Jump to content

richg101

Members
  • Content Count

    1,828
  • Joined

  • Last visited

Posts posted by richg101

  1. I actually think the motion aspect of the camera 'look' is probably down to the ergonomics of the cameras.  for instance the 1dc needs to be used with an external vf or a loupe.  if someone has invested in the 1dc they will also not skimp on a good and solid loupe.  the weight and the ability to shoot with 3 or more points of contact without even having to think about it - the link between the eye and the camera by holding a dslr and a loupe is way different to how an fs7, fs5, f55, c100 can be rigged and handled.  all of which are generally handled as you would a documentary type camera.  they're turn key systems that work on their own - much like a eng camera.  none of the viewfinders on the video cameras have the same ability for the shooter to lock the arms, chest and head into a solid shooting stance like you can with a dslr held to the eye. - the number of points of contact with a 1dc and a loupe provides reduction in rotational wobble, up/down wobble and side to side wobble.  the shooters head is directly in control of the movement.  shoulder rigs don;t provide such a optimised shooting stance.

     

    the bmpcc also needs to be handled differently, with novel techniques used to rig it in order to make it ergonomic.  Since it's a blank canvas those using the bmpcc in real situations are taking the time to rig it, adjust, and get it running perfect for their style of shooting.

     

     

     

      

  2. 9 minutes ago, Ed David said:

    This is amazing, Andrew!!!  Great work - you are literally improving a camera!!!  No many people can say that!!!!  The FS5 is a damn fine little camera and after you are done, even better!!

    exactly.  I'm currently running the a7rii as my primary workhorse, and it;s a damn fine unit.  it sees a hard life.  the fs5 is on the radar as the direct upgrade path for use with a speed booster ultra for video duties.  or maybe the kine 6k..  the price difference is significant but the 6k raw workflow and speed booster capability.  the little fs5 being somewhat flawed has had it being a 'possible'.  with it now looking like a much better step from the a7rii in video terms assuming Andrew can make sure they do the right things!, the fs5 is likely to be a much more viable gap bridger for me.  

  3. 5 hours ago, Cinegain said:

    Yeah, but that guy (that btw kinda reminds me of Rex Hunt) took his camera with him. Because you're at a friggin' shoreline when the sun is setting. That's not a situation that just pops up. You could have had a premium compact with you and still have packed lighter than the gent next to you. Yet still have the same kind of hands-on controls, some optical zoom and flexibility. In my book that's better than any phonecamera. You could get an automated smart home security system and only take a creditcard and a 100 bucks bill with you, yet you carry around keys and a filled wallet too, don't ya? But I don't like the CM1 as a smartphone. I like a smartphone as a smartphone, because it's good at being a smartphone. I like a camera because it's good at being a camera. But yeah, nothing's stopping you from getting a frankenphone of course and it does do a fair job. I don't know. To each their own of course.

    I don;t understand what the CM1 lacks as far as being 'smart' is concerned?  it's as smart as any other smart phone.  But has a huge sensor and a leica branded lens.  it's half the thickness of the rx100.   the cm1 also has a very nice control system - the focus ring can be quickly changes to adjust shutter, aperture, iso, wb, etc etc.  It's a real camera but without as many physical buttons.  it's got a damn filter thread too!!! - I've fitted anamorphic lenses, wide angle attachments and telephoto attachments to the little bugger

    The image i posted above was from the CM1.  

  4. I own a lumix cm1 and find it offers superb performance as a camera and as a phone.  battery life smokes an Iphone.  the images are also superb.  It aint just a smart phone.  It delivers stills just as good any fixed lens premium 1" sensor camera.  and it's always with you!  compact cameras take up another back pocket alongside your phone, car keys, wallet etc.

     

    21377397474_9e3223d17e_o.jpg  

  5. Sony A7Rii / Sony A7S

    Neutral creative style, sharpening dialled down to -3, contrast dialled down to -3, saturation boosted +1  

    Auto White Balance with 2 points downwards (towards magenta) on the wb adjustment.  (important to allow awb enough time to adjust before hitting record)

    0.0EV on the camera ev meter (multi mode exposure meter).  No matter what the scene is the highlights are always recoverable.

     

     

    Premiere cc - use only 32bit effects.

     

    import footage into 4k timeline (even if footage is lower than 4k) - scale up if required

    apply ProcAmp - brightness -8, contrast +16, saturation +25 - allows easier visibility for curves adjustment below:-

    RGB Curves - start on red.  lower or raise midtones until happy with overall hue.  adjust highlights and shadows to compensate for over warm darks/highlights.  move to green and adjust, move to blue and adjust.

    Apply unsharp mask (1.4px) while viewing at 100%.  adjust until it starts looking graggy.  back off to half the amount it took to get graggy.

    apply and overlay of film grain or monochromatic  noise (higher res than the footage).  adjust so it matches the prominence of the footage noise in the shadows, but finer due to the higher resolution than the actual footage. - tweek contrast/brightness of noise with procamp until it sits on the footage without affecting perceived contrast or shadow levels.

    Nest everything.  then apply unsharp mask at 1px as before - this glues the grain and the footage together and creates the perception that the actual footage was aqcuired at a higher res than it is.  it also provides fine detail for vimeo and youtube to bite into and retain during their compression

     

    export at 2560x1440 or 4k at a very high bitrate, 2pass, h264.  100mbs target, 200mbs max - as high as I can before reaching maximum upload limit.

     

    upload to vimeo.  

     

    delete big file knowing I can retrieve the original from vimeo at a later date if required.

     

    drag project files into external drive for future, freeing up SSD system drive..

     

     

        

     

     

     

     

     

     

     

     

     

  6. 1 hour ago, Franka Mech T. Lieu said:

    I was at first quite excited about this camera, but when its full spec and feature are known, I just shake my head, OK its supposed to be used outdoor, remote , that's what BM try to market it but they leave out the most important part of that, remote control. How hard is it today to put a Wi-Fi in there and write a straight forward iOS / Android App to run the remote monitoring and control. The way BM do it now is in a straightly studio production mindset in their way of implementing it. Even sub $500.00 DC had remote connection capability that do not require rigging this and rigging that .. Panasonic is said to be bringing the GH4 in a form factor that more or less similar but with a full functional Remote solution just by using your mobile device. We will have to wait and see.

    wifi doesnt have the range suitable for drone or remote control this unit is envisaged to be used on.  anyone with experience with proper pro level drones can put together a simple off the shelf circuit to control on/off, start/stop, focus, zoom and iris etc via a secondary RC transmitter

  7. I often wonder who would buy a lower end canon with any intention of using it for video purposes.

    The only upcoming Canon slr camera that will deliver video performance worthy of taking notice of on rumours sites is the 1DX2.  None of their other non Cinema EOS cameras deliver good enough image quality to warrant working around the poor ergonomics and limited optics options for video use.  It seems mad when an a7s is less expensive than Canon's prosumer range that the 80d will fall into  

  8. Though the whole marketing seems to be focusing on the fact that its 8k.  to those who look at it properly it's all about the fact that it's a scaled up dragon sensor.  so all the magic from the 6k dragon, but with much more sensor area meaning the larger format look is possible.  a 35mm f1.4 lens can be used to get the same fov as a 25mm f1.4 lens, with the associated advantages such as better lens performance, shallower dof when needed etc.  

     

    It's not that the 8k is making this stunningly clean image 'pop' it's the fact that the camera was being shot with the forefront of full frame glass (otus) - using longer focal lengths than would be used if it were the 6k dragon sensor.  there are no s35mm lenses that can be used wide open at f1.4 and deliver such optical resolution and that separation between in and out of focus areas we see here.  

     

    I'm certain that if Sony made a pro version of the a7s, with 4;4:4 or proper xavc intra onto cfast2 keeping the 4k res, and you shot with otus lenses the image would have the same perceived resolution.    I see the power of a full frame sensor and superb optics outputting raw as the big thing here.  not that it's 8k.  I expect if that sensor were 2k it would still look as good. 

  9. 9 hours ago, BenEricson said:

    RAW is closer to the telecine process than a push pull. You can easily can be 4/5 stops over and still recover highlights with 16mm. You meter correctly and your footage will always look nice. 

    What are you talking about with highlight metering? Zebras will do that for sure and exposing for highlights is great for wides but you can't always do that. 

    expose to protect highlights on the bmpcc (ie at 100% just before a zebra would show up) and it results in the same as if you expose film using the same method.  4/5 stops 'over' on film doesnt mean that the highlights are blown out by 4-5 stops. 4-5 stops 'over' on film means you;re shooting to preserve as much shadow and midtone information in a contrasty scene.  if highlights are 4-5 stops blown out then no chemical process can bring them back.

    when I shoot film I always expose for the shadows/mids using a light meter.  if I aim the spot metering attachment onto a portion of the frame around middle grey it tells me the given f stop and shutter speed.  the processed negatives always look similar to the way a correctly exposed bmpcc log image looks before you adjust levels.  shooting on the bmpcc blind and checking exposure with a light meter and knowing that your meter reading for the sky should be 4-5 stops 'over' what it should be means that in daylight the exposure for the important stuff like your mids and shadows is enough to provide a perfect exposure.

    I'd personally check the zebras on a screen against a meter reading on a light meter so I know what the light meter should read just before 100% zebras would start to show for a highlight in the shot.   

  10. 1 hour ago, jagnje said:

    But you can't tell focus, or am I missing something?

    optical viewfinders only give you framing information.  focusing is done by distance scales and learning to estimate distances.  a good focus puller doesn;t even need to look at a screen.  the small sensor and wide lens like a 10mm f1.4 means everything from 1m to infinity is pretty much perceived to be in focus.  it might not be bang on, but will be good enough.  shorter distances than 1m will be a little more tricky but not impossible.  If you can judge distance, understand the dof of a given focal length at a given aperture and have a focus scale on your lens you can focus by the numbers.    

    if there was an external evf the size of an ovf that went on the top of the bmmcc I'd probably choose that over an ovf.  but for the sheer fun of shooting blind as you would a little 8mm bauer or bolex you wouldn't have to spend £300 on an ovf.  there are units available for £30 that will do the job.  any f35mm ovf for full frame will be right for a 10mm on the bmmcc,

     

  11. I expect they are using the sony 36mpx sensor as used in the d800 and a7rmk1.  a stunning sensor - imo actually a little nicer than the new sony 42mpx.  the fact that they're providing a nice solid 14bit file it'll likely be closer to the d800's image than the a7r was.  add all the bells and whistles and the only thing I'd be complaining about is the pentax mount!

  12. 7 hours ago, Andrew Reid said:

    optical viewfinder is a brilliant idea

    Check out the Sigma ones. They did a few for different focal lengths on their DP and Quattro cameras.

    14mm (21mm equiv.) and 30mm (50mm equiv.) are two I am aware of.

    And the utterly superb Zeiss finder from the RX1 (35mm equiv.) http://www.amazon.co.uk/Sony-V1K-Optical-Viewfinder-Camera/dp/B009O06XAS/ref=sr_1_2?ie=UTF8&qid=1455806726&sr=8-2&keywords=sony+rx1+viewfinder

    voigtlander do a bunch of very nicely priced units too.  i love the idea of concentrating on framing rather than focusing a shallow lens.  I bet a speedy 10mm H16 lens and a century fish eye adaptor on the front will do some serious cool deep focus stuff!

  13. 58 minutes ago, Cinegain said:

    Didn't even think about using it as is without the video assist. That would suddenly make it a whole other fun way of shooting indeed. Although, I haven't been shooting on film back in the day, so I'm no natural at figuring out if with ISO800, 180°, f/2.8 I'd be over- or underexposing for any given situation. There I've come to heavily rely on the in-camera exposure meter and histogram unfortunately.

    adds to the fun.  13stops of dr gives you an awful lot of headroom!  grab a cheap analog lightmeter, get an exposure on the highlights and work from there.  The amazing thing is that for each clip you can push or pull the footage in raw individually.  with a roll of film if you are underexposed on one shot out of 20 you can;t just push process that one shot otherwise the rest will be over.  even with prores Lt and film dr the lumetri adjustments for exposure give almost as much control as with raw.  

  14. This badboy is seriously on my radar.    If i take the plunge it'll be mated with a super fast s16mm 16mm/1.4, a pistol grip, and a optical viewfinder, shooting Prores LT.  all focusing will be done with the focus scale on the lens and using hyperfocal distance.  even at f1.4 it'll be pretty easy to get focus right with the scale and knowing usable dof at 1m and beyond.

  15. IMO the A7R2 is hands down the best current video and stills shooter if you have the budget to invest in two metabones adaptors - a non speed booster for  stills and a speed booster ultra for video.  

     

    Onto the subject of CA caused by the sony camera itself.  This isn't a viable subject in this debate.  It's down to the fact that 90% of users are using lenses incapable of delivering good enough results for such a high end sensor - particularly with dslr lenses shorter than 50mm.  Try the Loxia 35mm/2 wide open and it's optimised for modern sensors with shorter back focus distances (and the micro lenses) - think of the loxias as modern leica M lenses.  Canon L lenses are prehistoric by comparison - most of which are derived from designs originating in the late 80's before they envisaged digital being the norm, kept in production out of laziness rather than because they deliver.  Ask any 5dsr shooter and they complain that the lenses can;t deliver onto their sensor.  To me the likes of lenses like the 85mm/1.2L are a waste of money for contrasty colour photography.  they fringe so badly that the dof advantage is gone since you need to be at f4 before the image becomes enjoyable to look at.  Take them in low light, indoors without any high contrast edges or use them for b+W work and they are magic.

  16. I dunno.  I thought this looked great and certainly better than the rubbish pistol grips and ugly cheap loupes you'd have to put together to match this.  The fact that it's a lanc connector and probably a nicer optical element in the loupe makes for a rather nifty little setup with an a5100 or bmpcc in there.  The look of the piece is lovely.  Why not make something pretty?  

    Something is only hipster if the user falls under the bracket of hipster.  I expect if a pro was running around shooting a silent wedding video with this and a bmpcc plus some old bolex h16 primes it would generate him a lot of business from the aesthetic the setup would produce from shooting this way - but also by the fact that he's being seen doing so by the girls who are also due to be married and looking to see how the photographer works.  

    No hipsters would buy this anyway - they spend too much money on tattoos and beard styling goods.  Very few hipsters are actually creative or talented. 

     

  17. if megapixel count is the same and sensor technology is also the same then a larger sensor will always outdo a smaller one for low light.  But in recent years as lens options for aps-c and m4/3 have offered a speed advantage and mega pixel counts on full frame sensors has increased beyond what most full frame capable lenses are able to resolve it is now the smaller sensors that have the advantage as far as speed is concerned.  not to mention speed booster from metabones.  a 1" sensor'd bmpcc and a 35mm f1.4 on the 0.58x speed booster will compete with the a7s and a fast 50mm out and out low light performance and the bmpcc sensor is old technology.    

     

    canon's new fullhd sensor capable of doing 1million asa is a exception to the rule.  but 1920x1080 stills are not enough for astro work I expect

  18. I recently acquired a leaf aptus 10-ii (56mm x 36mm sensor), 56mpx.  It's old, noisy and has less dr than my a7rii.  The difference in megapixels between the two is only marginal but each pixel on the aptus has significantly more area.  

    Most of the later zeiss and schneider lenses for 6x6 format resolve the same information onto a full frame sensor as a full frame lens does.  for instance my hasselblad 50mm/2.8 distagon wide open is just as good at resolving detail as a contax 50mm/1.4 closed down to f2.8 when compared on the a7rii.  I'd say both lenses fall short of the 42mpx a7rii and just about resolve enough to view the 42mpx image at 66%.  at 100% the lenses run out of resolution for such finely packed pixels.

    The difference between the above is that the hasselblad lens has an image circle almost twice the diameter of the full frame lens meaning the projected information onto the 80mm image circle of the hasselblad is nearly 3x the amount of pixels.  granted the performance of the 50mm hassy will deteriorate towards its corner limits on 6x6 but lets say we only use the 645 area (70mm circle).  This still results in a 2.5x advantage in optical resolution.  

     

    Now, if you then used your magic and created a nice focal reducer providing around a 0.7x magnification with some generic apo correction to help what are largely film lenses when used on a digital sensor.  squeeze the 2.5x more optical information onto the 42mpx sensor (and likely a 60mpx one down the line) I know I;d buy one.

    I'm aware that a focal reduced 80mm/2.8 on the a7rii wont ever look exactly like the 80mm/2.8 on my aptus 10, but it'll be close.  

     

    comparing to the slew of boring technically perfect sigma lenses who have no character is a mistake IMO.  I've seen lots of very clean images from the sigma 1.4 art.  but very few that exhibit the optical character/magic from a masterpiece from 1980's Germany.

     

    That said, I can;t see many people willing to buy a MF speed booster in reality since it won;t give them the authentic medium format look without investing in the best lenses for MF and having to work around the slow focus mechs and the extreme weight.  my 50mm/2.8 distagon weighs 6 times what the contax 50mm/1.4 does! 

     

     

     

×
×
  • Create New...