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  2. I’ve had a few cameras with IBIS and it’s one of the best features ever implemented. The ability to stabilize my favorite vintage lenses truly is amazing and that is a major reason the GH5 is on my short list plus after using the 5D3 for a couple years, I think the ultra clean, modern look of the GH5 is a positive. I think the BMPCC 4K is just a little too much camera for a 2nd camera especially since I’d most likely shoot 1080p with it. But if I find a deal, you never know. As of now, I am wavering between the GH5, the BMMCC and the Z Cam E2C. We’ll see.
  3. Well if you had spent the money to do this shit years ago you might have a different attitude. But it is changing, look at me. This stuff is free compared to when I was young. 😜
  4. Today
  5. True. I love MFT and if they had a EVA-1 style video camera, I probably would be using MFT fully, especially once the 10-25mm f1.7 lands. But, without really knowing what's ahead for MFT and Panasonic, hard to justify buying what will probably be a $2k+ lens.
  6. That is the problem with the Micro to me over the BMPCC, you might as well have a Canon C300. I, at my age, can't hardly shoot with a Smartphone, let alone a Camera Rig. The world has changed big time. Nobody trusts anyone anymore. When i was young Everyone trusted everyone. Complete opposite then. You young people are screwed big time.
  7. This is because skilled trade work pays well. The machinists, service technicians, welders and electricians make more than the engineers. Unlike the engineers, they aren't up to their eyeballs in debt with student loans(they get payed to learn). Value needs to be created and sold to support the service industries that don't pay nearly as well(besides banks)as the industrial services.
  8. I just tried turning off GPU decoding of HEVC files and the h.265 clip is now way too lifted and flat when set to Full levels. Clearly this is buggy. So doing it on the GPU yields the "correct" result, except for the clipping. Transcoding to ProRes 422HQ in EditReady seems to be the best workaround for me right now to get the full image displaying correctly in Resolve.
  9. I feel bad I never did this. Going to head out after dinner and grab some clips with a Micro and a P4k. Both RAW 3:1 to start.
  10. I've tried this out in Resolve 16b3 with the same files and unlike Resolve 15, I need to set the ProRes clip to Video levels, not Full levels. Besides that, the colours now apparently match with the latest bug fixes. However I'm getting a separate luma clipping issue. Details over here in the original thread.
  11. Gotcha, the old concatenation issue. I find that Nuke is a lot more transparent about stuff like this so I don't have to dig too deep. In fact I use Nuke as a sanity check and prototype for stuff I'm trying to do in Resolve. I was reading the main X-T3 thread and I wanted to check in on this thread to say that I tested the original clips to see if the new Resolve 16 beta 3 fixed your original 601 vs 709 issue. On my machine (Macbook Pro with Vega 20 GPU) it does indeed now match the Reds in his jacket. However in 16 I now need to set the ProRes clip data levels to Video, not Full levels. This kind of makes sense considering the typical ProRes usage scenario. As long as the full dynamic range is coming in and the luma is as intended, I'm fine with that. Separately, I'm still getting an issue on my machine at least, with clipped detail in the h.265 footage straight from camera. I think this is just a v16 beta issue but I'd be interested to know if anyone else is seeing this. I've reported it to BMD. Attached are screen grabs where I graded up to clearly show the issue. The waveforms (not attached) also show the clipping. My workaround for now has been to transcode the h.265 to ProRes 422HQ using EditReady, and then in Resolve set the ProRes to Video Levels to match the h.265 at Full levels - the luma levels then match, but it's not clipped. I believe the issue may be a bug with GPU decoding of h.265 clips.
  12. Even the wording in the phrase "full frame" is itself one of the biggest marketing wins Canikon has ever pulled off! Making many newbie (and not so newbie!) photographers (has leaked over and infected filmmakers too) feel inadequate if they have anything less than their "full" frame.
  13. To my book, this is the most crucial hassle I see to this device to pair or even beyond Trump's persecution, at least and IMHO: https://uk.community.huawei.com/ask-questions-about-the-camera-on-your-device-26/p30-pro-full-support-for-camera-api-2-and-camera-hal3-4267 https://consumer.huawei.com/en/community/details/?topicId=6790&showBread=1 On the other hand, this is the most interesting deal to me so far, Sony's sensor beats Samsung's:
  14. Don't understand a word! But yes, looks like it was fun Guessing this here is the final product:
  15. It was already very concerning when they didn't release the EVA1 with a MFT option :-/
  16. Another Arri for 5K GBP, but... it is BROKEN! https://www.ebay.com/itm/Arri-Alexa-XT-camera-body-no-accessories-no-lens-with-flight-case/173890467805
  17. Impressive indeed. 200Mbit 10bit! There is a very small crop in the 6K mode. Let's call it 5K actually, because that's what it is. I still don't know where Panasonic get their 6K from!? With K you only measure horizontally. The 30p is a shame... I wish it were 25p at least, to avoid flickering in PAL countries and get it closer to the cinema look of 24p. I think it's worth waiting for the V-LOG update, which should bring a similarly high bitrate to the 4K mode... As well as 10bit 4:2:2 not just 4:2:0. Hopefully they will also add an anamorphic mode... if the Cinema Lumix camera doesn't get there first, that is!
  18. Yesterday
  19. i was literally gonna say "moving lights" 😂
  20. kye

    Davinci Resolve 16

    I also edit on a MBP and I have also noticed the Colour tab is slower. I suspect it's the extra work required to generate the waveforms. Try turning them off? In a sense there isn't a preferred workflow, it's whatever works for you. Colour grading is fiction. If the goal was to make the image look like reality we'd be using colour checkers and just using technical LUTs and the job would be done. Instead we do film emulations by artificially colouring shadows and highlights, compressing and expanding dynamic range according to our preferences, etc etc. In general though, it's wise to have a basic workflow: Do any exposure or WB corrections (that should have been done in-camera but weren't) Convert from LOG / HLG to the output format (rec709, HLG) Match shots Colour grade however you like Export
  21. My mistake, I didn’t realize that BlackMagic Raw uses the same Raw Panel as CDNG does... I thought it was a separate panel that had it’s own functions.
  22. I don't shoot these so I can't provide examples, but the suggestion of watching the news seems like a sound one. I think it's really a question about how to learn a particular genre or style, which I have some random thoughts on: Find good examples (which you're looking for) Pull them apart in every way to understand them: What angles do they use? How long are the shots? What are the shots? Talking-head, B-roll, etc What is the sound doing? How much time are people talking and how much is SFX (kind of the B-roll of audio) What is the story like? Does it represent a three-act structure? Some other structure? What similarities are there? How would you shoot such a thing? What does the set look like? What equipment is required? Camera? Audio? Rigging? Lighting? Watch BTS videos to see what people are doing. Find wide shots in the BTS, pause the video, study the frame and see what you can see. By analysing deeply you will uncover the details, by analysing many examples you will notice patterns and themes. Think of it as studying. Learning doesn't stop when you leave school, so studying and the techniques we used in school also shouldn't stop
  23. Hello: Here is a place, which can serve as a source of inspiration: Big Shorts Films. In their presentation they say: We make short social films out of real, inspiring stories. By doing so, we create a positive ripple in your mind when you watch it, which in turn travels in all directions and creates more ripples. Empowering change through storytelling, one film at a time – that’s what BIG SHORT FILMS is all about. Personally, I have found some very good and inspiring video pieces.
  24. I love the GH5 because I can shoot handheld and get a handheld but not shaky look, like when people shoot handheld with a cinema camera that smooths movement a bit due to its weight. I worked out early on that I can't stand the aesthetic of the micro-jitters you get when shooting without IBIS or OIS or a rig, so for me it's an aesthetic choice. Considering you're enjoying your 5D+ML setup (and don't use huge rigs) I'd suggest that you don't need the IBIS in the GH5. Of course, having to rig it out completely vs the GH5 which has a screen, nice UI, buttons galore, etc is another matter. From that perspective the P4K might be the best of both worlds - not requiring a huge rig but still having BM IQ. I'm still keen to try to make the P4K match the older BM cameras in post-production. If anyone has the ability to film some useful test footage with the P4K and an older BM camera and can upload it then I'll put in some serious work to see if we can match the old aesthetic from the new camera. My theory is that we should be able to, because going from more resolution to less is possible, and having good bit-depth should be sufficient to grade and match colours etc. Thread is here: I don't have a BM camera of any kind, but if I can work out how to make the P4K have the magic of older BM cameras then I think I will learn a bunch trying to figure it out, and I'll get all kinds of interesting techniques to use with my GH5 footage, so I'm definitely up for it. I feel your pain. I also shoot my family a lot when we travel in privately controlled venues like skating rinks, museums, art galleries, parks, water parks, etc where the normal rules about the right to film in public don't apply. This is why I'm trying to keep my setups to be as minimal as possible. I think it's having a microphone, and having it look big and complicated that are the issues. Just wait for 8K - we'll be writing essays!!
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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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