Kinda neat image for the price if you can live with tricky 8 bit

11 hours ago, SRV1981 said:

 

I hate that video. Hyper YouTubers. We all know you can match this stuff

Yep you have got to do more than just apply a rec709 conversion. Believe me I’m learning this right now with Nikon N-Log. We keep telling you it’s experience you (and myself lol) need. Please, please stop complaining over your Canon R6, which I am jealous of over my Nikon Z6 due to its internal 10 bit. So in my eyes your camera is already better, and I think the Z6 10 bit is beautiful. All bad results I get are totally my fault, be it the way I light or grade. You are just avoiding what will actually make you better. 

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And I can’t wait to try out the P A nasonic g Roman 2 vario lens!  

Wanted to point out some pretty funny stuff over in YouTube land. There are a decent amount of “spam” camera-related YouTube channels, with AI voices and stock footage, along with plenty of affiliate links. Just take a look at the comments section. They are so fake

Check out this one. The AI voice and mispronounciations are very funny. Didn’t know Blackmagic came out with a BMPCC Fork!  Now I can eat my meals in BRAW!

18 minutes ago, kye said:

Yeah, there's absolutely no way that I'd use anything from ARRI, even if I could afford them, they're still too big for what I shoot (home videos and travel).  I am also aware that sensor size, AF, and IBIS aren't critical features for most people.

In terms of why people don't apply the normal hype factors to higher end cameras, I suspect it's just that the users are mostly mutually exclusive.  If someone was on a production where they were looking for things like FF and AF then they'd probably just get a different camera - I think there are options out there.

I really see that there's pretty minimal overlap between the world of professional sets where equipment is hired and there are lots of people on the production who all do things in the standard way, and the solo-operators who haven't worked on professional sets and don't know why things are done the way they're done.

It's worth noting that even within professional circles things like FF fetish still exists.  I recently watched an industry video with interviews of lots of cinematographers and it was clip after clip of people fawning over the magic that a larger sensor gives you with the odd clip of Steve Yedlin in there saying that there is no difference and that optics just don't work like that.  It was hilarious, but was almost embarrassing.

That made me laugh!  Yes, that's true.  

You gotta send us that video with Steve Yeldin. Would love to see it. 

9 hours ago, FHDcrew said:

Little life hack for iOS users.  Buy the Moment camera app and use it’s DNG “burst” mode. I don’t have an exact framerate analyzed yet but it’s somewhere around 12fps. Then use optical flow to fill in the missing frames to make it 24fps. Use RIFE or DAIN, state of the art AI-based frame interpolation, and the results are quite decent as long as there isn’t too much fast motion. This workflow gives a raw, DNG workflow for iOS users. Recording time, given enough free space, is unlimited, except that you get periodical dropped frames after a certain pint, maybe every 10 seconds if I guess. Clears up quick though. All camera modules work; recording is full-res and open gate. Haven’t checked but rate yet, but you can bring the DNG sequence into resolve, select linear as the color space in the raw settings, and then use a CST node to bring it into a log space like Arri log C. 
 

 

I meant to say I haven’t tried color depth yet. Don’t know if it’s 10 but, 12 bit, etc. I do know I get a video sequence with all hints of overprocessing gone. Very nice. I’ve mainly played with the iPhone 13 ultrawide and front facing camera. Dynamic range didn’t seem that great on the ultrawide. I expect the primary camera to perform better due to the larger sensor. 

Little life hack for iOS users.  Buy the Moment camera app and use it’s DNG “burst” mode. I don’t have an exact framerate analyzed yet but it’s somewhere around 12fps. Then use optical flow to fill in the missing frames to make it 24fps. Use RIFE or DAIN, state of the art AI-based frame interpolation, and the results are quite decent as long as there isn’t too much fast motion. This workflow gives a raw, DNG workflow for iOS users. Recording time, given enough free space, is unlimited, except that you get periodical dropped frames after a certain pint, maybe every 10 seconds if I guess. Clears up quick though. All camera modules work; recording is full-res and open gate. Haven’t checked but rate yet, but you can bring the DNG sequence into resolve, select linear as the color space in the raw settings, and then use a CST node to bring it into a log space like Arri log C. 
 

What if a camera recorded 23 fps and then used optical flow to make the extra single frame?  I think that would get around RED’s patent lol