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mopixels

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  1. Andrew a clarification please, when you say "lock focus before I hit record," as you saying you lock it by locking it with some setting or just leaving it be? Just trying to learn how to deal with this beast. Focusing issues are the only problems I have with the camera. Thanks.
  2. Hey Salim. Thanks for creating this topic. I just found it and I'll check it out tonight and report anything about the camera I discover.
  3. Thanks for this suggestion, I'll try to get used to this, but it's still not as good as having AF-S in movie mode. I don't get the point of Sony not enabling it.
  4. I could use some help from experienced Sony shooters. I just bought the A7iii and I can't get the camera to go into the AF-S focus mode so I can use a half-press on the shutter button or with the back AF-ON button. This is my first Sony and I've always been able to put my Pana GHx cameras into a mode where I can activate AF momentarily with a half-press of the shutter button, then release so the focus stays where I want it and prevents it from hunting. I love doing it this way and this could be a deal breaker for me. I really hate using constant AF. Anyway, if you could share how you set up the focus settings and control focus without resorting to full manual on Sony A7 cams it could relieve the sinking feeling I have right now. Otherwise, I love the low noise and incredible dynamic range of the camera. Thanks for the help!
  5. Thanks, Don. I got them to play with VLC. Hope BM updates Resolve so I can play out to a video monitor. -Russ
  6. Help needed. I downloaded the files and after unzipping, they show up in the desktop as QuickTime files with files sizes ranging from 261MB to over 800MB. However, when I open in QuickTime and play, the playhead moves, but content in frame is black. When I link in DaVinci Resolve 14b.061, the files show in the media browser, with stats, but when loaded into the player I get the Media Offline graphic. Even the icon view in the browser shows as Media Offline! Any ideas on what I did wrong? The machine is a MacPro (classic), Nvidia graphics, OS 10.11.6. No other problems with media. Thanks for any help.
  7. Here are three interesting links to augment the discussion: This one is a pretty well done 4 way frame split between the GH5, OMD EM1 II, XT-2, A7s II. Do us all a favor and download and view the "original" file before commenting. I have my opinions on this but will wait for others to view before saying anything. The others are two lovely short films from Martin Wellgren (Sweden, I think). No flesh tones. Using V-log in the second link. LUMIX GH5 High ISO grading test [4K] - ‘Winter’s Grip’ [GH5 10bit V-LogL footage] -
  8. There are various incarnations of this, and how to achieve, on this forum, but I agree completely with those that argue that Panasonic has got to increase the visual quality in terms of noise/low light performance very significantly. I have a GH2 (I still love) and GH3 (an extreme disappointment) and various lenses and support gear, so I would prefer to stay with them. The weak point of the 4/3s system has always been noise at higher ISO ratings and they must improve this a lot or they'll loose. If they go for the more easily achieved increase in resolution (6K or 8K and absolutely moronic in my book) over better image quality in low light then I'm dropping them forever.
  9. Glad to see some people are being realistic about this. 6K is fool's gold, even more so than 4K. Panasonic's #1 mission should be to improve image quality and noise in low light whether it be by a dramatically better 4/3 sensor or preferably moving to Super 35 or FF sensors.
  10. Andrew, Thanks for headlining this issue and making people (me included) aware.
  11. The idea that Panasonic has hamstrung the in-camera recording to 4:2:0 instead of 4:2:2 because it is incompatible with some set top boxes is the stupidest thing I have ever heard. Perhaps a deal-breaker. The whole idea of 4/3 format is to deliver the greatest possible quality with a smaller footprint and now we must rig up with external recorders so someone can watch birthday parties from the reader on their BluRay player? Amazing. For God's sake, someone with a connection to Panasonic prevail upon them to make it switchable to 4:2:2. Please!
  12.   Thanks.  That was a really useful post.   -Russ
  13. I would drop $200 on this if I knew that it was a wheel inserting something like an ND.6, ND1.2 and ND.0 in separate stages like a proper ND wheel on a broadcast camera.  But if it is a variable ND I have questions about it impacting image quality.  Any way to know for sure which this is?  Seems like it's a variable.   Edit: I went to the website for the adapter/ND filter and it's obvious that it's a variable ND.  Still, it's interesting since it would eliminate the need for a bulky matte box with my GH3.  Going to think about it and try to get an idea of impact on IQ.   I haven't used variable ND filters.  Just standard ND filters.  How much do they affect sharpness?  All the sample footage looks like a fairly heavy degree of diffusion was used.  Is this due to the variable ND?
  14. It's impressive and I've worked in 16mm for 30 years and it'll be great to be able to use 16mm cine zoom lenses.  But honestly, can't someone take them aside and show them what a camera looks like?  Absolutely terrible form factor.  No viewfinder for shooting in daylight and maintaining focus.  No XLR connectors or a small auxiliary connector for input from a mixer.
  15. I may not use one if it's a simple set up like an interview, but if I'm lighting a set or location with blocking through a space, an incident light meter is absolutely critical, especially when trimming the lights or changing angle where there is some change in the lighting set up.  I don't set the aperture with one, but rely on one of the newer electronic gismos available today.  I love my spot meter, but don't use it on electronic shoots, however, knowing the zone system helps me a great deal in understanding exposure and the various gammas available in some cameras.
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