xrayspecs

12 hours ago, wolf33d said:

Nothing can beat FCPX for me. 

So easy and fast to do what I want. Time remapping is the best of any software and I use time remapping all the time.

Who cares about Native lut support when you just need Color Finale the best grading tool ever with way better integration of LUT management than Premiere native shit. 

I am not saying Resolve is shit. I used FCPX then switched to Premiere for the After effects integration. Switched back recently to FCPX and it's just that much better. 

Tried the last year Resolve for a project. It did not work for me 

This. Those of you who are still ragging on FCPX based on the release from 2+ years ago owe it to yourself to try it again. There have been many, many improvements in a series of major releases since the brouhaha of the first release way back when. If you can get over fealty to past models of nonlinear editing tools, you may find that it's much more efficient and speedy than other nonlinear editors (especially when it comes to Pro Res codecs). And with the addition of the Color Finale plug-in, you have an amazing color-grading and LUT tool that makes up for FCPX's biggest weakness: that awful color board.

 I haven't tried the latest version of Resolve, but I will give it a go on my next personal project. But I have used Premiere and agree with Andrew. It's just a kludgy P.O.S.

Andrew, do you plan to review the GH5?

I'd like to see less footage of scenery and more of people. So far, the skin tones look a bit red in most of the GH5 footage I've seen (but maybe all Scottish people are super ruddy?). I'd love to see some side-by-side comparisons of the GH5 vs. Blackmagic Ursa Mini, a proper 4K shootout to compare the color science (without any artsy color grades, slow motion, or raw vlog).

To my eyes, BMPCC footage has heavy blue (or maybe cyan?) saturation. Look at the skies in the video above: a beautiful, but not completely natural blue. I see this in a lot of exterior footage shot with the BM cameras. Is this blue cast due to color grading in post? Or does the BM color science amp up the blue saturation? I wonder if this is one of the qualities that people (me included!) perceive as "filmic."

Hey Andrew, are you still planning to review the Blackmagic Micro Cinema Camera?

Anyone know if the Metabones Speed Booster XL 0.64x will fit on the BMMCC.

Thanks for your opinions, Zak and dbp! I wonder how the moire on the Micro compares to the Pocket. 

Hey Zak,

As a GH4 user, what are your thoughts on switching over to the BMMCC? Are you happy trading the 4K resolution of the GH4 for the better color space and color science of the Blackmagic camera? Any noticeable increase in moire or other visual artifacting on the BMMCC as opposed to the GH4? I'm sitting on the fence right now trying to figure out if I should sell my GH4 and go for the BMMCC.

Thanks. I have the Impulz Pro package, so I am out of luck. Maybe I'll look around and see if that particular LUT maybe, you know, fell off an Internet truck.

Where can I get this LUT for Final Cut Pro X?

OK, here's a clip without the LUTs applied: https://vimeo.com/136555552

 

I'm getting too much magenta when I apply both the converter LUT and the output LUT in FCPX. I'm using the EOSHD Cinema settings. 

Before applying EOSHD LOG input LUT and 1DC-style output LUT:

After applying EOSHD input and output LUTs:

 

The true color of the shirt is closer to the original (pre-LUTs) version.

Andrew, I also noticed that the Cinema settings in your LUT instructions do not include a Tone setting. However, the Cinema settings in your GH4 Guide specify a Tone setting of +2. Should I set Tone to 0 (zero) for the purposes of the LUT conversion?

 

Is it a LUT that gives all Blackmagic cameras that blue cast? Or is it the camera itself? 

 

 

That's funny, I thought the takeaway was "don't try to make cool experimental imagery if your audience consists of pedantic internet pixel peepers".

Nice attempt at summary dismissal, but that's a straw-man argument I never made. I simply noted that the clip "looks" bad. To elaborate, I found the clip visually fuzzy, murky, unpleasantly underlit, and filled with electronic noise that does not look like film grain. I'm not commenting on the subject matter, mood, or anything about its "experimental" nature. I wouldn't even classify it as "experimental"--it's a straightforward montage of the sort you see all the time in camera tests on the Interwebs.  

Yes, I think the critical takeaway from that video is "Don't shoot at high ISOs in slo-mo. It looks terrible."

Samy's Camera in Los Angeles got a shipment of GH4s late last week, including a number of units that were not reserved for preorders. As soon as the word got out, all of those units quickly sold out. I'm not sure why Samy's got its first shipment so early (before the official April 30 release date in the U.S.). My preorder on Amazon is still scheduled to ship on April 30. 

But you can set the HDMI output to 1080 (so we can still use our external viewers/records) But how I wonder does the camera generates this real time downsample to 1080? Line Skipping? Pixel Binning?

Good question. Will i be able to use my Small HD 7" monitor with the gh4?

Does anyone know why the Canon FD-to-M34 Metabones speed booster has been unavailable for purchase for so long? Is there a technical problem with the design? 

 Pentax PK to micro 4/3 - google !!!!

Thanks for the info, but not the condescension!!!!

What kind of mount would I need to attach Pentax PK 28mm F2.0 to a GH2?

Andrew,

How do you carry the Benro/701 combination on foot. I have Benro sticks and a 701 head and the Benro carrying case is a not big enough to contain the head. I'm looking for a nice bag just large enough to carry the my slightly top-heavy tripod/head combination.

Which patch did you use to shoot the Radiohead video? Also, what settings did you use to capture the time-lapse cloud footage?

Thanks.