F35: Green and Blue Lines when shooting Wide Open

Razz16mm said:
10 stops is the mathematical limit for any REC709 compliant video, so that is what you wind up seeing even if the camera can capture significantly broader range. Moving into REC2020/2084 and HDR bumps that a bit. Values captured outside that range are either clipped or compressed to fit within it.
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Oh god! log me out!

That way there is no point shooting on 12 bit color either your tv cant show it, also 16bit 24bit audio recordings also pointless. Never mind creating 3d assets with millions of polygons, it will all be converted to triangles by the renderer and then further simplified to pixels on the tv. Makes me feel that we came this far really for nothing. That was very Enlightening. Thank you! im going to sell my camera and get a Canon XL1. Only if i knew this before.
 
DIRECTORDEVIN said:
So you don't believe that any camera has the dynamic range they claim they have? 10 stops is plenty yes, but 12,13,14,15,16 stops all exists and they are plenty too. If you feel the topic of dynamic range is becoming a bore and drawn out i can see how claiming that 10 stops is a huge range in other words "who cares about all this dynamic range stuff 10 stops is plenty so hush" What tests prove there are more then 10 stops? I promise you there are others here who are more technically inclined then i am who can answer that, but i promise you if you go to YouTube to check out any cameras true dynamic range test you will find loads of people popping up with the same findings. Or, have you already done the tests and "know for sure: that over 10 is a miracle? Not being a smarty pants i'm genuinely interested.
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I'm not disputing the value of dynamic range. The more the better for sure. It's just that camera manufacturers claims are not truthful. All I know is that if I take my spot meter and get a reading for the highest and lowest values in a scene and the difference between the two is 10 stops or more, there is no way I will be able to avoid BOTH not clipping the highlights AND getting acceptable noise in the shadows. I could avoid one but not both. And that is no matter what camera is used. In fact, I don't think I could avoid both with an 8 stops difference. Of course, acceptable noise is subjective, but the claims of 14 stops or so are not applicable in the real world. I try to avoid any scene that has more than 7 stops between highlights and shadows. If you know if any test that could disprove that, I'd like to see it. I will try to do a test with the F35 and get exactly the "Practical" dynamic range of the camera. Now you are getting me excited. This has nothing to do with rec709 limitations by the way. We're talking raw/log/flattest profile acquisition from any camera.
 
torresfilms said:
Below is the link to a video of me trying your strategy for attaching my lens but failing at it Lol. Let me know if you see something I can do to fix this.

https://youtu.be/9HH2vm-rkuo
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If your lens twists with the locking ring when turned then it's not seated deeply enough to catch the upper right pin in the PL mount; essentially would need to shave off material off the back of the lens so it sits deeper in the mount and catches. And then need to make sure the PL ring on the rear of your lens isn't too thick or the Sony mount won't slide over it to lock it in properly, and instead just spin the lens, or be unable to lock(this is more an issue for PL to other mount dummy adapters). Hopefully that's helpful, though not a fix by any means.
 
rbirnbaum said:
Remove the camera mount ears - attached with screws and it should lock down. It is a known issue with the F35. You will have to DIY another system to turn the locking mount. Hard to do with just your fingers.
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I'm trying to figure out what you mean by that Rick. Can you explain again? The mount ears are the knobs that you manually twist to lock?
 
RayZan said:
I'm trying to figure out what you mean by that Rick. Can you explain again? The mount ears are the knobs that you manually twist to lock?
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Ok. I see what you mean now. in video posted, the "ears" are in the way of the aperture ring and thus prevent the lens from inserting all the way in, into the mount. They protrude a bit into the mount opening. Shouldn't be an issue with most lenses. But, great to point that out in case I face the same issue with a certain lens.
 
keisersoze said:
Oh god! log me out!

That way there is no point shooting on 12 bit color either your tv cant show it, also 16bit 24bit audio recordings also pointless. Never mind creating 3d assets with millions of polygons, it will all be converted to triangles by the renderer and then further simplified to pixels on the tv. Makes me feel that we came this far really for nothing. That was very Enlightening. Thank you! im going to sell my camera and get a Canon XL1. Only if i knew this before.
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:violent5: LOL
 
RayZan said:
Ok. I see what you mean now. in video posted, the "ears" are in the way of the aperture ring and thus prevent the lens from inserting all the way in, into the mount. They protrude a bit into the mount opening. Shouldn't be an issue with most lenses. But, great to point that out in case I face the same issue with a certain lens.
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Yes. Depending on the barrel diameter and position of the mount you may need to remove the ears(yes the things where you place your fingers to lock the mount) so that the lens can sit a little deeper and allow for locking.

Some lenses like some Lomos... won’t even fit the camera. The sensor is too close to the rear element and can’t lock. A while back I tried to start a list with compatible F35 lenses but you guys seem to prefer discussing other things. Ha!

Also on the topic of DR I did a test and posted it in this forum less than a year ago. People of the DVX... search the forum. Please search for past topics... like 99.9999999999% of the questions have already been answered here or there and everywhere...
This whole conversation about stops is entirely misleading... the hardware captures a number, you light to a given number if you can control it and you choose where to expose if you can’t control it. The output format will determine how many of those stops get compressed into what bucket... But yeah, the ore the better.

Smear- there is a smear reducer setup in the camera. Works great. Again, don’t overload me your be crap out of any sensor.my Alexa also gives el some weird artifacts when I try stuff like that. Treat them with love girls and boys.
 
keisersoze said:
Oh god! log me out!

That way there is no point shooting on 12 bit color either your tv cant show it, also 16bit 24bit audio recordings also pointless. Never mind creating 3d assets with millions of polygons, it will all be converted to triangles by the renderer and then further simplified to pixels on the tv. Makes me feel that we came this far really for nothing. That was very Enlightening. Thank you! im going to sell my camera and get a Canon XL1. Only if i knew this before.
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Wait, but I love the XL1!!! Let’s shoot some mad videos with it. Every camera has a use. Let’s keep them all to tell our stories!!!
 
rbirnbaum said:
Wait, but I love the XL1!!! Let’s shoot some mad videos with it. Every camera has a use. Let’s keep them all to tell our stories!!!
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AMEN. I had an XL1s over a decade ago and man was it a fun little camera! It's overexposure was very unique.

 
Mike Krumlauf said:
AMEN. I had an XL1s over a decade ago and man was it a fun little camera! It's overexposure was very unique.

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Mike this was absolutely beautiful in so many ways. It just felt authentic and vintage and very much like old film. I think more then anything we get all caught up in cameras and most times we don’t even see it’s beauty anymore. All these years later the quality of the image from the old xl1 looks beautiful and it’s evident the kinds of stories that can be told with it. I guess what I’m saying is that it’s not just “now” that a story can be told with the xl1, but that it always could’ve and was more then capable . It’s funny what you see years later. So many moments in your video where I said damn if It was just on a jib booming down while the actors came out of one of those stores would have been fantastic. Thanks for sharing this as it planted many ideas and possibilities. Also what’s the song you used for that video?
 
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Thanks for the kind words man. I miss that era of my life. I was freshly out of high school still living in my parents basement. I would take my camera out on walks at 2am with music blasting in my ears from my iPod. The creativity was pooring out of me then. I was thinking of picking up an XL1s or DVX100 again sometime soon when I can afford it just to try to relive that again, granted i'm out in the suburbs of Denver now... really miss the Chicago area... will always be my true home in my heart.

As for the song, its "Do Your Best - John Maus", that whole album is amazing!

I'll share one other one I did on the XL1s around the same time that I am personally proud of. Let me know what you think :)

 
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I did keep them all. I bought many cameras and never sold one...
XL1s, Dvx-200,T2i,5DMk2 ,JVc HM700U,5D Mk3, BM4K, Sony F35(converted f23, so 1 and 1/2 points there). Ok alright, I did sell the BM4K. Cheers
 
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