zlfan

Lumix GH7 + Sigma 18-35 | Kraków Cinematic - YouTube seems working on gh7

rebel moon seems very organic and cinematic although by red 8k cameras. seems 8k is different depending on different cameras.

in no good legend, I can guess which are gh7 shots. the ones with the old bar tender look sharper than other takes, almost different look or style, it might be taken by gh7. in other words, in order for gh7 to work with Alexa, not only arri log c lut is needed, filters are needed too. on the other hand, for news and sports, gh7 is perfectly fine, no less than any other cameras.

r5ii 8k is too sharp to my eyes, like news. I feel a little uncomfortable. no good legend looks much more cinematic. not sure which takes were done with gh7. not sure if they did filtration.

s series and gh7 are really leading the Japanese companies.

yes, ettr is really depending on different sensors. interestingly, i have no issue on r1mx and epic-x mx for ettr up to 3 stops, but they can not do ettl. underexposure more than 1 stops, then pull up in post, will cause much noise, and render the footage useless. magic lantern raw cameras can do ettr (but with the increase of the iso, less dr), no ettl. similar to red ones.

Over 30 Lighting Diffusions Tested

Hollywood Gaffer explains Lighting Filters and Diffusion || Julian White

leitz lenses are great, no doubt about it. just style is kind of different from the movie itself. not sure why.

They shot on raw. Typically shooting raw uses ettr to suppress shadow noise. Why did they elevate the shadow? Also if final look was intentionally high contrast, the shadow should be crashed further?

Basically, they used Sony Venice 2 and Venice OG with AXS R7 for 6k raw or XOCN, Leitz M ff cine lenses. The look is extremely sharp, very much like looking through the window. Why did they choose the leitz lenses, not the zeiss lenses? Probably the latter is more suitable for this style? Also they used the aspect ratio of 1.78:1, not the typical cinema 2.40:1. why? Technical specifications The Zone of Interest Edit Runtime 1h 45m(105 min) Sound mix Dolby Digital Color Color Aspect ratio 1.78 : 1 Camera FLIR X8500(American Cinematographer December 2023) Sony CineAlta Venice Rialto, Leitz M 0.8 Lenses Sony CineAlta Venice, Leitz M 0.8 Lenses Negative Format AXS-R7 Cinematographic Process Digital Intermediate(4K, master format) Spherical(source format) X-OCN ST(6K, source format) Printed Film Format 35 mm(Kodak Vision 2383) D-Cinema DCP Digital Cinema Package

i think s9 is very promising as a street cam or an action cam, like a ff equivalent of go pro 12. there may be more details to solve for s9 to be a true action cam, but very promising. a ff action cam heals the Achilles heel of the current crop of action cams, the low light. panasonic needs to design a small pancake lens specifically for s9. something like 50mm f2.8 for f4. the ibis or eis needs to be tuned for this lens to avoid digital artefacts. maybe some gyro info can be added for this rig too. a s9 action cam will sell like a hot cake.

Thanks for the detailed information. I checked the DPReview's chart comparison, you are right, DCI and UHD 4k, both OM1 10 bit and GH6 10 bit are the same, even to the smallest details. 4K IS loses details at the rightest block in the middle row, 4K 60p loses the rightest two blocks in the middle row. I guess if GH6 has related 4K IS and 4K 60p, the results may be similar too. I think you are right, the OM-1 video is not line-skipping, but over-sampling.

https://www.youtube.com/watch?v=7rgeIvF_UuU s5ii or s9 with 14-28mm (seems no ois on this lens). like gimbal shots, except jiggering for some shots, not many. generally, smooth enough to not disturb watching .