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  2. Surely the fact that there is no exposure meter in video mode and no internal log doesn't help with the quality of the footage out there which the majority is probably shot without a recorder.
  3. Well... I am from Jersey...
  4. when youre spending that canon money, could you give me one of those jobs where you dont have to go like on the sopranos? thanks buddy
  5. So I film primarily on a GH5 in HLG profile and work on a macbook pro. I convert the footage to prores in editready and then I edit in premiere pro and color grade in Resolve with the goal being a rec709 output. Today was the first time in a while I worked on my personal computer and being on the latest version of CC I noticed the footage looks wildly different in Premiere Pro than Resolve as you can see on the two pics below. I assume Premiere is flagging the footage now as HLG and adjust for HDR or something. Is there any way to change this so it looks like in resolve when you import it? I couldn't find the info anywhere and have resorted to reverting back to version 13.0.1 where it looks identical in both programmes. Anyone know a workaround then let me know please.
  6. https://www.fujirumors.com/stc-optics-clip-in-filters-for-fujifilm-x-series/
  7. Today
  8. New cartoon-style texture images are ready here: TXR – BRICK - Cartoon https://soundimage.org/txr-brick-cartoon/ TXR – CONCRETE / PAVEMENT - Cartoon https://soundimage.org/txr-concrete-pavement-cartoon/ TXR – GROUND – Cartoon https://soundimage.org/txr-ground-cartoon/ TXR – METAL – Cartoon https://soundimage.org/txr-metal-cartoon/ TXR – WOOD – Cartoon https://soundimage.org/txr-wood-cartoon/ I hope some of them come in handy!
  9. Prores raw is editable with newest Edius 9.4 version.
  10. I don't see using S Log in them how you are going to get it to work without ETTR. And if you are not using S Log why bother even buying or renting it. Maybe not S Log 3 all the time but. And yes the viewfinder doesn't change much no matter what you do. The FS7 mk II is one of the best out there now for the money.
  11. Does anyone have any experience with Yashica Anamorphic Lens? is it sharp? Compared to other lenses! https://www.ebay.com/itm/Yashica-Anamorphic-Lens-Yashica-Scope-Compression-Ratio-1-5-1-8mm-/264202389531?oid=142682413851
  12. Yeah i know.. 2K 10-bit out is ok but still inferior to EOS-R 4K 10-bit out and of course C300 mkII's 2K 12-bit 444 internal! Plus SDI means you gotta buy a ninja flame or ninja V + SDI module ($900).. only to record a 2K signal.. meh.
  13. I didn't say the Z6 looked like Canon or the Venice. I also didn't compare the Z6 to a cine camera yet. I'm also not going by footage straight out of the camera either. Nikon colors are better then any Sony A7??? series camera or A9 camera. The Z6 has very a very clean color system and this is based on my experience next to the FS7 and test I've done.
  14. I have the Z6 and as other stated the blacks are not crushed at all on the Z6. Everything is recoverable. I will post sample footage from test I did yesterday that proves this as a fact. Nikon does give the user more dark shadow area out of the gate in photo and video. I didn't raise the exposure in my test but it also didn't matter if you did over expose the shot. I did find out that the image comes out pushed to the lighter side then what you see on thru the view finder or back panel. The issue you are seeing (like the S1) is that Nikon's secret sauce settings are not anywhere close to a flat profile and they follow there still image look. So based on my test you have to shoot with the flat profile and the -2 contrast and -2 brightness and 0 sharpness. Again the shadow / crushed blacks have every single bit of data in them and are not baked into he footage. Even when I shot closer to standard or even auto highlights and crushed blacks were recoverable meaning I lowered the highlight and raised the shadows and used mid tone to balance the shot. My conclusion is you have to treat the Z6 like the FS7 cine camera and almost under expose your look, almost, more then you think and more then the viewfinder is showing you.
  15. thephoenix

    Davinci Resolve 16

    you can install both my issue is that 16 crashes right from the start on my pc 😮
  16. I know about offer - but I just supposed that noble counter offer was: post of CEO or nothing, because they didn't choose right, as through all history all Canon-ized smart asses... so to say while mr webrunner5 is still awake to quickly correct me in my indian-american try.
  17. I spotted it here but not tested it myself yet https://forums.luma-touch.com/viewtopic.php?f=26&t=7539
  18. Oh bullshit. The new Sony Venice CS is one of the best on the market now. It looks more Canon than Canon is. You are just talking out of your ass now. And the new Nikons have the worse out now. Fuji and Canon makes the new Nikon CS look like Hammered Dog Shit. And I liked Nikon until this turkey landed. I even have a Nikon DSLR. They need their ass beat. They must have hired the 3 Blind Mice for this new CS.
  19. Thanks Malik. It's a rare gem that Bolex. Hope you find one.
  20. Good sample, looks very nice.
  21. The C200 can export a 10bit 2K Raw signal through the SDI.
  22. Well if you have crushed blacks, like all of it seems to be, you have really no data in there to recover. Sure you can lighten it up , but there will be little to no detail left to see the Gradients that should have been there. There is no free lunch. If you could just do that with raising the shadows up later then why even bother with any exposure, just point and shoot, fix in Post. Same goes for blowing out the highs. There is no data to recover. You end up with like 7 stops of DR If you are lucky. Not counting if you get it right in camera you have less editing to do. Sure, we hopefully have the skill to push stuff around in post but the average person is not going to grade nothing, and they shounldn't be expected on Auto to Have to. I am not sure if you raise the exposure on these new Nikons to avoid the crushed blacks is there room at the top to Not blow out the highs? Maybe not, Nikon may be trying to preserve the highs as it is worse to blow them than crush the blacks. It is a odd duck CS if you ask me. Nothing I like very much. Nikon has somewhat in the last few years been known, at least on the camera photo side, as having a lot of DR, room to recover stuff. And it is a Sony Sensor, with Nikon's "secret sauce" in it so it ought to be capable. But they seemed, Nikon, to really change direction on these new ones. The older Nikons had some pretty great looking OOC CS. Interesting, surely no one complained about the D750 OOC look?
  23. Hey everyone! We shot this a few years back in Massai Land Kenya. I thought that I would share with you all since it was filmed pretty low key with a couple of DSLRs. A7sii/GH5 and an Rx100. Let me know what you think and GO Maasai Land!
  24. still debating in between the two. had a go at some C200 raw footage and boy Canon Raw Light really isn't that light at 1Gbps! I feel like those data rates might just be too much disk storage space for me to handle and are going to cost a fortune in Cfast cards. So really I'm afraid the C200 will probably be used with the 4K (UHD) 8-bit 150mbps codec 90% of the time.. and then that just begs to question am i really making a huge upgrade worth $7500 from my C100 & EOS R that can already shoot internal 8-bit UHD 4K at even higher (400mbps) bitrate as well as 10-bit external (which the C200 can't even do)? Only thing I'll be gaining as far as IQ is less RS and maybe a stop of DR. On the other hand the C300 mk2 shoots nice chunky 10-bit 422 DCI 4K / 12-bit 444 2K internal.. is broadcast ready, Netflix approved straight out the box and has raw 4K out. It can record to 3 media cards at once internally, and 5 with the outs. Just seems like such a workhorse. But yeah, dropping $10K on a 4-year-old camera is a little nerve racking when second hand C200's are floating around at $6.5K..
  25. It's so beautiful keessie65! I love the colors! hopefully i can find my Bolex sometime soon
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