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  2. Yeah here is one with the Raw upgrade and a Metabones in it for 3000 Dollars. https://www.ebay.com/itm/Sony-PXW-FS5-XDCAM-Super-35-Camera-RAW-Upgrade-Metabones-Canon/183783100085?hash=item2aca538eb5%3Ag%3A7eMAAOSwnQFcvMQb&LH_BIN=1&frcectupt=true
  3. Greetings, Here are this week’s new tracks. Free to use with attribution: MAGICAL BACKSTORY – (Looping) – This might sound nice under the menus, backstory, etc., in a mystical fantasy game, RPG or maybe a visual novel. https://soundimage.org/fantasy-8/ DRIFTING AWAY IN PUZZLE LAND – (Looping) – Sometimes…(actually lots of times)…I wish I could do just that. Anyhow, this is a variation of one of my other themes. https://soundimage.org/puzzle-music-4/ FUTURE FUNK – (Looping) – Here’s a grungy looping piece with a mechanical feel and a funky vibe that might sound cool in a sci-fi game of some kind. https://soundimage.org/dance-techno/ Enjoy!
  4. Yep. I was all set to buy a high cri dimmable LED panel, but the delivery was too late. That rented fluorescent had a nasty green cast. Now in have that LED. 🙂 I think I'm with you on lowering the light. A bump up to ISO 640 on the Canon would be fine. I can dim my bg boat lighting, but I can't gel daylight windows until I can afford a crew to do that for me. :'-|
  5. https://blackmagiccameraclub.wordpress.com/2015/01/25/prores-lt-vs-prores-hq-vs-raw-on-the-black-magic-pocket/
  6. Today
  7. @Shirozina okay let’s backtrack a bit... your footage is noisy? Why? I thought the P4K sensor was supposed to be pretty clean? In fact, there are only two reasons why it would be noisy... 1. You’re underexposing it. Are you using ETTR? 2. You’re not shooting at base iso. As far as DR between raw and ProRes... I think I may have some side by side examples from some old Micro or Pocket footage... I’ll have to check my drives. Although, I would think the extra bit depth with Raw would make the idea of “perceived DR” pretty simple to understand. As far as Highlight Recovery I’m Resolve... have you ever used the Raw Panel? Bring in Raw footage that ETTR’d and you should see it completely overexposed with the Rec709 default... change it to BM Film and your waveform will drop but in many instances the highs will still be flat (slightly clipped) click Highlight Recovery and you get the top end back... it’s one of the best features in the Raw Panel.
  8. i shouldn't boast, but i have a milking machine in the shed. No cows at the moment, sold them off because of the drought and someone bought them for more than twice what we paid for them so pretty happy about that. at the moment milk is $1.10 a liter no idea what that is in gallons don't really care either 😀 like ironfilms 2 liters doesn't go very far and i suspect all the other beverages were invented for those who can't handle milk 😉
  9. Cameras convert ideas, planning, setup, teamwork, passion, skill, practice, attitude, and luck into files on a hard-drive. Then editing software converts vision, taste, timing, essence, persistence, and files on the hard drive into a finished film. This is why a great camera makes no improvement to a bad situation, and a bad camera takes only a small amount away from a lot of hard work and dedication.
  10. kye

    Davinci Resolve 16

    @thephoenix that is absolutely fantastic! I retime things quite a bit, and optical flow is great, but it doesn't do a good job when there is movement in the background, but this new SpeedWarp mode is really great. The video the guy uses is actually a really good test and shows the weaknesses in both the approaches. DR just keeps getting better and better!!
  11. kye

    Lenses

    Nice stills. I've heard people have a lot of love for that lens, and it sure would be a convenient one to carry around for simple shoots. You better hurry up and finish that film, or pretty soon we'll have all watched it frame by frame in this thread! 😆😆😆
  12. I believe that what is being referred to is "super whites" where the output signal is above the white point by default, but can be brought back as the data is in the file. The XC10 does this. I suspect that if you're recording in prores then the conversion that happens may clip those super whites and they wouldn't be recoverable. I could be wrong, but I've seen super whites myself, and this clipping behaviour is very similar to the way that still images are processed with RAW / JPG files.
  13. i might investigate this. i have a couple of inferred filters, a 680 and 720 nm from memory and one ir modified digital still camera. i should be able to fit something to the front of the bmp4k and see how responsive the camera is to inferred. its already a given that it would have an ir filter as pretty much all cameras have ir cut because, well infered red looks odd or weird even peculiar in photos. not that i have anything against inferred. i think the issue is our eyes aren't accustomed to seeing inferred and when we do it tends to stand out. if its a sunny day i'll try to get some footage with and with out filters then you can judge for yourselves
  14. Replace the fluorescent bulb with either Halogen or high CRI LED ones that are dimmable. Even the highest quality fluorescent lights have spiky and discontinuous spectrum. And most importantly they are not dimmable. When illuminating faces, light quality in terms of smooth and continuous spectrum is the key.
  15. how a camera works: light sensor electricity 01010101
  16. You are saying that if there is clipping at the sensor level with RAW then you can fix this in Resolve? This would be highly worthy of posted examples.
  17. Ah i remember googling gh4 18-35 1.8 Back then and reading up all the great info about it on this forum😁 best forum learned alot from this community thank you 😘
  18. Quite apt calling it an Oasis when its run by a frequently angry Mancunian
  19. anonim

    Lenses

    @mercer vs Paolo Sorrentino: The Young Pope, episode 9.
  20. True, although the big big difference between the Deity Connect Wireless and past products from Deity/Aputure, is that they can release firmware updates which you can easily update yourself to get an improved product immediately. Perhaps you won't need to wait until 2020? Firmware V1.1 has already been released and it fixes a few issues and expands a few other features. https://www.deitymic.com/firmware/
  21. This location is an oasis...
  22. thephoenix

    my first short

    i don't get it all but nice work !! keep up
  23. I can see a/the use case. When filming in F-Log, the minimum ISO is 640 - that's a lot of light going in. So my X-T3 was even overexposing at f2.8 when I was shooting an interview indoors using a pretty basic soft box with a giant single compact fluorescent bulb. In that setting the X-T3 was the B camera to my 5D3 shooting at ISO 200. I couldn't turn down that particular light even if I wanted to, and I didn't want to stop down the X-T3 and lose the blur of my background. I could see getting an internal ND filter that makes the two cameras "match" in terms of light-gathering ability at f2.8 ISO 640 vs ISO 200 on the Canon, especially if it's optically superior to using on-the-front filters. What would you do in a case like the picture below? 1) Use less light? 2) Switch the X-T3 out of F-Log and use another profile? 3) Use an internal (or external) ND filter? 4) Stop down from f2.8? Such trade-offs! Wow.
  24. The Sony FS700 is becoming dirt cheap, very tempting, it is the biggest factor stopping me buying another Sony PMW-F3! Because a FS700 is only a little more. But the biggest factor stopping me buying a FS700? (aside from my realization that I don't *need* one, I just "want" it) That the FS5 has been becoming so cheap lately! If it just drops a little bit lower.... As ergonomically the FS5 is a big big leap forward over the FS700, and its internal codec is much better as well.
  25. Fujifilm X-T20 24.3MP Mirrorless Digital Camera - On Ebay Silver Price: $399.99 Megapixels: 24.3 MP Model:x-t20 Type: Mirrorless Interchangeable Lens Brand: Fujifilm Color: Silver Series: x-t20 Features: Body only
  26. Just to note or remind: in case of additional (and crucial) highlithts recovery possibility (that thebrothersthre3 mentioned in post) there's no need for examples: with RAW you can do it on rec.709 timeline, with ProRes you can't. As simple scenario, shot same scene with both, intentionally making clipped highlights. With ProRes you can't bring them back. With CDNG do such settings in Resolve CameraRaw menu Decode Using: Clip WB: As Shot Color Space: Rec.709 Gamma: Gamma 2.4 ... and picks of highlights are coming back from void (and such view has metaphysical impact on me), so you can further mold distribution of DR as you wish.
  27. anyone knows this guy ? https://www.youtube.com/channel/UCty7zz6T5Ge5drWlktYPSlw/videos is he any good for grading tuts ?
  1. Load more activity
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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