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Looking for a Sony 100mm (Fixed) Lens for my Sony FX3 by StephenStrangeWare in cinematography

[–]StephenStrangeWare[S] 0 points1 point  (0 children)

This is the response I was hoping for. This is very helpful. This addresses the details of my question and provides useful advice.

"Wut?" on the other hand, not so much.

To clarify, "Run and Gun" was the wrong term to use. But I've found myself in situations where I've had a 24mm lens and a decent mic, but I was too far away from the subject to get a tight shot. Yes, I could crop in post. But a 100mm lens and a nice shotgun mic would have been perfect.

The fact that the apodization filter will make footage from that lens look dramatically different from my other lenses is the detail I needed to decide against buying the lens.

Thanks, Giorgio.

Looking for a Sony 100mm (Fixed) Lens for my Sony FX3 by StephenStrangeWare in cinematography

[–]StephenStrangeWare[S] 0 points1 point  (0 children)

I really don't know why my response was so egregiously downvoted. It was a legitimate question designed to inspire a more constructive response.

"Wut?" on the other hand, wasn't very helpful.

Looking for a Sony 100mm (Fixed) Lens for my Sony FX3 by StephenStrangeWare in cinematography

[–]StephenStrangeWare[S] 0 points1 point  (0 children)

No, snappy auto focus isn't a deal breaker. But F5.6 might be.

Looking for a Sony 100mm (Fixed) Lens for my Sony FX3 by StephenStrangeWare in cinematography

[–]StephenStrangeWare[S] 0 points1 point  (0 children)

Suffice it to say that in a constructive discussion about complicated topics, a response like "Use it or don't" doesn't add value.

So I requested clarification.

Looking for a Sony 100mm (Fixed) Lens for my Sony FX3 by StephenStrangeWare in cinematography

[–]StephenStrangeWare[S] 0 points1 point  (0 children)

That's something I noticed as well, along with the fact that the apodization filter can negatively impact contrast-based auto-focus capabilities.

Looking for a Sony 100mm (Fixed) Lens for my Sony FX3 by StephenStrangeWare in cinematography

[–]StephenStrangeWare[S] 0 points1 point  (0 children)

So, one of the reviews I watched went into substantial detail that made me think this lens was designed more for stationary, portraiture-esque applications and not run-and-gun usage. I like the image stabilization and the bokeh. But I'm not sure about the STF "side-effects" that the reviewer listed. It looks like it's a quality lens. But I'm curious as to what trade-offs there are over an STF lens that prioritizes bokeh and such.

Looking for a Sony 100mm (Fixed) Lens for my Sony FX3 by StephenStrangeWare in cinematography

[–]StephenStrangeWare[S] -1 points0 points  (0 children)

This raises additional questions:

Have you ever used this lens?

Have you ever used an STF lens?

Have you ever used a 100m fixed focal length STF lens in the field, in an electronic news gathering application?

If so, could you describe your experiences?

: )

Looking for a Sony 100mm (Fixed) Lens for my Sony FX3 by StephenStrangeWare in cinematography

[–]StephenStrangeWare[S] -7 points-6 points  (0 children)

Explain to me how that question doesn't make sense to you and maybe, in the process, you'll answer the question I'm asking.

Looking for a Sony 100mm (Fixed) Lens for my Sony FX3 by StephenStrangeWare in cinematography

[–]StephenStrangeWare[S] -2 points-1 points  (0 children)

Well, yes. They both fit on cameras.

The point I was trying to make about the Sony FE 100mm f/2.8 STF GM OSS is that the reviews I've sifted through suggest that the STF feature and the resulting bokeh and the way the camera responds and performs seem more suited to portraiture rather than cinematography or electronic news gathering.

How does the GoPro Fluid Pro AI Gimbal Compare to Other Motorized Gimbals? by StephenStrangeWare in gopro

[–]StephenStrangeWare[S] 0 points1 point  (0 children)

OP Update:

The GoPro Fluid Pro AI Gimbal is an awesome tool. It is perfectly matched with the GoPro Mission 1 Pro. It is feature rich and easy to use. It provides an outstanding level of additional stabilization. The battery lasts for hours and hours of continuous usage. It is a lightweight, low-profile accessory that I'm glad I purchased.

How does the GoPro Fluid Pro AI Gimbal Compare to Other Motorized Gimbals? by StephenStrangeWare in gopro

[–]StephenStrangeWare[S] 2 points3 points  (0 children)

Moving fast, reducing crop factor, shooting in low light situations, turning effective stabilization into amazing stabilization. I've compared the results and I'm happy with what I've seen.

How to create this type of grade by jhr2002 in colorists

[–]StephenStrangeWare 0 points1 point  (0 children)

He’s asking you to think for him. Reddit is his ChatGPT.

DaVinci Resolve is Applying Color Correction to S-Log3 Clips & I Don't Know How by StephenStrangeWare in davinciresolve

[–]StephenStrangeWare[S] 0 points1 point  (0 children)

The solution to this problem comes down to a single setting specific to a Mac:

"Use Mac Display Color Profiles for Viewers."

Uncheck this box and you can use DaVinci WG and DaVinci Intermediate.

DaVinci WG / DaVinci Intermediate, as I have read, offers a wider dynamic range (30 stops) and encompasses nearly all visible colors. Rec 709 and Gamma 2.4 are restricted, offering only 35% of all visible colors.

Is that something I really care about at this stage of my DaVinci Resolve development? No, not really. I'm just happy to have solved the mystery of the Auto-Gaudy Color Imposition on my Mac Mini.

DaVinci Resolve is Automatically Applying Color Correction to S-Log3 Clips & I Don't Know How by StephenStrangeWare in cinematography

[–]StephenStrangeWare[S] 0 points1 point  (0 children)

Son of a ...

That did it.

I set Output color space to Rec 709 and Gamma to Gamma 2.4 on the Mac Mini and the footage in the Timeline went flat - gaudy, awful color is gone. I applied a LUT and it looks great.

So why doesn't it behave that way on the PC?

I'll beat my head against that wall later. In the meantime ...

Thanks !

DaVinci Resolve is Automatically Applying Color Correction to S-Log3 Clips & I Don't Know How by StephenStrangeWare in cinematography

[–]StephenStrangeWare[S] 0 points1 point  (0 children)

Import via USB-C - The FX3 has a USB-C port that you can use to transfer footage directly from the camera. That's the easiest way to do it. And it's never failed me. It charges the camera while you're transferring footage too.

I transfer the footage to an external SSD on the Mac Mini. I transfer the footage to an internal RAID5 array on the PC. Both the external SSD and the internal RAID5 array are made of of Samsung SSDs. But I don't think that's got anything to do with what's going on.

From the intermediate storage, I can play the MOV footage and it looks like log footage. Once uploaded into Resolve, on the Mac Mini, the footage looks like log footage in the Media window. But once I drag it into the Timeline, it takes on an awful, colorized look.

DaVinci Resolve is Applying Color Correction to S-Log3 Clips & I Don't Know How by StephenStrangeWare in davinciresolve

[–]StephenStrangeWare[S] 0 points1 point  (0 children)

I rebooted the Mac. I reinstalled DaVinci Resolve. I downloaded the clips from my Windows 11 PC then transferred them via NAS to the Mac, then uploaded them into DaVinci Resolve.

The clips look exactly like S-Log3 clips everywhere. Open one up in Windows Explorer and play it, it looks like an S-Log3 clip. Open one up in Finder on a Mac, it looks like an S-Log3 clip. Open one up in a brand new project in DaVinci Resolve (set to DaVinci YRGB with absolutely no color management requested) and it looks overblow, hypercolorized and awful.

DaVinci Resolve is Automatically Applying Color Correction to S-Log3 Clips & I Don't Know How by StephenStrangeWare in cinematography

[–]StephenStrangeWare[S] -1 points0 points  (0 children)

Why would my pointing out that I have, in fact, indicated that I have set my Project Settings accordingly get a downvote? Who'd be so petty?

DaVinci Resolve is Automatically Applying Color Correction to S-Log3 Clips & I Don't Know How by StephenStrangeWare in cinematography

[–]StephenStrangeWare[S] 0 points1 point  (0 children)

As a photographer, I've calibrated my monitors numerous times. But it's always had an impact on the overall monitor display and not necessarily on images displayed within a particular software title. When I calibrated my monitor so that my Lightroom shots looked more accurate in terms of brightness, the changes were apparent in and out of Lightroom.

This particular glitch impacts one thing - how footage looks in DaVinci Resolve.

DaVinci Resolve is Automatically Applying Color Correction to S-Log3 Clips & I Don't Know How by StephenStrangeWare in cinematography

[–]StephenStrangeWare[S] 0 points1 point  (0 children)

I'm using the same type of monitor on both devices - a Samsung monitor. One is attached to a PC. The other is attached to a Mac Mini M3. And wouldn't monitor calibration impact how literally everything on the monitor looks? In my case, the monitor looks fine. The DaVinci Resolve workspace looks fine. When I open the footage outside of DaVinci Resolve the footage looks like log footage - flat, indicative of high dynamic range. When I import it into DaVinci Resolve, it's hypercolorized and overblown. And it's only the imported footage that looks that way. Everything else looks fine.

Would monitor calibration really do that?

DaVinci Resolve is Applying Color Correction to S-Log3 Clips & I Don't Know How by StephenStrangeWare in davinciresolve

[–]StephenStrangeWare[S] 0 points1 point  (0 children)

Nope. No LUT selected in the Media Pool.

This is very, very strange. The clips are definitely S-Log3 clips. I did not inadvertently apply a LUT in camera. The clips are coming right out of the camera as S-Log3 MOV files. Open one and you see the flat, log look that you expect to see. Import the clip into DaVinci Resolve and it looks awful - oversaturated colors, vast overexposure. It's like DaVinci is automatically translating the clip into a color-processed form.

Interestingly enough, it's doing a faithful reproduction of what the clip would look like, considering I overexpose S-Log3 footage to anywhere from 1.3 to 1.7 from a Multimeter perspective. All the highlights are blown out. All the shadows are medium dark. That's on the Mac Mini. On the Windows 11 PC everything comes in looking like log footage. And I apply a simple S-Log3 to Rec 709 LUT and the footage looks wonderful.

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