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one another i observe that A24 have dense colors

Dang this was dope. Thanks for sharing

Dear Gen Z etc... PLease note the mic is designed to be CLIPED on to your lapel. STOP HOLDING THESE MICS its KILLING US old ppl

Good points. I never thought of using the ISO to emulate a film look. Sounds worth experimenting with. Thanks. New subscriber.

I am late to comment on this video here... @mitchellbrinkerdp. How you liking the Filmbox plug-in? Is it worth the cost compared to what is available in Resolve 19 now, and Dehancer, etc.? Love your videos, by the way.

This was an interesting lens, but as am new to this i would have appreciated a comparison with a regular lens

You can also use BNCR mount lenses on MFT cameras like the GH6/7

for someone who wants to get more serious about recording, what's a great intro camera to learn on?

Legitimate question: Why do you hold the lav? Why not clip it on? I don't get this trend - what am I missing? It seems so inconvenient.

Isn't the optimal approach to use one of your camera base ISO's (though the ridiculous 12,800 on the FX3 is actually noisier just because of quantum fluctuations- physics!) and use ND filters and/or lighting (or light control) to make that base ISO 'correct' ?

It did! also that Peanuts short is so rad. Would love to see a bts on that. As always, thanks for the good shit!

Incredible lenses! Thanks for giving us a taste of these!

Hey!! Thanks for the shout! My babies <3 Tony and Connor at DFI are great guys

2:26 Shoutout to Lost Kuma, amazing curator of high-end equipment.

The 18mm lens - is a Cooke Speed Panchro, I believe mk2. The majority of the set are Contax Zeiss with a 24mm SSC FD added.

Just starting up video at 7AM after long drinking night, and all I can say "BRING IT ON" 0:51

no im not

There are a couple sets for sale on the usual websites for used cinema equipment. just cinema gear, new life cine

I love connor over at DFI. been my main guy for rentals as a USC student

thanks for letting me be in the lens test! 🤍

best iso video ive ever seen! You got a follower more! Now i finallyy understand iso... photography (and hopefully cinematocgraphy in the future) will step up now. Thanks man!

Excelent video!!

this video might be top 5 videography lessons I’ve ever got

fun video - thanks for sharing some history.

Using high ISO is like plugging a ukulele into a massive amplifier and expecting it to sound like an electric fender.

Great video, thanks for sharing.

great stuff mitchell!

Does the colorgrade have any sort of added film grain or is this straight out of camera? I'd assume the latter but wanted to be sure lol

Finally. Someone with taste who actually shares some unique, genuinely interesting glass.

Thanks for the camera lore today

My desire for them was born today. Cool video and cool history lesson for the day as well!

This is a gem of a vid! Thank you 😊

Good video.

Awesome video, very informative.

interesting

what lens filter are using for this vid? looks so good

Nice video man😃I have the fx30 with dual iso and “should” I still use the higher base ISO for outdoor and vice versa or does it not matter if they have 6 stops each direction either way? Also would’ve been cool to see the last clip you were talking about🙂

Hi I love the info you lay out on the video. I would like to ask where can I find the camera ISO to dynamic distribution chart? Thanks.

I really enjoyed this video. As a Videgrapher I’m trying to level myself up and just purchased the FX3. I’m really obsessed with light and how that plays an integral role in my story telling. I did this after my RUclips video colours and lighting were just waaaay off. I’ve been practicing and this knowledge you shared helped someone like me more than you know. It might be common knowledge but that you. I had no idea.

your channel is amazing brother

Great video Mitchell! More and more I find I'm having to rework my mind when it comes to how I should observe/handle ISO. This is not only a great reminder but an addition to how I think I'll view ISO moving forward. Grain can be good!

Only true uncompressed raw behive like this. Worked with many cameras. Only Alexa cameras, sigma fp and kinefinity cameras and cameras that shot true raw behive like this. They all shot 12 or 14bit raw in 4:4:4 color subsampling. On my sigma fp if I switch to 8bit h264 rules doesn't apply. Even in 10bit 4:2:2 gets tricky 😊

I don't have this ugly grain using Filmbox 😅

at the end.. "im really runnning out of light" just bump the iso bro xD

man this makes so much sense haha, thanks for sharing!

I was expecting the usual 'the right iso' video, but instead you got a new subscriber! Very well put I would say! I would also add that there's also people shooting things outside of well lit sets, I find myself very often shooting wildlife, so very long zooms, high F stops, on a Micro 4/3 sensor because of the reach and the convenience, most likely while being in a dark forest 😅. I have to use different shutter speeds and iso than the 'correct' ones because otherwise it would be better if I stayed at home 😂

I agree with the concept of adding noise but you explained the exposure physics right. I'm a computer engineer, it's more technical. The ISO is how you set the range of the data captured by the bit depth of the camera, for example 8-bit, 10-bit, HLG, SLog3, etc. When you are adjusting the gain, you are setting the minimum and maximum range of the light you're capturing, which you can refer to as clipping the light on the sensor and normalizing (i.e. setting from 0-100%) to the bit depth. You have have heard the terms Expose to the Left/for the shadows, and Expose to the Right/for the highlights, and expose for the center/shadow and highlights. The light that is coming in is in a certain number range, and you need to scale that range so that you capture the dynamic range that you need. You do this with a histogram. You will see in the histogram that the light coming in at the different frequency ranges, and you need to get all of the information into the histogram that you want to capture. You can adjust your exposure compensation, and this will shift the light pixel data to the left or right of the histogram, hence the name expose to the left or right. If you are using 8-bit SLog3 in sunlight, you will either have to expose to the left or right with SLog3, or turn of log and expose to the center, but you will not be able to recover shadows or highlights. You are using the gain to set the range of the 8-bit and 10-bit color data, which means each pixel is either 24-bits (8-bits times 3) or 30-bits (10 bits times 3), but they pack that up in YUV format to get 4:2:2 or 4:2:0 subsampling, which is confusing, to do the Hybrid Log Gamma and SLog2/SLog3/CLog/FLog/etc All of them are variations on HLG, which is part of the HDMI standard but none of the other brands log curves are HDMI standards.

🔥🔥🔥

Nice one

How do I find that dynamic range chat for the fx30?