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jgharding

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About jgharding

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  • Gender
    Male
  • Location
    London & Cambridge
  • My cameras and kit
    C200, GH5, Panasonic S1H

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    http://www.hardingmal.com

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  1. jgharding

    Olympus OM-1

    @Andrew Reid How is the video AF on this bad boy? Is it up to Sony standards for following a face etc?
  2. yeah you're right I think, it's all very small differences now and most can be close to matched with another. I do prefer the S1H generally but as I say I'll switch come the next Pana body if AF doesn't improve. I use either Sgamut3.cine with Slog2, or HLG with Rec2020, I spent a few days playing with both and although the road to get there is different you can make them near identical. HLG is preferable to me cos you can expose normally, Slog2 still requires over exposure per the meters in order to look right which i find really annoying They do seem to have exactly the same DR once you post piepline them properly though, which says to me that DR is (logically) limited by the sensor really, not which flat gamme curve you slap on it.
  3. yeah i guess it's all preference. I now have an S1H and ZVE10 and you can match em nearly perfectly. Trouble with comparisons is everyone has a different post pipeline. The default Pana LUT is a bit rubbish, everything goes pink.
  4. S1H, I tried S1 but sent i back after moire issues in testing, the S1H has an OLPF. The crop factor isn't too much of an issue. Red has it, a few other cameras do. It's only cropping to Super 35 which is still bigger than a GH5 without a speed booster. That said I recently bought a Sony B-cam for the autofocus which is near flawless and way better than any real person I've ever seen pull. When it comes to upgrade time I'm going to switch to Sony if Panasonic AF hasn't improved, that's despite the image quality being better on the S1H. In the end I'd rather the easier more practical life. The A7S3 has a fair few downsides compared to S1H. But that AF makes me jealous.
  5. I wonder if it will be TRUE Foveon, as in three full-colour layers, or not? IIRC the later DP Quattro cameras were not quite true stacked equal RGB layers like the earlier ones, and used some trickery to get over the sensitivity downsides, though I'm googling and drawing a blank. I had the earlier DP3 Merrill for a while, and colour and resolution wise it was phenomenal, but was so insensitive it was quite a problem getting clean pictures. You really needed to be using it at ISO100 TBH
  6. YouTube cutting sometimes makes me feel a little ill. It's usually constantly cutting within the same linear shot, so not removing content, just putting in a cut so you can constantly punch in and out, plus it's often accompanied by brickwall mastered pop tunes with every frequency at maximum all the time!
  7. I see it as the edit being another "dimension" of movement. In narrative it allows you to drastically alter the mood by action or inaction in terms of cuts. I'm a big fan of unexpected shot holds. The evermore frantic pace of editing in general is a bit of a shame as the actor's performance eventually ends up suppressed by the edit rather than enhanced. A fun one is music video, for example you can move cuts on and off the rhythm of the song to enhance different things. When you're on beat it's all tied together, when you're off it creates a change in feel, the picture becomes a little less attached to the sound so you can create an extra sense of "flow" this way. As you leave the beat its more of a film backed by music, as you tighten up to the beat it's a music film. YouTube editing seems to be inexorably tied to prescription amphetamine abuse, with even a still talking head head cutting to a new post-punch-in zoom every two seconds.
  8. It's all such a missed opportunity really. The internet has morphed from "we put ads around what you watch, that keeps it free" to "literally everything is an advert". It all ties up with the false narrative of infinite growth, the endless destruction of resources in order to replace goods with intentionally shortened lifespans, the rewarding of the most narcissistic and least intellectually and emotionally developed people with the greatest prizes... I've had VR since very early on, it's cool but full of flaws, I hope more people do good things with it. But what's supposed to be the draw with a highly corporatised "metaverse"? I get to watch even more invasive adverts, have lowest-common denominator borderline-educationally subnormal "influencers" shouting and pulling WIDEMOUTH WIDEYES face directly injected into my eyes hahahah, all the while being somehow exploited for data in ever more dystopian ways? Why would I bother? On Canonrumors chap's meltdown on Twitter, I find camera YouTube remarkably depressing because it's just endless clones of the same #content over and over saying the same things. Every person with pastel coloured backlight, every person with a softbox off to the side, every person saying the same things and doing the same tests, hoping to get their scraps from the table. Then you buy a camera and actually use it to make stuff and it is NOTHING like any of them said it would be cos they only scratch the surface and move on to pulling pogface beside the next piece of gear... I was thinking maybe I should make a vid that is a "2 years in" review of the S1H cos it'd be a bit different, but I bet the algorithms would just hide it because it isn't selling the latest trending model. That's how disheartening it is, it just makes me think "why bother".
  9. I cancelled my paid Vimeo a year back as i wasn't using it and YouTube provides a better service for free. I don't really see a future for Vimeo TBH. From the poor playback performance to their summary deletion of videos there's nothing in their "offer" that keeps me there. I've downloaded all my old videos and will likely delete the account so it is one less to think about. At one point when i was working in Soho everyone wanted to be a "Vimeo Staff Pick" but it very quickly became a self parody of fart-sniffing self congratulatory hipness. Now it's just irrelevant tbh.
  10. jgharding

    Olympus OM-1

    I have to say the tendency for youtubers to test IBIS in ultra slow motion (basically pointless) and autofocus by THROWING THEMSELVES BACK AND FORTH SHOUTING is really starting to grate on me It's pretty saturated out there and getting hard to tell the difference between one channel and the next these days actually just the shouting alone is doing my head in going through these videos. 🤣
  11. jgharding

    Olympus OM-1

    Sadly if you go and check out reviews, it's pretty bad AF still. Still does that hunting at the end of pulls, still pulses constantly on interview setups, People just need to pick based on that I guess. It is a proper bullet in the foot from Pana though. It's the only thing that stops these cameras absolutely dominating, and does make you think in a paranoid way that Sony probably just don't let them have PD on purpose Hopefully since it's "AI based" they can improve it incrementally with firmware updates
  12. jgharding

    Olympus OM-1

    In that case my instinct is with GH6 due to it's similarity with the S1H and its clear focus on video. Typical of Panasonic the settings, menus and so on appear to include pretty much everything you can do with a camera. They're done everything they can to mitigate the physical issues of a small sensor, including implementing the dual-gain architecture, so for manual use I'd whack a speed-booster on the GH6 to boost the light input and sensor size and use that TBH. I've not used either so I'm going off the available YouTube reviews etc
  13. I'm at intermediate level with Unreal in general, though I've not used VP templates yet, but I have made motion graphics pieces, developed small games (including entirely custom player controllers built from ground up etc etc) so I'm fascinated by VP as well. As far as I understand it it's something where cost spirals very very quickly as you scale up to multiple screens. With one screen, let's say you buy a 90-inch 4K OLED or something, you can use a consumer GPU and get away with it. Once you want to sync walls of video screens you'll need to use a Quadro Sync and have colossal amounts of VRAM available. https://www.nvidia.com/en-gb/design-visualization/solutions/quadro-sync/ Like most Unreal things it's WIP and you benefit if you know someone who is good with C++ and Unreal, which is hard to find. For example movie render queue in 4.27 is very much improved compared to previous versions, but still has some really hacky and opaque aspects, such as the need to enter arbitrary CVARs to make certain things look right, which you just have to go and find out, it doesn't hold your hand. It's no Resolve... In general that's the hardest part. I've been on the Unreal journey for 3 years and it has never gotten easier, mainly because there is always something new to learn and stuff just keeps changing. It's very rewarding though, good luck and please keep us updated!
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