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  2. Stoked to review the EM5 mkiii. Been using only the EM1 mkii with the new firmware the last few months and for the most part love it. I wish it had the button layout of a Canon 1DX or something...but other than that...I love the image I get out of it. The EM5 mkiii seems like basically a mini EM1mkii with minimal loss in ergonomics and battery life for a smaller and more compact size. I'll take it. Love it!
  3. I would recommend checking out Resolve if you haven't tried it. The free version is great and even has compositing baked in (Fusion). I paid for the full version and the Noise Reduction fx has saved a lot of otherwise bad shots and hasn't been quite as much as a roadblock on the timeline as Neat Video was. But I'm sure the free version would be fine for most people. After years of hating premiere/ae it's made editing fun again.
  4. Today
  5. I've been reading you quite a lot for a year or so. I'm a junior DP based in Paris, and I'm just dying for anamorphic... like you guys ;). I would like to invest in some Iscorama 1.5 (need to decide between36 and 54 through)... My only concern is "Wide Angle". I absolutely need for my work a wide angle anamorphic, I used some vintage PL 2X KOWA by Rehoused PS Technik on Alexa Mini a month ago and the 40MM (2X) was just great, kinda weird / dreamy wide open was sharp when closed down and has some heavy barrel distortion that I could definitly live with. Was a cool setup but as a "junior DP" is not often that I can shoot with those kind of toys ! What's the widest field of view possible with a 1.5X Iscorama ? I know that rego check nsw Richard Gale at DSO has a wide angle attatchement, could it work ? It would be a very strange setup and stacking optics makes me a bit anxious... (reflexion, sharpness...) Would it be possible to mount this wide Angle Attatchement to an iscorama to match a "20-24mmish" spherical field of view (on full frame). Nothing beats an anamorphic wide shot to me (perspective wise !), I do often shoot in tiny appartement and set here in Paris. It's a must have for me. If you have any recommandation... I'm looking at a 3000-3500€ solution (adapter + wide angle). I'm mostly shooting in Super 35 (A7S, FS7) and using a speedbooster from time to time if Full Frame look is desirable. Taking lens will be old time Zeiss JENA Zebra. Thanks a lot.
  6. Hello everyone,, I finally edited some shots I made during summertime in the harbour at Weymouth (Dorset, UK) in 2013, using my Canon 50D and an old version of ML -- better late than never, I suppose! Shot with just the standard Canon kit zoom, it was my first serious test shooting with ML RAW and I recorded wild audio for some atmosphere sound. Post production workflow was: import DNG sequences into After Effects to export small proxy files (H.264 MOVs) for the off-line edit in Premiere. Then reproduce the edit in After Effects for the on-line, which includes final colour work (invoking ACR) and enlargement to 1080p25 for the export. Almost any camera can pull off a decent close-up of something, so although it's a bit boring, I shot mostly wide views on a tripod featuring lots of detail to see how well it was resolved. It was a warm day and as expected the 50D got very hot. On a few occasions when I wasn't noticing the temperature warning turning orange, some takes were automatically terminated because the camera was forced to shut down -- sometimes the top of the pentaprism was actually too hot to touch. But turning the camera off frequently after a few takes was a reasonable working method for heat management and using a battery grip probably helped too. It's not a short film but a camera test - the leisurely editing style is purely to give a bit of time to see the RAW image character, though it's a shame something of the sheer luxury of the RAW look does not fully survive my vin check H.264 export followed by youtube's own secondary encoding. But I do like the character of these older Canon cameras with RAW shooting: almost incandescent colours are available in the files yet skin tones remain very natural. And the fact that the 50D can't normally shoot video at all makes it strangely rewarding. Some technical info Date of shoot: 26th August, 2013. Camera: Canon 50D (no Mosaic Engineering VAF filter fitted). Lens: Canon kit zoom 18-55mm. ML build: 2013jul27.50D.109.go.unified.728e571a1276. RAW frame: 1584 x 662 x 25 fps. Camera frame AR: 2.39:1 (final export within a 16:9 frame). Sound recorder: Zoom H2 (wild sound). Export: 1920 x 1080 x 25 fps H.264 MOV (12,000 kbps).
  7. Hello everyone & this forum friends! I am going to buy a video editing software, and I am choosing between Openshot and Filmora. Any thoughts or experiences with those two? Pros and cons? Thanks a bunch!revs check
  8. leslie

    elmoscope type 1

    er... i was wrong, Its actually 50mm metric, Any lens clamp with a bigger than 50mm hole would fit. Sorry about that was just looking at the elmoscope and thought i should recheck that as 49mm is a standard size.
  9. Yeah I think Snowbro is related to Magneto or something I'm on EOS R since release date and have never experienced a single freeze up. That said I admit I wouldn't feel comfortable using it as an A-cam to a paid gig. It has always been B-cam to even my C100 for video & 5D3 for stills. It definitely still feels like a Mark 1 product..
  10. It doesn't matter when your subject matter is large objects, such as people and such. But, in content that focusses on detail, such as natural history, then it does make a difference. It is all about context. Sure, you can produce examples where resolution is not noticeable, but equally you can do the same where it is noticeable. Oversampling is important because it produces more accurate edges in an image. In content with large objects and few edges, you would not see a big difference, but in subject matter with small objects and lots of edges, it is significant.
  11. As I mention, I did search. There are plenty of post that pop up for others cameras, especially the GH5, but nothing on the XT3. If you are familiar with any specific posts covering this and dont mind sharing, please do.
  12. There are a couple threads about your questions, easily searchable here.
  13. Is there a noticeable difference in Dynamic Range and highlight roll-off between F-Log and HLG? Also, is their a noticeable difference in noise since they use a different base ISO? I have not seen a post that covers the first question.
  14. Maybe All-i is too much on R? I have no problem with my R on events so far, though I only shoot on IPB mode, it is quite a nice companion to C200 But sorry for your bad luck, some people just have bad luck on certain camera model. Didn't mattias having problem on his copies of a6300(or a6500) that all turn out to be turkey after 3 replacement. Here is C200 & EOS R shooting My Restaurant Rules for TVNZ
  15. More like others are still trying to catch up while Sony is in a very comfortable lead with high profit margin on their cameras, 4K60P is not important for majority (99%?) of user tbh, sales have proven that 4K30p is enough for most user, no point to add extra cost (R&D, material, size) for heat related stuff on 4K60P. Anyway I do miss Samsung, they definitely give Japanese manufacturer some whoop ass. @androidlad You can probably start your own Sony alpha rumor site, the current SAR is a fucking joke
  16. Hi Timoetheus, Jim recommended just loosening it up over time. It's certainly usable after much use, just too much friction for follow focus at the ends.
  17. jase

    GH5 to Alexa Conversion

    No it is not. Application is top -> down, e.g. at the upper position the cineD to vlog LUT has to be put.
  18. This would make more sense if they weren't facing more competition than ever in the mirrorless full frame market. I'm not sure I'd choose now as the time to coast, but that's just me. The landscape has changed over the last year. Others are innovating and moving forward while Sony seems stagnant.
  19. Well it seems people forget that company is profit driven, the more/higher profit margin the merrier! Now that Sony have the momentum atm i think they are pretty comfortable where they are atm. R&D cost a lot of money I guess 4k60p is reserved for their pro division camera
  20. Is anyone using this in FCPX? If i want to turn Cine D to Vlog and then apply GHa lut is the GHa lut above the Vlog lut in the inspector?
  21. Both A9II and A74 look like an underwhelming upgrades to me. Especially from a videoshooter perspective. Really seems like Sony slowly turning into a new Cannon.. or just they've got lazy.
  22. Success... was watching tv going through a box of different adapters that i had stashed away, not sure if i have infinity focus yet, will try that tomorrow.
  23. Great work but... Ian, if I may, forget the 8 bits and the shoppy h264 like I did and buy a Blackmagic 4 or 6k and your life will change! The end of the flashy unatural neon greens... Raw and anamorphic is THE great combo!
  24. Hey everyone. Please check out my new short film Phantoms. Shot w/ Atlas Orion Anamorphics, Blackmagic Pocket 6K, and RED Dragon X 5K. For fans of Hitchcock and Bernard Herrmann.
  25. It should be able to handle h264 without any problems. Worse case you can use proxies. As a rule though it's not ideal to transcode for editing unless you absolutely need to. Back in the day h264 and Final Cut Pro 7 didn't play well together at all, making it a real pain in the ass to edit, especially for large/multicam projects. I would transcode out of necessity back then. Now everything handles it well.
  26. Those are all welcome improvements but they wouldn't be enough for me to upgrade if I had the A7 III. It's more interesting to me that they're again reusing sensors. That isn't necessarily bad, if they're able to get more out of them, but it's still a bit curious.
  27. But there are Sensors capable of it https://www.fujirumors.com/fujifilm-x-t3-sensor-can-fujifilm-unlock-full-16-bit-sensor-power-via-firmware-update-or-maybe-come-to-fujifilm-x-h2/
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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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