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sandro

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Posts posted by sandro


  1. Don't wanna be offensive but are people still hoping Canon will release the good non crippled hybrid DSLR? Didn't we learn many years ago they will Never release one intentionally to protect their videocameras line?

    funny thing is that no matter this they will never stop since this will be the best selling dslr, for video as well


  2. Yesterday I shoot some clips at 6400 ISO and I'm seriously confused on how Samsung managed to get this bad image on the NX1. It doesn't even seem a NR thing just the sensor/HW that are bad designed. I'm considering getting A6300 for night shots B camera for little money if i'll ever need it. A6300 seems clean up to 12800. It probably didn't help that I was shooting at 60P.


  3. 7 hours ago, jonpais said:

    I'm not clairvoyant, so I can't say what would have become of Samsung's camera if it didn't sport H265, but soon it will be standard on all 4K cameras, it isn't just 'some new tech trend' that will come and go. Samsung were ahead of their time. Intel's latest processor, Kaby Lake, will support hardware accelerated HEVC.

    It already does with Skylake.


  4. 1 hour ago, Pavel Mašek said:

    I am using Vasile's 5.2 bitrate hack, I use 180Mbps 4K30fps - no issues so far BUT I have dropped frames with 110Mbps (even with 100 Mbps) 1080p120fps. No matter if I use slowmo video without sound or direct 120fps. Final video has 29.6fps or 119.1fps.

    I thought it can happen with Samsung lenses with AF but it also happend it when using manual lens. Strange is that I filmed 2 exactly same scenes with this manual lens and one had dropped frames and second not - so it hard to test it. For example I made 3 clips today with 110Mbps and no one had dropped frames. Other day - almost every 120fps clip has dropped frames ( I mostly see it in shallow depth of field scenes). Using still same card - Lexar 2000x 64GB.

    Anyone has same experience?

    I thought that bitrate was stable for 120p.


  5. 12 hours ago, Inazuma said:

    BTW it's not clear but where the dropdown gives you options for 4k, 4k aps-c, 1080p, 1080p aps-c,  the "4k APS-C" means 4k 30p and "1080p APS-C" means 120p. Not sure why they've named them such. 

    @wobba I also bought a GX80 and then a a6300 shortly after (my wallet is pretty battered now). I agree with all those points you made. I would also add that skintones are far more accurate (with the Standard profiles or with SLOG2 and SGamut3.Cine colour). Also a big issue I have with Panasonic cameras is that flares from bright lights cause purple streaks; an issue that Sony and other manufacturers don't have. 

    I still have my GX80 because I cant decide which to keep. I have particularly shaky hands so the 5-axis is a godsend for me. And the 1080 is just so much more detailed as well..

    a6300 4K is sharper than NX1's 4K. Is that right? https://www.dpreview.com/reviews/image-comparison/fullscreen?attr29_0=sony_a6300&attr29_1=samsung_nx1&attr72_0=4k&attr72_1=4k&normalization=full&widget=383&x=0.24528761715853103&y=0.6463206190739753


  6. 1 hour ago, j.f.r. said:

    Your post honestly disrespect a craft that people have put their life into.... Personally I think you should honestly do some history, research and most importantly value this craft which many people feed their families with.

     

    Cameras becoming so accessible was a great thing, but also it allows people to walk in and disrespect the art....... 

    I seriously don't get what you're talking about. Just because this art is food for you and not for me doesn't mean $400 for a lens just becomes cheap for me.

    I'll leave this thread since I'm so disrespectful.


  7. On 8/14/2016 at 7:33 PM, لطفي بوعكاز said:

    I spent the entire day testing 0-255 vs 16-235 vs 16-255 and thanks to the tip for "brightness -3 and contrast -15" that I can for sure use 0-255 in premiere cc 2015 and wont have any clipping, while maintaining the full color for exporting in DNXHD and also maintain the Legal color for Youtube and Vimeo. 

    when I used 16-235 I did a test while reducing exposure and it looked very nasty in premiere with banding everywhere, looked very clean in 0-255.

    with 0-255 you can recover superwhites, like clouds for example, the detail in shadows is much more and the blocking, artifacts is not there "when using bitrate hack"

    when using 16-255, this was better than 16-235 but still not as good as 0-255. 

    I did notice that VLC plays the 0-255 while all other players didn't read the superwhites in 0-255 so that could be an issue. 

    so my advice is use 0-255 with -3 brightness and -15 contrast but export 2 versions, one Legal for web players and TV and keep the original for the future. 

    Could you post some comparison? -15 contrast sounds really extreme. Anyway can't you just go back to 0-255 in premiere even if shot at 16-235? 

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