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  2. HDR on Youtube - next big thing? Requirements?

    @jonpais broadcasters never required 10 bit. If you go off of BBC standards the Canon Xc10 was considered a Tier 1 camera and it was most definitely 8bit. 10 bit displays haven’t even saturated the market and its 2017 theres no way broadcasters could require 10bit. Thats too much data to push to a coaxial cable. I agree that HDR is a step up but its not that serious. High dynamic range in the wrong hands is as much of a disaster as it was when we had SDR cameras. HDR will in fact change industry practice its not something production studios have accounted for in the past. I really still believe HDR will remain an “icing on the cake” feature for at least a couple of more years. If the demand for it increases it will become a standard but it will have to survive a couple more years in this consumer market to be a thing i.e. 3D tv
  3. Am I An Idiot??? (Going From D750 to a6500...)

    Likelihood of the a6500 being "replaced" in the next 6 or so months? I'm thinking about picking up an 6300 or 6500, but if an a6700 is right around the corner, should I wait? 240fps in FHD would be nice. And 4K 60fps would be fantastic
  4. Today
  5. HDR on Youtube - next big thing? Requirements?

    Even though we both know @Axel isn’t being serious, we can all probably think of one or two other technologies that, like a bolt of lightning (sorry, cliche I know!), suddenly made everything before seem outdated or at the very least, a drudge to work with. For me at least, one of those was IBIS. For example, once I started shooting with my G85, I never wanted to pick up my lowly GH4 again. But unlike IBIS, a feature still unavailable on professional cinema cameras and which most videographers have somehow managed to live without for a quarter of a century - to the best of my knowledge, long before the advent of HDR - colorists have never liked working with 8-bit files. And (afaik) most broadcasters have also required 10-bit. So in that repect at least, HDR has not really changed industry practice. To return to IBIS for a moment, I can think of at least two videographers, when moving up from mirrorless to cameras like the Ursa Mini, deplored the lack of IBIS. And I imagine the same disruption to the industry will occur once the GH6 and the Sony A7s IV boast built in ND filters. Time to change the title of this thread to HDR on YouTube & Vimeo - next big thing? 😂 A quick tutorial for setting up Resolve 14 for HDR editing (for eventual upload to YouTube).
  6. HDR on Youtube - next big thing? Requirements?

    I am sure most of you have seen this already. They are going H265/10bit/HDR/8K. Actually HDR maybe is coming faster because of Apple. It took them 3 years NOT to perfectly implement H265 in their workflow, but they seem to be the front runners of HDR. My previous post stands though, I do not care, much, about HDR in 2018! https://vimeo.com/blog/post/luminous-colors-stunning-high-quality-hdr-arrived
  7. Lenses

    @Mattias Burling I LOVE the character of those lenses man ! The dof and microcontrast looks like a painting
  8. Blade Runner 2049 review (2D and 3D versions)

    Your review is right on the money Andrew!
  9. The cameras used on Netflix's Original Films and Series

    Loving the extensive use of the 2.00:1 aspect ratio. It's my favorite format and I'm glad it's being heavily used here.
  10. Going back to CaNikon for Photography

    HANDS DOWN the D750 over the 5D3 for stills. Dynamic range on the 5D3 is a joke. Your canon lens are a no problem situation. Just easily sell them and buy used nikon lens instead. I do not understand why all the internet makes a big deal about being invested already to a lens system. You are not being married to your lenses guys..... I have changed 4-5 times of "system" and selling a few lenses has never been an issue.
  11. Yesterday
  12. Going back to CaNikon for Photography

    @Mattias Burling Looking at the d500 and must say it is very tempting. It is essentialy an APSC d850 ! How do you compare the d500 you have with the d750 you were using? Also, I presume you only have it mainly for stills, but how do you compare the video between the two?
  13. Cool article.. The Cameras Behind Netflix’s Original Films and Series BY MICHAEL MAHER NOVEMBER 17, 2017 Curious about the cameras behind Netflix Originals? Here are the cameras Netflix has officially approved — and the series using them. Top image via Netflix. As a company that produces and streams content on a massive variety of devices, Netflix requires their original content to be at least 4K for optimal presentation. These recommendations come directly from Netflix, and they are primarily for their own content. So you can still shoot on other gear and hope for distribution, but to meet their standards or work on one of their sets, you’ll need to use the following cameras or specs. Netflix’s Basic Camera Requirements There are two main classifications for Netflix cameras: primary and secondary. Primary is your main camera, which must have a true 4K sensor. Secondary cameras capture any type of B-roll or additional footage, like crash cams, aerials, POV, and underwater cameras. Image: Master of None via Netflix / Panasonic. Primary Netflix Cameras True 4K sensor (equal to or greater than 4096) Minimum 16-bit Linear or 10-bit Log processing RAW Log (Including, but not limited to…) S-Log3 V-Log CanonLog3 REDLogFilm BMDLog LogC Must send original camera files without looks, LUTs, or color correction Maintain metadata Tape name Timecode Frame rate ISO WB In addition, Netflix requires approval for aspect ratios greater than 2.00:1 — filmmakers must also shoot framing charts before principal photography begins. That way, the framing charts can get processed through the pipeline of editorial, post, and VFX. Full article: https://www.premiumbeat.com/blog/cameras-behind-netflix-originals/?utm_source=facebook&utm_medium=post&utm_content=The-Cameras-Behind-Netflix's-Original-Films-and-Series&utm_campaign=11-2017-facebook-posts --
  14. Lenses

    We're just gonna have to agree to disagree
  15. An update on the NX-L speed booster for the Samsung NX1

    Damn @lucabutera how come you couldn’t have made this when I owned an NX1 ?! Lmao good job man it looks really good
  16. Going back to CaNikon for Photography

    I guess it just isn't a camera for you. I don't think I would want the A7s as my ONLY camera if I was shooting for pay but I would still certainly want it in my bag and for the things it shines at, it is still better than most (especially low light/high ISO). Many of your issues are subjective though and that is fine, you have to live with the camera after all. I have never had a problem with colour from any camera from any brand and as to ergonomics, I actually prefer the A7s to any other camera I have used film or digital. The A7s (and the same with the other two first gen A7 cameras) is NOT a camera for AF with Canon lenses I think. It IS ok for static things and the likes of ducks on a pond but certainly not for anything moving fast or far. The later FF E mount cameras are much better with adapted AF lenses. AFC is horrible but AFS with native lenses is just fine and works in almost no light long after other cameras have stopped (and is ok for me for concerts and pub gigs, often in very low light). 12mp is something some people wont want now (I often shoot jpegs at gigs and the file sizes at the highest level jpegs are just right for emailing as taken). I don't crop much so it is fine for me. I can not agree on the construction either as mine is around three years old and used daily and had a lot of use and abuse and all that has happened is a tiny bit of paint off where the A7s logo is. It is not a weather sealed camera (just light dust and moisture resistance) but is fine in very light rain so far though I am careful in that regard. The price of AF native mount lenses has been a bit high compared to others though maybe not so much others that are similar (IE greater choices) but some cheaper ones are appearing. For what it is worth the Sony Zeiss 55 1.8 is worth paying a bit more than the average 50mm and the FE 85 1.8 is an absolute bargain. The 28-70 FE kit lens is also quite good for a kit lens and not stressed by the 12mp of the A7s. I hope you find what you are after!
  17. Going back to CaNikon for Photography

    With a recent version metabones adapter the A7r2’s AF not at all bad for stills. Wouldn’t want to use it for sports though. For video - forget it and use MF
  18. Lenses

    The background just looks terrible to me (struggling to put in writing why) I dunno, but it is not smooth. I have used canon L glass (EF and FD) on APSC and it doesn't like that often to me though depends on the lens. As to sharpness, well you would be a better judge of the full size shots than me but it does look like I would expect from most fast lenses with a very tiny area that is in focus and sharp and the depth of field in some of those shots looks like it might be around an inch with not much of the image within that inch? In any case, thanks for posting.
  19. Going back to CaNikon for Photography

    horrible colors, horrible ergonomics, horrible AF, inability to properly AF with my canon lenses (need to go native, and I am not convinced to invest in Sony system - I am almost sure that when nikon or canon go mirrorless the result will be much better) 12mp barely OK (but around 20+ would be better for minor cropping), poor construction - feels like it is going to break during an accidental fall or some water spilling on it. even the most budget friendly AF lenses are TOO expensive compared to canon or nikon. I need AF for photography ridiculous battery whatever sony mark x I will get, I will always feel cheated after several months, because that's what sony does. peaking works so and so for me. It has created a barrier for me in regards to taking photos, because of the above. I am currently in the production of a doc and although the IQ of the A7s is much better than my 5dmark ii with which i filmed my previous doc, I feel that I had a more "run and gun" filming with the canon and much better colors for sure. The A7s needs too much attention. Lately, I am back to shooting stills and I believe the technology is already mature for a real hybrid. Although I miss a lot canon ergonomics, it seems that quality wise I should choose between an upgraded sony (a7r2, a7r3) or Nikon (d750, d850). But I do miss the sturdiness of canon, its grip, the peace of mind, ergonomics etc. Have even considered repurchasing the 5d mark , but couldn't go back to that video IQ. I think Nikon d850 would be my ideal camera but cannot afford it. Although I have few canon lenses it seems that canon is nowhere near the d850. A used a7rii could be an answer to most of the issues I am experiencing, but I am sure it will still not feel like a "glove" as a canon body would. I got the A7s for video and personal photography. Recently I used it professionally for stills and more than half the time I had problems with the AF in a dim lit theatre. It is what it is for video but personally I don't feel comfortable using it with paying clients. I want my full size sensor for stills. D500 is very promising with all its new technology, but I think I'd regret it. A used d750 could be an option as it would intercut with my A7s if needed. What made you stop using the d750? raw would be tempting, but not for run and gun (i guess) and not for interviews and longer takes. also ML is a hack and I am somehow hesitant relying on it. so do canon lenses autofocus well with the a7r mark 2?? I believe they do, just double checking. Thank you all. The general consensus is that the d750 would suit me fine and I agree, but alas I am drooling over the d850.. A used a7r2 is still quite expensive, so I'd rather sell my A7s and wait to get the a7r3 / d850 or perhaps the a7s3. Perhaps keeping the A7s and getting a used 5d2/5d3/d750 is the wiser choice for now.
  20. HDR on Youtube - next big thing? Requirements?

    I like HDR, I hope TVs will be good enough to take full advantage of rec 2020 by the time my Panasonic plasma dies ;).
  21. Swapping the FS5 for a........ GH5?

    I went from ursa mini 4.6k to A7r2 for similar reasons, But honestly get a a7r2 over a gh5 price wise it s quite similar, You get better low light, full frame look if you want to ( with low rolling shutter) and very good auto-focus performances in video + it s a fantastic camera for stills. Gh5 colors are worst than sony imo and dynamic range is so so .
  22. Lenses

    I think the backgrounds look just like they do with glass like the Canon L or Fuji 56mm on APS-C. It has that aps-c look imo. And that is not terrible at all. It looks great imo. What it laks to my eye is sharpness or a bit of Leica softness. Its stuck in between.
  23. Lenses

    That 50 1.1 actually looks pretty sharp to me at the point of focus (which is not all that deep) but the background looks terrible. Some 50 1.2/.095 50mm lens are not THAT dear but I am not sure I would want any of the cheaper ones (again). I loved the Canon FD 50 1.2 L and at some point would not mind another if I could get a cheapish one that was still good. I think I would only get one with an aspherical element now except for maybe another Pentax 50 1.2 K though the Sony Zeiss 55 1.8 has pretty much cured me from wanting any more normal lenses.
  24. New Panasonic G9 - multiaspect sensor?

    Yeah, debating two EM-10iii to replace my GX80s as I want better EVF and the Olympus colour which I prefer. I was about to pull the trigger on the GH5, but the size puts me off a bit. I might wait for the replacement GX camera to see what Panasonic offers. I'm in no rush and don't have any projects on but have been contemplating selling all my lenses and going with the new Olympus 17.5/1.2 and 42.5/1.2 lenses and the 12-100/4 for outdoor run-and-gun. Simple hybrid solution. Yeah, debating two EM-10iii to replace my GX80s as I want better EVF and the Olympus colour which I prefer. I was about to pull the trigger on the GH5, but the size puts me off a bit. I might wait for the replacement GX camera to see what Panasonic offers. I'm in no rush and don't have any projects on but have been contemplating selling all my lenses and going with the new Olympus 17.5/1.2 and 42.5/1.2 lenses and the 12-100/4 for outdoor run-and-gun. Simple hybrid solution.
  25. I did a 40-minute doc with two GX80s. I'm not a pro, and mistakes were made, but I got paid and the clients and those who were involved with the project and who saw it really liked it. The main feedback was that they often forgot I was there (invisible), the kids and other interviewees were comfortable in front of the little camera, and the quality of the image was much better than they expected. All the a-cam was shot handheld except for interviews and I was able to get pickup shots in locations where I really didn't have permission to shoot video (museum, only stills with no flash allowed). Would love an updated GX camera with better EVF for manual focusing with some of the GH5/G9 features.
  26. HDR on Youtube - next big thing? Requirements?

    Yes we had capable HDR cameras for many years. The important step is to be able to store more than 10 stops in either log or RAW. The only thing that was missing was the capability of monitors to display such a large contrast. Once we got that NLEs supported a HDR pipeline. Having HLG in camera is meant for delivery purposes. If you are a heavy grader then Log or RAW still is the way to go. Creating a LOG to HLG LUT should be fairly straightforward. You just have to be careful of banding if you are working with limited bits.
  27. Atlas Orion Series

    As I said, it looks really neat. It really has a nice look. Subtle flares. Softness where it's needed. Typical anamorphic look, on the modern side of things though. The housing looks legit and very well done. But, @jonpais if you like the look of it and want it home. There may be other paths to achieve something close that doesn't involve letting go 20K and carrying 6 pounds optics... For a working dop or a rental house, it sounds like a reasonable deal though, especially when you look at the price of only one kowa cine optics which is close to 20k nowadays... A beat up ciné dyaliscope will go for the same amount of cash. The days of cheap anamorphics are long gone now. It may come back as prices have reached unthinkable levels for questionable optics who suddenly become super trendy because they have bent glass in front... Panavision serie B lenses, retired for decades and used as decoration in their offices, are now the new shit and have been put on the market yet again. Everyone and their dogs is making anamorphics. P+s is even remaking brand new cine kowa prominar based on the original 50 years old design optics to cash on the current craze. Really makes me think about tulip mania sometimes... Especially when you realize that a 90€ cinelux, a 60€ takumar, and a 900€ rectilux (the hard part) will produce a very close result... For a fraction of the price. This forum is a living testimony it's possible.
  28. Got a look at the EVA1 when came through Northern California on a Panasonic tour. It has a lot of great features, but anamorphic shooting isn't one of them, unfortunately. That's a deal killer for me personally. If a firmware update changes that, I'll take another look.
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