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Showing content with the highest reputation on 03/23/2019 in all areas

  1. 1 point
    It is on my phone, tap the magnifying glass icon at top bar
  2. 1 point

    Blackmagic Pocket Cinema Camera 4K

    sounds like a clever marketing ploy, they mention only the filter stack of the sensor, new optics and compatibility only with the bmp4k. I guess somewhere, there is a room filled, with a bunch of men in little white coats they need to feed. With a new camera on the scene there is no better way of generating a new niche market than preying on peoples perceived weaknesses of a particular design. we already know that the XL 0.64x, 0.71x work fine on the bmp4k. Seems to me their pushing the exclusivity thing abit ( you have the best new 4k camera now go buy the best new 4k speed booster that incidentally only works on the bmp4k. because you owe it to yourself, blah blah blah ) i have heard that some earlier bm cameras had an issue with filter stack thickness, but i would think bm would have sorted it out by now, if they hadn't, we would have heard of it by now on the forums. if the filter stack is an issue with the XL 0.64x or the ULTRA 0.71x why isn't an issue with any lenses we attach to the front of the camera ? (maybe my logic is flawed if i'm wrong feel free to enlighten me ) i think metabones is grasping at straws by bringing that up. Percentage wise, how much better can it be ? I think the bmp4k has slightly bigger sensor from the original if i remember the stats correctly (which is where the optimized optics come in i presume ) perhaps they have added some contacts for added functionality with the bmp4k or an electronic nd filter but thats some pretty wild speculation on my part. I don't have a speed booster yet so be interesting to see how things develop. if the new speed booster is 10%, 20% better i'll buy one. Otherwise i'll probably buy a cheap XL 0.64x, 0.71x that's recently found its way to ebay 😉
  3. 1 point
    Mako Sports

    A7siii autofocus

    A6400 autofocus, 4K 60, and Venice color is what i'm hoping for. I don't even care if its 10 bit internal.
  4. 1 point

    Selling FS5 to get a BMPCC4K?

    The Pocket 4K has better IQ but the FS5 has features I need: No crop, full coverage S35 or Full Frame with a speedbooster 4K 120fps RAW cdng positive lock EF mount with metabones cine inexpensive SSD media I was patient and got a used FS5II and a Odyssey 7Q bundle for under USD$3500.
  5. 1 point
    Mattias Burling

    I WILL be getting a Fuji X-T3!

    I had the 90mm f2. Great lens but this bad boy is just so darn affordable. The new firmware cleared up all bugs and as a bonus increased the focus speed.
  6. 1 point
    Even if you encounter diffraction limitations, higher pixel counts mean that you can actually reach that limitation with bumping into approximation errors that you would encounter if your pixel resolution was at it. As a general rule of thumb, in order to capture a true image you want your sensor resolution to be significantly more than your lens resolution so you don't waste any of the lense performance. Plus, Beyer filters means that even when you are at the diffraction limit you will lose information, so you have to be significantly below it to capture reasonably accurate true color at the maximum resolution possible with the lens. High pixel count sensors are useful for this reason, even if the optics does not resolve down to that level. At a guess I would say that you need about 9-16 pixels (3X or 4X matrices) on the sensor to properly recover all of the information in 1 pixel of lens resolution. It is fairly simple. You use the 3x3 Beyer array to generate a single debeyered pixel, which is what is output. If that is done on the sensor itself it means that your camera would not have to debeyer the image separately, and you would essentially be getting a true color image from the camera at full resolution. The 4K output would have the image quality of a 12K camera, but without the computational overhead a conventional 12K camera would normally have. Since computing power is the bottleneck on all video cameras, a sensor that does this automatically itself would free up enormous resources in the rest of the camera that can then be used in other more useful ways. Such as monitoring more AF/exposure points for example, which in turn would allow for tighter more accurate tracking and things of that sort.
  7. 1 point
    You typically want to put any finishing/sharpening a the very end after of your processing. Typically just before running it out. How strong you make the sharpening and the radius you use will just depend on the final look you are going for and how soft your original footage is. Depending on the sharpening filter you are using there is typically a strength and a radius value. As part of your finishing process, you may also want to add grain into the image. Opinions on whether you add the grain before or after the sharpening can vary, but I find that if I'm dealing with an image that needs a lot of sharpening, I'll add the grain last so I'm not heavily sharpening my grain. Conversely if I'm doing a composite and matching grain between elements, the grain will come earlier in the pipeline. But in that case, any sharpening I'm adding back in is very minimal to just restore any detail loss due to encoding. If you want to dial in some specific values for minimal sharpening to make up for re-encoding your original source to whatever your final format is, you can run a "wedge" and try a variety of values then compare the detail you see with various sharpness settings of your output video against your raw source and pick one that matches most closely. Depending on what your source material is and what your delivery format is, this can vary wildly. In cases where I'm working from a high res (6k-4k) source and delivering at 2k, I may not even use sharpening. Finally, opinions also vary about where to put any degraining, but I prefer to put it near or at the very beginning of my color pipeline. If your degrainer is expecting something in rec 709 though, do your color transform into video space and then run your degrainer. A little testing with your camera's source footage will go a long way here as well. But, I find that especially when I'm working with 8 bit source material, it can add some pseudo bit depth to the images before I begin pulling on the color. So, I'd typically do: .Raw adjustments to set color balance and exposure. (if working with raw footage) Degrain/NR Color sharpen/grain
  8. 1 point


    It sounds like some kind of anamorphic... maybe something with internal reflections causing a flaring effect... or even a fake anamorphic?
  9. 1 point


    You ain't seen my ancient Promura 135 1.8. Impressive lens to look at, big, heavy and solid. Was ok with film and 6mp DSLRs I guess. Mine looks like someone tried to clean it inside and ended up smearing things a bit but it has remained the same since I got it when there were half a dozen bricks and mortar camera stores in Wagga (and I got it from one of them). The EF Canon 135 f2 L is a nice AF lens still Used on M43, APSC and FF and I regret selling mine when I needed the money. I kept my Sigma 150 2.8 instead though and I am glad I did though still miss that Canon (plus they can be found pretty cheap these days since they have been around so long).
  10. 1 point
    +1 on the live recording focusing assist. I'd also like to see a usable HDMI signal out while shooting in 6k video mode on the GH5. Though, I'm guessing no more work will be done to the GH5...
  11. 1 point
    Yeah was always bummed they didn't have it on the GH5. Really nice having it on the XT3.
  12. 1 point
    Its definitely an SA mount. If it is a used one and you can't get a refund/exchange then you will be able to sell it on without too much loss as it is a very popular lens for SD Quattro owners. Sigma themselves offer a permanent mount change service but the price of this went up not so long ago and it is now more expensive than any loss you'll take selling it and re-buying another used one in EF mount.
  13. 1 point

    Panasonic GH6 rumours

    Wonderful videos! I know my GH5 is so much better than I am 41K.. screw 8K! Wow!! 😎😎😎
  14. 1 point
    Well it is like someone already said on here. Don't steal music and you will have no problems. How hard is that. This isn't some new concept. If you have dumbass directors that falls on your shoulders doesn't it. This is why being a business owner sucks ass, why you lay awake at nights. YOU are responsible for Everyone that works for you good or bad, now or years ago.
  15. 1 point
    Simple solution to the problem is to stop stealing other people's stuff. If you are a content creator, then create your own content. Just using other peoples creations without permission is not OK, doubly so if you are outraged when others do the same to you. I seem to recall a thread here a while back bemoaning the fact that third parties were doing just that, making it hard for independent film makers to monetize their creations. How is this any different? Just because the shoe is on the other foot does not make any less of a shoe.
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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