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  2. I've used the Panny 15mm f1.7 and the Sigma 30mm f1.4 and they are plenty good. I even used the Sigma 18-35mm NON speedboosted for some good results (just waiting on that variable ND adapter). I would personally love to see something like a 25-50mm f/1.4 or f1.7 that would probably never leave my GH5 if it existed.
  3. Now, that's called dedication! Great work, kye. Here is a picture of my setup: NEX5 (the original one, not N /R /T), which I bought for ~40 $ (it was missing battery, charger and, supposedly, its battery doors wouldn't close [they do, though]) + Helios 44-4 (which I bought many years ago in a combination with working Zenit ET for 20 $) and a cheap (10$) ND filter. It's got one of the quirkest video modes. You can lock the exposure during recording only by holding down the shutter button, otherwise it's full auto and shows a tendency to quickly ramp your ISO quite high. That's why some people came up with and idea like this: https://www.thingiverse.com/thing:8270 Waiting for next reveals. (( :
  4. Today
  5. you killed it !! how much more technical can you be ? 😁 by the way was it a silver or black you sacrificed ? However you did get an honorable mention so i guess thats ok 😉
  6. I'll write up what I did in case it's useful to anyone. Watch this space
  7. Really awesome! The before and after is quite something.
  8. omg andrew whoo iss sheeee in your new iconnnn /adobe = im over it!!!! resolve = god tier. using v. 16 rn and im lovin it™ heres a short i made last year that i did 100% in resolve, the free version, NOT KNOWING WTH I WAS DOING (lol). came out ok~! >>> for real: im teaching my friend resolve rn, and what im telling him is, "It's easy, but the learning curve is steep, and Resolve may seem pretty odd at first, it did for me~! Nodes are like layers in Photoshop, etc etc..."
  9. Yeah its perfectly fine with a speedbooster or the right lenses. With more inexpensive M43 lenses though I've never been satisfied with DOF on M43, at least for run and gun stuff where you don't have control of location and such. I love having full frame as an option but shooting super shallow isn't always the most realistic. Its really hard to stay in focus at f2 on full frame.
  10. I had the Fuji XT-3 for a while and switched back to the GH5. GH5 has bad auto focus, you have a micro 4/3 sensor, etc... BUT man this camera is incredible. I missed it the instant I got the Fuji. Fuji definitely has some plus sides and really great color. For photos I prefer the Fuji but the GH5 does great. One thing nice about the Fuji is the AF in 120fps full HD. But again I can get over that. If you do run'n'gun / handheld or anything of that sort. I would go GH5. It's a killer camera. Once they get a variable ND Micro4/2 to EF adapter the GH5 becomes a killer camera. Also don't fall for the noise around the depth of field not being shallow enough, it's plenty good.
  11. Still waiting here in the U.S., as well. (sigh)
  12. I don't agree. No more speculation. This thread is going to be closed now. I think we need to get back to talking about cameras and codecs rather than legal battles. This isn't what I got into filmmaking for.
  13. Part of RED's justification in overpriced cameras is that RedCode development cost were so high and that RED is the only company that could provide RAW. It kinda puts a big dent in RED's business model and price structure.
  14. REd hasn't been cool... for what? the last 10 years? If they lose this patent, they are done. They don't have a niche to sell cameras too and they aren't broad enough (or cheap) enough for the general audience. Maybe this is also why sony mirrorless cameras (A7siii perhaps, etc.) don't do RAW? 100% RAW uses too much data and compress RAW is patent encumbered by RED? BRAW is not patent encumbered because the camera itself uses specialized data processing IN THE CAMERA to prepare for compression if the user wants it. For sony to do the same thing, it would have to redesign their cameras and then they are using Blackmagics patents. DAMN IT, RED. They have a patent for video compression in camera for anything over 2k REGARDLESS if the algorithm is similar to RED's or not???!!?!?!! They should never have been awarded that patent. It's like saying you can compress any computer file over 2gigs, but than you have to pay someone because they own the patent to compressing computer files over 2gigs.. Ridiculous. edit: nevermind, I just saw the Jinni.Tech youtube video. Stick a fork in it.. yeah, if they lose this patent, they are done.
  15. Nice to see you Phil here around : ) Let's help Jarred and Andrew (disclaimer: I love these two guys and what they're doing!) to put both on track to keep going in peace and serve even better our community? (E : -)
  16. BMD makes a considerable profit from the support hardware that drives much of the broadcast, filmmaking, and streaming industry. Though their cameras sell very well, it's the other products that actually truly drive their business. I have two fist fulls of Decklink products, I have no idea how many little converter boxes, and about to pull a trigger on one of their newer boxes. Good products with a handsome markup, sometimes very, very handsome. But this allows for the continued ecosystem of low priced, decent value cameras while also keeping Resolve "free" or extremely cheap to purchase. BMD couldn't just be a camera company without those other products, the profits from their other activities is what actually led to them being a camera company. Don't know about licensing REDCODE or anything, but rather publicly there's been some sort of interactions between Sony and Atomos along the way, we just don't know the details or even results from whatever transpired. There would likely be a cost/value assessment for licensing any tech, but if you've got something good that makes you unique, it would be tough to fork that over to a competitor without a kings ransom I imagine even if you were to entertain the concept at all. To be profitable on YouTube, and I mean actually making decent money, it requires building a brand and presence. Figuring out your genre, angle, and executing it well is key. Sticking to the tech side of things when you look at a guy like MKBHD for instance, he started out making fairly amateurish looking content. He had the energy and talent, but not the polish and experience. He kept at it, grew, and locked in on what made his content good, invested in areas of production value, and is now a well oiled machine of content generation and in turn has become a brand all his own. Same for Pewdiepie (though it's certainly sometimes quantity over quality with some of that content), Neistat, etc. Those are all personality channels that have led to individuals as a brand. There's other entities who have really popular channels with variety content and all that. Buzzfeed comes to mind and they are full studio producing content at this point. It is at the end of the day about making good content if you want to gain an audience, gaining that momentum, and keeping at it is pretty hard if you are doing weekly or even daily work. Keeping the quality of the content consistent is another hurdle for sure. At whatever point, there's a saturation level where your videos from past to present have lots of views and will continue to do so forever, so you in essence are building a library of material that can make you income for a long time, which adds to the monthly payout. That's outside of any sponsorship or side gigs any of these peeps might have. Neistat is a filmmaker and occasionally does jobs for instance outside of the bazillion other things he's up to. And he's kept his energy up and even opened up about that struggle and pressure from time to time. It ain't easy once you've got some traction.
  17. Congrats to the winners - well deserved! I figured I would lose the competition so would have some fun with it, so went very very budget. I also wanted to see how far I could 'improve' the footage in Resolve. Camera #1: Fujifilm J20 Point and shoot - 2009 - 640x480 30p (final video was cropped to 16:9) Price is about $15-30 on ebay (mine was purchased by my wife when new, so has been sitting in a drawer for about a decade) Final video: Unprocessed footage: Camera #2: Fake action camera It claims 1080p, but is FAKE and shoots the worst 640x480 30p I have ever seen (final video was cropped to 16:9) Price was AU$17 brand new on ebay (which included free shipping across Australia - about 5000kms) Final video: Unprocessed footage: Camera #3 was going to be a D-Mount lens on my old GoPro, but sadly didn't survive the modifications..
  18. Possible speed booster solution to get around the drawback of having an EF mount
  19. Open source = socialism I agree it works for certain things but it can end up with a race to the bottom just like people on YouTube giving away all their knowledge for free - some has to be paid, otherwise, how do you invest the money back into making more? What I think Blackmagic are up to is interesting, regarding the Pocket 4K and 6K - it's almost like a loss-leader for Resolve - How can Blackmagic make any money whatsoever on the prices of the Pocket cameras, especially the 4K? So why does it exists, what business purpose does it serve? Most likely it exists to further the adoption of Resolve and feed into their ecosystem in the pro world. Would RED be open to licensing REDCODE to companies like Panasonic for an S1H-style camera, or is that never something Jarred, Graeme, Jim et al have considered?
  20. The best I can say regarding that concept. Open source is rad and it works in some circumstances. Specifically some companies who have provided open source code that has become popular are funded by profits of their other endeavors or occasionally funded by "the people" or a horde of individuals involved. When it comes to codec development, optimization, broad adoption, and deployment you are looking at things that take a fair bit of time, effort, and money. Making a bulletproof codec isn't that easy, same for the SDK required. It's not as easy to make something "free" when all of it costs something to produce. Good programmers are $$$,$$$ a year, a few great ones higher than that. You can get it done on the cheap for sure, but it would be a real hard sale despite being free if there's no deep support behind it. The first several years of a codec being out there are really days of sink or swim. Case in point. Whatever was the case and journey with BRAW on the BMD side of things, one thing a lot of people forget is nobody on the software side was truly supporting or funding hardcore development to keep CDNG relevant even outside of patent concerns that were hinted at. Adobe removed it from the LAB in 2017 as well as general support in their own software due to performance issues and perhaps even due to BMD competing in the NLE space now. Really won't ever now the full story there. At least with partially debayered BRAW they have an ecosystem they can control, update, and innovate towards at their own pace. So many were grumpy about BRAW taking over, but every post house I've ever been involved with had very negative things to say about CDNG in terms of workflow along the way. FFMPEG is indeed unofficial ProRes, it's one of those things. There's been several paid for plugins that no longer exist even that tapped into that because whoever went after them. I'm sure a few pennies from a monthly Adobe subscription these days goes towards an Apple ProRes license now that it's supported fully on Windows via CC. But it costs coin to do it right. ProRes was actually done well. DNxHR, though a bit late to the party, similar. It became easy to deploy via SDK and everybody had hardware that can support decent playback.
  21. Yesterday
  22. Yes but why hasn’t it been done in the decades since? It’s not a complex codec. If Apple asks so much for it why not just roll your own and make it free. I guess Apple prices their licensing just below what the development and maintenance costs would roughly be?
  23. Are you suggesting someone develop a new prores-like codec that is NOT prores?
  24. I am very interested in it, slightly out of my normal budget though and of course poor AF in video is a bit of a turn off.
  25. There is. It's called FFMPEG. Selling cameras with unlicensed Prores is risky business and no one wants to mess with Apple.
  26. *** THE RESULTS ARE IN! *** Congratulations to @PannySVHS for winning the Best Cinematography EOSHD Forum Oscar Congratulations to @Framed_By_Dan for winning the Best Image Quality category! Now comes the sticky bit... I see that @Nordee and @leslie came joint last with no votes in either category. Very unfair!! Therefore dear Nordee has an opportunity to mail off their camera to @PannySVHS and then Panny send it back with some tips and post what he shot on it Sir Leslie can give his camera to @Framed_By_Dan if he wants - none of this is obligatory, and Framed By Dan will give it back after - right? I'll announce my EOSHD Judge's prize later in the week when my entry is posted on the front blog. Feel free to now REVEAL what you bought for under $200 and shot the entires with. I for one am looking forward to finding out...
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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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