sandro

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.

Knowing Canon I wonder how bad 120p will look like.

Just curious. With this sensor that basically see in the dark does it remove the need of any fast lens? The kit lens is good for everything.

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.

Yup... wasn't aware a6300 is so much better in details than others...

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://***URL removed***/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

The new Nikon E lenses with "electronic aperture" means they don't have an aperture lever so useless on dump adapters? If yes is Nikon going the Canon way?

Does DIS reduce resolution? 

It just has a little bit of ghosting wide open

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.

My dear Nikkor 35mm F2 AI-S on the NX1

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? 

I'm an hobbyist at the moment so yeah it's expensive

OK so I tried to understand, if I set 150Mbit for "4K Pro" it applies to all 4K and FHD framerates. Is that correct?

On 8/12/2016 at 4:58 AM, Daniel Galli said:

Nope, just 1080 60p or 120 at 720p

Lens used?

I'm trying the BT hack. So basically when you set a bitrate the "current bitrate" this will applied to all the resolutions? Will it stick through reboots?
I would like to set a bitrate for 4k and one for 60p and 120p, seems like "HD PRO" is for both fps?

Is there a limit for YT for bitrate? The video I posted before I just noticed it has dropped frames and decoding errors. It's full of "jumps" from here https://youtu.be/emhe9MzVOcE?t=190

4 minutes ago, BrorSvensson said:

the samyang 35mm 1.4 is great

I bet quite expensive though, mitakon i guess would make one cheaper?

Wish they also made a cheap 1.4 option.

Is anyone using DIS with vintage lenses? I tried and when I pan even slowly i see some weird jello effect making it basically useless...

https://wirednot.wordpress.com/2015/05/01/the-curious-case-of-bogus-amazon-sellers/

1 hour ago, kidzrevil said:

@sandro it was gamma c at 16-235. I forgot which settings I used for Gamma C but I am working on some new ones anyway. Really wish I didn't have to use 16-235 but I dont have a choice til I find something to use other than premiere

You just color corrected manually?

On 2/6/2016 at 3:15 AM, kidzrevil said:

I've been shooting gamma c at default contrast -10 sharpness and -1 / -2 saturation and wow. Blown away. These were shot with 16-235 but Today i am experimenting with 16-255 as I've read technicolor cinestyle used that range to optimize the image for the encoder. 16-235 remapped to 0-255 automatically in premiere and I assume the same would apply to the 16-255 footage ! for this look I did NOT use LUT's aS I noticed LUT's were exaggerating compression artifacts in the image even when denoising before applying the lut. I went old school and just installed my own toe and shoulder using curves and kept the curve in the midtone region linear. Using the zeiss milvus lenses it looks my theory is true. You can beat the in camera sharpening if you use a high contrast lens that can resolve up to 6k. I assume the noise reduction and sharpening algorithim sees the areas of the image are true detail and leaves those areas filled with fine detail alone. This camera deserves the moniker "baby red" because the image quality is stunning WHEN TREATED CORRECTLY.

Sorry to quote this old post but I just love this look, it's my favorite. It's incredible this has no MBL! Do you have any particular color correction setting "saved" for this look?

these scammers are doing the same on Amazon marketplace so be aware

Fastest and affordable lens below 45mm with nice focusing ring? And Nikon F if possible!

I'm thinking about the sigma 30mm 1.4. Maybe Samyang line?