chrisso

Raw is looking good to me.

Raw is also easier to use for me, as ProRes has to be more carefully shot.

9 stops? Maybe, but still better than most other similarly priced cameras/

 

 

RAW isn't arriving at chicken salad out of chicken shit. 

Raw is what the sensor sees. That's why it's called raw. Everything else is a subjective adjustment of the raw data.

A camera sensor isn't a human eye. Your eye interprets incoming data too. That's why I see differently to you. Some people are colour blind etc...

But everything about grading is opinion based - exposure, colour, sharpness.

If it's just going to come up 'done', then it's all going to be based on someone else's subjective taste. That's the opposite of what RAW is about. It sounds like you want jpeg with pre-made looks like the Sony Nex and GH series.

I think you are supposed to judge it by eye, either using the camera's LCD or exposure tools.

Nothing is perfect, and the Speedbooster delivers quite a lot of positives for the price.

There is too much effort spent simply trying to manage up an honest and true rendition of what light the camera saw and the relative values present in a scene.  Getting to an appropriate linear representation so that you can then grade from a place of awareness and creativity, a place where you can make meaningful decisions that are more than just trying to get it to not look like shit anymore, shouldn't be an ordeal, it should just be.  It should be the first thing you see when you look at your footage.  

 

Most experienced Resolve users can get there in a couple of mouse moves. I admit I'm finding it hard to learn and understand Resolve, but I tried Filmconvert on both my Pro-Res and converted Raw footage and didn't like what it did.

The best thing I've found is capture One, but it's a tiresome and slow workflow. I think it just needs a more dedicated attempt at mastering Resolve.

On the Manfrotto, I checked it out in my local video store, and also it's smaller cousin. I ended up buying the smaller one because the one you're looking at is quite big and chunky, and I knew I would end up not using it much - carrying it around a city all day, taking it on flights etc...

That's just me though.

The head on the smaller one is very basic, but I just know I'm more likely to use the thinner, lighter monopod.

http://www.amazon.com/Manfrotto-560B-1-Fluid-Monopod-Replaces/dp/B002NZH40O/ref=sr_1_3?s=electronics&ie=UTF8&qid=1390607415&sr=1-3&keywords=manfrotto+monopod+video

The Tiffen's have come out a little underwhelming in a couple of user tests.

The latest suggestion is Hoya Pro ND's and the Hoya IR Cut.

Personally I think there is a lot to be said for small.

When I travel the restrictions on bag weight and size are strictly adhered to by airlines strapped for cash. 15-20 years ago you could be 10 kilos over and the check-in person wouldn't say a word.

I'm in Sydney (Aus) a lot and it's funny to see some tourists lugging a ball and chain round their neck - I mean a DSLR with massive zoom lens. In the heat of the city they look pissed off generally. A lot of the asian tourists seem to use tiny Fuji style cameras (NEX sized) or I quite often see the mini tablet being used for pics (Samsung etc).

Even in Australia Panasonic seem thin on the ground. Most of the big camera stores only sell the most popular mid-priced cameras. It took me forever to find a NEX-7. And yes, Canon and Nikon are everywhere, but maybe that's what sells? And yes, maybe it's because the serious hobbyist and professionals are heavily invested in Canon and Nikon glass?

I wouldn't over state the NSA thing. Here it's barely raised an eyebrow. As a Brit who has traveled a lot, I find the anti-American claim to be often overstated. Lot's of people still queue over night to be first in line every time a new Apple product goes on sale.

You can control the Sigma's aperture with a Nikon G adapter. That's the whole point.

There are Nikon G and Nikon F adapters. The G version is for lenses with auto apertures.

There are a lot of video reviews on Youtube and articles all over the web on the Sigma/Pocket combo.

http://www.eoshd.com/content/11294/ultimate-blackmagic-pocket-cinema-camera-lens-sigma-18-35mm-f1-8-speed-booster

 

 

So If I'm correct for ($1316 aprox) I cover from (30mm - 100mm) with 1 stop less and very sharp image all over ??

This is similar to what I'm planning. I probably don't need anything longer than 100mm, so I'd just be adding a wide at some point. maybe one of the Sigma (10mm or 8-16mm).

Yep.

Both the Metabones standard Nikon G to MFT adapter and the speedbooster versions allow aperture control.

How can you divorce the lens from the skill of the operator or the subject matter?

Personally I think Axel nailed it advice-wise.

Great advice above.
I plan on doing the same.
I have a regular Nikon to m4/3rds adapter and the a Sigma 18 to 35. I'll get the pocket speed booster when they are available again. And all I need to find is a slightly wider lens that matches the Sigma at some point, especially for more mobile filming.

You can't buy a MacPro yet, and very new products always have teething problems. I wouldn't consider buying a MacPro until they've been in other consumers hands for a couple of months. Time for bugs and issues to be found and reported.

Reading a thread on another forum, some people are talking about ASUS and NEC monitors. Not sure the price or performance.

AI and AIS are probably easier to find too.

22"

The iMac screen isn't recommended for grading. You can't calibrate it and it's very punchy, making you think your grade is better than it is.

I have a 27" iMac and an Eizo. The Eizo can be calibrated and is overall a less flattering monitor.

No issues at all with dual screens - with FCPX, Capture One, Resolve or my music software. I tend to have the main viewer window on the Eizo, and the generic GUI, edits, timeline and toolboxes on the iMac.

You asked about the 2 x Dell monitors before and got good advice.

No point in trying to grade footage with two monitors that are cheap and can't be calibrated.

I would go with the most upgraded iMac you can. That's what I did a couple of years ago.

Regarding going with Mac in general, I'm not a tech-head and I find the Mac solutions are always plug and play - turn on and get working.

I'm aware the PC route is much cheaper and often more powerful.

As to FCPX, I find it does everything I need quite simply. I think Adobe Premiere is very popular, so maybe demo both.

Why the 28mm when you have such a fast lens covering that focal length (18-35)?

Firstly because it might make a good lens for walking around. The Sigma is much heavier and bulkier. Secondly because it's reputedly one of the nicest lenses Nikon have ever made.

I'll use the Sigma for most things, but when I just want to shove my camera in a backpack and walk around, the 28mm might be a better option.

Thanks. All look like good recommendations.
Yes, AIS.
Probably going to get the 50mm 1.8. And looking at the 28mm 2.8.

This is with the BM Pocket version of the Speedbooster. So I'm thinking the 18mm on the Sigma will be wide enough?

I'm working with FCPX, ProRes422 on a 2012 27" iMac and it's fine.

I do have a second screen I can calibrate (Eizo). And I use TB hard drives.

Do the new iMacs have FW?