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  2. CFexpress is a very new format. Not the same as XQD, so at first prices are going to be high, due to limited quantities shipping. There are some exceptions. I got a Delkin CFexpress 256GB card for £170 yesterday. Typical Sandisk prices for same thing are around £400 on Amazon. Curiously the CFexpress 512GB cards are £500 which is around £100 per 100GB - much more reasonable than buying multiple 64GB cards at £170. CFexpress is PCI Express Nvme NAND memory like a PC Nvme M.2 SSD drive. So the memory chips are very cheap for a PC, built in great quantities. I expect similar progression to cheap and common availability with CFexpress once it moves out of its high-end niche.
  3. As affordable cameras continually raise the high-waterline on bit-rates, are we getting to the point where the cost of media necessitates bringing back some of the frugality of film? I crunched some very rough numbers, and the cost of SSD is about 10% of the cost of 16mm film for 4K30 in 3:1 RAW, which will be more like 40% of the cost for 8K, but that's re-usable so it's not that direct a comparison. Of course, CFast and other media is more expensive, but you can dump footage to a cheaper storage medium every few hours on set, so that's relatively re-usable too. How are you folks shooting 4K RAW or 6K RAW and salivating over 8K RAW approaching your media management?
  4. Mentioned it in the other post but I think there's a good chance they'll offer cropped modes for 4k60 or 120. Nobody likes a crop but it's got several advantages over pixel binning or line skipping. Even if it is skipped/binned though, it's still 4k/120 compared to something like the S1H which also uses binning/skipping but only does it at 1080p. Regarding the 4k/30 RAW, how practical/useful is around 15 minutes of footage on a £700 CF Express card? It's got that USB port so maybe they'll also offer recording that way?
  5. The Fp 8bit is actually really good and it does 10bit or 12bit to SSD. However you sacrifice dynamic range in 8bit, less shadow retrieval before the breakup of the image begins in the deep blacks. The look of 5D Mark III Magic Lantern 12bit 3.5K RAW was always very special to me. Canon colour science and sensor technology is hard to beat. Nice to have it in official form now, although a lot more expensive and far less democratic.
  6. 70 minutes is a lot for certain filming. No, it is nothing for interviews or a stage event... but why you need RAW for those anyway? RAW is an art form for special creative occasions And you can always convert it, compress it, or even throw it away afterwards. 17 minutes on a 256GB CFexpress card is £200. Yes, very few minutes, very high cost of media so it's never meant to be an everyday thing. However for a really special shoot, it's worth it.
  7. Yup 5k 12bit Raw is dream cometrue . @Andrew Reid hows does grading 12bit files like? compared to Fp 8bit? much differents
  8. Well 1tb for a roughly 70 minutes of 5.5k 25p raw... No thank you. The 10 bit seems like a good enough file for my needs. But such a pain to edit h. 265. It's too bad that prores isn't readily available on more cameras.
  9. Today
  10. The file sizes are only massive in RAW Take a look at the range of bitrates below for 1D X III. We don't yet know if the EOS R5 will have same codec options as 1D X III. Also forgot there is a Movie IS mode with 10% crop on 1DX III. Handy.
  11. They are doing it because they are not making any money supporting the small guys. There are other outlets for that group. The long term trends are pretty clear from their pre-covid quarterly numbers, they are adjusting their business model to cope with that reality. Like I said, they are not a charity, their priority is their own financial health, not yours. It is a business. Pulling your content from SS will not do anything because that is where most of the people buying content go. You are just removing yourself from your customer base by doing it. Or do you think that customers are going to pull their business from SS because they want to show solidarity with small contributors? If you have an issue reaching the threshold, then set up a co-op with other contributors, form it as a company and contribute as a group. Then you will have a better chance of reaching the threshold for the higher payout. SS want to deal with large contributors at a corporate level who consistently provide quality product, not individuals. They have plenty of content being contributed, the last quarterly report makes that clear, the small contributors are likely too much of a pita to deal with and it will cost them nothing if those guys go away.
  12. They're probably going to be good cameras. As most Canon cameras are. My main issue with the new models are the massive file sizes and the lack of clog 2 or 3. One thing is 1080p raw. Great. Manageable. 4k or higher in raw format is great for spending a small fortune on cards and drives.
  13. I'd rather have 5K 60p RAW than 8K 30p RAW.
  14. Going to wait for the final product. We’ve all been burnt too many times by Canon...
  15. Canon's renaissance in video has come at a time when rather than being frozen over, hell has come to planet Earth in the form of 2020. Only a year as perverted and warped as this could bring not one, not two but three Canon hybrid cameras. Which one should you consider adding to your filmmaking life (indeed what's left of it)? New blog post: https://www.eoshd.com/news/canon-1d-x-iii-eos-r5-eos-r6-which-one-will-be-best-for-cine/
  16. @heart0less Thank you for the reply. Yes, the Aivascope is great, very clean, and pricey too lol . I use it with a Nikon Nikkor 50mm 1.8. and yes, I guess I did answer my question lol . I contemplating replacing my Sony A7III with either the ZCAM E2F6 with the specs above or wait for the Canon EOS R5 which will have 4K 24 ,60,120 fps and 8k , 8k RAW. Thoughts on those cameras? What setup do you have?
  17. Thanks all! I will try to create 720 proxies as well as film 1080 vs. 4k and see if there is a noticeable difference on the a73. Worst case I will look into trading my 2015 MBP in for a 2020 13" MBP. I think I have a good game plan thanks to the suggestions here. Much appreciatd!
  18. Please keep us updated on developments. Would love to know how diversifying goes, and the whole stock footage landscape evolves in general. And best wishes to you and others who are affected by the changes.
  19. Actually i saw a lot of unexpected movements on a FB contributor page with over 18.000 members. Many of them have already disabled their portfolios on Shutterstock and are gathering online signs against Shutterstock’s decision. Of course i am not that naive to believe that actions like these will make any difference but these are healthy reactions of people who are loosing a big chunk of their income. I didn’t created this thread to start a rally against SS here (although i strongly disagree with their decision) but just to let you know that almost 500.000 active contributors took a big hit today. I am personally building my portfolio on 3 agencies: SS, Pond5 and Adobe Stock, so I will stop uploading new stuff to SS from today but as i said, stock footage is more of a hobby for me. Anyway, this is not about SS only. There are some dangerous corporate consolidation trends crawling around these days and after the pandemic. Of course these are justified to a certain degree but it’s always painful to see the most fragile social groups (and especially artists) absorbing all the shocks of an industry which they obviously can’t control on their own.
  20. Hello, hi! That's a great setup. Aivascope gives a gorgeous image and is really handy. I'm jealous! Well, you answered your own question - those modes allow you to get a widescreen aspect ratio, but without an anamorphic look. Surely, there are benefits to this - if you plan on delivering the final image in 2.4:1, then you don't waste storage space and processing power on pixels you won't use. But at the same time - if you wanted to do some re-framing in post, add some head room, etc. then you're out of luck, because there is no data there. I'd rather be on the safe side and shoot at 16:9 with 2.4:1 framing in mind and then crop it in post. And, as you can see from the chart, those widescreen aspect ratios let you record a bit higher FPS video. C4K in 2.4:1 goes up to 120 FPS in H265, whereas "normal" C4K allows 'only' 90 FPS. If you really want to take use this sensor to its full potential, then you'd shoot 6K Open Gate and put some anamorphic glass in front. Even your Aiva would do. After desqueezing this setup would roughly give you a 2:1 image, which is a Netflix standard. Pretty neat.
  21. Ibis is great. I usually use it when I'm shooting handheld, with a shoulder rig. Works great for me. I never understood the mindset of having ibis and just using your camera handheld, with no support and wanting tripod style shots. Yes, I understand the value of a small footprint and being incospicuous but you can do that on a tripod and a long lens. But I tend to just "be visible" like a clueless tourist and let people relax over time with my presence. Otherwise I feel like a creep. Is it just me? In the end, I always choose the style of movement regardless of ibis. Shoulder rig, gimbal or good old tripod. I love the peace of filming with a tripod, without pressure.
  22. It is unlikely that simply rallying against them is going to change anything. Companies are in it to make as much money as they can. Certainly, if ENOUGH stock shooters start to pull their content from Shutterstock, then it MIGHT make them re-consider, but I don't know how likely that is. As you said, moving a lot of stock footage is quite an endeavor. So the question is, what are YOU going to do about it? Is it possible you can start moving your best selling footage to other platforms first, and then migrate the rest of the footage over as time allows?
  23. I like Linux (particularly fond of Linux Mint which I have on a few machines). And I LOVE saving money. But I am not sure that the OP could edit on a US $200 linux box. What would you propose as an NLE??? And would one need a particular Distro in order to run that NLE? (For instance, Resolve is coded to work on Cent OS and isn't really guaranteed to work on other Distros, although i have heard of people using it on Ubuntu). Of course, my vision might be warped because around here, people sell their used PC's for WAY MORE than the rest of the USA.
  24. Agreed, their 1 Mark II name is pretty nonsense, unless they plan to strongly bet on different series of same kind. Actually, they have it but their smartphones lineup is weak. What surprises me is how they are delivering great consumer tools for pro usage. A very good surprise indeed.
  25. You know who will be your number one, correct? The accessory launch of the year IMO ; -)
  26. Hi, I would like to know if anyone can help me to figure out the best course of action. I hired an editor who uses Final Cut Pro X and I would like to finalize the projects color and audio in Premiere Pro, with color being the most important. I bought Project X₂7, but I was unable to get the project timeline to match what the editor has in FCP. 90% of the timeline looked correct though. Also, while using that plugin, I am unable to sync assets like the motion graphics and text that were used by the editor. What is my best option when using premiere pro to work on these issues? Would Resolve work better?
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