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  3. Now that is a damn sweet ride. Nissan has made some freaking nice sport coupes, even though I've never been a huge fan of their regular cars. Car derail is the best derail, so here are my babies. 2003 Mitsubishi Galant sport, which is my daily and bone stock save for some neon lights and the sound system, and a 1998 Toyota Celica GTi, which has a tuned/lowered suspension, a lightened clutch, catback exhaust and a short shifter. Starting it up wakes up my neighbours and it tries to kill me when I do highway pulls.
  4. The GH5S sensor was nice tbh, I have no need of 8k. Its capable of 4k 120p at least according to what Z cam did with it. But I guess higher res is the future.
  5. I'm also interested in the Moza AirCross. Here the P4K is listed in "Supported Cameras". Let us know your take on it. (And the new announced Moza AirCross 2 sounds interesting, too. Except its details are not known yet.)
  6. Just VLog (No L Rubbish) with almost 13 stops, even better colour science, usable lowlight upto ISO12800, slightly larger screen (just 1/2-2/3 inch larger) and better photography capabilities (14Bit RAW?). The GH5 does almost everything else pretty well. And release that f1.7 zoom, at Sigma Prices, since neither Panasonic nor Leica are probably designing nor making it.
  7. I can't speak for Moza Air, but have it working well with Ronin S. The weight is definitely no joke. IMG_6748.HEIC
  8. Looks brilliant to me. Surely I'm naive, but I can't quite understand why Canon can not simply repack, say, that 5D II + ML Raw sensor/codeck solution and sell it as some sort of its own Digital Bolex version to so many devoted Canon indie/moviemakers and admirers?
  9. @PannySVHS C300 II codecs are very good for dynamic range. With C-LOG 2 you can easily recover an overexposure of 2 stops and maybe even more. The only case I feel the codecs are not robust enough is when you grade footages of C-LOG 2 in low light.
  10. Thanks... Is the screen that bad for your usage? There are pretty different information from reviewers. Also, I suppose ou know it, and know better than me, but just to remind - actual power of BM camera line lays just in these magic sliders at the left in Resolve when using raw files It is so mystical exciting to me to see how blown highlights getting back their picks, how truly molding is WB... I can't resist to feel that something similar maybe it is still possible with my life: bring back to life picks of hopes, totally change skintones of my destiny...
  11. Thanks buddy. I am glad you are not silent any more and enjoy the forum
  12. Soooo I'm going to throw stones here a bit. I tried out the camera an had some serious problems with it. The form factor threw me off. Why for the love of god are BM still putting reflective screens on their cameras for video? Tried to test out the camera for a upcoming short. Honestly it did not immediately strike me as being better than the image from my D750, though zooming in the compression differences do show the advantages of the Pocket. The Dynamic range is worse than I was expecting, about on par with my D750. It is vastly inferior to the URSA mini that I had tried previously, and is actually a surprisingly noisy image out of the camera (cleans up nicely in Resolve denoise). Crop factor was harder to deal with than expected without adding a speedbooster or buying all new glass. Also wanted to rent cine glass for the short, and there is limited options available for wides. Most of all seeing the continuing issue of IR contamination from BM sensors seriously drives me up the wall. Color is better on the BM, but wondering if a external recorder on the D750 will bridge the gap even further. Blackmagic (Prores HQ 4:2:2 Arri Alexa Lut) 28mm D750 (Neutral out of camera) 40mm
  13. An early look at pre-production version MC21here
  14. I just found this 5D Mark II ML Raw video by accident. It’s an ML Raw test from the early days. It is a test for a horror film so it has some graphic/violent content... in case that bothers anybody.
  15. For sure there are so many different aspects and layers to reckon in it, but back to the topic... I'll get in wednesday Moza Air Cross - it has interesting unique feature of expandable plate space, so I'm curious if P4K can fit in it without additional accessories. Strange, I didn't yet manage to find anywhere if somebody has that gimbal working with P4K. Although it has 1.6kg payload, it is still enough for that camera and yet very light (under 1kg). Air Cross could supply power for GH5 or Sony cameras via dumb battery, and I think that the same easy could be possible with P4K and Canon LP6 with maybe just changing jack in... I bought it for Micro cinema camera so will see...
  16. I have a question, not strictly about color grading, but I'm trying to put together a workflow for testing my ND filters for color fidelity before starting a long-term documentary project. I'm going to compare two different ND fader types (Heliopan, Aurora) and my fixed ND filters (Breakthrough 3/6/10 stop). Here is my plan, bur please tell me if I'm missing something or completely wrong: 1) Stick with a single lens, single camera with a set color profile (GH5, natural) 2) I'll be using my son as a model (for skin tone checking) and an X-rite color checker video passport. 3) Custom balance with an expodisk (or maybe better to just set the camera to a fixed sunny/5600k for consistency? 4) Expose the shots for the 28% grey at 50% IRE??? 5) Shoot some video at a few apertures (vary the shutter speed) without any ND filters as a baseline. 6) Take some video at various apertures with the ND filters - start at widest aperture (darkest ND) and stop down by 1 each time (varying the fader to get the right exposure) Here is where I especially need suggestions to see how "accurate" the images are: 7) Use vectorscope to see how well the colour patches "fit" as well as the skintones. How can I tell how much "shift" there is from the baseline? Thank you so much for any advice!
  17. Oh I don't dispute there were an amazing bunch of talent in that Era, but a hell of a lot of people like that are mostly Rebels at heart, a good thing. Not creatures of normal behavior. Do their own thing. The problem is they are a prime target for a Jackass like Stalin, Hitler. They all, even the intellectuals, all want a better world for everyone, but Communism is just a F ing power grab and money grab, that the end result is even worse conditions. It is the biggest scam in the world and a ton of people fall for it whether willingly or forced, most forced. And death and destruction follows all of it. Communism just doesn't work in the long run. It just ends up corrupt as hell because the "people" are no longer in control of Anything. The leaders just end up being a different kind of King like you had before, only WAY worse and cruel. Human life doesn't amount to a shit. I have lived long enough to see a lot of evil. And it is Never going to end until the world ends. There is Always a evil Bastard out there with some Pied Piper song to sing.. We have California here to propagate those crazy people lol. It needs to break off and drift out to sea. Ehh, maybe sink in the process, all lives lost. It's a silly ass State. And Hollywood leads the way. With Jerry Brown, the modern day Pied Piper. But he was not Hitler, he had Some good intentions, it is just not able to be sustained.
  18. Sorry, it was contrary. After that movie he received whole support... But that pre-Stalin era was (just in term of creativity and indeed revolutionary ideas) totally different from usual manner represented in West: some of the greatest painters, writers, directors were offsprings from initial enthusiasm of pure revolution, before it degenerated in Soviet version of controlled state.
  19. He filmed Movie with a Camera before all that happened to him. He fell out of favor way after that movie. Yeah at the end he may have seen the light as they say, but he was thick in it in the beginning. Shit happens. But still. He ain't no film hero of mine, talent or not.
  20. Oh no... Maybe you are thinking about Sergei Eisenstein? Dziga Vertov filmed Man with the Movie Camera in exile in Ukraina after he lost job in central Sovkino at Moscow because of criticism of mainstream line of Party (he than refused to make pure propaganda approach of Advertising and the Soviet Universe for the State Trade Organization). But because of success of it - yes, they hired him again and made mutual creative parthership
  21. Yeah that whole era over there was a shit storm of revolt and reform. Some good, but mostly pretty terrible. Main reason for WWII. Full of crazy ass people. Stalin, Hitler, Mussolini.
  22. Dziga Vartov was supported by the whole communist system doing their propagands. He had hundrends of people working under him. Same as Riefenstahl. The whole system working for them. Did my thesis about WWII, propaganda and Italian neorealism.
  23. Shit I was WAY better than he was. 😜 You tend to over exaggerate stuff. It is not even in color, and the cuts, phhff lol. Pretty poor use of Photoshop if you ask me. Why didn't he use Digital? πŸ˜€
  24. Actually, Dziga Vertov was all alone (I'd dare to try after your leading: alone as ass of hell?)
  25. Yeah but had a crew of thousands, not really, but you get the point, to help him out. Hell All he did was direct, maybe stick his face in the viewfinder every once in awhile. He didn't do Everything like the average person has to do, they do all of it, or maybe have your crazy uncle hold a boom mike, the easy part. 😜
  26. Yes, well, me personally more and more did this (but with luxury to choose) stuff for money But it doesn't matter... Recently I watched again some De Sica's movies - what a richness and uncanny taste in framing with his than-a-days modest BW cameras! What perfection in evolving scripts through language of visual evocation of emotions! What a usage of perspective plans with totally absence of shallow DOF! Whole give-me-just-Alexa-color-science-and-nothing-else and flying crans mumbo-jumbo are smashed to trash in front of mind that experienced, suffered and searched enough and have something to convey about it... Excuse me for digression, back to the topic: De Sica, or even Dziga Vertov, had not any gimbal, but shoulders are always with us
  27. There excuse was that its a stills camera, even though that doesn't even completely convince me. They should have no excuse with the GH line. I think the GH6 will have to be something really incredible. (6k 24 fps and 4k up to 120fps) with IBIS, and hopefully a new auto focus system, though I somehow doubt it. Maybe they'll put in a non handicapped Vlog as well.
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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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