ntblowz reacted to Orangenz in Google data shows HUGE decline of interest in Canon 5D series
I am SO glad I've moved to Resolve. It deserves it's rise in popularity.
ntblowz reacted to DBounce in GH5S Unedited Raw Footage, Filmic CG
So I am noticing some jerkiness in the footage. I believe this is due to forgetting to recalibrate the Ronin S for the lighter weight GH5S. None the less here is some additional footage. Oh, I also forgot to bring ND filters on this shoot. I guess I have been spoiled by having built in NDs on the Canon C200.
Oh, one last thing, these clips are edited in FCPX. The free version of Resolve does not support the 10 Bit ALL-I files of the GH5/S.
ntblowz reacted to DBounce in GH5S Unedited Raw Footage, Filmic CG
So I decided to pull out the GH5S to see how it works with the Ronin S. This is a single take, shot anamorphically. I still like the look of this camera and feel it's very underrated. It felt light on the Ronin S... but then again I'm used to flying the Canon C200 ?
What are your thoughts?
ntblowz got a reaction from iamoui in Nikon FF Mirrorless
What I want to do with my money is non of your business, it’s not like I m spending your money or anything. ?
For my spending money on gear gives me thrill and spark, hey it’s much cheaper than owning and flying airplane which 2 of my co-workers do. It cost few hundred dollars on fuel for each flight alone!
ntblowz got a reaction from iamoui in Nikon FF Mirrorless
Guess that the difference between full time working vs hobbyist, just did 2 $2000 jobs last week, so it is manageable for me.
$10000 gear is nothing to sneeze at, most of my friend got way more expensive gear than that. My gear is toys compare to them lol. (Some of them earn 6 digit a year just doing video, consider NZ is very small population country so that really good!)
ntblowz reacted to Z_Cunningham in The Canon C200 is here and its a bomb!
Here are some screens from a short I recently wrote/directed. Originally planned to use the Varicam LT but availability was scarce at the time of our shooting days. All in all using the C200 was pretty cool to use. Our colorist said that there was some slight noise issues in the shadows but the color cleaned up well. I can post ungraded raw tiffs in here if anyone wants to see any.
ntblowz got a reaction from Trek of Joy in Sony a7 III discussion
Did a corporate shoot yesterday, focus peaking and magnify while works but not great, Canon one is much better implemented and magnification show much more detail than Sony which is just enlarged blurry screen. But I use AF most of the time but there are times where you want it fixed (like revealing shot and stuff).
The battery life definitely improves a lot, still have 50% battery life left at end of the day, with a7sii I will need at least two batteries.
ntblowz reacted to sanveer in Blackmagic Pocket Cinema Camera 4K
I attended a Black Magic event today and got to play around with the BMPCC4k for a while (maybe 30 mins or so).
I cannot discuss all my observations for fear of causing unnecessary panic, but I will state a few things I noticed.
1. The autofocus is not the best, but with the M43 lens advantage, and focus peaking things should be fine.
2. A lot of firmware features were disabled and flavours of ProRes were limited along with recording capabilities, to prevent people from sharing random non final firmware footage.
3. The on-board fans for the camera were not only absolutely silent, they were also unnoticeable (I put my finger over the vents and noticed almost nothing).
4. The Windowed HD is a substantial crop. So Metabones may make a BMPCC4k specific adaptor (which would be essential IMHO).
5. Low Light seems decent. I would like to compare the GH5s with it, though the Black Magic doesn't seem to have any noise reduction, and so at higher ISOs, noise seemed visible (as was the high level of detail in the image). I think once a few units reach reviewers, I would love to see this reviewed for low light, among other things.
6. I found it to be heavy with cinema lenses. But I guess this may have been due to the lenses more than the body. Also after the composite, it should shave off at least 100gms off the weight.
7. Very impressive ergonomics. Especially the wheels the grip.
After Panasonic's IBIS + OIS we're literally spoit if anything doesn't offer anything like that (Canon cameras?), it's a little disappointing (I know stabilizers are good enough).
I feel Blackmagic is working with a lot of accessory makers. I hope they get a battery grip with atleast 3 hours of juice.
If Panasonic tweaks the VLog, I am sure they can easily get atleast another Stop of Dynamic Range out of the cameras (if not more).
I realised that M43 is in need of a very fast zoom lens with a decent Range (f2 12-36mm). They could make it fat or large, who really cares. And it must have good OIS (for cameras that don't have IBIS).
ntblowz reacted to John Brawley in Commercial TV workflows and RAW / HQ codecs
As mentioned in the other 4K Pocket 2 thread...
In episodic TV, where I spend a lot of my time, we shoot three cameras almost all the time. The show I'm on now shoots 8+1, meaning 8 days of main unit and a day of second unit (while making unit starts the next episode).
We tend to shoot about 2 hours per camera per day.
So that's 6 hours by 8 days of footage. On second unit they shoot with at least two more cameras, if not three. So that means on some days the data wrangler has 12 hours of dailies to process from set from two units.
The footage is backed up on set, then shuttled to the post house offsite.
They backup twice again and then transcode the footage for editorial. We shoot in Atlanta but editorial are in LA cutting on AVID. So they grade (time) the dailies, for editorial and render DNX files and send them over a very secure connection to LA. All done Overnight ?
Editorial then sound sync the dailies, first thing, compare the shots logged vs what they've received and sign off that they have everything that we say we shot (down to the shot). After the emails I see from editorial are notes querying the wrong slate number just so that they can verify this.
As well as doing all that they produce the pulled or select dailies and generate 264's of just those circled / printed takes and they get assembled into a H264 file that gets uploaded to DAX for about 200 studio execs and production people to watch / refer to. There are also some secured rotating ipads that get the same 264 files updated to them for those of us that hate trying to scrub 264 files over the internet. I get those myself, and the director of the episode gets one as does the writer.
Right now the show I'm shooting is on air 9 weeks after we started shooting. That's a clock winding down, because it airs every 7 and we take at least 9 days to shoot each episode ?
You can see how it escalates. There's no safety net for time at all. An episodic TV series will generate a LOT of footage that can quickly overwhelm a production and there's very little room for a slow down at any point.
The studio I'm shooting for now is Fox. They still only air in 720 so they only master in 1920.
Despite the rhetoric about 4K, the reality is that MOST TV DRAMA production isn't shot 4K.
We shoot 1920 ProRes and I always make ProRes 444 the minimum because it's 12 bit. That's all I really need from a grading point of view and RAW workflows offer very few genuine advantages. Try designing a test to show that it does and I'll show you a TV network that shoots 4K. (None of them do)
They're not even interested in mastering 4K for a future proofing scenario.
4K also quickly kills workflow because everything is that much harder with all the above numbers.
I think ProRes RAW is an interesting option, but honestly, over 12 bit ProRes, I don't see much need to shoot ProRes RAW.
I have some friends on Stranger Things at the moment. They do 12 to 14 days per episode. We have 8. That's nearly double the amount of time to shoot the same screen time. They tend to shoot single camera too, because that's the style of the show. But that's a large part of why they need so much more time. I guess you can argue it's success makes the investment worthwhile, but days shooting is the most expensive part of TV production. Because of the cast generally and their availability. A show that shoots for longer tends to find it much harder to hang on to good actors.
ntblowz reacted to LtJTMarsh in Sony A7 III or Fujifilm X-H1?
love the nx1, and nx500 (x2) , just got the 16-50mm S lens, saving up for the 50-150mm, if you have any doubts about the video quality out of this camera, just look at this 1080 sample:
i use the nx1 with : tokina 28-70mm, 24-70mm L, sigma 18-35mm, all the cheap pancakes (16, 30, 45) , i think you can adapt fuji lenses as well. the NXL speedbooster is a must with the nx1. The only thing that may replace my nx1 is pocket4k, but that remains to be seen. Sony is heck of a camera which can also adapt lenses easily.
here is NX1 autofocus test with samsung lens
ntblowz reacted to ajay in Very quick try of Panasonic G9... It's nice, but...
I have the G9 and sold my GH5. I do primarily wildlife photography/videography but occasionally do promotional videos.
Things I love about the camera:
Although it doesn't have Vlog-L, Cine-D is fine for what I do. I usually record in 60p, 4k. The colors right out of the camera are very Canon-like. Need very little post-tweaking if any. The image stabilization is amazing with this camera. Better than the GH5 IMO. I have a gimbal but rarely use it as the footage is usually stable enough w/o one. The viewfinder does have a bit of pin cushion, but doesn't bother me. I've gotten use to it and don't even notice it. Love the ergonomics of the camera. The grip is perfect. Autofocus in video mode is great. Don't really have any complaints at all. Very close to Canon/Sony. Things I don't like:
Limited to 10 min when using 60p, 4k. (If I'm staking out a peregrine nest and just want to leave the camera run, I have to monitor the camera.) Highlight roll-off is the same as the GH5. You really need to be careful not to overexpose. Autofocus in stills mode for BIF (birds-in-flight) is not the best, especially when attempting to focus on birds in the foreground with busy backgrounds. It always locks focus on the background and can't focus on foreground subjects. Since I do a combination of both stills and video, this is a real good fit for me. I also have the A7III but don't like the fact that I still need to schlepp around large, heavy telephoto lenses. The G9 with the 100-400mm for video/stills is liberating!
ntblowz got a reaction from webrunner5 in Is a Sony FS700 still worth buying in late 2018??
FS5 looks like can be had for $3000ish.. so that only 2x the price. The electronic ND is really helpful.
This guy really utilize his FS5 to the best potential
But it does come down to what you need and what not.
ntblowz reacted to BTM_Pix in My Prototype Electronic Variable ND Filter
So... I've been messing around with making a new add on for my controller system and this is it in its embryonic (cardboard and electrical taped chassis) form.
It has 3 dedicated keys on the controller for incrementing and decrementing in stops (it goes to about 95% total blackout) and a clear function. Though this is not a full clear as there is about a half stop of ND at the lowest position.
The level of reduction is actually fully variable but for the implementation I'm after it makes more sense to control it in stops.
As with the other functions, it can be recalled within one of the 8 one touch recall global presets along with exposure, white balance and picture settings.
I've also incorporated an automatic aperture tracking function.
This means that you set the exposure and ND level that you want at a given stop (say f8) and it will adjust the amount of ND up and down as the aperture changes to keep the exposure constant at any aperture.
Right, thats the good news out of the way....
The bad news is that the surface area is going to need to be a lot bigger (these things are usually mounted at the back of the lens but I'm after a front mounting solution for flexibility) to work properly.
Quite a bit bigger and unfortunately that will mean quite a lot more expensive.
The question is how big and how expensive would this be before you wouldn't want it, if you even want it at all? (currently its part of my controller system but I've already ported it to a small micro controller to have it be a standalone as well).
The other question is would you want it within a lens adapter solution anyway rather than it being front mounted (as per the Lens Throttle EF to MFT) so it could be an electronically controlled version of one of those ?
ntblowz reacted to BTM_Pix in Mini Review - URay On Camera HDMI IP Encoder
This will probably only have an audience of one - hello @IronFilm - but might be of use for anyone else who has a need for what it does.
So what is it?
Its a small(ish) box that takes an HDMI input and encodes it into a live H.264 IP data stream that can then be used for monitoring or as an input source by devices on a local network or pushed to streaming services such as YouTube, Facebook etc.
The version I have has an integrated Sony NP battery mount and hotshoe mount so is a completely standalone solution for use in the field but it can also be powered via a mains adapter. If you want to save some money and will only be using it in a studio environment then the version without the battery mount and hotshoe mount is also available.
There is also a version with an integrated 4G modem so you can live broadcast from your camera on to YouTube or whatever service you use without any additional equipment.
There is also an H.265 version available as well.
Physically, the unit isn’t massive but isn’t what you would call compact either.
Seen here on my LS300 camera (which ironically doesn’t need to use one because it has this stuff built in ) it looks in proportion but to be fair it does dwarf a small mirrorless camera a little bit.
Seen here alongside its far more expensive alternative - the Teradek Vidiu - you can see that the base units its not that much bigger but obviously it gets much bigger when you slap the battery on as opposed to the Vidiu which has a built in rechargeable one.
What has to be borne in mind though is the functionality you are getting here and should consider how much more unwieldy things would be if you had to mount a laptop to your A6500 as that would be the only way to get the same functionality.
At this point, I’m going to have to say that if you’re not comfortable with some basic network configuration stuff then this product is not going to make you any more comfortable and you might want to walk away now
OK, after plugging our camera into the HDMI port, we have to log in to the device and configure it.
This is done by attaching an ethernet cable to the LAN port and typing in an address in a browser that brings up a control panel of the sort which will be familiar to you if you’ve ever setup a router.
In here you set up all the options for the type of stream that you will be generating from the incoming camera signal and you can alter everything from re-scaling it, to frame rate and a wide range of quality settings from data rate to encoding profile.
Most of it is self explanatory but you’d better get used to this interface because you’ll be seeing a lot of it as you tweak the settings for the optimum results.
OK, so once its encoded your video and is merrily streaming it you can access it directly through its own LAN or WiFi interfaces or you via a wider network if you connect it to another router (which you will need to do if you want to get your stream out to the internet).
This router can be anything from your home router to an internet access point in Starbucks or your mobile phone’s hotspot function for onward broadcast to the internet.
So lets get down to some actual use cases.
The first use - and the one that @IronFilmis waiting on - is to use it as a way of remote wireless monitoring on set from a camera. In this mode, we set it up as a WiFi access point and connect whatever device or devices to it that we want to monitor on and use a media player that can play network streams to watch it.
Basically, any device that can run VLC will do so you use your phone, tablet, computer or even smart TV to monitor the signal. All you need to do is to enter the address that the stream is playing on into VLC and away you go.
And if there are a few of you, then as you can see here with my MacBook, my iPad and my Android phone, you can all watch it together.
Although, as I said, its more likely that you would use the encoder in access point mode for this, you could actually use a larger network infrastructure if you wanted to for extending the range and extent of the monitoring. These devices are used in this capacity to deliver digital TV service to hotel rooms so its very much a scalable thing !
The other use case that I have it for is to use to encode camera signals so that they can be accessed inside Live:Air which is Teradek’s live video production software that runs on the iPad.
In this scenario, cameras can be connected to multiple encoder units which can then be brought into Live:Air and switched and have overlays added etc and streamed out to the internet for a pretty comprehensive live broadcast.
When used in this way, the encoders and iPad are connected wirelessly though a portable 4G router to move the data around get the final output from Live:Air out on to the internet. The encoder can operate with 2.4G and 5G routers and clients.
If you just want to do direct from the camera live broadcasts then the encoder can also be configured to overlay some lines of text and graphic logos onto the outgoing stream.
Price wise, you can pick up the encoders for about £110 for the non battery version and about £180 for the version I’ve got. To be honest, you can easily knock up your own powering solutions for these for far less than the £70 difference so I’d be inclined to go for the lower priced one unless you need the really, really long run times you can get out of the NP ones.
For comparison, even the basic version of the Teradek Vidiu (which doesn’t support the RTS protocol for monitoring on VLC) to encode live video for Live:Air or for YouTube broadcast is around £700 so it represents a significant saving - particularly for a multi-camera setup.
So, is it any good?
Yes for me but maybe not for you.
It does what it needs to do well enough but the nature of the beast with these devices is that there will be latency and how much of that is acceptable is down to you and what you are using it for.
The bigger problem is that this latency is also very dependent on how you configure it and your network infrastructure and even location if you are in a highly saturated place (which is where the 5G capability actually does help).
All of this variance makes it difficult to recommend with any confidence purely as a MONITOR solution only.
You can tweak away and noodle about with scaling down, bit rate, GOP, profiles etc and mitigate the latency but its never going to go away completely and I’d say that its difficult to find an acceptable balance thats not going to be below 1/2 a second.
That doesn’t mean to say it is without utility when used as a monitoring solution but it would be in a secondary capacity as a distribution method where absolute real time instant monitoring isn’t necessary. So in this way you would loop it through from the primary operator’s monitor and allow everyone else on set to wirelessly monitor after that.
There is also the question of how much real time you may need if you are using it in the capacity of primarily a framing monitor. If you have a Fuji XT/XH for example, this offers a solution to not being able to monitor and trigger the camera over wifi without it dropping to 720p resolution like it does with Fuji’s app. For Vlogging for example where you just want a remote view of the framing then this would give you that and allied with a cheap wireless shutter trigger you can get round the abysmal state of affairs with the Fuji app.
Bear in mind that there is latency but not dropped frames.
For my purposes of using it as a (much, much) cheaper way of getting camera signals into Live:Air than using Teradek’s own encoders then the latency is not an issue at all as each channel has an individual time align control to compensate for the latency.
Similarly when broadcasting direct out of the camera to the internet, the latency at that level is not relevant.
In summary then, if you have a need for the things that it does then it works well and is a huge saving on the alternatives. Its a bit clunky getting it going as the documentation wasn’t exactly readily available so I wasted a lot of time being unable to connect to it as an access point because the router address it uses when wireless is entirely different (and undocumented) to what it is when you are using the LAN port or it is in bridge mode.( Its 192.168.8.8 by the way )
Being able to live stream to YouTube directly out of your DSLR might not be something you want to do every day but if you ever have the need for it (especially away from the studio) then it doesn't come much cheaper and simpler (once you've unearthed the manual) than this.
If you want to use it as your primary real time wireless monitor (other than just for framing or as per the Fuji example where its the only game in town) then I don’t think its the way to go because of the latency. If you are interested in purely doing that then I have another solution for that that is really low latency but thats for another day.
Full product link here
And here is the manual that you won’t find on their site either .
User Manual Of Mini Video Encoder copy.pdf