Jump to content

Axel

Members
  • Content Count

    1,900
  • Joined

  • Last visited

Everything posted by Axel

  1. Axel

    DJI Ronin S

    You are right. A gimbal is just one tool among others to make shots stable. Particularly if the operator tries to show off, it gets boring.
  2. Axel

    DJI Ronin S

    Well, it should be called a gimbal zoom then, shouldn't it. As John Hess knows, there are different names: Since the first use of the effect, in Vertigo, was achieved by foreground, center (not moving) and background layers of the staircase with a multiplane camera and so strictly speaking was neither a travelling nor a zoom, I find it appropriate to use that name, Vertigo.
  3. https://9to5mac.com/2018/07/01/egpu-acceleration-internal-display-mac-apps-macos-video/
  4. Axel

    DJI Ronin S

    Vertigo zoom of course (as they say in the video). Brandon Li uses it a lot in Hong Kong Strong, only there he zooms out digitally, resizing a UHD image to 1080. You *could* name the rotation around the zero anchor point (around 1'20") a 2001 shot ...
  5. Axel

    DJI Ronin S

    Fantastic review, Dave! Now I really want that thing ...
  6. Yes, it isn't: As for the performance of the eGPU with Resolve, no guess work is needed: ... and Resolve performs as good (and in some respect even better!) as FCP X on those iMacs. Another thing to keep in mind is that for GPU performance, the said eGPU doesn't need a *new* MBP: That Apple and BM are still busy with such joint ventures may be a good thing insofar as in my very humble opinion ProRes Raw could substitute CDNG on the long run. Got FCP and Resolve both on your computer? Then you can download snippets of both from here. Grant Petty argued that
  7. Bokeh actually is a rather esoteric term because it doesn't mean blur, but the aesthetic quality of the blur. In the same way bouquet does not mean stinky wine. That's why there are so many criteria to judge the bokeh of a lens. It had been a trend for long, but it's nothing special anymore. Last but not least, why is it a flat medium? There are other factors to make us feel depth: We don't *see* it in real life, but something very similar happens. Apart from the fact that our vision has a permanent vignette at the borders, we only see the momentary object of interest r
  8. I entertain myself with niceties of visual perception ever since. It all comes down to what german poet Goethe concluded: (clumsy translation) He had written on perception of colors early on, and we are talking about the 18th century! As William Gladstone proved later on, we may all *see* the same things, but we take completely different things *for real*. His finding: if you don't have a word for blue, you can't (yes: canNOT) distinguish blue from green. The sky turned blue the instance the color could be artificially reproduced, and the sky and lapis lazuli were no longer the on
  9. @BenEricson Sigh. That's analog to having wine served from bottles with cork instead of Tetra Paks. I told one story already. We had a very worn print of Time Of The Gypsies in the cinema where I was projectionist. A thick layer of scratches, rumble in the (analog) audio, hundreds of splices. It was a morning performance for two school classes, kids of fourteen, fifteen. I was certain, they wouldn't stand it. Much to my surprise, they were deeply immersed. Their faces were red, their eyes shone when they gathered in the foyer afterwards. Sure, it's an unbelievably good film, but I th
  10. Like we saw in the thread/video F*** the numbers!, a film from the 50s or 60s could top 8k RED footage with ease, quality-wise. But that's only because analog film is still seen as the superior medium. Digital is limited in unexpected ways, heavy compression being the worst. Apart from that, it's quite impressive how far we came within one decade. A 35mm mass print, projected with the average projector to the average (white) screen, showed comparatively poor quality, resolution 1k, around 4 stops dynamic range, many charming artifacts added like dust and scratches. With digital HDR and HF
  11. Axel

    How do you practice?

    I absolutely hate my test shots. If there is an idea, a purpose, a plan behind what I'm doing, then it also is much better in every way. My cats also hate my test shots. Testing AF, exposure and gimbal skills with a one-shot. On the TV runs a loop of the intro of Rear Window. I make a long travelling shot over items I arranged in my living room (like in the film), then finally I pan over to the window front, where I have almost the same backyard theater. It's much brighter outside (aperture/ND transition). Need to find he right speed so that vertical edges don't stutter @24p. Need to pro
  12. I'm going to sell the Sigma 19mm. Sharpness and overall look is top notch, really on par with Sigma 18-35 Art (at least @f5.6), and that means a lot! But it has two and a half shortcomings: 1. Bad manual focus ring (fly-by-wire, slippery) 2. Very fast, completely quiet AF, but, and that's the main problem, it breaths or hunts: background permanently and annoyingly focusses and defocusses, no matter the aperture, no matter the AF setting. Does so not all the time, but you won't notice the behavior on the display. 2½. Too short and lightweight to balance properly on Zhiyun Crane
  13. Update: Sobering early review that revealed serious shortcomings for ambitious editors. https://www.youtube.com/watch?v=MWPYLJQ-tKk Offline already, as you can see.
  14. The 18-105 would be *the* perfect lens, spec-wise. If it didn't have that kit-lens-look. With OIS and an additional monopod, it's indispensable @105 mm. Also good for gimbal work, because it doesn't protrude. Good starting point. I have the Sigma 16mm f1.4 only since a month or so now. Never would want to go any wider (24mm FF equivalent), that's nailing down this side of the spectrum. Manual focussing is perfectly possible with EVF (and not so much with shitty display), but it definitely is more precise and more fun with an external monitor. Just practise and see how good you
  15. Sorry, I had to make this reference ... Here are three scenarios, you decide how far-fetched you find them: 1. Just another app in the portfolio. It's true. If you are a CC subscriber, you frequently see new little applications come and go. Edit on mobile devices. Why, not bad, is it? Did you hear her say "take it further into Premiere Pro"? You could qualify, organize in the field. Not bad, is it? Probably an app that's going to stay. 2. Premiere is EOL. With it's ancient source code, it had become ever harder to optimize PP for modern hardware and modern r
  16. Wedding? Just did one with A6500, bunch of fast lenses and Zhiyun Crane ("V1"). No additional light needed. Even not in frigging candlelight! Weight, size, good AF, IBIS (therefore not A6300) and good lowlight make me think: well, would do this again. Get yourself a dummy battery and connect it to a powerbank (Intenso S10000 costs some 15 €, has the size of a smartphone and therefore fits perfectly into a belt clip holster, easily lasts a whole day). Main problem - at least if you are a one-man-band - is audio. Not even an earphone jack ...
  17. Oh, jonpais, you've got the A7iii? Welcome onboard the Sony boat! Maybe, but then not because of better resolution than what we already have with our normal hybrids. Just compared a wedding video I shot two weeks ago with A6500 with a four year old I had then shot with BM Pocket - on a UHD TV, from a very short viewing distance. Negligible visible differences of resolution between "HD minus 20%" - the Pocket has 1920 by 1080 pixels on it's sensor, un-debayered - and "6k downsampled to UHD". How is that? Well, Yedlin was obviously right. The display resolution is of more importa
  18. Axel

    DJI Ronin S

    One part is to set up a natural behavior. This EOSHD member explains it for the Zhiyun (and why you would want to choose different settings): The second factor is the speed of pans and tilts. Too fast, and they will stop too abruptly. Not sure how this is prevented with the Ronin S. Must be a very sophisticated algorithm, ease-in, ease-out, with powerful motors.
  19. You got me wrong. I didn't say the lenses were soft. Or 'crap'. One of my favorite lenses for my A6500 is the Sony 18-105. Mostly for practical reasons. But you can't for the love of god focus manually, because there are no 'positions', and if you try to rehearse a focus transition, the focus ring will just slip under your fingers. Even infinity is infinitely pushed away from you. That's what I meant with "completely useless there" (= on a 4k Pocket). And your son's clip proves little, because it's done with such a narrow aperture, it's almost fixed focus. Also, of the category I was refe
  20. To say that those Pana/Oly system lenses with very soft fly-by-wire focus (usually ideal for fast and quiet AF) are 'suboptimal' is way too weak. They're completely useless here.
  21. The following comes from a guy using FCP X, but don't worry, I won't try to baptize you ? First thing you have to do, of course, is to manage your media. JBOD is very risky. I have a raid5 TB, and recently one of four disks died. Easy enough to replace this, but what if the whole controller died? Go with JBOD, but provide redundancy, in short: a complete backup, elsewhere. Never ever run out of disk space! Sounds wrong, is wrong. You should better split the project. Has nothing to do with performance or launch time. There is a threshold beyond which you simply invite disaster. A p
  22. Axel

    DJI Ronin S

    Long and heavy lenses are notoriously harder to balance, no matter the gimbals' maximum payload. If you choose a one-hand-gimbal, you might want to keep it lighter, if possible. Follow my (very personal, wedding videographer owning Ronin M and Zhiyun Crane) reasoning or find your own arguments: 1. The angled roll-motor of the Ronin S doesn't obstruct the cameras' display. Now it seems that this lets you forgo an additional external monitor. But does it? Depends on whether you just need to frame the image - and that's possible even with the considerably lighter Moza or Zhiyun with the mot
  23. This problem can be addressed. The flicker of LED can be avoided with changing the shutter speed. Poor lowlight has not so much to do with bit depth than it has to do with noise and compression. As it seems (judging from the test and demo clips on YT), the GH5S really has an advantage there. But the Sony shouldn't be too bad. Minimize noise, choose the right profile and the right iso (you can't do much about the compression factor), most importantly: mount a fast lens!
  24. I agree with JB's "move on". But just one - hopefully last - remark. Frank Glencairn never used the term "sissy", not even "whiner". I know him well from the german slashCAM forum. He never uses questionable language, but he likes to provoke others with what I'd call an old hand's attitude. His article starts with: You don't need a grade in psychology (which I almost made) to very quickly find out that he is actually asking to be challenged and that his often slightly, but unmistakably condescending tone is meant to hurt. Whom? The con- and prosumers that are not up to his pr
  25. jonpais paraphrased Frank Glencairn, who in spirit (if not literally) wrote that battery whiners were sissies. Did he intend to insult gays? Well, english is not my native language, but to me "sissy" sounds more like "pantywaist". Frank is living in Bavaria, a country that's not famous for diplomacy or political correctness or much respect for "snowflakes".
×
×
  • Create New...