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Axel

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Everything posted by Axel

  1. The upcoming A6700 very probably will have 60p UHD and even better AF. It will almost certainly also have an HLG profile. Now if it also had all that with 10-bit video (and the fully articulated display) ... GH what? Be it as it may, as soon as a new version is available, all Sonys drop in price dramatically. This is a sad fact now that you made up your mind to get one. Should you wait? Your decision. At least I would try to get a used one.
  2. No, I can't tell "with confidence". I only ever made 5-6 test shots with slomos. One was a fast jump to my microphone shock mount on the table from 6 feet distance to close up, AF set to center. With this 5 x slomo, it nailed the focus perfectly in every frame. But then, the motif was black with sharp outlines and lying on bright wood. What this test showed clearly was that the image quality is really poor then. That's why I didn't do more slomo tests. AF is good in general, but it all depends on the mode, if you chose the right one. The most reliable modes are those which involve t
  3. Yes, of course! Good explanation. If it's the last clip (appended at end), you could also hold p and slightly move it to the right (produces a slug). That'd be the fade-in. Then comes Matthias: This will fade out.
  4. Look, Andrew, this makes no sense. It‘s very hard to switch if you are used to another NLE. You are constantly looking „for the blue button“, as Mike Matzdorff put it. It‘s easier for a newbie actually. Either you learn FCP as if you knew nothing about editing or you will go on to compare and complain. Would be the same the other way around.
  5. You can save the keyframed opacity as an effect preset for fade in, fade out or both at once. Double clicking will apply either of them. You can lift a clip from the primary and apply cmd+t to either left or right bracket or whole clip. You are married to Premiere, Andrew. Move on.
  6. Though you can do that (Deadcode wrote), it's not recommended. FCPX is not good with clips that are isolated from their card-structure bundle. Through the import dialog, FCP will copy selections from the card by wrapping them in a Quicktime container. That's the way it works. But keep in mind: 1. because of the skimmer, you can browse the card very quickly, find your shots and import only selections - in case you think you need to save disk space. 2. you can alternatively just import everything and do the qualifying and organization later on (you did it in the Finder? - waste of tim
  7. I'm afraid I'm about to make another TLDR posting ;-) What's meant by Dynamic Range? Someone above said common rec_709 displays could show 7 stops of light at best. This is the standard. Let's therefore agree to call it SDR. Many modern cameras can record 10-13 stops. A linear recording (picture profile-related) would only be able (hypothetically, see below) to store an excerpted range of nine stops. Due to broadcast-rules, the values below 16 and above 235 were considered 'illegal', because they couldn't be truthfully reproduced. That's the background to 7 stops of light at bes
  8. As for serious CGI (he mentioned that in connection with Jurassic Parc asf.), you have to consider that in 2018 this still involves so-called render farms. Any traditional desktop machine won't cut it. These complexes are so expensive that you need exchangeable parts to keep them up to date. Compact size and design (Apples speciality) are not asked for. More and more, the GPUs do most of the job, preferably in realtime (we are on the verge of realtime already, see Blenders EEVEE), and it's paramount to be able to swap graphic cards AND motherboards with no restrictions by the hermetic OS
  9. I don't know about the "bad videos". As we all know, Youtube filters the millions of clips according to your own viewing habits. I see my special interests reflected in the suggestions Youtube offers me when I open it. I do not have to search for the needle in the haystack. The less I fall for presumed clickbaits, the more nuggets appear beneath all this crap. They are there, and in bigger quantities than on Vimeo, where everything looks so decent at first glance, but turns out to be pretentious crap later, and mostly boring. I like the idea of the open secret. Something that's already th
  10. If it's *just* about money, if the only votes that count are those of the shareholders, this industry is doomed. Applicable to everything. If we are measured by by the degree we can be exploited, our kidneys will be sold and the rest becomes soap. Watch The Cooler. The old casino mafia ruled this frivole business with cruelty - and passion. Then the bankers appeared and took over. And the world turned to shit.
  11. The reasoning behind this: The GH5S has a bigger sensor compared to GH5 (17,3 mm x 13 mm), but not as big as that of my A6500 (23.5 mm x 15.6 mm). Lowlight performance with my camera is still better. But I don't care at all about lowlight. Dynamic range is also slightly better, 13 stops (Sony) over 12 stops (Pana). The Pocket (as well as the Micro, which has the advantage of 50/60p @ 1080) has 13 stops. People now have introduced the term usable dynamic range in connection with the cleaner shadows of the GH5S. But there is another side to this: gradation of the highlights
  12. Wonderful. How I rue to have sold this camera! It sometimes showed the limits of it's resolution, but that's the extend of it. Thanks, froess!
  13. Provocative thoughts on IBIS: Terribly overrated. Nowadays no one seems to be able to conceive a shot without it. The point is that with UHD small shakes and jitters instantly reduce resolution considerably. I know. People want to be able to hold the camera body in their hands - a body that's ergonomically unfit to be held that way -, looking casually on the swing-out display. The switch from traditional camcorders (no one wants to shoot with one nowadays) to DSLRs brought the rig industry into being. Rigs never were perfect ootb. You didn't buy a rig and were ready to go. You had t
  14. Thanks, jonpais. Important to know that with bright outlines you need to pan slower. I am a fan of slow pans anyway. As for the example with the silver buttons in the lowkey scene: can't you just subdue these highlights through grading?
  15. @jonpais 720p 60? Did you try other settings? It could be worth trying AV out in Resolve. Once that works (may or may not work better), you can launch FCP parallelly. Sounds weird, but may help.
  16. I was skeptic about HD as well. Saw it first in autumn 2004 on a trade show with the then-new Sony FX-1. Worries were unsubstantiated since the images were seen on SD TVs then. I wasn't impressed. The first time I saw UHD was on a trade show again. Some JVC camcorder, stitching four HD videos together. Horrible colors, terrible edge-sharpening. The best part was where they showed a fish tank that was supposed to look real. The audience was impressed. I said, no, the fish look dead. I have a more convincing screensaver ... Groundhog day.
  17. Demo-reels, "test shots" featuring once new technology is always cringeworthy in retrospect. On your comparison of B&W with Technicolor: in one of his docs on cinema history Martin Scorsese shows that color was used creatively early on. They learned to hold back very quickly. 2D projection had to be 50 nits peak (15 foot lambert). With brighter projection, you'd lose contrast again. The blacks never had been very convincing in cinema either. It's true that particularly analog film (but digital cinema packages also) can hold more stops of light. More than could be shown. This
  18. Give it a couple of years, yeah. That's reasonable. I won't try to shoot a wedding in HDR now or in summer. I do, however, have some more ambitious shorts in planning. The visual quality of which concerns me now. In short: I think so. My iMac display is *not* HDR, but it has ~500 nits. LCD, means blacks are grey. I have it backlit with a 6500°K LED bar for perceived contrast. Can't stand to watch Netflix on my ~4 year old Samsung TV - anymore. In comparison, all images look muddy and faded. Once it is replaced by an HDR-TV, it's clear to me that I wouldn't want to invest any effo
  19. Thanks again. One questions, hopefully a simple one: what kind of Thunderbolt port is that? The reviews for the BM device date back to 2013. Will an adapted connection allow it to suck power from the Mac? Nowhere on the german seller's sites is specified if there are different versions for different ports (and neither on the BM homepage). With taxes, I could get the Ultrastudio AND a Flame for ~ 1000 €. Now I'm spoilt for choice whether I should spent 300-400 € more for an Inferno, since it may turn out that my A6500's 8-bit (which is also limited to 30p @ UHD) turns out to be unsuff
  20. Not only do the interfaces (for *Macs*) cost more than the monitor/computer. You might come to the conclusion that - for HDR - it'd be wiser to jump to Windows. You'll probably be able to build a custom PC (for *Resolve*) for the price of the AJA that'd outperform your iMac. Since Apple obviously recognizes the potential of HDR (HDR in AppleTV 4k and more and more on the iTunes store VOD), we may see an iMac with an HDR display. You'd have a superior monitor with computer for ~ $2700, it would reverse the situation. When? Here come 3d-party-manufacturers. All it needs is a little box
  21. I don‘t know. I‘ve been using it since the day it became free software. I‘ve read the manual (all), I bought the Hurkman video training, I searched for and tested roundtrip workflows. I witnessed, how the two softwares became more and more compatible. Last time I used Resolve, it didn‘t yet auto-adjust the pitch of retimed clips, for instance, no big deal. Roundtripping with APPLES Color was more awkward than Resolve is now.
  22. I don't mean FCP. Perhaps (as Mark Spencer says) the AJA is the only officially supported interface for FCP. The old Decklink Mini Monitor (HD) also worked so-so with FCP. The image sometimes froze. The solution then (with cheesegrater MP) was to have Resolve open at he same ime - where it worked perfectly. My maximum tolerable price for an interface would be ~ 600 €. Roundtripping is pretty reliable, and grading in Resolve is still better. More so since the new CC tools of FCP seem to have their problems.
  23. Now we are talking sense. I'd be happy to skip over to Resolve for grading and monitoring at an acceptable price, which should be not a big problem now that FCP understands what HDR means in the first place. Thoughts on that?
  24. Have no GH5 Have no HDR TV How do you judge things like midtones and saturation? Of course you can't see the DR on an iMac. But does the preview suffice? Just trust the scopes?
  25. Look, what bothers me most is not that Apple missed a bug here (though it's not exactly awesome that this slipped their QA). It's the reaction of the FCP X fanbase, among them famous Ripple trainer Mark Spencer, who openly denies that something is wrong. Despite clear evidence. By some individuals, Ubsdell was treated like a traitor, and I find this contemptible. I'm not one of these blinded. I still think FCP is best for editing. And still, even if the new CC tools all worked as expected, Resolve is faster for serious grading. Nodes are more appropriate for organization, there is an e
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