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TJB

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TJB last won the day on September 25 2012

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About TJB

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  1. Surprise! 4K Super 35mm JVC GY-LS300 costs just $4K

    "it only covers a center part of it, so you crop out the black area around it, and you get the native field of view of the lens as you do on a m43s sensor" Good to know there's someone out there that agrees with me. Good to know that JVC will do as they say and keep the native field of view of the lens. Not confusing or badly worded at all.
  2. Surprise! 4K Super 35mm JVC GY-LS300 costs just $4K

    It's good to know that the native field of view of the lens will be preserved. A m4/3 lens will only use as much of the sensor as it needs to, to preserve it's field of view. In other words, my Panasonic 20mm f1.7 lens will have the same angle of view on the LS300 as my GH2. I wouldn't call this a "crop" because what we see won't be cropped. In fact I haven't seen anything re. the LS300 that mentions a "crop" - quite the opposite. It would be better to call it a multi - sized/ aspect sensor.
  3. Surprise! 4K Super 35mm JVC GY-LS300 costs just $4K

    A "usable camcorder" like the FS100, bought used and applauded by some on this website. Anyway, I thought camcorders were supposed to have better ergonomics than DSLR style video cameras.
  4. Surprise! 4K Super 35mm JVC GY-LS300 costs just $4K

    Angle of view with m4/3 lenses seems to be preserved without a crop according to bhphoto.com When the camera is used with MFT, Super 16, and other size lenses, using JVC's proprietary Variable Scan Mapping feature will allow you to maintain the lens' native angle of view. This gives filmmakers the flexibility of using widely available MFT lenses as well as high-end cinema lenses. It is also possible to attach the camera to microscopes and other devices using a MFT/C-mount adaptor.
  5. Evolving Sony A7S Review (Part 1)

    When shooting SLOG I understand the base ISO is 3200. If so then that would mean doubling up on ND filters in broad daylight with a risk of reducing image quality. Any thoughts. Also, the A7s is full frame but only when using an adapter (metabones or Sony A-mount) - is this right? Otherwise, when using native E-mount glass - it's an APS-C camera. How does the ergonomics compare with the GH4? Many thanks!
  6. "Shooting 4K for 2K on the Panasonic GH4" This is the title of this blog....however I've read the article and the comments and haven't found a definitive user friendly answer.
  7. Many thanks Andrew..... however - as embarrassing as this is to write in a virtual room full of amazing computer minds - I have to say that I have no idea how to run this application. I read the explanation and have to say it's about as easy to navigate as German grammar. Please give me drag n'drop and I'm happy. I must admit I tried this App once before - hence my wording - "user friendly transcoding app" However, much appreciated!
  8. Yeah, I'm wondering the same thing. I'm considering the same workflow hoping to keep more colour info in the file (less banding) than if I shot 1080p. Wonder if there is a user friendly transcoding App that converts 4K 4.2.0 material shot in camera to full 1080p 4.2.2 or 4.4.4 ready for editing? Hope someone has an answer to this!
  9. 5D Mark III raw versus Panasonic GH4

    "This is something I’ve been really trying to draw a conclusion on in recent weeks for my own sanity!" Simply keep and use both cameras and keep your sanity. If it's not necessary, trying to decide between two totally different cameras is as silly as trying to choose between two totally different lenses. Why would you, if you didn't have to? If it's so essential to choose, then simply choose the camera that suits your visual style.
  10. "However before you can splutter that old cliche ‘content is king!!’" I sat in on a production meeting once where the executive producer was expressing his desire for more success with his productions. He praised one particular director for his content and saw a particular type of content as a way of making more successful films. Unfortunately he missed the point. Content is important but the director (how the story is told) is more important. A great film maker can make good films with the lowliest tools and with the most mundane content. A great film maker can make even better films with the lowliest of tools and more interesting content. You get the point.
  11. GH4 and Ninja Star

    Anyone know if 4K footage shot internally to the GH4 replays (in camera) 1080p 4.2.2 via HDMI cable to a Ninja Star recorder? I asked Atomos support who weren't sure. For me this would be a great hardware means of transcoding selected 4K clips to 1080p ProRes 4.2.2 at the end of the day, without having the Ninja Star coupled to the camera during a shoot. And avoid slow software transcoding sessions. Please - I'm only interested in definitive replies.
  12. Totally agree. Network television here in Germany still use Canon 5DMKII's for many of their more high profile weekly documentary series. One is "Zoom" on ZDF. The footage is of course riddled with aliasing and moire - but no one seems to mind - certainly not the audience. The story is the main factor and the "style" is of course dominated by shallow depth of field. When I watch a movie on AppleTV with my wife, she can't tell the difference between the SD and the HD version. I think it's worth the extra Euro per rental, but I imagine many wouldn't.
  13. Pixel peeping always amplifies the effect. If you have a strong story to tell then rolling shutter won't get noticed by most of the audience. Even if they do notice - they probably won't care. You could alway try and hid rolling shutter with film effects like dust and scratches. An example -
  14. In a few years time - the next generation of film makers will seek out plugins that will imitate all the video abnormalities we dislike today. Plugins like the film grain, scratches, dust and light leaks etc (over) used by those seeking the "film look" today. Looking forward to NAB to see Canon and Sony's answer to the GH4.
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