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  2. Unfortunately I don't have time to go into the details right now, but I recommend you watch the video in the thread I linked earlier (previous page), it has the answers to most of your questions.
  3. Yeah I just bought a new 50" Samsung 4K HDR TV and there is a big difference games wise from 1080p and 4K. And one of the tricks my son turned me onto is if you use 59hz instead of 60 games sync better motion wise. There have been lots of discussion for and against. But I can see a real gain using 59 instead of 60 on this new TV. I guess it depends on the content and the quality of the TV. I bought it new at Best Buy and they said it was the best mid range 4k HDR you can buy. The next jump up was nearly twice the price for actually not a lot of gain. The biggest advantage is 120fps on them which would be nice but. Now OLED TVs, well out of my range. But they are damn impressive.
  4. Dustin

    Davinci Resolve 16

    I’m sure this has been asked before but pardon my laziness! I am using resolve 16 beta on a 2012 MacBook Pro i7 Retina. Quite the ancient machine yet still usable thanks to optimized media workflow! While cutting 4K a6500 footage on a 1080p timeline it is very smooth. My question is in color grading... sometimes it’s as if when using the color tab that playback is struggling which is odd because I don’t have those issues on the edit tab. Is there a setting I need to make sure is on to get smooth playback from the color tab? Finally, what is the preferred workflow for color grading? I recently discovered the adjustment layer and have been using that (hangover from premiere pro) but do most just use the nodes and copy over to the various clips?
  5. 6k Photo Mode conformed to 23.976 with some correction in Premiere
  6. A few stills using the BMPCC 4K for a corporate promotional video. Shot in DCI 4K ProRes LT with the Tokina 28-70 2.6, Speedbooster XL (maybe a Tiffen VND on some of the shots.)
  7. Thanks Attila, I used F-Log for this one and graded with Venice Cine lut; https://www.sierracreativeco.com. The oval at 2:10 is from the lens, colours from the lut.
  8. you clearly see a difference on my pic anyway. so looks like problem it not solved. one question. problem is with fuji flog internal files. it means ninja files are not affected right ? to correct it do we have to apply the fuji lut flog to rec709 ? or do we have to always apply this lut to files coming from the fuji and also the ninja ? because when you mix sources it is a bit a tricky to apply the lut only to some rushes. or maybe you can convert fuji internal files to prores or dnxhd applying the lut ? (shutter encoder can do that)
  9. I would think you could put a Speedbooster on say a A7r mk III in s35 mode and be close to the size of the Fuji Sensor. It really is not that big of a sensor size wise for MF. Unless you need the form factor I see no reason to buy it other than the IBIS, which is nice. I would rather have a used Hassy to be honest, and the Phase One body is a thing of beauty.
  10. Today
  11. That’s not a bad deal at all! I’m looking at it like this... the Micro for the ease of ProRes or the GH5 for the ease of handheld. I haven’t decided which is more important to me yet... or if I need either.
  12. Nice camera. For sure. If I had a professional need for it I would love it. But it would never be able to keep up with the work I do. For hobby use.. staring at my Kipon medium format speedbooster that lets me shoot 400mbit Log with a lesser crop factor than the Fuji... and then over to the $10k which I don't have to spend on camera gear... Pass But maybe a rental for fun or a specific project in the future.
  13. Yes, that's correct. For what exactly do we need more accuracy? We know all about F-Log, all the info is there in the data sheet provided by Fujifilm.
  14. Actually saw a GH5 for $1k including a lens which I could sell for $2-250. So it won't be long, pretty much no hype left surrounding it. But honestly, the more I shoot with the Micro.. this thing is special.
  15. The dynamic range and highlight roll-off look better than the X-T3 to my eyes. The greater dof and wider field of view (without barrel distortion) make the footage appear almost anamorphic. Granted without the typical oval bokeh and lens streaks. It's a distinctly different look to anything out of the X-T3. Mind you I did like the footage from the X-T3, and found it "fun" to shoot with. But this GFX100 seems to render a very unique look imo. The only problem I have with it is there is sooo much on the horizon atm. The new Hasselblad will likely bring huge improvements now that they are owned by DJI. Also we have the soon to be announced Panasonic... that frankly no one expected. We can only ponder what that will bring to the table? Until those question are answered I will hold off on adopting a new system. As for the price... well what else can match these spec for less? And the $10K become close to $15K once you start adding lenses... which you will of course need.
  16. <iframe src="https://www.facebook.com/plugins/post.php?href=https%3A%2F%2Fwww.facebook.com%2Fsmallrig%2Fposts%2F1860037350768509&width=500" width="500" height="800" style="border:none;overflow:hidden" scrolling="no" frameborder="0" allowTransparency="true" allow="encrypted-media"></iframe>
  17. Both of those films have strong characteristics of those formats. I don't think any Marvel movies would be satisfied with the look of 28 Days Later, they'd rather use cameras with more dynamic range and less noise. A lot of projects want the clean noise floor and higher dynamic range of larger sensors. I agree that 8k is pretty much useless. However, 4k is not being used to its potential. You can easily tell 1080p from 4k in a video game game from normal viewing distance on a TV. I think that with recorded video, a combination of lens softness, missed focus, CFAs, motion blur, and compression is the limiting factor that makes it so hard to tell the difference. So while 1080p is almost always "enough" resolution, I think there is still plenty of room to improve 4k. 4k isn't intrinsically overrated, but the compromised 4k video we see isn't maximizing the image size's potential.
  18. Yup, I’ve been saying to my friends... I’ll buy the GH5 or BMPCC 4K when one or the other hit $1000 or less... meanwhile I’m still on the lookout for a cheap Micro.
  19. I know for a fact the p4K is not used on BMW commercials. You guys talk down on the Z6 and anything but a big production cine camera is used on REAL professional productions and when I say the same thong about the P4K you get triggered. I don't disagree that the Z6 would be laughed of the set but the P4K with speedboater and limitations would be laughed off any important set as the A camera. BMW would not allow the P4K to be used as the A camera. When you get into bigger budgets everything is vetted and approved and NO ONE will risk reputation to put a $1,295 camera as the A camera.
  20. The most accurate way will be when Resolve will have an F-log preset for rushes.
  21. It's funny that they'll have leap frogged everyone by ignoring full frame and instead bringing affordable medium format to consumers. By the time full frame becomes old hat and everyone starts looking at medium format, they'll already be ahead of everyone in the market.
  22. i have to say the more i use my xt3 the more i love it, and the more i like editing and grading. maybe because it is my first real video camera after my 5d mkII 😄 was thinking about buying a bmpcc4k as a second camera (or main), no so sure to do it. will probably do because with the full license for resolve it is a still.
  23. hi, I wish to make short interviews about activistm topics. can you give some example/nice ideas please?
  24. Strictly speaking it's full range 0-1023. But Fuji encodes nothing between 0-95.
  25. for photography, definitively. never looked into the range price of lenses though for video, don't know.
  26. Fuji log uses 95-1023, because of the gamma curve. That's still a wider range than video range (64-940).
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EOSHD C-LOG and Film Profiles for All Canon DSLRs
EOSHD Pro Color 3.0 for Sony cameras
EOSHD Pro LOG for Sony cameras
EOSHD 5D Mark III 3.5K RAW Shooter's Guide


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