All Activity
- Past hour
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Simon Young reacted to a post in a topic: Nikon Zr is coming
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Yup and thanks to their as always very thorough testing they come to the conclusion that I was expecting: it has the same asymmetrical weak OLPF as the Z6iii, which is very disappointing.
- Today
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I'm looking around at the current anamorphic landscape and finding that while much easier to work with and capable of wider angles, the new offerings from Sirui, Blazar and Laowa lack the same jaw-dropping quality that footage from the older adapters had. I find them so clean (yes, even the Blazars) that I think that it defeats the point of shooting on anamorphic. So that brings me back to the vintage adapters, which seem to have come down in price since the modern lenses have hit the market. Plus there are now several variable diopters available for single focus. Going on character alone, what are your favorites? At one point or another, I've owned 10-20 different adapters, and I still have a modded Bell & Howell Single-Focus. But after an 11-year hiatus from anamorphic, I am looking for fresh perspectives.
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Not a clue, I just saw that there were some products available. A quick search reveals that the usual suspects offer them (Moment, Neewer, Smallrig, etc). Lots of them (or all of them?) will have their optics manufactured in the same factory, so they might all be similar optically. In which case, you're choosing form-factor (for example the Moment one is square and doesn't seem to have filter threads so doesn't look like it supports a vND) and perhaps the case / system that goes with that, and also price of course.
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Davide DB reacted to a post in a topic: Nikon Zr is coming
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Optyczne published their review: https://www.optyczne.pl/107.4-Inne_testy-Nikon_ZR_-_test_trybu_filmowego_Jakość_obrazu.html
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Emanuel reacted to a post in a topic: Blackmagic brings genlock to the iPhone 17 Pro, while Apple’s first ProRes RAW goes straight to your pocket...
- Yesterday
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The monitor needs to support N-log - SmallHDs don't. Not sure what LUTs have to do with anything, as the exposure tools are based on the incoming log signal, not the monitoring LUT...I've found that Portkeys have a few that "read" N-log as well as Atomos, but that's all.
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Davide DB reacted to a post in a topic: Nikon Zr is coming
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eatstoomuchjam reacted to a post in a topic: 1-inch 8K 18 stops of dynamic range
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https://www.aliexpress.us/item/3256809809423132.html I think it's newer than the one I got and I guess it's closer to $30 than $20. If you look around, you can also find some cases that work well with it. It can also work with some cases, as mentioned in this video by DP Journey. I got one of those cases too, but I'm not planning to switch to it until the Apple case that I got with my phone is falling apart (should just be another 3-6 months or so, based on the lifespan of my other cases and the amount of damage I've already done to it. The main change I made from his setup is that I went with a magsafe CF Express adapter that I can put on the little folding tripod gizmo. He also just made a video about an upgrade tripod gizmo which looks nice, but didn't seem to have anything compelling enough that I'd upgrade from the original.
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Emanuel reacted to a post in a topic: Blackmagic brings genlock to the iPhone 17 Pro, while Apple’s first ProRes RAW goes straight to your pocket...
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Emanuel reacted to a post in a topic: Blackmagic brings genlock to the iPhone 17 Pro, while Apple’s first ProRes RAW goes straight to your pocket...
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Seems there's something new to arrive (from t)here: NDA is leaked here (for more details there and over there). This November, they say. (Actually, not totally exempt from pure nonsense, oh boy!) It would be nice @MILCs side too! ;- )
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eatstoomuchjam reacted to a post in a topic: Blackmagic brings genlock to the iPhone 17 Pro, while Apple’s first ProRes RAW goes straight to your pocket...
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Interesting idea and seems like it might work well for some situations. I personally always use my phone in a drop-proof case and never take it out (as that just means the fit of the case gets loose and it lessens the protection) but the idea of a clip-on / clamp-on one seems sensible. I'd imagine that we'll see a number of third-party accessories come out for the 17 over the coming months. When I got mine there were only Apple cases available to be delivered immediately and the delivery date for the rest were weeks away. I took the GH7 >> Voigtlander 42.5mm F0.95 >> Sirui 1.25x anamorphic adapter out for a spin in the markets last night and the images were great. I'm not sure how much of that was due to the anamorphism of the lens, and how much it was just due to it not being pristine, but maybe that might be worth the extra fuss.
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kye reacted to a post in a topic: Blackmagic brings genlock to the iPhone 17 Pro, while Apple’s first ProRes RAW goes straight to your pocket...
- Last week
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Davide DB reacted to a post in a topic: New travel film-making setup and pipeline - I feel like the tech has finally come of age
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At least for the 16 Pro, there are Magsafe threaded filter adapters. I have one that takes a 67mm filter (or is it 58?). The only real bummer is that it can't go on with my phone in the standard Apple case so I have to pop the phone out to use it. Mine cost $20 or so IIRC. Maybe something like that exists for the 17 as well?
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The more I use and grade my 17 Pro, the more I think that I'll work out a compact vND setup for it. The primary job for my phone is shooting ultra-fast with the default app in Prores Log, but the footage is so good that it would be great to be able to put on a vND, swap to the BM Camera app, and then shoot manually with a 180-shutter. In the default app where it's exposing with the shutter the only things I'm noticing that are limitations are the short shutter speeds and the stabilisation in difficult situations (like when you're tired, hot and sweating, blood-sugar is up and down, etc). The stabilisation is actually really good in the longer focal lengths, it's the 13mm and 24mm ones that are the challenges as you get the edges flopping around a bit. I'm also wondering what the 1.5x anamorphic adapters might be like for this. To get a vND setup for it you have to get a dedicated case and a custom vND for that case (which aren't cheap) so if you're going to be spending decent money on these things anyway then maybe getting a case and anamorphic lens and then using a standard vND that fits the lens might not be that much more costly. I have no idea if the lenses are good, are worth it, and how easily they work with the 1x / 2x camera and the 4x / 8x camera, as the mount would have to move if you wanted to use it with the 4x / 8x camera. I've seen a few 1.5x adapters, which would make the 24 / 28 / 35 / 48mm normal camera into a 16 / 19 / 23 / 32mm camera. The other camera would go from being 100 / 200mm to 67 / 133mm. Perhaps the best combinations in that bunch would be the 32mm, and 67mm ones, perhaps with the 23mm (or 19mm) as very wide options for specific situations.
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Well I’m shooting 7.2k 30p open gate h.265 V-log with baked in Phantom LUT (for S5ii as he hasn’t produced an update for the second gen S line…because I asked Joel direct) on my S1RII and think it’s fcuking great. Zero complaints or issues, no over-sharpening and no moire. The latter two things may be down to also shooting with a 1/8th gold mist at all times, but whatever, heard all the blah before and it just works for me. If I ever change from Lumix, it won’t be anything to do with the quality of of it’s video that’s for sure as it’s more than good enough for my needs and by ‘more than good enough’, I mean superb by my definition of the term. Sure, I would rather have the Zr body and that screen, but then again, even that screen has an issue for me in that it can’t tilt and pull out in line with the camera as my S1RII’s can so despite it’s size & rez, still not perfect. But raw… Finally decided after seeing and reflecting upon the results of this last season, it would be overkill for me and just a major hassle I could do without.
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I don't have an example, but from experience, I can tell you that shooting H.265 on the Sony FX3/6 is a lot nicer than on my Nikon Z9s, where it's too compressed/low bitrate, has too much NR applied, etc. So I've been shooting N-RAW 8K24p & N-RAW 4K60p/120p, not just because I prefer the detail and flexibility in post (white balance & exposure corrections, & shooting 8K for 4K delivery produces very nice oversampled 4K and gives me room to punch in with zero resolution loss), but because I can't stand the H.265 implementation. So it varies from camera to camera. Although I myself prefer RAW, my ideal camera would also offer high bitrate H.265 and ProRes codecs with minimal NR and sharpening, and make these two very user-configurable too. It seems we now have too many cameras with either very high bit rate codecs or very low ones. There's nothing in the middle, really, that's nice and flexible in the post. See the new Nikon ZR as an example. And I'd settle for 6K over 8K. 6K is plenty for punching in, stabilizing, etc., in post for 4K delivery.
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Is there somewhere where we can see an example of this problem vs. another camera with a better implementation of h.265? I think it's understandable that when a highly compressed video codec is used, there is noticeable quality loss and the manufacturer is trying to mitigate this with some algorithmic processing of the data. Is it really the case that the quality of the h.265 is worse than in a previous model from Panasonic or another camera in a similar price class, or could it be a case of increasing expectations over time as we see high-quality footage using better screens more often?
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That's true! I did guess that. Apparently my guess was off, as was my memory of the ZR price. Thanks for the reminder/correction! 😅
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Well, I was responding to all the comparisons with those more expensive cameras. This is your own statement: "Though I'd also guess that outside of that sort of over/under test, the ZR will have better apparent/usable dynamic range than the OG Komodo and maybe even vs the Komodo-X which is noticeably better than the OG." Also, for future reference, these are the current prices for the ZR and Pyxis 6K on B&H:
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Wait, so the very small $1,800 camera has compromises when compared with a series of larger $3,000ish cameras? I think it's useful to understand the characteristics of the camera, but for me, the more useful comparisons would be to other small cameras in the <$2,000 price range - i.e. S9, X-M5, and even maybe EOS R6 II/S5 II (though they're a bit bulkier IIRC).
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I like the colors and overall image of this camera, especially for the low price, but Nikon definitely sacrificed DR for a faster readout. This is from G. Undone's test: 10.9 usable stops in 6K R3D NE is not great for a modern cinema camera. NR will get you another stop, but it's not an ideal starting point. By comparison, the Komodo 6K scored 12.5 usable stops in 6K R3D and the Komodo-X was at 12.9 when tested by CineD. CVP's latitude test was also fairly extensive as it tested both native ISOs: The good news is that you don't lose much DR when switching into the higher base. The bad news is that, no matter which base you use, most of its competitors have an extra stop in the highlights: As for under exposure, it is usable to under 3, but no more. It is RAW after all, so this poor result is understandable when compared with the Sony cameras.
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This is true. I don't even use Log for the bulk of my work. Only when I know it's worth it/have a somewhat controlled environment. This is what makes the S1II/S1IIE even more frustrating to me with it's aggressive digital sharpening. The "baked in" profiles just look plain ugly.
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The average buyer doesn't even need 10bit and log profiles. Most of them hate color grading. A TikTok girl I follow was asking the followers the other day to help her find a camera that has good color science and doesn't need grading, because she has no time for that.
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English audio is enabled https://youtu.be/uXyWiPO7DoE
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The file sizes are still too large for my work. I shoot long form, or at least a full day's worth of footage and can easily come home with 400-500gb of footage as its stands. Prores 422 would double it.