A Dynamic Range and
Tonality Comparison
of V-Log L on the GH4

With the inadvertent pre-release of V-Log L to GH4 owners this week, a number of questions immediately surfaced that focused on noise levels, LUTs, and usability. For me, the most important distinction to be made was how it performed when captured in 8 bit, versus 10 bit. And how it compared to the built-in profiles that the GH4 was released with. Last, I wanted to get to the bottom of these new cyan/magenta artifacts other users were reporting. And I did.

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SLR Magic 10mm T2.1
Hyperprime Cine Lens

I had heard really great things about this lens, but was still taken aback by how fun it was to shoot with. It is the widest in my set of SLR Magic cine lenses, all of which I’ve come to be a fan of. I paired it with my Panasonic GH4 which has a mFT mount. So no adapter or speedbooster is required.

Two things struck me right away. How sharp it remained with the aperture wide open, and how little distortion it had. It’s definitely there, but nothing like the fisheye effect you get with other lenses. Which makes it a great choice for filmmakers who need to increase their field of view dramatically, without that goofy look associated with many ultra wide angle lenses.

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A Veritable Evaluation
of Variable ND

First… about the title of this entry. I know it’s a mouthful. In my defense… I’m an idiot.

Variable ND Comparison: SLR Magic vs Tiffen

When I set out to do this comparison, I thought I knew what to expect. I thought putting the Tiffen Variable ND next to the SLR Magic Variable ND would produce similar results with minor differences. I typically use these during the day to cut a substantial amount of light. So in this test, I have the Panasonic GH4 shooting 4K with the Natural profile, set with an ISO of 200. Without ND the 25mm’s aperture is at a T/8 and I’m cutting 5 stops with each ND to bring the aperture to a T/1.4.

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