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Andrew Reid

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Everything posted by Andrew Reid

  1. Nice results Does anyone know what the right combination of settings are in Resolve to get Dolby Vision HDR 4K footage from the older iPhones from 12 through 14 to display as HLG in Resolve without the Dolby Vision metadata, or tone mapping applied? Just want to grade the HGL like S-LOG. Everything I've tried so far doesn't work, including setting custom colour spaces in Resolve set to Rec 2100 and Hybrid Log Gamma.
  2. Venice II has a similar sensor but apparently not the same, as it lacks phase-detect AF pixels, and has less rolling shutter than the a1. It might be a very similar sensor just without PDAF and clocked higher for a faster readout.
  3. No, Venice is 6K. They have apparently used the A1 sensor in the BURRITO.
  4. Do you know what the logic is behind the A7 IV bucking the IMX naming convention with "IS"?
  5. The ALEXA 35 is a bit more expensive. And I am sure it has Foxconn / Chinese components in there too. As do RED.
  6. It might clear it on a Cfexpress type A card, as they are rather speedy. Unfortunately I ain't got one as they are also rather pricey. I think it can fill the buffer at such a high rate of data, 50MP 30fps RAW, due to the buffer pretty much being onboard the sensor in a 3D circuit pattern. But that does mean things slow down after so many GB of data works it way off the buffer, and through to the card. It is also rather heavy on the battery. A fun trick though and something to play with.
  7. Just been playing with the H+ mode on the a1. This gives an open gate 8.6K compressed RAW (13bit) at 30fps for approximately 6 seconds before the buffer fills up. This is begging for a hack to turn it into an internal RAW video mode isn't it? As it stands, my hack is to simply use this mode and combine the RAW frames in Resolve. Should be an interesting thing to play with though. And it doesn't need a CFe type A card to do the 6 seconds, any half decent UHS-II SD does the job although it does take longer for the buffer to clear (around 30 seconds!) Wish it had the option for Medium and Small RAW sizes (i.e. 2K or 4K) not just the full res, then it could roll for quite a bit more than 6 seconds.
  8. Do we need 8K? Find out why I have changed my mind here. https://www.eoshd.com/news/the-great-8k-debate-why-i-have-changed-my-mind And yes the Sigma Fp-L and Sony a1 have something to do with it 🙂
  9. Straight off the camera, no further crop. It has the resolution to do it justice. Will shoot some Cinema DNG with it tomorrow
  10. Leica M F1.4 lenses are small, and not soft. So they can and should be making much smaller, sharper, fast F1.4 primes!
  11. I would target it it primarily at photographers, to get the sales going strong and wait for video people to catch on! Get the basics right... PDAF, IBIS, ND, colour, codec. Put the ND in a nice EF adapter with a clear setting, if it costs too much to put it in the camera body. Make sure it does Cinema DNG raw in 2.8K 10bit for fun (SD card) Make the LOG profile as easy to grade as C-LOG. Put a larger than 3" screen on the back, and make it 16:9 Built the body out of silver alloy, so it shines, with a wooden grip. Don't bother with the black anodising or whatever. That should separate it from the crowd!!
  12. The RF 28-70 2.0 looks interesting, in a kind of outlier way, but it isn't really designed to replace your primes otherwise Canon would sell less primes, and we can't have that. It is much larger and heavier for example vs 50mm f1.2 EF and is not F1.2, so looks rather different. The 35mm F1.8 is a cheap asshat lens, can't really compare it. So RF is good for EF sales. I see!
  13. F1.2 was the maximum, or F1.0 if you count the EF 50mm F1.0 F1.4 was the norm, a balanced option much smaller than F1.2 Look at the size of an EF 50 1.4 vs the F1.2, much smaller, or smaller still the Canon FD or Olympus OM 50mm F1.4 It's tiny F1.8 or F2 was for sharpness, F1.4 for portraits, softer skin, more ethereal look. Now in the mirrorless day, there's not many RF lenses at F1.4. They're either enormous F1.2, or cheap shit.
  14. They downgraded the Billy bookcase version to an F7.1! I remember a rumour a while ago about Canon trying to buy Sigma, but being rejected. Maybe the sour grapes stem from that? Or perhaps Canon make all their money in lenses, and don't mind selling fewer cameras, if it means selling more Canon RF lenses vs Sigma RF lenses. Someone, somewhere, with a calculator, has done a sum. Unfortunately for Canon, calculators are often the death of a product line.
  15. Some thoughts on RF lenses https://www.eoshd.com/news/leading-for-now-but-have-canon-got-it-wrong-with-rf-lenses/ Everyone loved EF, I am not sure the RF range is going down as well?
  16. Didn't think this would work at first. Turns out it does, and then some! The 9.5K sensor in this thing has enough left over for 4.8K in 2x crop mode The Ultra HD is oversampled from this 4.8K and we have our nice looking Cinema DNG internal to SD card. Something the Micro Four Thirds cameras can't do. So it is basically a Digital Bolex at this point. Frame grab: The form factor is also perfect for these lenses being so small. It feels balanced as a Super 16mm handheld candid camera. It has one over on the Sony a1 for c-mount as well... The 2x crop is sticky, between Cine and Stills, and is remembered every time you turn it on. Whereas the Sony clear image zoom keeps getting reset when you power down or switch modes. So yeah, I think my Digital Bolex D16 itch has finally been scratched!! It's also perfect for bunny pics
  17. You've got to applaud Nikon for designing with culture in mind and drawing on their lovely past. I just hope they can take the implementation that next step because the original Df, and the Fc don't actually feel like they look. Kinda cheap. The Fz seems like it will handle and feelthe same way with those cheap buttons and the fake leather. It is lovely to look at though. I had an Fc earlier in the year in orange, but apart from the looks, I couldn't justify keeping it vs Fuji, as the X-H2 just did so much more, as did X-T4.
  18. Looking back it seems odd to me that Canon could establish two new systems Cinema EOS and EOS R, with the first camera in these lines being quite mundane, the 8bit C300 and the 5D Mark IV in mirrorless form, EOS R. But it actually makes perfect sense when you think about it in terms of lenses. C300 appealed to all those pros using EF lenses on their DSLRs. And EOS R appealed to all those enthusiasts and semi-pros using EF lenses on their DSLRs. When you have such a large established base of users, it's very hard to naff it up isn't it!
  19. For ages they had the mirrorless market to themselves. Now Canon DSLRs are finally dead, the mirrorless market has a new leader https://www.eoshd.com/news/how-panasonic-and-sony-let-canon-steal-the-mirrorless-camera-lead/ Canon! I take a look at how this happened.
  20. Possibly was a cost cutting thing, but this doesn't make the situation any better, especially given the $1899 G9 II vs $1999 full frame S5 II has not resulted in much of the cost saving being passed onto Micro Four Thirds users. It has to be different. If they need to charge $2k for a camera body then the micro Leica M style idea would do it for me because it's different. When full frame has cannibalised your purpose, you have to try harder to be unique, rather than throwing in the towel and being the same but with a smaller sensor.
  21. My thoughts on it. I am pretty sure this is the end of Micro Four Thirds. https://www.eoshd.com/news/hannibal-lumix-why-panasonic-have-lost-the-plot-over-micro-four-thirds/
  22. Nino is a trained poser 🙂 The a1 aside from the price has no weakness at all and is invincible. 8K, but it doesn't sacrifice low light like you'd think it would, or introduce bad rolling shutter. 4K but not capped at 30 or 60...it's 120p. 4K 120 from a 50 megapixel full frame sensor is end game for me. I don't need higher numbers until the next end game comes out! Brilliant AF even with the Leica M thingy They fixed something big in the colour science / sensor readout and so no complaints there & that firmware update with the chunky 422 codec allows it to compete with RAW without the massive file sizes. No complaints with the excellent EVF, battery life, compact size and weight, overheating, etc. Maybe the one niggle for me is that the clear-image zoom in 4K for Super 16mm lenses doesn't 'stick' when you power cycle the camera, so takes a few extra taps to put it in Micro Four Thirds 2x crop mode for those lenses. Also perhaps it could have done with that magic eND mythical unicorn tech or a way to simulate the look of 180deg shutter somehow. Actually it does have a few other downsides but they're not dealbreakers for me: - Doesn't have anamorphic open gate - No in-camera LUT support - Firmware updates a bit thin on the ground from Sony - EVF res can drop when it is autofocusing
  23. Yes it is about little details like that, which can add up and make a totally different impression. It is also about the big details too like what the point of it existing is. That is quite alluring and really quite rare as GM5 wasn't made for long, I find it tricky to across one on eBay at all, let alone in red, let alone for under £600. Take that crap lens off it though 😉 The trick with those Sonys is to use a gamma curve rich in tonality and contrast, along with a wide colour gamut like S.Gamut.3, and play around with the extensive settings to find something you like. This was the principal of EOSHD Pro Color. Punchy straight off card cinema on a stick, but not with Sony's colours. The wider colour gamuts really help to avoid the clipping, Bart Simpson skin tones, and other issues... Also you have to take care with the white balance, that also makes a big difference. The codec is alright. Not enough data rate or bit depth for S-LOG3 but you can get away with baked in colour profiles and a bit of S-LOG2. Just to touch on big details again, in the design of a camera... GH6 should have had that big detail called a built in ND filter and done internal ProRes the way Fuji has with LT option for reasonable file sizes. They should also have had new cinema film stock emulations in there or at least provided the LUTs already installed on the camera. The GH6 should also have had PDAF. These are major details. Then the ergonomics, buttons, tactile feel of the dials, etc. could all have been done better, they are naff. S5 II if I were planning it would have been positioned as a cheaper full frame camera to compete with EOS R8, but with the classic styling of a Fuji X series cam to draw in the photography crowd, who see Pana as more a microwave oven and camcorder provider. The S5 II is uncomfortably high specced especially for video and really crashes the GH6 and S1H party. In fact it wades in and trashes the place. The G9 II on the other hand would have been a MUCH more Leica affair with emphasis on video. Why do we need the GH6 video features twice on two almost identically specced machines at a similar price?
  24. The thing is they are right about PDAF though aren't they? Who is going to want a GH6 now, with crap AF and $300 more than the G9 II? In the same price range as an S5 II? It's toast. They will probably have to do a GH6 II with PDAF now to keep it selling. Which begs the question, why did they bring it out last year at all, better they had waited and got a strategy together that makes sense. There is nothing about the S5 II, GH6 and G9 II that makes sense. One is too cheap, one is dead, and the other is a full frame camera with the wrong sensor in it!!
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