This group of settings is called Apocalypse Now and works to achieve a better and smoother color matrix that not only improves upon the native 4:2:0 h.264 of the camera, but also softens the natural sharpness of the Panasonic lenses when used in video mode.
If you have a higher-end monitor capable you should be able to see the subtle changes in color rendition to the blue channel in this still.
Quickly testing outside with the “soft” version settings, the difference on foliage is immediately noticeable in regards to sharpening. (14-140 @18mm LA7200)
These are just preliminary tests, but I would hazard to say that I would now recommend using Panasonic electronic lenses without fear of sharpening artifacts.
With the release of the first RAW footage of the Blackmagic Cinema Camera we can start to take a good look at footage that the camera will record natively. At first glance it looks like an Alexa with a 2.3 crop sensor. If you look closer, you will see it only has one flaw: A tiny bit of aliasing and moire. This is not as bad of a problem as it is on other cameras since we can fix this mostly in realtime with debayering settings and chroma blur.
Here’s an example:
Certainly for me the moire is a non issue, and since were dealing with raw footage, there will surely be better fixes to come along. All in all the RAW footage released yesterday shows that the BMC camera is unmatched by most cameras under 15k and provides and image quality that can be graded and changed with as much flexibility as a Red camera.
I’ll post more information and links when its done, but right now I ‘m working on making a new series devoted to the Bolex Moller Anamorphot 1.5x anamorphic adapter. Here’s a sample of the lens combined with the Konica 40mm 1.8 taking lens…