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  2. I would think in this day and age walking around, especially at the Reception, with a cellphone might render better, more natural looking shots. Not many people like to have a C300 shoved in their face and act normal. That is the beauty of cellphones, most people ignore them. And Nothing is a gimmick if you produce. I don't give a shit if you use a Barbie Cam when I hire you if it comes out like I want it to or better. I have no clue how everyone thinks you have to have a Arri to impress people. Plus how many can even afford one. Your Website is what impresses people. 99.9% of the people in the world don't even know what a Arri even is. But they know if your website is good, no matter what the hell it was shot on. It takes skill to do this stuff, not gear out the butt. Gear in this day and age is becoming pretty irrelevant. Because the kid down the street with a iPhone 10 might just kick your ass on the skill side of it and put you out of business tomorrow. There is Way too much competition to be a half assed shooter now. If you aren't skilled as hell at this stuff, Really skilled, find something you are skilled at, and do it quick. The days of just having good gear and getting work are over. It's like this new Zoom 6 that is out. If you can't overdrive the output how many people are going to need a Sound Man that have one now. Sure the high end stuff will keep them, but middle to low budget stuff, wow not so sure. You can hire a Monkey to hold a stick over peoples heads. Say all that hair you have, hmm. 😜 Yep, you are right. I have Zero experience. Carry on.
  3. Damn, someone cutting onions in here?
  4. Glad I never sold my 2009 unit. Still in mint condition as always... Solid as a tank. With ML that became a new motion picture capture device aliasing free: https://www.magiclantern.fm/forum/index.php?topic=23632.0
  5. Any updates on this project? Maybe ML can unlock the true potential of this camera?
  6. jpfilmz

    Race to the bottom

    That just speaks to your experience level. Good luck with hawking irobot, eagle eye and cell phone wedding shoots. I'm good on my side and not worried about it.
  7. Here's another curious input on 360º shooting and YT channel generic shooting related though BTW:
  8. Today
  9. It's been a bit rough on my end finding some early-adopter video test samples (Read: ISO sequences, rolling shutter, etc.). I'm guessing that most folks, like myself, who are interested in the video performance of the S-Series cameras are waiting until July for the full FW package before making a purchase decision? I'm not sure if the following sequence adds anything to the "organic-looking" dialog here but it does shed some light on the rolling shutter performance for a slow pan in the opening shot and for whip-pans at around the 0:28 mark... [4K] Panasonic Lumix S1 + 24-105mm (HLG HEVC 4K TEST SHOT) - YouTube:
  10. any shifting in hlg ? i record botj internal and external in hlg and same color, actualy maybe more about saturation, and exposure difference between internal and external
  11. Here's more footage from customary sources. WOW these guys monetize anything... Now, even licensed scores LOL : -) That said, I'd rather have better colour science. Let's keep it in mind it is still a prototype. Resolution seems interesting for extreme detail landscape wide shots for post abilities potentiality all included, though : ) As someone already said, it is sharp, at least : -D
  12. Interesting YT channel for 360º gear reviews BTW : -)
  13. Btw, blackmagic ursa mini pro 4.6 prices running low on the bay now. like 3500 usd low, the pro version! What is going on there? Everyone dropping their cams for the awesome canon c200 or c300 II. I wouldnt think so, to start my complain or disregard towards the c300ii. How so? I have not had that great experience with grading either the 10bit 4k dci nor the 2k 12bit. It sometimes feels like grading dslr footage, with codec falling apart surprisingly quick. I have had better results with grading 8bit gh5 100mbit codec. What you guys say about the c300ii codec flavours? Dynamic range captured is nice, robustness of codec rather not.
  14. yes, and it is a full hdmi out lol, it however, when connected, will disable the screen on the eos m the hdmi out displays ML menus too. superb!
  15. Hmm I still can't decide. Seems like the Rode wireless go is a bit better then the sony xsd-w. I like that its so compact, USB rechargable, runs up to 7 hours, so def long enough for 99,9% of anything that I would ever do. I have seen a video where the guy walks away from the transmitter and at 30m or something he turns around and shows his back to the camera and the signal was cut off because there was no line of sight and his own body probably blocked the signal. I presume this also happens to the sony xsd-w but not the sennheiser g3 or uwp-d11 or am I wrong? And should this also happen to the G3 or uwp-d11?
  16. @Papiskokuji If you can upload an internal and an external version of the same shot somewhere, I can take a look at it.
  17. oh I DISAGREE! Two of the biggest and most exciting announcements: Zaxcom Nova and Sound Devices Scorpio! 😉
  18. He gave a rave review of the Rode NT-SF1:
  19. I understood it was the opposite. The external files were the defective ones. I know there's the same problem with Sony external recorded files. The luminance range isn't the same (I knew the fix, to go from video range to full range, or the other way around). And there's also a slight shift in color. I've developped my "looks" for h264 files from my Sony's. I just bought the Ninja V (despite Jeromy Young's crazy act ) and I can't get the same skin tones with externally recorded prores files. They are more orangey and weird after applying a rec709 lut to the slog2 footage. I'd like to get the exact same starting point when I record externally. Anyone knows if I can use @Attila Bakos 's LUT ? Maybe you have a fix ? You seem to know much about these issues. Do you know if Sony's color difference between internal/external is the same interpretation problem from the NLE as with Fujis ? Anyway, very interesting video. It's a shame not more people talk about this issue which is big to me (external recording with all these cameras having a shift in color and gamma).
  20. They're all day long for me. If it is a loooooong production day then I will at lunch of midway through the second half swap out the batteries to be safe. Better safe than sorry
  21. How long do the batteries run on a uwp-d11?
  22. Would be a pain in the ass to do this while on talent! And the risks of the USB connection being damaged are SKY HIGH!!!
  23. Yeah I was thinking, as they are USB chargable, I could hook it up with small USB powerbanks. So that issue could be resolved this way. Yeah if the deity was the same amount of money, I would go for the Deity. Allthough it is 2X as expensive without a lavalier(so I could get a deity smic 2 with the money I save). As I will probably only will use this thing a couple of times a year.
  24. here a 3 of my 2 cents thoughts on the matter 1/nikon and fuji are the only two existing camera makers that can give us best uncrippled video because they are late to the game on the video side of the hybrid cameras market and have no cinema camera line to protect. blackmagic has already strated crippling their bmpcc4k by replacing the lossless cinemadng with a lossy braw that is inferior in quality in firmware 6.2 (they have higher prices cameras that still offers lossless cinema dng raw. it reminds me of GM that made an electric car in the 90s that threatened their ICE cars and then pulled back, look at the documentary it is interesting : https://www.imdb.com/title/tt0489037/videoplayer/vi2147287321 ), canon will never deliver raw on eosR it does not make any sense (or very crippled raw in order to not compete with their cinema camera line). 2/ one interesting thing to think about is that for photo there is no lossy raw, only lossless raw, i guess it is due to raw file size that is manageable for photo but not for video - when storage media price will go down in price and reach the 300mB/s write speed required for 4k 12 bit raw 24fps all these lossy video raw will go away, there will be h265 and lossless raw like there is only jpeg and lossless raw for photos. (we already have 1tb m2 ssd that writes at 500mB/s for around $100 today so it will just take a camera maker bold enough to add a m2 slot in their camera). 3/ the idea of lossy raw being a editing friendly video format that plays along well with your PC does not make sense because we will soon have video editing software that will automatically and transparently work with proxy video format under the hood, it is not available yet in video editing software because it need some extra code (i worked at adobe and looked at premiere code paths and i can tell you it is complex) but it will soon be as we are getting close to 6k and 8k raw, they will be forced to do the automatic optimized proxy video in order to be able to simplify the workflow and edit in real time in the UI on existing PC.
  25. A few lines into my post I wrote "8K prosumer". For the market and the price that would be enough. We are talking for a good sized 8K camera that it "may" be 1999$ (of course we will see about that, if it is less than 2499 is a good price). My NX1 cameras has DIS (Digital Image Stabilizer) and coupled with the lenses stabilizer (Dual IS they called it) does an amazing job if you know how to handle it. Canon also is investing in this. Personally, I detaste IBIS, I prefer either tripod shots or gimbals, but I can see that is a useful feature to have anyway. Just not a decision point for me.
  26. I use this for 12V output (Atomos, BM etc) with big Sony NP batteries https://www.bhphotovideo.com/c/product/900546-REG/ikan_BMC_PWR_PW_S_Blackmagic_DV_Top.html
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