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see ya

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  1. Yep, but they also have the apeture ring right at the back against the camera body making access difficult compared to numerous other sharp old manual primes like Oly Zuiko's, Helios 44-2 or Meyer Optik or Pentacon where the apeture ring is to the front of the lens. But you know already. And as you know, the later 3 have 'Preset' versions with smooth apeture ring adjustment with no on cost of declicking, making it easy to adjust a variable apeture not stepped and with nothing more than the tip of a finger smoothly at the same time as focusing manually. Just saying, addressing the balan
  2. Yes very helpful friendly members there, frequented the site for many years. Here's a SMC Tak breakdown, scroll down below the Canon FD bit: http://k10dpentax.blogspot.co.uk/search/label/Repair And a short list ;-) of links to repair breakdowns and such: http://www.4photos.de/camera-diy/index-en.html Have you also tried pentaxforums? http://www.pentaxforums.com/forums/54-pentax-lens-articles/179912-pentax-k-28mm-f3-5-disassembly-cleaning.html Biggest contention I've found over the years has been what sort of lubrication to use for smooth focus and I settled on this,
  3. This site is excellent for info on manual lenses and has good info on care and repair, getting a basic toolkit together and all that. http://forum.mflenses.com/equipment-care-and-repairs-f6.html http://forum.mflenses.com/basic-techniques-to-repair-lenses-and-cameras-t32862.html
  4. You're right and it wasn't necessary for me to suggest DVI was crap, just thinking more consumer end but even then dual I suppose is an option and to correct myself again it's actually hdmi from Nvidia vid cards that is the output reduced range RGB not over DVI. DVI to hdmi and visa versa can raise problems though.
  5. Nope, that's nothing to do with the underlying problem of hdmi & dvi output ranges from the GPU dependant on attached display, that BS in the Nvidia panel just scales video output levels and does it badly to compensate for incorrectly setup signal chain. It's not the solution to the problem.
  6. For the GH4 the range is 16 - 255 luma ffmpeg gives me steady luma upto 255 and I believe it, QT Player, doesn't it clips to 235 when working at 8bit, Resolve using QT SDK I presume previews as it should clipped but data above can be pulled down, same with Premiere CS6. For format and codec it's not so much what can be encoded into it, it's how it's interpreted by whatever 'make' of decompressing codec is used outputing it. Is that what you mean?
  7. Depends on how your G6 native files were encoded in camera, when you know that you'll know if 701 & full range is correct or not.
  8. Ok, I found some native GH4 MOv's and they're not flagged full range ie: JPEG Levels, they are as Sony NEX etc 16 - 255 YCbCr. The 20 levels above 235 are superwhites, so it's upto individual whether to expose for 235 and let QT or whatever clip above that or expose to the right, capture into the 255 and pull down in post. The black thing on Vimeo is not to do with Vimeo but to do with the limited range RGB signal chain from nvidia vid cards (as mentioned) plus effects of HW acceleration but both only when DVI is used. No problem over hdmi or SDI. DVI is crap anyway, 8bit RGB. And maybe wr
  9. Where? The Driftwood stuff has been transcoded and not native, titles added, fades at the end? Does the GH4 use MOV container or mp4? Can you provide a link to a native file straight off the camera, would you mind. Something that is clearly exposed to the right and clipping.
  10. Geez, how long have we been discussing pulling down super whites in a 32bit float workspace, it really isn't anything new. Sorry but.... Any Sony cam like a NEX etc all 16 - 255, long discussed. '?do=embed' frameborder='0' data-embedContent>> '?do=embed' frameborder='0' data-embedContent>> '?do=embed' frameborder='0' data-embedContent>> But question is does the GH4 shoot 16 - 255 in a MOV or is it flagged fullrange so should be interpreted as 16 - 235, if someone would actually post a link to a freakin native file rather than some transcode it could be establi
  11. Not that registration distance has been a problem for Canon in choice of lens even with the mirror due to greater regsitration distance, perhaps Canon had the forethought to provide a decent distance to accomodate pretty much any lens mount via a lensless adapor where Nikon failed to, concequently choice of lens for Nikon without more expensive mount modifications is limited. Adapting a lens mount for Canon DSLR's it's just a cheap bit of alu to make the distance up. As an aside and reading talk of off colors with Nikon's, QT doesn't interpret Nikon h264 correctly, same with Canon Rebel li
  12. My comments have nothing to do with dissing 4k to 2k, cheaper 4k cameras, compelling reasons to aquire 4k or anything else you care to mention. My comments relate to the dubious suggestion that "true 4:4:4 RGB" is created from a 4:2:0 h264 source however easy you think the maths. If you don't mind me asking what's your understanding of what "true 4:4:4 RGB" is compared to other methods of constructing RGB frames from 4:2:0 h264?
  13. I did read the previous articles, my comments are all there to see, what I find misleading is that and this is not meant as heavy criticism just address the balance, of coarse this is your site, you tell it how you want, "read it here first, exclusive" is an old adage and sells newspapers, but also the forum is here to provoke discussion rather than merely ass kiss? The articles center on the GH4, fine, talking it up may help prevent it becoming marginalized in the slew of other first round of rec709 shooting 4K cameras from other manufacturers. But the questionable process of 4:2:0 to 4:4
  14. Thanks for the clarification, many equate 4:4:4 to YCbCr not RGB. And the title of this thread and previous mislead. Just to query, you say 8bit chroma planes but they are not full 8bit worth of levels (16 - 240) does this matter and chroma is the difference in terms of red & blue once the luma is extracted from the original RGB value at any given point, then mixed back in with interpolation to averaged luma values in the scaling down process and conversion to RGB? So is it even true 4:4:4 RGB full sample? Isn't the whole thing about using the bastardized term 4:4:4 RGB is to different
  15. Just not 10bit 4:4:4 YCbCr as suggested now and previously. It is a bit misleading, it's also missleading to suggest no one has ever done it before, anyone using Matlab, Avisynth or even I'd guess a nodal compositor like Nuke may well have done the necessary math on 1080P to 480P 4:4:4 or RGB in the past, who knows, who really cares. And on any camera, doesn't have to be the GH4.
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