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Showing content with the highest reputation since 11/13/2019 in all areas

  1. 7 points
    Adam Kuźniar

    Panasonic GH5 - all is revealed!

    A couple of quick screengrabs from a recent Jazz concert I shot. I must say I was super impressed with the GH5 on this one - not only it recorded for 1h30m straight with no issues but it did so on one single battery! Meanwhile Sony shooters that were there kept saying on the voice comms "I need to switch the battery" over and over again 😄
  2. 6 points

    Our 2019 Reel

    This is our reel for 2019... It's only a minute long and we were trying to highlight all the different types of projects that we worked on this year.
  3. 4 points

    FX for cheap?

    and the fact that things like Fusion comes with the free version of Resolve.... really now it's just down to how much work you put in to learn the skillset, the tools are basically free.
  4. 3 points
  5. 2 points
    Andrew Reid

    Canon RP is now $999

    I would far rather shoot with the Fuji X-H1 in that price range. FAR more fun and much higher quality feel to it, much high-spec all-round.
  6. 2 points
    The Z-cam looks really interesting, but it's already $1k more than the S1h, not to mention the necessary cost of still needing to add a monitor, and of course the lack of ibis and need for rigging to make it more suitably ergonomic, all of which the S1H can do out of the box, which is still a fantastic hybrid for still-use to boot. That being said, I'd love to see how much of an IQ and potentially DR-edge the Z-cam raw files give it over the Panasonic though. If it blows it out of the water, hopefully that can spur Panny in to giving us some raw-love as well. Gotta love competition!
  7. 2 points

    bmp4k adventures

    Put in a session with the p4k and the lomo 40mm and elmoscope this afternoon. the lomo fits inside the clamp housing and slides in nearly 10mm, no vignetting with it at either up against the elmo or sitting at the back of the clamp. the only issue is that the lomo has the aperture adjustment on the front close to the lens which is a pain in the ass. So its not a long term solution but at least i learned 40mm doesn't vignette on the p4k with the elmoscope. 35mm does vignette with the elmo but since i usually crop the sides it would probably be ok. Thats a test i want to do soon. One layer of masking tape allows for a nice snug fit with a cheap 77 step up filter and nd on the front of the elmo. Had some issues with my cheap card dropping frames so the samsung t5 ssd holder is back on duty slung underneath. Has anyone found a usb 3 cable with a 90 degree end ?
  8. 2 points
  9. 2 points
    I guess I'm in the minority on the forum enjoying Apple. When I have to take out my wallet, being on mac sucks, but it's worth it just to be able to use FCPX and avoid Premiere. Maybe one day I'll have the time to learn Resolve for anything besides color and consider Windows then... Nahhh just kidding I'm a fanboy I'll never leave.
  10. 2 points
    I am drooling at the Razer Blade 15
  11. 2 points
    Of course! Sounds ridiculous right? Just swap “car” with “camera” and “engine cylinders” with “resolution” and “speed” with “frames per second” and you have essential what the RED patent is. Bayer sensors existed before RED Bayer data existed before RED. The jpeg2000 Compression existed before RED. Hence adding “two more cylinders” is the same as RED adding “Bayer compression” to existing technology and then essentially getting a patent for “cars with certain sized engine going faster than X speed (a camera recording at 4K Bayer resolution at least 23 fps). All that shit existed before except the jpeg2000 compression to Bayer data. I have no problem with that part. Putting OBVIOUS things like FPS and resolution gives RED a blanket patent on compressed BAYER data 4K and up at 23 FPS and up. Which is absolutely ridiculous. If the patent instead said 4K and up at least 23FPS using X unique algorithm implementation then that’s fine. REDs patent is a blanket patent on ANY implementation. What if I have a better algorithm that improves on jpeg2000. Nope, RED by defaults owns that space from 4K to infinity and 23 FPS to infinity. It’s complete bullshit. Ans what about stills cameras? That have been shooting compressed RAW for years before RED was even a twinkle in Jim’s eye? Suddenly they can’t shoot more than 23 FPS because they will be infringing on REDs patent NOT because they are using the same compression technology as RED but simply because they hit a arbitrary number that RED claims an patent over. It’s moronic.
  12. 1 point
    I'm glad they're adding log, but I would only use it for monitoring raw recording. For that, it's crucial. The log image with LUT will then match the RAW image with LUT in Resolve (different input but same output image). So as long as: - They publish the log curve and wide gamut they are using. They need a conventional Cineon/AlexaLogC/ACEScct type of log curve that will hold all the highlight information of the raw sensor. - It can send a log signal over HDMI so that you can record DNG raw and monitor with a lut on the HDMI log image. If it's sending out raw over HDMI that's quite cool, but as far as monitoring, you are limited to the Atomos Ninja V vs. every other EVF or external monitor on the market that allows a custom LUT. As for exposing raw, the only two things you need to think about are: 1. Expose with a grey card and a lightmeter like you are exposing film. You can also use false colour and a grey card but just make sure you're aware of what gamma setting the false colour is expecting, or make your own false colour LUT. 2. Check where the highlights are clipping. If you need to protect the highlights further, then underexpose by 1 or two stops and push by the same amount in post. Use Neat Video to clean up the noise floor if necessary. Zebras are for a video world. They can be semi relevant for checking highlights in log since it puts everything in a 0-1 range. Again, we need log output for monitoring and if for example shooting for ACES we can put a log to ACES rrt/odt LUT on the camera monitor/EVF and see how the full dynamic range of the highlights are rolling off. Then get the exact same result on the ingested DNG raw images to ACES in Resolve. Log for monitoring raw recording is crucial as it allows any Chinese 8 bit monitor with custom LUT option to display the full raw image dynamic range and get a very close match to what you will see in Resolve with your beautiful DNGs - as long as you have your technical LUTs set up correctly. Published log and gamut is a MUST though. Sigma, please do a white paper documenting this. This way, we can do a direct correlation with the linear raw image. And allow sending log over HDMI while recording raw.
  13. 1 point
    Wonder if this thing really is up to snuff: https://www.kickstarter.com/projects/2124504218/warpdrive-high-speed-portable-ssd/description
  14. 1 point
    Yes, that makes perfect sense. With most codecs you can losslessly trim a portion out. It can be done with ffmpeg, I've done it for archiving GoPro footage from long events. I don't know whether any mainstream editing software can do this--there is an option to "only re-encode when necessary" in Resolve but I haven't tried it. On All-I codecs such as ProRes, this should be possible with cuts on any frame, but with intra-frame codecs, you would begin your trim on a I frame. Unlike an uncompressed format like your TIFFs, cutting out a portion of a compressed codec won't be lossless across edits. For example, you can't color correct it and maintain your complete fidelity with this method. On the other side, most codecs will not show any degradation over a single re-encoding. Avoid it when possible, but it's usually not the end of the world if you're not doing it a few times.
  15. 1 point

    Sony & Samsung 48MP sensors arrived...

    Here's some proof why I'd rather take Sony IMX 586 to Samsung counterparts offer even at higher resolution any time:
  16. 1 point
    Nice find Lars. Log profile is utterly irrelevant on this camera and it won't expand the dynamic range. You have the RAW output - you will never get better than that. This is the whole point of this camera... RAW via HDMI is a nice idea. cheers Paul
  17. 1 point


  18. 1 point
    I've been pushing and pulling the 8 bit DNGs in lightroom, comparing to 12 bit FHD and also Sony A7sII stills. Whilst i can see the limits in the shadows, as there are no compression artefacts, then what you get is remarkably usable. Pushing something 5 stops over to compare shows the 8 bit DNGs really not that far from the Sony RAW and 12 bit versions. So i'm running to a 128GB SD Card (ProGrades) and have yet to really break the image. This is less to do with the sensor and more to do with no compression. That's the key, compression kills everything. So i don't know what you're planning on shooting at the moment i'm skewing towards 8 bit. 10 bit linear is no use whatsoever. 12 bit 24p would make a difference but i can't use 24p As i mentioned above, if we users can drop sigma a line and show how much we want 10 bit DNG with a linearisation table then that would be the sweet spot and i would externally record. If we're lucky they could experiment with writing 10 bit to SD card as well... And maybe do some other frame sizes... (4096 DCI widescreen!) cheers Paul
  19. 1 point
    Did someone take these guys dogs as hostages and force them to do this? They look terrified and awkward. I love panasonic and shoot gh5 daily - but this as a marketing effort is a bit tone deaf.
  20. 1 point
    Yep he's a top bloke and knows his stuff. I am a bit jealous of that Cooke anamorphic in the video. Perhaps the stilted performance is down to internally thinking HOW we can make off with this lens afterwards. That's what I would be thinking.
  21. 1 point
  22. 1 point
    Not just at the start of the shoot, but also any times there is a shift in lighting during the shoot.
  23. 1 point

    SIRUI Anamorphic!

    their still pre production are they? hopefully they tone them down a little we are alot like Goldilocks aren't we, not too many flares, not too little flaring 😀
  24. 1 point
    Apple introduced the 16 in MacBook Pro today. Seems pretty good. Same price as the previous model too. The big thing I like is the improved thermals. Hopefully the i9 processor won’t thermal throttle this time! They also improved the keyboard which is pretty significant. Processors are the same but that’s fine because all we needed performance wise is new thermals. You can configure it with 64gb RAM and the RAM speed has been improved. Also new AMD 7nm graphics. Finally we don’t have to pay extra for improved graphics. Overall seems pretty solid to me!
  25. 1 point
    BM Raw speed test can be found in this video:
  26. 1 point
    Video Hummus

    Panasonic GH5 - all is revealed!

    This might be cheaper and wholly more creepy.
  27. 1 point
    I had a top spec'ed 17" MBP that after two years started to show glitches on the screen and eventually failed. Gpu issues. Almost out of warranty. Later Apple acknowledged a production run glitch that affected a 'few' and ended up producing a new batch of motherboards (no used parts) and free reparation (so even if under 1% were affected we are still speaking about thousands of units). All great. But I had the MBP shelved for almost two years before it could be used again. Being quite outdated when it was working again. That being said. Dealing directly with Apple regarding warranty issues etc for 15+ years I find the services and support great. However getting Applecare for portable devices is recommended -> Apple are more flexible if shit happens. I am not sure how say Dell or HP are dealing with these type of issues nowadays. Some companies have more bad stories than others I suppose. But all have some. Some strives more to make things right in the end. Leasing/renting the gear can also help minimising that these issues falls back on yourself I have both Macs and Pcs in the studio. That will not change. The latest MBP seems like a nice laptop. But I will probably let others do the benchmarking and stress-tests to se how it fairs with throttling before buying. The new Mac Pro is also around the corner. Curios to see how it fairs too.
  28. 1 point
    Yes, as said and here is a comparison test with another one of same range: There's also this one by DELL: Here's why I'll be ending to buy the Optoma (not my TK800 model I bought but gives a pretty much the idea of my own recent findings) : Nonetheless, Optoma's Laser Phosphor entry model compares with much higher range -- here are two distinct comparative tests with one year in-between to exactly justify the point: In any way whatsoever, on minute 7:00, faux-K shows up and testifies : ) In any case, proves how inaccurate is to say it is dead, as much as MFT is... LOL : D https://www.projectorreviews.com/the-art-of-home-theater-projectors/faux-k-is-dead-long-live-4k-capable-projectors-of-all-resolutions/
  29. 1 point
    I dunno... Low ANSI lumens to my taste : ) I bought this one (3000 ANSI lumens looks to me a minimum requirement): https://www.projectorcentral.com/BenQ-TK800.htm I am not unhappy at all but... pixel shifting is definitely cheating the parade. I got the proof today with a 4K sample, even though from h.265 @ low bitrate. I'm eager to pay from native 2.7K instead. Looks like to me more reasonable and the recent Mavic Mini has made me think about... https://www.techradar.com/reviews/optoma-uhz65-4k-laser-projector https://www.techradar.com/reviews/optoma-uhd60-projector EUR2500 + VAT for the Optoma Laser Phosphor (lamp type) https://www.digitalprojection.com/emea/laser-phosphor-vs-lamp-projectors/ https://www.christielaserphosphor.com/media/Laser_Phosphor_Technology_Overview_FAQ.pdf ...or save 1 grand in the initial purchase is the only question? Seems pretty clear to me, it's not the only premise to matter on here:
  30. 1 point
    8K? Pfff.. Holodecks... 😎🤘
  31. 1 point
    Here's also a couple of useful info on topic: https://www.projectorreviews.com/the-art-of-home-theater-projectors/fauxk-vs-4k-projectors-look-true-4k-4k-uhd-1080p-pixel-shifters/ https://www.projectorcentral.com/4k-projectors-defined.htm
  32. 1 point
    To each its own. I feel exactly that about all those complicated menus. A pain in the ass. That simply cuts off all my pleasure to shoot with. Blackmagic has brought me the feeling of a real film camera back. I love their approach to put the shooter in the focus of their camera design, not just another user in the digital age or ENG field. They have made digital cinema cameras instead. I come back from 35mm and 16mm realm. This really counts to me : ) IQ wise I practically am able to reproduce anything I want. Secondary today IMO : -)
  33. 1 point
    I know man. I get excited about prores raw, then I come back to reality and realize it wont work in resolve. I only work in resolve these days and use a Blackmagic mini panel for grading, so I have 0 interest in using any other NLE.
  34. 1 point
    i used to work at an appl store, and the "known unknown issue" is a thing. it SUCKS. you haveta pretend like "ANYTHING THAT ISNT ON APPL DOT COM" doesnt exist, even if we just had a meeting *abt not talking abt it* its amazing
  35. 1 point

    SIRUI Anamorphic!

    Oh yes please... I want that cinematic-filmic-sci-fi-look for cheap. I want my footage look professional. Especially sun rays shining through leaves. And ordinary people downtown (in slow-motion of course). Add some musicians work and I am good to go! Looking forward to show "my work" on YT.
  36. 1 point


    You're certainly right, but the level of fringing is a bit mad. Still, some of the footage looks great, will just avoid shooting wide open in the future.
  37. 1 point
    Guys, believe me the latest MacBook Pro generations are total garbage. After too much scepticism I finally decided to pull the trigger on an almost maxed out 2019 model. Just 3 months ago i ordered a BTO Macbook 2019 with 32 GB Ram and a Vega 20 inside. The first thing i noticed was the crappy butterfly keyboard but i already knew the story so I ordered a silicone cover to protect it from dust. Then while installing my apps i noticed that the right speaker was producing a pop sound every 30-60 seconds. After an extensive research i found out that this is a common problem with 2018-19 MacBook generations and Apple refuses to investigate the cause of this issue and fix it. You can find many videos demonstrating this issue on the net. Here is mine: The audio popping in my case is constant. On the video above you can see just a way to replicate this. Working with Final Cut is a nightmare as every time the cursor is falling on a clip or the timeline a pop is produced from the right speaker. Almost every 2019 model produces this pop while playing - skipping any type of media, although in a different volume. If there is a volume threshold where this is starting to annoy you, mine is over that. I visited 3 different Apple stores and i could clearly listen the pop on their display machines, although in a much smaller volume than mine. So many models have been affected. It is not known yet if this is a software or a hardware issue. As i said above, Apple technicians are refusing to investigate this. I don't know if the new 16 inch model will have this issue, as they changed the speaker configuration. So be aware, this new 16" model might seem ideal for video editing but if serious problems like mine appear, Apple may never fix them. PS. Shot on GH5 and Olympus 12-40, LOL
  38. 1 point


    SLR Magic APO-MicroPrime EF Mount Cine Lenses https://prophotoblog.ca/gear/lenses-for-video/slr-magic-apo-microprime-ef-mount-lenses/amp/?utm_source=hs_email&utm_medium=email&utm_content=79349290&_hsenc=p2ANqtz-9xi4QUzPahbntILEtIJcc3WNCJXs-2yXcY2byW_TCFITgtIRZHJs7GsClH5HRobsiRS9fqLxDfHiO4G6QmJyk_XICD6w&_hsmi=79349290
  39. 1 point
  40. 1 point
    I think unless you literally have to do work in the field, rather than just would like the option to sit and edit video in Starbucks , then the price of this thing would give me pause to consider the desktop option for the price/performance ratio but also the expandability. I find that there is also a really important discipline aspect to it as well as with a desktop by you having to have it in a fixed place and I find that far more conducive to concentrated working when I have to go to a place with a desk and a chair. With a laptop you can sit on your arse on the couch in the living room and work but it quickly ends up being just the sitting on your arse on the couch part as you are in living room mode rather than workspace mode and lose concentration. Its worth bearing in mind of course that if you did want to sit on your arse on the couch or edit in Starbucks then with a network/decent internet connection you can easily remote back to the mothership monster motherfucker beast desktop from a small laptop and have it do all the hard work. You can pick up a 2015 11" MacBook Air for less than £300 which is ideal for that role and many others. The main point I'm getting round to though is that going back to working at a desk is a good move as we all need to buy these 32:9 monitors ! All that processing power counts for not a lot if you're spending most of your time scrolling and re-sizing.
  41. 1 point
    It's a zero issue, trust me, you can mark my words and the usual suspects save their hate against RED... LOL : P I speak by myself attached to my T5 1TB ; ) And FYI or all of those who may eventually have no notice yet of his presence here, Mihail @cpc the developer himself is among us in this community : -)
  42. 1 point
    holy shit why didn't i heard about these filters before ? thanks for the info. here's a comparison. i guess 1/2 is a bit too much tough
  43. 1 point
    LOL.. cool images though - I love the colours. It must be so rewarding to shoot live events where the lighting is so dramatic and expressive.
  44. 1 point
    That makes sense. It might have helped your cause earlier if you'd said you couldn't share because the images were private. Considering the number of spambots and such lately, I can't really blame people for being suspicious of trolls. The way I look at it, even if someone is trolling, maybe other people get here from an honest google search. If there is a difference in motion blur when using the same shutter speed, then either the Fuji or the Canon is reporting its shutter speed incorrectly. Edit: either that, or the "motion blur" on the Canon is blurring from compression as well. More motion will strain interframe compression more, so lots of movement will make for a less detailed frame overall. The Canon might be suffering there.
  45. 1 point
  46. 1 point
  47. 1 point

    DJI Mavic Mini just landed...

    To those worried or wondering on regulations and why Mini version has popped up, here is (in Italian) :
  48. 1 point

    Panasonic GH5 - all is revealed!

    A 2 min documentary profile I did over the summer. GH5,HLG,Sigma 18-35 and graded in resolve with filmconvert.
  49. 1 point

    Panasonic G9 Becomes GH5, almost.

    I got the G9 (stills are more important for me) and it's like Christmas has come early! Really really like the G9, it's a fantastic camera and is such a joy to use.
  50. -2 points

    Anamorphic for noobs

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EOSHD C-LOG and Film Profiles for All Canon DSLRs
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