gethin

I've got a few days of shooting action and activities.  Its a bit different to my usual gigs, and my d5300 is not the right camera for it. I've got a sony rx100iv, but I find it a bit tricky to guage focus - even with peaking.  I also can access a hero 3 silver.  Sooo I started wondering if I should grab an m43 camera - something that has a vague chance of autofocussing.  But now I'm starting to wonder if I should work with what I've got and get a decent monitor. (I've got a cheap field monitor, but its not brilliant for pinning focus).  So I'm canvassing for suggestions and wondering if the aputure HD monitors are ok, or if there's any advantage in going HDMI out from the rx100 to recorder

the timelapse app is fun, have a play with that   

i went through this a few years ago and the conclusion i came to is that I didn't want to compromise stills quality for convenience.  I ended up going for the nikon d800, and gh2 for video & speedbooster.  I ended up swapping the gh2 for d5300.  Yup its a pain in the bum having 2 big cameras. I can't imagine a better compromise though than the a7r2. Very similar stills to the d800/810 (both in dynamic range and "feel").  you say you dont like shooting unless you have to - whats the problem? Usability? Image quality? ...?

Anyone else had experience with tele adaptors? Just went looking and the sample still I've seen have been a bit gnarly.  ? 

hmmm. So my nikon .movs wont work if I uninstall qt, right?  need to find out how serious a threat this is.  Can't uninstall QT, can't disconnect PC from the internet.  

1.5-2 seconds drop time on my blackbird.  I bought a pilotfly - mostly because the blackbird was totally useless in any sort of wind, it took a lot of setup and a steep learning curve and then lots of practice, but I'm beginning to be able to get fluid.  the thing I miss is the frictionless pan - being able to set the rig spinning then setting your pace so that your subject stays centered. Have fantasised about frankensteining the pilotfly and blackbird to have 2 axis (roll and  pitch) from pilotfly and have the yaw/pan axis on a bearing gimbal.  

The catch is crappy 1080.   One of  the things I've enjoyed with the rx100 is being able to use this one tiny camera at all its "native" framerates with no caveats. (and the extended 250 fps in the right circumstances).   So much to like about the 6300 but the 1080 quality means it's not for me  

oh and failing to find out if the timelapse function can use electronic shutter.

A step up from the D5300?  

Can anyone tell me what the 1080 60p is like?  And how the dynamic range compares? Are the shadows lift-able or does it fall apart like the gh2 did?

17 hours ago, liork said:

25p will be probably no crop. PAL mode has only 25p, not 30p.

http://www.sony.co.uk/electronics/interchangeable-lens-cameras/ilce-6300-body-kit/specifications

Doesn't it say 24 is full sensor reasout? I imagine 25 and 30 would be  treated the same

On 06/02/2016 at 11:21 AM, Andrew Reid said:

So to recap on the all important crops...

24p = no crop Super 35mm 4K (1.5x crop vs full frame)
30p = 2.3x crop 4K
120p = 2.3x crop 1080p

Looks like the Samsung NX1 has an ace card here.

But I am sure the A6300 will have the dynamic range advantage... and proper LOG profile.

Buggerybum. feel my interest in this camera crashing. Unless the 1080 is speccy

Yup. Looking very nice on paper.  (Just have a minor wah for no ibis or nd, then slap myself for quibbling  )

And there it is!  Sorta.   

Tokina 11-16 2.8, 11-20 f2.8 I've got both. You'd have to get an adapter of course. The pull click to manual focus thing sucks, and theres a bit of barrel distortion, but IMHO there's nothing else as fast as sharp.  

Also the sony 10-18 get very good reviews and less barrel distortion.

you know I'd love to know if the Japanese corporate culture worked like that.  I find it hard to believe that sony could dictate terms to such a big customer, but it would be fascinating to be provided wrong . I suspect though tthatNikons focus is on stills and everything else is an afterthought.  

Read a rumor that it'll be the same size as a6000, so there goes IBIS. But yeah mostly I think they won't want to cannibalize their FF sales.  I love shooting with apsc - with a speedbooster it doubles the effective number of lenses you have.  

My main thing right now though is codec.  I'm just getting into grading, (my backround is stils, i love extracting the juice from a shot :)) and its depressing how quickly h.264s fall apart even at decent data rates.  I've now realised that I'm dreaming to think nikon will exploit their unique position in not having a video/cinema line.  RAW on nikons would be immense - oh the dynamic range.  

Which is why we should see them in an apsc camera first   But sony seems to hobble its apsc cameras, maybe to protect its full frame or super-35 cameras.  I had an a- 6000  for a while, it had a few nice things about it, but I ended up with the d5300 (the lease user friendly camera on the market??)

yeah, don't mean the fixed lens thing, I mean the bsi, the fps, the lovely 1080, the 100p/100, the built in nd...

After a couple of weeks shooting with it, I'm gobsmacked. Sure its got its foibles.  (But... Built-in ND: hurrah!).

Why they dont have this level of functionality on an apsc model (including 240fps thanks) I don't know (and I'd be amazed if the a6100 had it).

Now I've started messing around with speedgrade to build some luts for it to try to get the greens and skies to match my d5300.  Anyone know of any luts out there? (I'm using the cinestyle profile at the moment rather than log).

Find myself doing a search in windows for 

mp4 OR ARW OR XML OR MOV OR JPG OR MTS

Copy and pasting all the files from the card into a single folder on my HD

Did I miss anything? 

(not sure what the xml files do)

And just exporting a clip now that is taking FOREVER in h.265, (despite the fact I thought the GTX970 had hardware encoding support)

And to clarify: I want to export clips that I've worked extensively on to a format I can re-use in projects and get decent playback (as opposed to my computer trying to playback 4+k de-noised graded timelapse sequences in realtime :))

Edit: Ohhh, optical flow was why it was taking ages, dnxhd is taking the same time

Just realised I can now export and use h.265 in my workflow.  I've been slowly exporting my graded and tweaked clips but DNxHD has pretty large file sizes.  Bearing in mind I might need to do a bit more tweaking later (just a little colour balancing stuff probably) and that the vast majority of clips will end up online, is h.265 up to the task?  I'm currently exporting my first test at 50Mbps.

there's not much more to say than: Oh FFS, nikon.

http://www.engadget.com/2016/01/05/panasonic-new-lumix-camera/

Looks like it has no high frame rate hd, which is a relief as I bought the rx100 yesterday!

I agree about the 4K performance and cliff: editing anything 4K on my system becomes a nightmare.  Sure files play fine, but as soon as you add a grade or transition you are constantly having to render in order to just to look at the footage play without skipping or stuttering.   I'm not convinced (and the comments here seem to support) that any hardware upgrades wouldn't do much to help.  

I think back to the happy times I spent mucking about with media 100 on the mac and discreet logic effect on pc.  Such fine bits of software, why didn't autodesk look to have a broad user base model for its business?