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  1. 25 likes
    I've been using 5D3 Magic Lantern RAW for a few years now and it's my personal gold standard for image quality as I'm very familiar with it, can predict the results I'll get in various situations and have developed my own look that I like using in post. I do a lot of documentary and corporate stuff and wanted to do more handheld, so I got the GH5 for its IBIS, 10bit V-Log, 4K and general ease of use. Although the GH5's colour is an improvement on its predecessors, the 5D3 is nicer looking to me. So I wanted to see if I could tweak the GH5's VLog colour to be more similar to the colour I get from Magic Lantern Cinelog-C, processed via Adobe Camera Raw (other debayering workflows will give different results). I shot a chart with both cameras, extracted the squares and put them side by side in Resolve. V-Log on the left, ML on the right: I used Hue v Hue and Hue v Sat to line up the signal on the vectorscope: Here you can see the effect of this correction.This is accurately white balanced V-Log (default colour) with a curve and saturation added: And here's the same shot with the colour correction applied: Skin goes from green-ish to pink-ish. Reds become more saturated, blues are pulled back. Foliage separates out into varying shades of yellow to green to blue-sh green, rather than being one big block of pure green. So next, I wanted to test this by comparing the same shots to Magic Lantern RAW. Would this correction really turn my GH5 into a handheld and more usable version of my 5D3? I stuck the GH5 on top of the 5D3. I shot the 5D3 at 3520 x 1320 (the maximum resolution I can get that's both continuous and at a sensible aspect ratio) - this has a crop factor of 1.63x. ISO was 100, and aperture at f5.6 on the Canon 24-105. The GH5 was 10 bit V-Log, Cinema 4K, ISO 400, aperture f4 (roughly equivalent) on the Leica 12-60. I used shutter speed to control exposure, so motion blur is different between shots. It seems like the GH5 has around 0.66 stops more info in the highlights at the same exposure as the 5D, so I shot it one stop over to maximise DR. First I corrected the 5D shots to the way I wanted them to look. Then I tried to get the GH5 to match. It's not a perfect match by any means, there are individual hues that tend to go awry a little, especially in the first shot. But for me the exercise is a success: the GH5 footage looks more like Canon Magic Lantern than it would straight out of the camera. And I would be happy to intercut the two, or to use the GH5 in situations that are more suited to its features. The take home message is that V-Log has a lot of grading potential - you're not necessarily stuck with Panasonic's colours on this camera. A nice surprise for me was how much detail is in the 3.5K 5D files compared to Cinema 4K GH5, especially when sharpened. However, it's not very practical to shoot in its high resolution modes at the moment, due to the slow refresh rate of the LCD preview. If you want to check out the files yourself, here are a series of matched pairs of 5D DNGs, and GH5 V-Log TIFFS. FOLDER: https://drive.google.com/open?id=0B1exEpCRAfgFdi1FZ3hma09YZms ALL FILES ZIPPED: https://drive.google.com/open?id=0BwzsbjMgrAwzTFJZby0xSTV6VmM
  2. 18 likes
    Not sure if this is the right place to post this or not. Here is the second video we shot for Panasonic using the 6K Photo Mode (4:3 at 30p and converted to 24). We utilized SLR Magic Anamorphic primes. These lenses are a bit of an enigma, honestly. At first...I really didn't like them. Super soft wide open. Tons of CA, couldn't focus closer than 5 feet or something, and at T 2.8 you're struggling to get light into the GH5. This shoot in particular was challenging because we needed a ton of light just to get below ISO 3200. I really tried to keep these lenses above T 3.5 as often as possible, the shots where we were wide open will be glaringly obvious to most of you. All of that to say, if you have enough light and can stop down enough, these lenses clean up and really look great. The timelapses from this video show you a bit of what to expect with that combo. Unfortunately we didn't have the 10bit anamorphic firmware for this shoot, otherwise I would have shot in VLog and 10bit...who knows what that would have changed in the final images.
  3. 12 likes
    Yes, the GH5 is second. For sure, the 5D files have much more malleability than 10bit VLog. You can really go to town on Magic Lantern RAW - it's a much thicker file. It's almost pristine (except for ugly shadow noise). But I think that it is actually a testament to the GH5 that I can do that. And what I've presented here is only the realisation of my preferences. The point that I want to make is that the 10bit 422 files are robust enough to undergo a fair bit of colour correction / grading. To me, the VLog coming from the camera is a "raw" material with massive potential, as the (properly) RAW footage from the 5D3 is a beginning, and not an end in itself. In the main GH5 thread you mentioned that there was a range of quality in the posted videos for the GH5, from video-ish to something more satisfactory. Believe me, if Magic Lantern RAW was accessible to the same kinds of users - and in the same numbers - as the GH5, you'd see a hell of a lot of bad 5D3 ML videos. Exactly. You need 12 nodes or 20 minutes work to match this with that. But when the groundwork is done, you're in business. Today I made a nice lut that combines the Canon-like colour with a Lightroom film emulation preset. I loaded this into the camera as a monitoring lut and exposed until it looked good in the viewfinder. Came back and slapped the lut on and each shot was perfect. It took as long as it does to Ctrl+C and Ctrl+V.... with maybe a small WB and curves adjustment beforehand This is the look that I'm into at the moment. In a year's time I might be into something different. Big time!
  4. 11 likes
    Here are some 1080 JPEGS from a music video that I shot with the GH5 + SLR Magic anamorphic primes.
  5. 10 likes
    Just finished my 2nd round of shooting for my short. I had a little more trouble correcting these images as I shot a lot in lower light than the first round. But here are a few shots that turned out okay... I will say that I think ML Raw has ruined me for other cameras.
  6. 10 likes
    Lumix 20mm ii w/ warm black pro mist filter
  7. 9 likes
    BM had free hands-on training for Resolve at NAB this week. Three-hour course. They had 50 Macbooks set up in a large meeting room. The trainer was excellent. I left very impressed with the product (I use Premiere). Earlier in the day I was in BM's booth and grabbed one of the employees to ask a question about the interface - he knew the program inside-out. I asked him what he did at the company and turns out he's one of the software engineers for Resolve. Software engineers on the trade show floor interacting with prospects and customers? Now that is impressive!
  8. 8 likes
    https://www.youtube.com/watch?v=yWPyRSURYFQ Ok, check some scenes on the cinematography of the 1982 film What do you see? Well people have actual skin tones. When I saw the first scenes of the new one I was shocked, mainly because I love Deakins. How can he make something look so bad? It reminds me the starwars second trilogy fail. And how can you praise this 'film" not even shot on film. Too much CGI! Too much orange/ blue grading. This is not Deakins work, this is the graders film. Not a natural skin tone in sight, not a natural light or color in sight. Every scene looks like a commercial, fake, very proppy, very artificial and lacking in that futuristic reality, everything too clean and new and staged. Poorly designed surroundings no grit no dirt no reality. The first film was so fantastic because it looked so real! Coming to the acting, dear me, I can forgive the Gosling who is like a replicant in real life anyway. But JARED LETO? that babyfaced ass*&le? Too young too Jokery Too typecasted.. my humble opinion..
  9. 8 likes
    @hyalinejim Great job with making the Panasonic reds less orange and ACTUAL red. Here is a shot where the tubes were solid red, the poker table was red, and the guy's shirt was red/black. It was looking a bit orange naturally till I added your LUT.
  10. 7 likes
    Ever since I gave up my Nikon D5200 a few years ago for the Panasonic GX7, I've been dearly missing one lens. The 17-50mm f2.8. I tried the 12-35mm f2.8 on the Panasonic but didn't like it. Then the Samsung NX1 came out along with the 16-50mm f2-2.8. At the time, it was way above my budget. So I've since considered other systems such as the Sony but for one reason or another, they didn't fit my needs. But now, over 2 years later, I've finally been able and willing to pick one up. Luckily as well, the camera body is entirely unused. The manufacturer sealing was still in place. One of the first things I do when I get a new camera is to compare it to my other camera(s) for things like colour, dynamic range and noise. I've made many such tests before but never usually post them. This time I've taken the time to do it properly and edit it together for all to see. First up is the X-T2 vs NX1 shootout. The main point of this was to see the differences in colour and tonality. See the video description for all the fine details on settings. And next is this high iso comparison with two other cameras I currently have. Again, you can see the video description for all the setting details. Some thoughts on the differences between the X-T2 and NX1: AF-C and focus pulling with AF works much better on the older NX1 than the X-T2; in video anyway. The 16-50mm f2-2.8 is a ridiculously good lens, image wise. And the focus rings works just like a classic lens. The grip and button layout of the NX1 is far better. I've always felt the retro styling of Fujifilm were a detriment to their functionality. The downside to the NX1 is that it is far inferior to the XT2 in low light. The last shot in the shootout was shot at ISO 800 on the NX1 and 1600 on the XT2, yet the NX1 shows less detail and more muddiness due to the noise reduction. Also the NX1 is far sharper in 4k and HD but has more aliasing and moiré in the latter. Anyway, I'd really like to hear your thoughts on the difference between the images I'm yet undecided of which system to keep, even though the NX1 would finally fulfil my want.. or need of a 16-50mm f2.8.
  11. 7 likes
    Iscorama Pre-36 with Helios 44 @ f2.8 (oval aperture) on Canon 5D3 To get that sharp on my (sharpness tweaked) Kowa Inflight or Kowa B&H with Core DNA attached I'd need to stop down to at least f5.6. Sharpness is indeed often overrated, but it's sure nice to have and can always be softened in Resolve very nicely. Iscorama still has perfect balance of sharpness but with organic feel due to vintage coating. More modern cinelux type lenses are as sharp, yet look very clinical (to my eyes at least).
  12. 7 likes
    The fact few people if any can tell the difference lets us know all we have too....... Both cameras look great and if most people here cannot tell the difference, 99.9% of the audience will not be able too either...... Go and create the project you've always wanted, the camera is no longer an excuse /
  13. 7 likes
    Here is the LUT for colour correction only - the V-Log gamma remains unchanged. This should be first in your post pipeline. https://drive.google.com/open?id=0B1exEpCRAfgFcVdtSXhRdmJvalE
  14. 7 likes
    Switching from Premiere CC/Resolve to FCPX is the best decision I ever made. Over the last year I must have saved at least six months in editing and render times (Btw, today I downloaded a 30 day trial of Capture One Pro 10. Took me about 20 minutes to realize that it's time to dump Lightroom as well. So, "Buy buy Adobe. Loved you from CS5 to CC but you have lost the mojo.")
  15. 7 likes
    A rather quick edit of a short sailing trip in The Hague: Again I am really satisfied with the quality. The Summilux really sings. Stupidly enough I did not bring my field recorder so I had to rely on the built-in mic of the GX80, which I only could use in the beginning. The lack of a mic is is really annoying me, my next camera really needs to have have a mic in. I even considered checking out the A6500 but gave it up quickly after hearing about the dimmed screen issues.
  16. 7 likes
    You can't just put the GH5 into a bigger body, slap a huge price on it and call it a day. I mean, you have the XLR unit for on top of your GH5 now and can use the Aputure DEC vND EF-mount as well. BOOM! Done. They also can't create a Varicam LT with the exact same specs in half the size and price. But to give it some proper production value the S35 is just about a must. It will especially help to more easily get some great dynamic range and lovely colors going for it, the thing we all expect to see out of a camera like that. Of course, it would also be one less reason for people to look at other cameras that are in fact S35, which kinda is the production standard. Should help with the crop and in turn to easier establish a shallower depth of field as well I guess (nice with S35/APS-C lenses, but I do see an issue here if it does in fact come with a native EF-mount, because... how are we supposed to speedboost fullframe lenses then??? So yeah, seems to me it makes more sense to bring out cameras with the shallowest mount possible for most flexibilty, E-mount would be ideal here, since that even adapts MFT, but you know...). So... I think dynamic range & color science is what people will really appreciate. Other than that, just to have something that's all-in-1 and covers the basic conveniences such as ND filters (evND?), XLR interface, more controls, awesome flip-out screen, long battery life, ability to run it offa external power, things like that. No more frankensteining with little cages and coldshoe mounts, external monitors, magic arms, ballheads and cable jungle. Just drop it on a tripod and hit record. Speaking of which... for a recording media it might be interesting to pull a Videodevices on this... see, they have the PIX-E5 recorder and use a so-called 'SpeedDrive'. They will sell you empty enclosures which house a mSATA drive and functions as a USB3.0 thumbdrive. You can buy like a Samsung 850 EVO 250GB mSATA drive for about 100,-. You'd just pop it in your camera and once you're done: fuzzless and speedy offloading onto a computer. The mentioned Samsung mSATA drive is rated at 520MB/s writespeed. Should be no problem for high-bitrate recording anything I imagine. Concerning that, I'm guessing this will write away files similar to the GH5, but can do it all internally. So... you get that 4:2:2 10-bit 60p at 400Mbps and FHD slow-mo at up to 180fps. The big difference? It would additionally support RAW output to an external recorder, though it would of course be great if they could manage that internally or give us internal ProRes. Just... probably not. Anyways. Legit reasons to get one, but no groundbreaking ones. It wouldn't really be innovative or do mind-boggling things. But it would be a superb step-up for people with GH-range cameras. Because that's always been the question... where do you go from a GH-camera? But then it all comes down to pricing... they're not suddenly going to sell a ton of these if they're exactly in the range of Blackmagic/Sony/Canon/Kinefinity/2nd hand RED/etc... these are systems that will get you far north of $5k, more like 10k once you're fully configured and accessorized. If it does nothing that hasn't been done before... why bother at all? That's where the price comes in. If you're a small production house, maybe just a single dude or dudette doing his/her thing, 10k is quite a stretch to up your productions from the GH5 to something with a little more oomph. It's far more likely to get people looking for a step-up from their GH-range camera interested in something like a JVC GY-LS300 or something 2nd hand perhaps. But... if you can get a camera as described above... for a little bit more than say the launchprice of the LS300 or DVX200, so perhaps 4995,- then I forsee a bright future for it. So for me, I'd be pretty stoked to see, whilst being fairly realistic about it: S35 sensor with great dynamic range and color science a fairly compact professional body with ND filters, XLR interface, plenty of controls and easy navigation/menus GH5 resolution/framerates, all capable of being recorded internally RAW output $4999 Like an AG-AF100 successor with 2017-like Panasonic specs. A mash-up of things I like about the JVC LS300 & Panasonic DVX200/GH5/AF100. Not a hardcore cinema camera, more something to use as a production camera, where the GH5 would start to feel a little out of its element. Still great options with the GH5, though. And it does have that 5-axis B.I.S. and all that good stuff that makes it the most perfect B-cam. They should compliment eachother rather well. Should this come in at 6999-9999, well... tough...
  17. 7 likes
    EOSHD is not an odd case, nearly all the major sites are named after cameras: DVXUser - Panasonic DVX100 Cinema5D - Canon 5D Mark II REDUser - RED This isn't really how it works with most people, as they come from a Google search and click the article because it's relevant to them - i.e. Sony or Panasonic posts. So it is immediately apparent both the blog and forum cover non-Canon gear. Times change and Canon might bounce back and start dominating. So changing to align with current Sony/Panasonic trends may be a waste of time as brands have to live forever. Reidvision wouldn't be so bad but it says nothing about 'cameras' I like short and snappy! Thanks for the feedback though I do see where you're coming from Most important thing for me is the site works well, looks clean, no shitty advertising, thriving community forum, great content, strong personal opinions, not in bed with PR industry.
  18. 7 likes
    A well respected member at dvxuser wrote this earlier "Just got this info about the new camera. It will have a S35 sensor and 14 stops of dynamic range. 4k up to 60fps. 1080p up to 120fps. All the usual stuff like ND, SDI/HDMI out. The body is very light weight at about 1 kg. Media used will be SDXC cards with dual slot capacity. The camera pars can be broken down and the shape of the camera is a mix of C100 and FS5. As is the price in the league of a C100 mkII." Would be pretty amazing if true
  19. 7 likes
    I just had an "on the record" conversation with the a canon rep today on the show floor and brought up the whole "lack of 4k across the board" issue. They told me that the Japanese corporate people just don't get it but now are seeing some serious impact from Panasonic and Sony. He said their philosophy is that people who buy 77d and t7i don't need 4k but I said the 80d is a great video camera and they should add 4k to that model. He said a 90d with 4k would make sense but not to get our hopes up. I also spoke to a Panasonic rep today who told me that he was on the airplane sitting next to a Canon rep and the Canon rep told him "you and Sony are eating our lunch in the lower end and the a9 is a serious hit to our high end." The Panasonic rep said this is the first year that Canon reps have the humility and lack of ego/ pride that they normally do. Also, I spoke to the Canon rep about the c100 mk3. He said it does exist. It's just not here and he couldn't tell me when we will see it. He couldn't confirm any specs. I'll try to dig more on them tomorrow
  20. 6 likes
    Hey Lens Geeks, I went onto Mr. Gale's website and saw that his DSO Trump lenses have been removed and replaced with these really cool looking APOGEE lenses. They come as set and cost a significant amount of cash. I congratulate Rich on making these lenses so awesome and sought after, but I don't have the funds for that set, even though they look perfectly featured. I'm looking for any other type of well constructed, modified vintage type lenses that portray unique flare, artefact and bokeh in the images. I understand there's loads of olds stuff on eBay, but I'm really looking at something more polished and solid to work with. Maybe also some people who change the bokeh look in Helios lenses (but not shit). Also, I'm wondering if anybody knows of any accessories that also add an effect, such as any lens filters. This is what I know of so far: Lomography - they have some cool looking lens sets, like he Petzval, and have a Kickstarter on this portable Neptune set. MotionSix - they have tinted and anamorphic flare filament lenses on offer. I've used a 29mm from them with a fixed 3.5 oval aperture. Flares are very nice, but lens was difficult to focus and extremely soft. LensBaby - never used their products, so can't vouch on the quality and features. VidAtlantic - they do lens filters and anamorphic oval mods. Don't know what they're like. MeyerOptikGorlitz - they are making modern versions of their legendary soap bubble bokeh lenses, like the Trioplan. Anything to share / know of / blah blah / etc etc ??
  21. 6 likes
    I can weigh in on this. About 18 months ago I was frustrated because I'd get a lot of very flattering positive comments and reviews about my work, but not really seeing the benefit of this financially. Unfortunately these days, if you're able to give yourself a great social media presence but you're work is mediocre (as compared to a poor social media presence with incredible work) - it's more likely the former will be more successful. I've been studying the "business" and "social media" side of things on a course, and although it would take me far too long to say everything here, the overall conclusion is that marketing does come before your art. Social media is the No.1 distribution platform, so if you're not bothering with it, it could be very difficult to get anywhere. I've only just now, this week, picked up my social media strategy. I'm not being false, I'm not doing monetised reviews or any of that crap, I'll just be documenting what I do in bite sizes, and what value I'm able to deliver and help out (in a very non-salesy, authentic, organic, real way). I'm just going to be myself. I'll show what I'm doing as it is. I'm also camera shy. So there's that too. The difficulty I've had is my creative side feeling starved. The benefit is, I'm hungry to create and the artistic side is about to receive a mighty, mighty push. I advise anybody to use social media to show your work and value. But be real and authentic, or the audience will see the "fakeness" a mile off.
  22. 6 likes
  23. 6 likes
    this looks great. wanted to share something I learned to do in resolve. see at the far left and right of your image the blue/red chromatic aberration along hard lines of dark and light? I get that with my Kowa B&H anamorphic too. but in resolve, if you split your image into red, blue and green channels, you can apply slightly different horizontal scaling to the red and blue channels to eliminate the aberration completely. it also sharpens things up a tad. and you'll get to experience the same, very satisfying, feeling I get everyone time I apply this fix.
  24. 6 likes
    No it doesn't. A LUT doesn't know if shots were taken in a forest.
  25. 6 likes
    Not sure where you're going with that? Are you leaving EOSHD because you feel like you've outgrown it or something? Or was it just the point of saying 'thanks' for allowing the guidance of your journey to your present day situation? So, I take it everyone is welcome here whether you own a cellphone or a RED. But... there's a lot of people that could use some help figuring all this shit out when starting out. And there's just too many places that are too pro, too serious and couldn't care less about n3wbz. I feel like here, there's no judgement, whether you're using a Sony F35, URSA Mini, GH5 or T2i/550D... it's all good, it's about getting the basics right and being able to deliver convincing content and there's more to that than an expensive camera. Think the crowd here is mix of professionals and enthusiasts that aren't quick to judge and are supportive of eachother. Positive vibes. There's too few places like that around on the good ol' interw3bz. Anyways. There's continuously going to be people starting out and not that quick to drop $3k+ on a camera and of course the core that gets more experience and higher end equipment as time goes on. That just allows for more interesting insights and knowledge to be spread around here, so personally I don't see the DSLR community going anywhere... if by that you mean the users of consumer & prosumer DSLR and mirrorless cameras that want to practice their art and be executing their talent as cinematographer or filmmaker. And isn't an URSA Mini a mirrorless camera at the end of the day either? And one more accessible than an ARRI? Seems there are a lot of 'coffee and <insert interest>' events popping up everywhere. I feel like maybe this is a 'coffee and filmmaking' hangout, where you can just talk about whatever is on your mind filmmaking related (or occassionally even otherwise) amongst people with similar interests.
  26. 6 likes
    I was planning on doing a more in depth test, but I only had a few minutes to spare during a shoot to compare the two cameras with our actress. GH5 Settings: UHD, V Log L 10 bit, ISO 800, 24p, Sigma 18-35, shot at 28mm f4 using Nikon Speedbooster. Ursa Mini 4.6K Settings: UHD, ProRes 422, ISO 800, 24p, Sigma 18-35, shot at 28mm f4. Grade: I started with Comet Color A Side for the UM46K. Added a bit of contrast and saturation. From that point I tried matching the GH5's color/exposure to match. Lighting was mixed conditions. Her face was lit with a Quasar Science 5600K LED tube + natural daylight coming in the window. Background lights were running at around 2600K. Walls are a greenish yellow color naturally. password: test
  27. 6 likes
    im kind of glad they dont listen lol. its for the cool kids 😎
  28. 6 likes
    I think one of the biggest misconceptions about 5D3 ML Raw is that it is difficult to shoot with, but in reality, once everything is set up, it is the simplest camera to operate. And even though there are a few extra post steps, color work is pretty simple and straightforward as well.
  29. 6 likes
    I was watching that with headphones on. I'm sending you an invoice for some new underpants.
  30. 6 likes
    Dave thanks for the info, don't mind these pricks... they know not what they do. Everything you've mentioned seems very plausible, Canon is known for their tier system. They also believe 4K is not the be all end all for all shooters, so it would make sense that they retire the C100, drop the C100ii price, and bring the C200 in at the original C100ii MSRP. Thanks again, can't wait for Cinegear.
  31. 6 likes
    Actually it's a Canon 5D2 upgrade program. Hence the 200 moniker. Sensor unlocked to shoot in 16K resolution up 9000 fps. Only thing is you have to send the camera into the factory as they take a hammer to it and rebuild it with super glue. Oh yeah, plus they need to stencil on the two 0s, so you know it's a 200. What do you mean I'm full of shit? I heard it from a Canon rep.
  32. 6 likes
    I belive that I made the first cooking GH5 video :-D Shot L 709, 4K 24p and 60p + 180FPS. Lenses: Samyang 12mm T2.2, Panasonic 25mm F 1.4. Edited in Vegas Pro 14. Lets see my wife's carrot cake!
  33. 5 likes
    I have some Nikkors and they are amazing. The 35mm 1.4 is an epic lens... I shot these with it the other night on the boardwalk in ML Raw...
  34. 5 likes
    I did a quick test shooting 180 VFR and apply twixtor (10%). This slow mo is equivalent of shooting at 600fps. Each sequence that last 10 sec in the video was 0.5 sec in real life. Obviously this is far from behind perfect, the subject it boring, twixtor soften the image and generates artifacts. Just a test to see how far I could push the slomo mode with somehow decent results.
  35. 5 likes
    Just MFT makes it so easy to adapt from anywhere. Say... what makes you go with Panasonic or Olympus when you can have a set of these puppies for example? (You'd throw 'em on a ZY Optics/Zhong Yi/Mitakon Lens Turbo II EF - M4/3 (or Metabones of course, but again: value!) with a C/Y - EOS adapter) Or instead of going for a 1299 42.5mm f/1.2, get one of these for like a third of the price and throw it on your speedboosters (again, L/R - EOS -> boosted EF - M4/3) : Even the Veydras have been way less than 1000 a pop (12 & 85mm came out later): Love primes as well. Primes, boosters, IBIS. The holy combo. To me/us atleast... maybe we are a select few that delve in a little deeper than going to our electronics store and letting the sales guy advise us on what to get... but to me, there are so much alternatives to pick from that in my eye are so much more bang for the buck... you'd have a hard time selling me that 1299 lens. But they're sticking to it, in fact, it seems the focus is shifting towards the high-end (which kinda makes sense, because smartphones are getting better and better and it's harder to sell people cheap cameras that can't really set themselves apart from smartphones in terms of looks and quality, it's starting to take more to make a difference, so we are seeing more expensive options and even more entry level, still high-end, medium format gets offered now for people to set themselves apart even more) so it must be working.
  36. 5 likes
    Here are a few iscorama pre-36 shots thrown together for those interested - I took my camera and Rama to a local car meetup with this thread in mind. My injured back prevented me getting the low angle dynamic shots and closeups I wanted, but you get the idea. A sunny day with lots of chrome is always a good test to see if a lens has any CA or highlight/contrast edge bloom issues. There is some fine alias/ line buzzing artefacts due to warp stabiliser being used on almost all shots (no tripod and was high on painkillers). I'm sure the Bolex can match the iscorama (perhaps beat it) on sharpness, but as I've always noticed with the Rama - it tends to simply be as sharp/clean as the taking lens that you use with it. My other kowa lenses with Core DNA attached could have achieved similar results, but not at such wide aperture on 58mm on FF - and definitely not in such a compact and light form factor as the Iscorama.
  37. 5 likes
    Important and not important at the same time. All depends on what you do with it. We have always opted to build it a bit slower while trying to maintain some sanity and our personalities. No Vlogs, not a ton of face time, no trade shows. We live pretty normal lives on a day to day basis. You can build it really quickly by just playing the game (being fake, like you said)...but those people just end up being D League Celebs. Know what you want to do, if being a D League Celeb is your goal...go for it man. You won't be the only one. If you want to do something unique and different...just do it. There's no right or wrong way. Build your own image and show people what you want to show them. Generally you can't force it, if I tried to do Vlogs every day they would be horrid. I'm not Casey Neistat and there's no point in pretending that I am. Do you because there are other people like you and they will relate because they can tell you're being real.
  38. 5 likes
    This is my debut work, that took me 2.5 years to finish. I've learned so much from this community, that I just had to post it here. This is a music video for the band where I sing. Shot on BMMCC with contax glass, rangefinder and isco s8 2x. Big shout out to @Tito Ferradans @richg101 @ken and @Hans Punk. You guys are all listed down in credits for providing so much help with getting into the whole anamorphic thing. I was making those credits in hurry and totally forgot to include @Bioskop.Inc so a special thanks and an apology goes to you!
  39. 5 likes
    Honored Nikkor, you are in luck. I have created a LUT to use on all cameras footages that will result in excellent quality in class of Arri Alexa. Unfortunately my Paypal is not available due to the government of my country, but I will email the LUT to you personally. Price is normally one hundred US dollar, but for you honored member I give 50% discount so price is only $40!! Pleaae do not hesitate to PM me for my home address here in Cairo to send monies. Very best filmmaker wishes, Hakuna matata
  40. 5 likes
    Made up my mind on lenses
  41. 5 likes
    It probably means that Panasonic are pulling out of the imaging business.
  42. 5 likes
    Finally got a chance to fool around with my secondhand 5D mkIII. I also recently (last night, actually) modded a set of Contax-Zeiss lenses with fixed 2x oval apertures. These were shot with a 28mm. oval bokeh and a full frame sensor is a great combo for faux anamorphic. not only do you get the unique defocus characteristics from the oval aperture, but full frame gives you the increased field of view you'd expect from using a real anamorphic lens.
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    Now you can clearly see the black screens on the Sonys when video recording. lol
  44. 5 likes
    The reason there is so much amazing footage and shitty footage from the GH5 is because it is an amazing but cheap camera. Thus you have both skilled and total n00bs using it! Remember it is not all about the camera, but the hands using it.
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    Well I guess there is a time to just embrace that this is 2017, not 1950. The Digital look is here to stay like it or not. 4k is in, 720 is out. I think as a hobbyist I would love to keep the film look alive. But like I said, if I am trying to make a buck, put food on the table, I don't think a lot of cameras we associate with the Filmic look is going to cut it when you have to take any job that comes up. It has to be a later Sony, later Panasonic, later Canon C series, and yes even a GH4, and it seems the GH5 Has to be in the mix as they say. There is no going back. For fun a BMPCC, 5D mkIII, for money making a Sony A7 mkII, Panny GH5. Bigger money stuff, Canon C series, Sony FS5 middle ground price. Canon C100, C300 probably the best overall for a balance between Film look, Digital look I think hands down. The Sony's, well the low light of them damn hard to turn down, but the worse looking Digital look to me. I think Panny is in the middle. And overall price wise, I think, very hard to beat. For kind of serious modeling stuff, indie, short films the BM Ursa cameras Have to be in there. Price wise it has to be considered. Sony FS5 also. I like the Usra maybe better overall. But not as mature as the Sony Products. So that tips it in Sony's favor a bit. But showing up with a Sony will get you more jobs than the BM sad to say. Now I am talking about making a living here, not for a hobby, fun. Hobby, well BM products, the lower end ones, 5D mkIII way up there now with ML. Just my rambling thoughts about the industry as a whole if I had to do it all over again. Food for thought, and debate as they say. A add on here. I think Panasonic, what ever this New camera they are talking about NEEDS this damn camera. It has to be under 6k, maybe even less. They have a Big ass gap in their products. It has to be filled for anyone to take them serious. To be able to move up from a GH5. People are not going from a GH5 to a Varicam LT. Get a grip!! They are sucking hind tit for not having a AF100 product like in the past in their lineup. The CEO of Panasonic needs his ass kicked for ever letting this happen. I mean it! Stupid, just plain damn stupid. Sony has handed their Ass to them because of it with the FS5, Canon with the C100, BM with the Ursa 4.6. Hell even the JVC LS300. And no the Panasonic AG-DVX200 does not count. It has been a total flop for them. Lots of early problems with it. It ruined its potential even if they get all the bugs worked out. They threw it out the door too quick! It would be hard for me to buy one, even used. It is more of a ENG style camera anyways.
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    Well it depends really... I've watched hundreds of YouTube videos but most of them aren't good apart from the likes of Neumannfilms or setup videos. I have the GH5 and I think it's the best m4/3 and one of the best hybrids. Is it great a blogging? Probably not as AF is the most important part ( and not IQ). But if you like more the documentary style it's amazing. Versatile, small, lots of functions and feature, great IQ and excellent handling. Also in stills it's a great camera. I used the GH4 before and it sucked in stills due to the horrible AF. Now the GH5 is a relief, nearly as good as the EM1 MKII and with the 300mm F4 you're now able to successful catch birds in flight. Also the 6k Photo mode is very useful. And one of the most underrated points of the GH5 is the heavily improved image quality and colors. So, I really like the GH5 - it's a massive improvement from the GH4 in stills and movie. B
  47. 5 likes
    On the camera front yeah. Two things I'm super excited about are the Teradek iOS wireless feed, and the Aputure 300d.
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    I've been using resolve on and office the last 6 months - I definitely think it's better than Premiere (which I find to feel a bit ancient in terms of it's usability and UI). I saw in your post you haven't tried FCPX in a few years.... do you know the version available today is much much much better now? Give it a whirl! I like the way Resolve is evolving and some of the features are unique (grading, audio editing, CDNG), however because I find FCPX so much faster and enjoyable to edit with (like the Magnetic Timeline 2) - when I edit wth Resolve I really miss the modern fluidity you get with FCPX. Resolve really needs more plugin support from third parties, plus a few cool tricks on timeline editing to challenge FCPX's "scary at first, but really awesome new way of editing". That said, Blackmagic are probably the most interesting and exciting video/film industry product company in the world right now. Top job.
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    This is pretty cool: the OFX plugin architecture used by Resolve (and other high-end tools) is relatively simple and clean (unlike Adobe AE/PP, which is a unfortunately a mess (at this point, disaster is perhaps a more accurate description)). Third-party developers can have empathy for Adobe's in-house developers who have to work on the core product: it's no wonder there are so many bugs and development progress is slow. For years I had asked for example HW acceleration examples from Adobe which show a basic plugin which can directly access GPU memory, run GPU code, then store the result in GPU memory. All that was ever provided was a pointer to ancient/obsolete code which used OpenGL, and required copying the video frame from CPU RAM to GPU RAM and back (which makes the whole thing just about worthless). In 5 minutes of googling I found an example OFX plugin which does everything I had asked: processes everything from GPU RAM (no copies to CPU RAM and back), has complete examples for both OpenGL and CUDA, and the overall code is clean and relatively simple. Very cool! https://github.com/baldavenger/SoftClipV2.1/blob/master/SoftClipPluginV2.1.cpp . https://github.com/baldavenger/SoftClipV2.1. This is exactly what I'd found for plugin development for AE/PP: https://www.eehelp.com/question/gpu-accelerated-the-development-of-ae-premiere-pro-plugin/ (bold emphasis mine): This is a joke, and explains why third party plugins for Premiere never ran anywhere near as fast as Adobe's internal plugins/effects. Premiere and After Effects are at least 10 years past due for a complete rewrite. It's kind of impressive they've kept it clunking along all these years, however they'd be better off (if they haven't already started) doing a from-scratch rewrite, just like Apple did with FCPX. Maybe even switch over to OFX for plugins/extensions. Keep the clunky version of AE/PP around while the new version is beta released and developers port their code over to OFX (unless it's somehow possible to make a compatibility layer and load old plugins (probably not worth it given the ancient convoluted design)).
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    Did we see? The reason those lower end models don't have 4K video is because they rely on hardware encoding for video, and the current crop of Digic processors can only do that with active cooling. So don't expect 4K video on those models until the Digic processors catch up to the competition in terms of thermal performance. It isn't a case of Canon corporate not understanding the need for 4K in those models, it is a case of your rep not understanding (or not wanting to admit to) the limitations of the processor tech available to Canon. But the NX1 does put Canon to shame. Two + years on, and it is still a cutting edge camera. The fact that Samsung did not see significant profit in the future of the market does not make the NX1 any less ahead of it's time than it was. The NX1 was an example of what Canon SHOULD have been doing as a supposed market leader.