pat1

Just now, mercer said:

The fact that he exposed +1 stop on the subject's face and the window wasn't completely blown out is a testament to both camera's DR. If he exposed for the sky, the subject would be a shadowed, noisy mess. 

 

some noise.. but possibly a half decent image without clipped sky. 

3 hours ago, jonpais said:

You're joking right?

No... Where is the sky?

24 minutes ago, jonpais said:

How so?

All he highlights are totally blown out 

7 minutes ago, jonpais said:

Hi Pat, Here's a comparison between F-log and S-log. Like Phil says, the Fuji lens lineup is pretty awesome. Currently, the widest Fuji lens is the 10-24mm f/4 OIS. 10mm in 4K crop mode is the equivalent of about 17mm in full frame. 

thanks, I think I saw that comparison but not sure the exposure or something looked right on either camera ?

 

I want to try the X-T2 with a ninja flame for Flog, can anyone suggest a hire company with delivery in the UK? 

So far only found it on 'hirecamera' but its booked out for a while. 

I want to try it out myself, but if anyone can answer these questions?- I have no experience with Fuji.

-How does Flog grade against Slog2? Is the dynamic range and highlight rolloff equivalent?

-With the crop in 4k, how hard is it to get wide angles? What is the Fuji lens range like? 

-How good is the 50/60fps in 1080? Is it equivalent or sharper than in the A6500?

-How good is the colour in flog compared to slog2? - Bearing in mind I don't mind spending time in post...

I just recently got an a6500, just getting to grips with it. I like the dynamic range, and the AF, but not the overall build and ergonomics, and price of lenses. The XT-2 looks looks like it has less jello, perhaps more organic image?   

16 hours ago, Oliver Daniel said:

You have a point. 

The lack of genuine CLOG in this camera stopped me from buying it at first, however some users have got great results from the EOSHD and James Miller profiles. MySon may of look even better if they used one of these. 

Most of the examples on the web are from wedding videographers, or photographers trying out the video features. They don't know how to grade for a cinematic image, and don't know how to combat exposure issues when shooting. 

A really good example of the 1DX II is a video called Woodland on Vimeo. They used Millers CLOG, yet Ivwould of used a sheet of diffuser or something to block out the harsh sunlight on some shots. Color is fantastic. 

 

 

I'm not sure whether that was meant to be ironic or not?

 

 

I never really considered the 5d mark 4, but this doesn't look too terrible: 

Have they released any info on the sensor dynamic range etc?

 

 

 

I'm just catching up on the latest dslrs/affordable cinema cameras again, and I wanted some input on what camera represents the best filmic image quality at the moment or in the near future, that is also feasible to own?

I mainly rent Arris, alexa, and amira, but I want something I can use myself that is small, light and discreet. I want to be able to put it on a gimbal that I can fit in a backpack, and also want it to be super 35 frame size and ideally 4k, or at least above 2k. 

So far the A7sII, A7RII look like the best options for dynamic range, but the codec seems poor. The BMPCC codec looks great, and decent dynamic range, but the sensor size is small. Canon 5D mark 4 dynamic range looks terrible, and the GH5 looks a long way away.

Is the FS5 an option for a lightweight body?

I own EF stills lenses at the moment, so I'd need an adapter for the sony, and I guess you can also use PL mount adapter?

thanks!

 

Hi there,

 

I'm pretty close to getting an Aquatech housing for my 5D Mark 3, and was just wondering if anyone has had any experience with shooting raw in the sea/surf?

 

I'm kind of resigned to the fact that it might not be too practical to be shooting raw over h264 with a housing, since you have limited controls - I think the trashcan button is not catered for - but presumably you can re-assign the magic lantern button?

Also just the amount of footage you can fit on a 64gb komputerbay card, and possible card problems might not be great since you don't really have the luxury of swapping out cards in the sea.

 

 

anyone had any experience with this?

 

cheers

 

 

 

 

Wow! I see that CVP actually have stock at last of the original BMCC EF mount. I do check occasionally & this is the very first time that I have seen they had stock http://www.creativevideo.co.uk/index.php?t=product/blackmagic_cinema_camera

 

So on this basis you can expect to be able to buy a Pocket Camera or 4K off the shelf in time for Xmas 2014.

 

Just glad the magic lantern came along, I like my cameras to be tangible.

"first quantities" meaning maybe one or two to europe then, maybe 3 by this time next year.

There is one advantage of the 5d3 over Blackmagic, and that is that you can buy the canon off the shelf.

I am sure I am not the only person to cancel a preorder due to magic lanterns recent work with raw.

I'd say there's nothing in that F35 shot that the 5D Mark III can't match in raw.

 

 

If you can't see the difference, then great for you!

 

I haven't yet seen anything from the 5D that looks as filmic as the f35, is it the global shutter that makes the difference?, I'd like to think that it is possible in the right hands, because in the end is it not just a series of raw stills scaled to 1080p?

...and you all know how good stills can look from the 5d, just look at national geographic.

Which cheap lightweight tripod? I don't need to pan or tilt, I just need it to hold a 5d with lens in various hostile terrain.

 

Cheers!

Do you think in future there will be a s35 equivalent crop mode? Full frame is great but I don't want that shallow a depth of field

I haven't managed to use the hack on the 5d3 myself, but do you think it really compares to an F35 image quality?

In terms of specs it probably does, similar dynamic range?, but there is something really nice about the way the F35 handles the highlights due to the dynamic range being given more to the highlights that makes it look like film.

 

https://vimeo.com/61853643

 

It's made more noticeable on the 5D2 because of the lack of aa filter. Wouldn't have thought there'd be any difference on the 5d3.

How many movies are going to be using a hacked dslr?

 

 

THAT is actually a very good question !

Because all of this will be 90% useless if not long enough recording can be pulled on set for movies ... with actors waiting for the cam to cool down or something weird like that.

If this lives up to the hype then the BMC or 4k camera seem far less appealing.

Is it possible to get a super 35mm equivalent field of view?

Have they attempted to tamper with the eos cinema cameras?, would be great if you could have raw video from those ergonomic bodies.

 

Great news if it turns out to be all its cracked up to be, and perhaps see people spending their leftover cash on actually going to interesting places rather than filming their cats and garages.

 

 

I know its the images you make not the tool that matters, but there is somethings quite appealing about this stylish cinema camera from Yolk : [url="http://www.yolk.org/y2.html"]http://www.yolk.org/y2.html[/url]


[img]http://www.eoshd.com/comments/uploads/inline/18106/5006c82626cb6_YOLK_Y2_camera3.jpg[/img]

This interests me far more than the bland, hackneyed hollywood stuff coming out to showcase the latest cameras.
Good to see some nice Bridlington landscapes too...
cheers for the blog, when you're in the market for camera gear, its good to have a resource that doesn't propogate the hype...