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  2. Both cameras may be at f4 but the larger sensor on the full frame camera means there is more OOF blur. So it isn't a direct comparison. That doesn't mean the Sony AF isn't amazing, and the ability to pick up faces when they are a long way back and moving fast is pretty impressive.
  3. You can also get X-H1 (with IBIS, but no 10-bit and 120p not so good) for 950 EUR in European grey market shops. X-H1 also has better ergonomics when shooting handheld. When rigged up, then does not matter. I've used Sony a7 cameras before and their user experience is just crap. The image is lifeless compared to Fuji. Mostly I shoot JPG with Fuji. You just dial in your settings and you are done.
  4. "Autofocus is enabled for Blackmagic Pocket Cinema Camera 4K but performance may not meet expectation." I guess its better than nothing.
  5. Sage

    GH5 to Alexa Conversion

    For the c++, there is a problem I'm trying to solve. Giant 4D arrays aren't supposed to be declared on the stack like this, but I haven't figured out how to conveniently pass them to functions any other way yet (vector pointer 'arrays' can only be 2D etc)
  6. mnewxcv

    Car camera rigs?

    using a samsung nx1 with the 16-50s lens. As for shooting in public, I would be very cautious and mainly shoot on roads without much traffic. Mostly looking for cinematic shots of vehicle passing other vehicles, coming around sweeping turns, etc. Back road stuff. I know if plenty of roads that are safe for this. The main reason I want to go gimbal is to be able to add a little motion to the shot with pan and tilt. I've also considered shooting 15fps and converting to 24 to make things appear faster.
  7. MrSMW is fixated on guns it seems
  8. Today
  9. YAY! Metabones just announced support for the BMPCC4K! https://www.metabones.com/article/of/EF-M43_Firmware_Mac I tested the new firmware on my 0.71 EF adapter and AF does now work with my Sigma 18-35. Note that the AF does seem to be slower than with a native lens, but at least you have the option of using it now!
  10. With The Same Technology applied to large and to small Sensors, guess which one will have larger full well capacity and less rolling shutter. 100MP is total overkill for fullframe, when will you See diffraction? F5.6? Will they build in a focus stacking program for landscapes? Moving the ibis back and forth, using phase detection pixels to make a depthmap? I know they are not.
  11. 12288/4096 = 3. 3 x 3 colour-ware binning with the above mentioned CFA-based ADC, producing 4096x2160 RGB 4:4:4 stream directly on-chip.
  12. It should be interesting to see how making a 8MP out of 100MP turns out in term of moire, aliasing etc.
  13. What the hell you two now are trying to tell us about!??
  14. It's interesting that people simply assume high resolution sensors have less dynamic range and worse rolling shutter. I'll post more info when I'm allowed to, but for now I can say when normalised to 4K, this 100MP sensor performs better than A7 III in terms of dynamic range, sensitivity (QE) and readout speed.
  15. That's good to know, but for now it's forcing me to forgo LUTs all together, and only use them for monitoring on location. In the long run, this can only be a good thing for me personally. That said, LUTs built into the sidecar will undoubtedly be beneficial. On the subject, do you know if the Raw Player will one day have the ability to toggle the sidecar, so we don't need to close the application, move the sidecar and then reopen?
  16. OK, slept on it and decided it's either going back because I can't get it to work, or possibly just going on eBay along with the SSD and docking port. It's not just the issue I have had getting it to work, - that is more a case of 'the straw that broke the camel's back', but the battery chewing issue and other minor niggles that all add up to, "is it worth it to me?" and the answer on balance is not. I think it's a superb bit of kit, build is exceptional etc, but not all things work for all people. Hey ho, I tried!
  17. As above, all good and you can't really go wrong with any of them. The Panny GH5 is probably the more 'purist' filmmakers choice but the weakest for AF. The Fuji the 'new' filmmakers choice plus excellent stills. (My personal choice). The Canon possibly the least decent filmmakers choice with too many niggles to be the king of this lot. The Nikon a good all-rounder, stills & video. The Sony arguably the 'best' all-rounder stills & video. Budget option, probably the XT3 with kit 18-55 lens.
  18. I know that Sony's sensor architects don't deliver movies. But I can see some value to a 100mpix sensor for stills. I have to agree with @Nikkor though, I'd love to see them continue to improve dynamic range and rolling shutter in their consumer line more than resolution.
  19. leslie

    bmp4k adventures

    one of my lenses .... er lens caps has turned up. its a wandalust pinhole for m4/3 keen to give it a bit of a go tomorrow getting a bit late here and this thing equates to like f92 or something. got a couple of hours to go on bidding for an olympus 15mm bodycap lens if i don't win this auction i might just buy one 🙄 i guess it seems abit odd to go get a 4k camera then not throw a couple of stellar cine lenses at it 😲 i find the 300mm takumar a little soft and a bit of ca happening as well. i downloaded some resolve beginner tutorials which i plan on working my way through after that i plan on revisiting the moon a bit more with my meade lightbridge which might make things a little more interesting
  20. You typically want to put any finishing/sharpening a the very end after of your processing. Typically just before running it out. How strong you make the sharpening and the radius you use will just depend on the final look you are going for and how soft your original footage is. Depending on the sharpening filter you are using there is typically a strength and a radius value. As part of your finishing process, you may also want to add grain into the image. Opinions on whether you add the grain before or after the sharpening can vary, but I find that if I'm dealing with an image that needs a lot of sharpening, I'll add the grain last so I'm not heavily sharpening my grain. Conversely if I'm doing a composite and matching grain between elements, the grain will come earlier in the pipeline. But in that case, any sharpening I'm adding back in is very minimal to just restore any detail loss due to encoding. If you want to dial in some specific values for minimal sharpening to make up for re-encoding your original source to whatever your final format is, you can run a "wedge" and try a variety of values then compare the detail you see with various sharpness settings of your output video against your raw source and pick one that matches most closely. Depending on what your source material is and what your delivery format is, this can vary wildly. In cases where I'm working from a high res (6k-4k) source and delivering at 2k, I may not even use sharpening. Finally, opinions also vary about where to put any degraining, but I prefer to put it near or at the very beginning of my color pipeline. If your degrainer is expecting something in rec 709 though, do your color transform into video space and then run your degrainer. A little testing with your camera's source footage will go a long way here as well. But, I find that especially when I'm working with 8 bit source material, it can add some pseudo bit depth to the images before I begin pulling on the color. So, I'd typically do: .Raw adjustments to set color balance and exposure. (if working with raw footage) Degrain/NR Color sharpen/grain
  21. If he were trying to rip-off people, why would he put so much effort into a working prototype and why would he still pursue a review from Bloom? Perhaps he has some sort of psychosis. It's too bad, because they seemed to have made significant progress with the camera. On the other hand, choosing Windows for a camera OS doesn't make much sense. Any embedded version of Linux/Tizen would be simpler and more solid. Linux would make it much easier to get a more appealing GUI up and running. It certainly would have been nice to see the how the camera performs in the hands of someone who has some review skills.
  22. Open the Resolve settings go to 'Color Management' - scroll down a little to Lookup Tables and then click 'Open LUT Folder'. Then you can copy whatever LUT you want and copy it to Premiere's LUT folder and away you go.
  23. tupp

    Car camera rigs?

    I've done one or two car rigs. Which camera are you using? You probably don't wan't to use a gimbal if you are mounting the camera on the picture car -- the car will bounce and turn while the gimbal will have a tendency to remain still. There was a thread about car rigging last year. Hood mounting can be easy, using just a board with some padding/thick fabric underneath and a motorcycle strap or ratchet strap. You can use a bracket mounted to the board that receives a tripod head or use some sort of tilting/panning mechanism with 1/4"-20 threads. Don't forget to "safety" the camera with a separate tag line/strap. If you want to mount a camera on the side of the car there is a special bracket called a "hostess tray" -- a term derived from the American drive-in diner food trays that the skating hostesses would hook to the customer's car door. Don't forget to "safety" the camera with a separate tag line/strap. Suction cups can wobble and should always be used with an additional safety strap (which can also help stabilize the suction cup rig). There are a few tricks to keep reflections off of the windows. If you are shooting a car in which an actor is actually driving, avoid busy streets! An actor is constantly trying to be the character, which can significantly distract him/her from noticing other cars, pedestrians and road hazards. Having a "spotter" car ahead of the picture car can provide extra safety and can govern the speed. Slow speeds often look faster in the footage.
  24. Do a search for “Captain Hook LUTS” and you should find something that will work in Premiere.
  25. Not sure what it has to do with the post you quoted but that is good news for the a6400 users indeed.
  26. Wish they had a Lut for those working in other programs like Premiere.
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