Jump to content

All Activity

This stream auto-updates     

  1. Past hour
  2. Probably going to keep the FS5 as its been growing on me. Maybe swap my A7iii for the A7siii if it has a higher frame rate (180/240fps), A9 video AF, and 10 bit recording.
  3. Today
  4. You are saying that 1dx is crippled with questionable features.... like the dpaf in FF, like many others in this forum, there are 3 threads with multiple posts similar to yours saying that Canon is crippling dpaf in ff without realizing that nobody else has ever have made Raw ff with af.... so your post was good info contains?
  5. My primary interest is in filming the aurora borealis (along with a few promotional type bits’n’pieces I do for work - P4k is and should remain ideal for that). So the A7S3 was definitely top of the list for 2020. But... I might look at the 1dx3 if it’s low light capability (iso 25k sort of range) is satisfactory. The weather protected body and raw files appeal. And I’d possibly find an excuse for using the AF doing snowmobile/skiing sort of stuff. The price will be an issue. Once low light/high ISO footage from the Canon becomes available and, of course, assuming the A7S3 does indeed make it out of the shadows, then I will have a think...
  6. Yeah I think between the Ursa and the Arri Classic, the Ursa is probably the smarter buy but man that Arri image is nice. Now if the Amira was in that price range... I'd definitely go with the Amira.
  7. Yeah and thats the thing the XT3 is capable for most stuff. The S1 does win out in low light though by a pretty big margin and IBIS is really nice to have for certain things. The Ursa mini is just a beast image wise, really up there with the best of cameras IMHO. It sucks at anything beyond 800 iso though and doesn't like underexposure much.
  8. True but I'd need them for my S1 and Fuji for certain things anyways. My big thing is I just don't know when I'd really need a better image than the Ursa provides. The only reason to get Arri would be the name recognition. I really love the look of it though it turns me off that the dynamic range is no better than an XT3.
  9. To add to my previous comment... I think this is the problem with cameras over $2500. For only a bit more you can get an S1H. And then at $4000, for only a bit more you can get a C200 or a Red Komodo or an EVA1 or an FS7 or an Ursa Mini Pro. After that price bracket it's a big jump before you get to a camera that has a significant jump in specs and even then, it may be worth bypassing those cameras to rent a Red or an Alexa.
  10. This is why I think I would go the ProRes Raw option with the FS5 or FS5ii... the built in NDs.
  11. Yeah, the FZ2500 is one of my favorite cameras of all time. It even has a button that you can push while recording at 24p and it will go into slow motion. So you can do those cool shots where a guy starts the shot running in normal motion and then you push the button and he will slide into slow motion as long as you hold the button down. Some Super 8 cameras used to do that too. The only downside to the camera IMO is that the lens, albeit really nice, is much too big for the camera body. Here's a stupid test video I did of the 1080p 60p slow motion... The end of the test is the best part but I made the mistake of making the video way too long. It was before I realized that most people only watch a minute of videos or less.
  12. Would be the easiest way for Panasonic to dominate the next generation of cameras. Kinda surprised the Panasonic S1H didn't have this
  13. 220 ms latency, measured. It's there but can live with it. Don't have AccSoon Cineye, so can't compare.
  14. You can easily spend around a grand on a quality set of square ND filters, let alone a mattebox as well I reckon the small extra cost is worth it
  15. I did not know the FZ2500 had a built in ND. Dreaming of having a sweet little ND selector on the GH camera! Please, panny!
  16. I'd be okay with a m4/3 or even a 1" sensor if it has internal ProRes. I know JVC was releasing something like that, but the price seemed a bit high if I remember correctly. I'd love to see Z-Cam or even Blackmagic pair up with a lens manufacturer to do something similar. I've been half tempted to buy another FZ2500 and a BM Video Assist to get 10bit 1080p. Hell, for fun I've even considered the FZ300. I had one a few years back and I actually kinda liked it. ... Of course, I just spent the past 15 minutes going through the past 5 years of frame grabs, I have on my phone, and as soon as I reached my ML Raw grabs, I started to smile again... I think I may be better off buying another zoom lens than mucking around with a new camera... and I still want the Samyang 24mm. As much as I enjoy this forum, but since it is camera based, it's very easy to get caught up in every new camera out, or every other camera I didn't buy over the past 5 years. I think the reality of the situation, for me, is that no camera other than a proper cinema camera will make me happy after shooting ML Raw and if I ever want an "upgrade" I'm going to have to rent or save up for a Komodo or something similar.
  17. @wolf33d 's wait may finally come to an end! 😁 3 long years....
  18. Vlog does have the custom view assist .VLTs...otherwise, I don't see many drawbacks to shooting CineD.
  19. Sage

    GH5 to Alexa Conversion

    Sharpness at -5 for sure. NR can be a personal preference (some are noise averse and prefer the ease of NR in cam). Though -5 would be the Arri equivalent, from a purist perspective. Indeed, for VLog, 400 is the base. Then it goes to 200 for Cine-D, but this is just the labeling (200 really is 400, in VLog land) Yes; lately I've been recommending the simple rule of thumb to anchor everything around the center of the waveform (leaning higher rather than lower), no matter the profile. This is because all profiles share this middle 'cross point', and diverge from there (with varying contrasts), and 50-60 is generally where midtones should place (in exposure for EC709, not for post placement). The great news is that exposure/luma is about to become a breeze, in roughly a week.
  20. And finally do you recommend a similar exposure process with CineLikeD as you do with vLogL? I haven't read your manual but I assume it's either an ETTR or a waveform exposure putting skin tones around 60 IRE... or whatever!
  21. Including Sharpness and Noise Reduction? I assume you mean as a base ISO and not an only ISO? Obviously, like with most cameras, it's best to stay as close to base ISO as possible.
  22. Sage

    GH5 to Alexa Conversion

    With Cine-D, you'll want to set Saturation to -5, and the rest at default. Also, use ISO 200 (instead of 400; 200 is the electronic equivalent of HLG/VLog's 400). Highlight range (and gamut) are a 1:1 with HLG/VLog, once PRE'd. Here is an overlay of samples clipping (VLog overlayed on Cine-D):
  23. Apple should make a FCPX Lite for the iPad that allows you to preview footage, mark, cut, trim, favorite, and keyword footage and then bring it into FCPX on Mac with a few clicks and the iPad within a couple feet of the desktop Mac. Like a seamless project airdrop. It would make categorizing and find your selects in the field much easier when its fresh.
  24. I may download the trial and give it a go. I love FCPX even though I am forced to use Resolve to transcode the .mlv files to ProRes. One of the reasons I keep considering a Blackmagic camera is for its native ProRes. I actually have a broken P2K I paid $100 for last summer that won't power on. I may try and fix it and set it up with a loupe and that JLG Lanc handle you keep trying to sell me on... lol... pair it with the Panny 12-35mm or an old c-mount zoom with a zoom handle and it will be like shooting Super 8 again.
  25. I have my doubts too, but perhaps, I mean PERHAPS, it's slowly start to penetrate Canon executives brains that all their stupid crippling is not translating into more C500 sales but increase in Pana/Sony/Fuji sales.
  26. Yeah, and then at the product announcement you read all the *** *8K at 30fps: Timelapse mode rendering only *4k120: 2.3x crop, AF disabled, 2 seconds recording limit, converted to 30fps only * 7-8 stops IBIS: when combined with 1.8x EIS crop, AF available $8995 That's being said, if they finally give us clean 4k60, no crop, full sensor read out, no binning or skipping, and not BS crippling, I'll order it right away at $3-4k. Hopefully with some sort of articulated screen and not the size of brick.
  27. I'm still rooting for the return of the camcorder. If you gave me the baked in look of that Monaco film with a 10x zoom on an APS-C sensor you'd never hear from me again! I had the subscription model of Lightworks a good few years ago but I let it lapse to switch to FCPX when I fully moved over to OSX which they didn't support at the time but I like the simplicity of it so I'm going to give the OSX version a go. Resolve has got so much stuff in thats it like some open world RPG in comparison that I end up getting sidetracked in. Thats why I like LumaFusion on the iPad as its fantastic to do basic cutting on but its let down with lack of ProRes support.
  1. Load more activity
EOSHD C-LOG and Film Profiles for All Canon DSLRs

  • Newsletter

    Want to keep up to date with all our latest news and information?
    Sign Up
  • Create New...