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Got myself some new glass for Christmas. I do prefer native lenses but the Sigma Speedbooster combo works really well! Screengrabs from GH5 + Speedbooxter XL + Sigma 35/1.4 + Black Pro Mist 1/4. 

Just got a Voigtlander 40mm 1.2. Haven't had a chance to test in video yet. But DAMN

A few stills from a shoot last night all on the Pocket 4K XL and CZ 35mm 2.8. 

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On 1/2/2018 at 12:37 AM, Thomas Hill said:

I love the look of this old GH2 nostalgic mode. Do the modern Panasonic's have an equivalent?

Hey Thomas, Seb is the master of vignettes. He makes every camera shine. Thanks for showing this piece. I would suggest to shoot in Natural -5 contrast and noise, -2 saturation and 0 or -2 for contrast. GH2 has some mojo for sure! I have a G6,G7 and GX85 but thinking about a GH2:) G6 is somewhat a GH2 with a better codec and it´s a great camera if you put some contrast and color curves on the material in the grading:)

@kidzrevil, 12mm, great how you put that lens into use. Do you think the lens does some electronic mambo jambo to the material? Your vintage lensing still provides the best colors on the G85 in the vimeo universe in my eyes.

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11 hours ago, PannySVHS said:

Hey Thomas, Seb is the master of vignettes. He makes every camera shine. Thanks for showing this piece. I would suggest to shoot in Natural -5 contrast and noise, -2 saturation and 0 or -2 for contrast. GH2 has some mojo for sure! I have a G6,G7 and GX85 but thinking about a GH2:) G6 is somewhat a GH2 with a better codec and it´s a great camera if you put some contrast and color curves on the material in the grading:)

Thanks for the info. I'll give that a try when my g85 arrives. But I can't take credit for showing that one, it was @anonim a few pages back.

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1 hour ago, Ricardo Constantino said:

@kidzrevil how do you do this highlight glow? :bawling: looks so damn cool

Well, if you'd have read what it said 'w/ tiffen pearlescent filter', you'd know.

https://tiffen.com/diffusion/

I think filters like these (and e.g. Smoque 1 or Ultra Contrast (low) 1 & 3) are underrated, more people should give that kinda thing a go.

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1 hour ago, Cinegain said:

Well, if you'd have read what it said 'w/ tiffen pearlescent filter', you'd know.

https://tiffen.com/diffusion/

I think filters like these (and e.g. Smoque 1 or Ultra Contrast (low) 1 & 3) are underrated, more people should give that kinda thing a go.

This has been covered A LOT in here, thanks to kidzrevil, but yeah, they are incredible for transforming footage and making it more cinematic.

Wanted to quickly ask if anyone here had a chance to check out the new Sony 24-105mm yet? I am fed up of the Canon 24-105 w/ the Metabones adapter on the Sony A7SII. Would love to go native, drop a little size and weight and from what I've heard it's a pretty great lens, if pricey. Will still use primes when I can leave my camera bag at hand, but I've missed an all purpose travel lens that works without any problems.

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@Ricardo Constantino thanks man ! Like @Cinegain & @Gregormannschaft said check out the tiffen line of diffusion on their site. Check my vimeo I primarily shoot with diffusion filtration. 

@Cinegain I think a lot of people would benefit from the tiffen ultra contrast cause it lifts the shadows and thats pretty much what most of us need. Im going to experiment w/ shooting slog2 and a tiffen ultra contrast to lift the shadows closer to the midtone ranfe where there is more data

For those wondering I prefer tiffen newest line of diffusion 1) tiffen black satin 2) tiffen satin & 3) tiffen pearlescent

I primarily use the black satin for commercial work where I don’t want the diffusion to be obvious or for talent that has lighter complexion. I use the tiffen satin for high key work or if the talent has a dark complexion. The pearlescent is when I want a heavy handed diffused look. Ironically the tiffen pearlescent still looks contrasty but the highlights and bright colors have a glow to them. Works great when shooting log. There’s nothing wrong with the older diffusion filters but I would get them in a very light grade. They tend to flare a lot if your exposure is to the right of the histogram. All in all I think they are essential to retaining some of the characteristics of film on digital bodies i.e. halation & subdued high frequency detail

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Robin Wong shares some beautiful looking sample images in his review of the Olympus 17.5mm f/1.2. Looks like he’s fallen hard for this one, and for good reason - and if Sigma hadn’t released the 16mm f/1.4, this would be my first lens purchase of 2018. I also shared practically the same feelings about 35mm-ish focal length equivalent lenses as Robin did before shooting extensively with the Sigma, preferring either the Leica 12mm f/1.4 for environmental portraiture or the Olympus 75mm f/1.8 for head-and-shoulders work. As far as feathered bokeh goes, I can’t say I prefer it over ‘normal’ bokeh but since it only manifests itself at the widest apertures, you can decide how you want the final image to look. Sometimes I prefer clearly defined coin-shaped bokeh,  sometimes I like softer edges. 

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