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Showing content with the highest reputation on 02/14/2016 in all areas

  1. 5 points
    Tito Ferradans

    hFOV Calculator.

    Time to address the second most common question asked when it comes to anamorphics: "How wide can I go with this anamorphic?". Your problems are over! Here I introduce my hFOV calculator! Test it, break it, enjoy. Let me know. http://www.tferradans.com/blog/?p=8615 You can input all your settings (camera/crop factor, taking lens, focal reducers, anamorphic stretch and sensor aspect ratio) to check if you'll get vignetting, the equivalent focal length of your horizontal field of view and your final aspect ratio. You can also discover which taking lenses will give you a specific horizontal field of view and what crop should you set on your camera to achieve a specific final aspect ratio.
  2. 2 points
    mercer

    Lenses

    Are they the SMC Pentax-M? If so, then yes I have used the 28mm and the 50mm. They are both excellent lenses and probably some of the cheapest, high quality vintage lenses you will find. The focus rings on those lenses are just buttery smooth. You can literally adjust focus with one finger. I have not used the zoom, in fact I've never seen one. Go to Pentax Forums, they have a lens database with User Reviews, and often times, photo samples. Just remember they are a dime a dozen, so be sure you are paying next to nothing because mint copies are regularly available for ridiculously cheap prices.
  3. 2 points
    I think this thread is (yet another) example of yearning for times that won't ever return. The internet has permanently disrupted how art is funded, created, distributed, and consumed. Yes, it's a world where only superhero moves can make money the old way, but it's also one where the consumer can find entertainment without even being aware of the superhero movie, it's one where passion projects can be funded and not be beholden to whims of others, it's one where the creator can generate revenue directly from the consumer, etc. I worked on a film recently that was pirated even before it was released while the creator was still taking pre-orders. Instead of whining and letting it ruin him, he decided to take it as a positive- that people wanted to see his film, and those that were moved by it would be motivated to spend the money on his self-distributed Blu-Ray (or private streaming link) which contained hours and hours of extra features. He already made the choice not to go the traditional investor/distributor route as he had for previous films. The internet has changed a lot of things but it hasn't changed the principle that if you want to make money doing anything, you have to continually find new ways to provide value to the customer.
  4. 2 points
    No, a 50mm f/2.8 will be two stops darker than a 25mm f/1.4. Same depth of field, but that's it. The lens size advantage is indisputable. And it's not just sensor size; it's aspect ratio. Designing a lens with good edges and corners becomes much easier with a squarer aspect ratio, and requires a much smaller image circle. The G7 has already improved 1-1.5 stops in noise performance from the GH4. If the GH5 sensor offers any noise improvement at all over the G7, we're looking at a usable ISO 3200, which is more than enough for me. I don't understand how you can argue that m4/3 isn't a standard. Of course it is. We have 6 different manufacturers making lenses for it. And with a simple speed booster, you increase your low light performance by 1 stop and gain a s35 sensor with Canon or Nikon mount. Sounds plenty standard to me. M4/3 offers lots of advantages. Smaller, better-corrected lenses, faster fps, lower rolling shutter, broader dof, less overheating, better battery life, a 4:3 aspect ratio for anamorphic shooting, easier to process higher bit depths, etc. And if its performance in stills isn't enough for you, nothing made before 2006 must've been either. It's only a half stop behind APS-C in every metric. And though their sensor tech has stalled a bit, m4/3 will perform as well in 3 years as APS-C does now; at that point, I'd target have the reduced size and weight than a fractional bump in IQ. Also, keep in mind that we have no idea what we want. I mean none at all. After the GH2, what did everyone ask for? Better low-light, DR, color science, build quality, bitrate/codec, and menus. What did the GH3 deliver? Every single one of those improvements...yet everyone panned it as a minor step forward because the spec sheet didn't wow them. Here's what I want. -1 stop increase in noise from the G7. - reduce the crop factor to the native 2x, or bring back the multi-aspect sensor for 1.86x (APS-H with the speed booster) -1 stop increase in DR -V-LOG, with view assist and the green/magenta blocking issue fixed - anamorphic de-squeeze -10-bit internal recording, and a 200mbps 8-bit option - dual card slots (It'd be cool if you could record to both slots simultaneously, or your big files to one slot and 1080p proxies to the other, but that's dreaming) -A full sized HDMI port. There's room, and it would make external recording much easier and more reliable. -a better implemented YAGH brick than can run on 2 GH4 batteries I feel like that's an attainable wish list and a compelling enough tool to keep people on board until the next big leap. I'd buy one.
  5. 2 points
    Yup. As I mentioned before, Everything Is A Remix is a terrific take on this. If any here haven't seen this, do check it out.
  6. 2 points
    Was driving passed my old neighborhood today, where the "Building of Moire" lays. I had the NX500 in my bag and the R1 buckled in the back seat. I also had some Magic Lantern shots at home. So I stopped. The Cameras are: Sony NEX5t Sony a6000 Sony FS100 Sony AX100 Sony A7 Sony A7ii Panasonic LX100 Panasonic HMC151 Panasonic GM1 Canon XC10 Canon EOS-M Raw Canon EOS-M Crop Blackmagic Pocket Blackmagic 4K Production Digital Bolex Samsung NX1 Samsung NX500 HD Samsung NX500 4K Crop LG G Flex 2 at 200mbps Red One MX
  7. 2 points
    From a youtuber / journalism / film making perspective I think the following features would yield the most IQ progress: - Global shutter, - 4k 60p - 4k 10bit 422, 200Mbit recording - Full sensor read out downscaled to 4k - NX1 level of focussing + tracking. - Auto iso in manual mode - + 1 stop in DR and iso. - 5x IBIS would be nice too. I like the idea of an oversized and/or multi aspect sensor. A cinema lens set would be cool too. Great to see so many responses here. I wonder if Panasonic employees actually read along.
  8. 1 point
    I mean it ticks pretty much every single box. And its pretty darn affordable. s35 m4/3 mount Log XLR NDs External controls EVF You name it. Plus the nifty stuff like knowing how to crop, prime zoom, etc. The only thing bothering me (and most Ive talked to) is the videos look. But Im thinking it might be that there isn't really anybody using it, thats how should I say, in our segment. I mean most demo videos from cameras, be it cinema cameras or DSLRs, look pretty dull. Its first when people like us get it, slap on our soft vintage glass, grade and cover it in grain that we get excited. Ed David could surely make the e-m5ii shine, the Samsungs look pretty boring without some care, and most Sony demos look like "home videos". I wonder what it would be like, would love to try one. Might even do the (imo) dishonest thing and Buy/return just to put my mind at ease. This video shows a lot of ungraded Log.
  9. 1 point
    Film Piracy. The two dreaded words to filmmakers. Is it even worth it these days? Look at this shocking information. http://www.culturalweekly.com/sundance-infographic-2016-ample-distribution-paltry-deals-and-the-cost-of-piracy/ Imagine plunking down $100k - 500k for your film. Piracy happens. Your film is all over the Internet for FREE before you even leave the festival you got into. Careers ruined. Money and time gone forever. How do you stop it? Hope for a big buy out from a major distributor? (Not likely) Pray the piracy doesent happen to you (not likely) Keep the budget so far down for your feature film (50k or less) that it doesent matter? (Possibility) Listen to this interview with a fairly known horror director whose life was ruined: http://tinyurl.com/hfxuwqt Another post that questions is it worth shooting a feature film? http://tinyurl.com/jolx4wh And another: http://tinyurl.com/h7p72yq Scary and grim facts for independent filmmaker working today.
  10. 1 point
    Some of my favourite images are from cinema cameras and DSLRs from which attention has long since drifted elsewhere! Rest assured some of the older cameras on this list are better than any of the latest and greatest (if not in terms of usability then in terms of having an analogue film-like feel that screams "cinema" and not "digital"). Here are my top 5. Read the full article
  11. 1 point
    original files from Andrew still available here, right? - https://vimeo.com/album/3613956
  12. 1 point
    bootsie

    hFOV Calculator.

    What a great job! Thanks!
  13. 1 point
    Definitely go for it. I still have a soft spot in my heart for the KY-27 I used early on in my career. Fully competent piece of gear, but it didn't stop me from coveting the Sony stuff.
  14. 1 point
    there's the disconnect. i'm in a rare place where the file-sharing of my movie helped raise its profile. i think my piracy issues were a benefit in some ways and the loss of potential revenue was negligible. i'm not unhappy that my last film was torrented. but i'm worried about the next one. and the one after that. we're talking about how i make a living after all.
  15. 1 point
    Completely OT, but nothing published after 1923 has entered the public domain in the U.S., Disney is one of the largest media conglomerates in the world, they don't care about anyone's families, including their own employees given some of the massive layoffs from some of their most profitable divisions simply to make them more profitable - see ESPN. Disney only cares about making their shareholders happy as demonstrated by that lame remake of Episode IV by the great Xerox director they call The Force Awakens. Society as a whole benefits from unrestricted access to science and the arts, we're already at authors life + 70 years or 95 for a corporation. This comes up again soon, expect to see the same BS as before - "we have to keep Mickey away from the porn industry" while Disney shovels loads of cash into the coffers of those voting for another extension. Continually extending copyrights only benefits a select few - the publishers - plain and simple its nothing more than corporate welfare. Hopefully our next president vetoes the bill and puts an end to this nonsense.
  16. 1 point
    As interesting as everyone's half-baked lens rhetoric is, can we get back on topic?
  17. 1 point
    So did I. Alot of us talked about it. And still do. But thats all we do. No one is actually trying it I would love some footage to play with.
  18. 1 point
  19. 1 point
    Found a test. Its not looking good in the shadows. Shame as it seems really good in lowlight.
  20. 1 point
    TheRenaissanceMan

    Lenses

    35 1.8, 45 2, 58 1.4. The 85 1.7, 21 2.8, 28 2.8, and 35-70 are next, and samples I've seen show relatively low breathing on those as well.
  21. 1 point
    Ed_David

    Film shot on Olympus E-m5 mark ii

    that piece I don't know what Paul did. In general I use gorilla grain, low level and about 60 percent opacity. I have started to upload to vimeo with pro res LT so it's not h.264 getting recompressed as h.264. seems to work better.
  22. 1 point
    Ian Edward Weir

    hFOV Calculator.

    Thanks for doing this Tito! This is next level! Cheers!
  23. 1 point
    The codec is 8-bit 4:2:2 h.264 Quicktime .mov at a max bit rate of 150mbps. Arguably better than the GH4's internal 8-bit 4:2:0 h.264 Quicktime .mov at 100mbps. I rented it a few months ago (before the LOG update), and it looked very good next to 4K footage from my GH4. And the ergonomics (except for the awful viewfinder) were better than any still/video hybrid. With J-LOG, Dan Chung was able to produce a grade that looked like this. Thinking seriously about buying one at $2995.
  24. 1 point
    For all kinds of questions regarding vignetting, just use the calculator! http://www.tferradans.com/blog/?p=8615
  25. 1 point
    kaylee is officially my favorite person.
  26. 1 point
    Definitely sounds interesting! Would love to see some footage from you Mattias!
  27. 1 point
    Tito Ferradans

    Anamorphic ratio comparison tool

    Sandro, I took a few hours to work mine out. Javascript and wordpress plugins. If you wanna check it out: http://www.tferradans.com/blog/?p=8615
  28. 1 point
    It's seems 'The Chris' has moved the discussion forward by citing existing info on 'fair use' from what appears to a reputable org. Nice work Chris! And a hearty thanks to everyone else for weighing in. Love this site and the folks who contribute in meaningful ways
  29. 1 point
    good night, brave troll. and it's spelled "genius", genius. The movie was distributed by paramount internationally. that included both those countries and whatever rock you just crawled back under.
  30. 1 point
    You can use any lens that covers the s35. Yes you get IS with m4/3 and Canon + metabones. Yes you do. Yup, but given that he didnt have a Histogram means that he didnt have the prime zoom or log. All that came in a later firmware.
  31. 1 point
    If I'm being realistic, I think a few reasonable updates would keep Panasonic in the game. Some sort of IS (even dual IS) that works well in video mode. I think the dual IS is an specially shrewd move because it forces you to use Panasonic lenses. Which, let's be honest will always be part of their plan. A version of the Dual Native ISO that's in the new Varicam. Even a dumbed down version (second ISO starting at 3200?) would address low light shooting. At least one more stop of dynamic range with VLOG. The general improvements that come with a new sensor/processor w/more MP, maybe 60p 4K, 120FPS slo mo. For me, these changes alone seem doable (most are things Panasonic has already implemented somewhere), would keep the price reasonable and would get me to upgrade. With the general size benefits and price advantage of M43 I think they'd sell tons. The only competition (in the current price range) would be the new Sony 6300. But keep in mind Panasonic has things like better codecs, flip/touch screen, more video features etc. Sony also only really focuses on their full frame stuff, so the 6300 doesn't have the great, small, fast lenses in the M43 line. So I think a few improvements would still separate it from the pack.
  32. 1 point
    Pavel Mašek

    Petition for Samsung NX1 hack

    5D has option for lower resolution "RAW" (it is not exactly the RAW becuase of resolution, but bit depth is same as original RAW). That is someting that NX1 does not have. Moreover - NX1 would need also electronic shutter to achieve "video RAW in photo mode". It would be complicated even for Samsung engineers... Let's focus on bitrate first... (...crop mode, lower sharpness or noise reduction)
  33. 1 point
    True, I think I might call JVC this week and pretty much beg them to lend me one
  34. 1 point
    Yes, if it's that big a deal you should be talking to a lawyer, not getting info from a forum. We are just trying to help you, and we are filmmakers like you. However, what I'm trying to say though is that I don't think this really falls under entertainment law in the way using an image, clip, music, etc would. You are not photographing a page from their book, you are quoting... Big difference. When you quote, you cite sources, just like a research paper. Just like professional journalists. Just like big name authors. They don't get permission. They cite. Additionally, there is far more protection for filmmakers than most of us think. For instance, I always thought you couldn't see logos in films, like a Coke can. But it turns out you totally can. If you are using it for its intended design, no problem. Now If you use that can for a bong, then you'll attract a lawsuit. The reason you don't see it in shows and movies as much is because it's free advertisement, and most productions want money for that. Have you seen Everything Is A Remix? Very interesting. Also, the book Pocket Lawyer for Filmmakers may be something you want. But for something this involved, you'll want a lawyer. I think the Publisher will play hardball. That's their job. Will be interesting to hear though. But I'm just guessing. So you'll need a lawyer. Or take a risk. You could just do it. Most cease and desist suits just require filmmakers to just take down content. If that happened, you could involve the lawyer then. Personally, I think you're clear. But I'm just a guy in a camera forum.
  35. 1 point
    Its in the menus, don't remember where. Google back button AF setup with the 5d3 and you'll find articles about disabling the shutter from the main shutter button.
  36. 1 point
    New short film from Macgregor shot on Sony F35 is simply mouthwatering. I dare to say that I haven't seen anything better imagewise in digital camera world, but I have to admit that great grading also helps in this case.
  37. 1 point
    Looks like Epic to me,as it is grabbing a decent chunk from the imaging circle of that s35 lomo (edge vignette due to optimised aspect crop) and has a familiar rendering of detail... but Amira/ Alexa/ Ursa would all look the same with a distinctive anamorphic up front like that. It was nice not think about what camera or lens was present when watching first time, the content was captivating enough...it could have been shot on VHS and still been a strong piece.
  38. 1 point
    nicely done any guesses on the camera? i definitely have one but i am not going first on this lol RIP Eric Garner indeed. ny cops have been *completely* out of control for a looong time
  39. 1 point
    SR

    Petition for Samsung NX1 hack

    Brilliant! Thanks for explanation.
  40. 1 point
    IronFilm

    A Tale of Two T2.0 Zooms (for A6300)

    I'd rather see first a 3 set of cine zooms from Tokina covering wide angle, mid range, and tele. You could then have just three lenses which cover entirely comfortably a production's entire needs.
  41. 1 point
    Hardware. No hack will improve RS. The 1080p mode is pretty good in that regard, though.
  42. 1 point
    Strong stuff. now the nerdy talk: The apartment interior/ balcony and daytime exteriors look extremely like Lomo anamorphic to me. The strong window reflection at 2:40 points towards a diopter being used for closer focus of interior shots. All things point towards Lomo (looks like 50mm squarefront to me)...the CA, edge artifacts, blur rolloff etc...all classic Lomo look. Nice to see it being employed without flares being provoked, nice and relatively understated. As for camera used - take your pick, they all look good these days, but my guess it was something S35 above HD resolution, as the 4k downscaling effect makes the softer rendering of Lomo anamorphic more acceptable (makes the in-focus areas look more sharp after downscaling). All the night time video/ news footage is cropped spherical. The apparent streak flare is almost definitely grease on the lens of a camera phone's lens or on a GoPro's lens, and almost certainly not intended to mimic anamorphic flare...as it's off axis and easily achieved by handling your phone and touching the camera lens on it - depositing finger grease. I sometimes purposely smear my phone's camera lens this way to give a fake anamorphic flare - but at best it looks like a cheap fishing line streak filter.
  43. 1 point
    Update btw...
  44. 1 point
    andy lee

    A Tale of Two T2.0 Zooms (for A6300)

    talking of great cine zooms - I have been having talks with Tokina's distributors about the Tokina CINEMA ATX 50-135mm T3 cine zoom they make . http://www.tokinacinema.com/50-135mmT3.html this looks great as I'm a big fan of long lenses , Imagine this paired with Metbones XL making a T2/f1.8 zoom , I'm going to see if I can borrow one to test.
  45. 1 point
    Life is more than filmmaking, but I know what you're saying. It's still theft and it's a shame and a tragedy. However, I wonder how many here have participated in piracy? Films. TV shows. Software. Music. Books. Free Sony or Panasonic firmware updates. But hey, no one likes the morality police, until they're the victims.
  46. 1 point
    sam

    Film shot on Olympus E-m5 mark ii

    Thanks for giving the lut/grading info you had. I have yet to see any films shot on digital cameras replicate the look from some of the classic mid 80's to late 90's films. Extremely smooth highlights, pinkish Caucasian skintones, neutral, well lit look with natural looking saturated colors, plenty of detail/texture, yet soft/smooth, with beautiful grain to top it off. Also, have you watched your cult leaders new release?
  47. 1 point
    Nikkor

    Sony a6300 4k

    It has sony colors, I will stick to my eos rebel t1.
  48. 1 point
    Snowfun

    Beholder DS1 Thoughts

    I use mine with the rx1004 (using a Kirk to Arca QR to add weight). It balances perfectly. And it functions as it should - you can't adjust the pan speed or anything but that's not an issue if you predict movement. But my unit also has moments when it goes beserk - vibrates furiously and needs to be switched off. Hideous when it happens. Possibly caused by moving the handle off vertical too much? Unfortunately cannot be used inverted (I wanted close to ground shots). Tim
  49. 1 point
    DBounce

    Beholder DS1 Thoughts

    Panning seems to do it. Worst still, when this happens it makes the footage useless. Don't get me wrong, when it's smooth, it's very smooth. But it just seems hard to get shot of more than a few seconds before it all goes to pot.
  50. 1 point
    DBounce

    Beholder DS1 Thoughts

    So here is the long and short of it. The Beholder DS1 is heavy. It can get some very smooth shots, but you will be challenged to keep the shot on target for more than a very short while due to the weight. Additionally, I noticed something unexpected, certain movements can cause the unit to freak out. This results in a type of fast micro-jitters, that will appear as jerky image artifacting. I wanted this unit to work smoothly. I do not know if this behavior is normal or if the unit is defective. But I can tell you normal handheld seems more pleasing to my eyes, despite being less smooth. Normal handheld just seems more organic.
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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