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Everything posted by jgharding

  1. Depends on the job i guess, I've yet to have anything to justify shooting it all raw over GH5 10bit 422
  2. Having a C200, and never using Canon RAW because of the file sizes, it does not excite me. TBH I spend more time these days using a GH5 in VlogL at 4K 422 150meg 10-bit, as it's a great balance of file size and quality.
  3. I abandoned Premiere when i realised i'd been paying for years and it had gotten steadily worse, meanwhile Resolve was getting better. Every software company now wants the right to constantly dip their hand in your bank account, and renew entire years at a time, and yes I think it's absurd. You pay and pay and pay for software and they hold your files effectively to ransom. Back when you could buy a version you can keep it indefinitely. But now as soon as you stop paying that's it, you can't open your old projects. I find the whole "model" a bit poor for consumers.
  4. I guess it's just for stills really, with that ultra-high resolution sensor and so on, the video is a bonus. I've still yet to a Sony below the F55 where the colour didn't upset me. The way they process their sensors seem to turn tungsten yellow and screw with skintones. I'm guessing it's from the ADC onwards, because the same Sony sensors in other cameras have far better colour.
  5. Ah sorry, I should have been more specific, it's to use with a computer, for edit etc, so this would be a bit too small...
  6. a reasonably flat not massively heavy monitor in the 15-20 inch range i guess
  7. Hi all, I'm currently looking for a reasonably portable, mains-powered 4K monitor. There are lots of options on Amazon but some have no reviews. It's for a windows machine, the reason i specify mains is because USB bus-powered ones tend to have very low brightness. The Asus ProArt PQ22UC is the greatest such monitor, but at over £4000 pounds it's way more than i need for this job. Any suggestions or experience out there? I don't mind 1080 if it's nice colour etc. I will calibrate it obvs.
  8. Yeah why not? The FS5 colour isn't up to much and I find the whole thing looks a bit sterile. You can stick the pocket 4K in a bag and go shooting wherever. Obviously that bag will also need forty-five batteries in it
  9. Try not to be old, and make movies ?
  10. FFPGA is very interesting technology. Antelope Audio use it to deliver real-time emulation of microphones and more https://en.antelopeaudio.com/hardware-based-fpga-effects/
  11. It will all go RF and they'll want everyone to re-buy all their lenses again, would be my guess, so they'll put some kind of benefit in RF that you cannot have with an EF adaptor. They're so obsessed with selling IS as a lens feature that they're miles behind in terms of things like sensor stabilisation though
  12. I hope that in the next couple of years raw output will be standard on these cameras. Internal raw is probably a bit much to hope for but someone will do that eventually I'm sure. I still don't quite understand the whole "paid upgrade" model. What is it designed to achieve? A genuine question, I'm not being edgy.
  13. Call me cynical, but i'd put it down to just refusing to catch up with everyone else in terms of spec vs price. Canon still have good skin-tone, but the last camera we bought was GH5. No point getting another C200 really. Shoots amazing Vlog footage, tiny and light, easy to travel with... They were leaning on your average Joe knowing the brand, but now that market is being eaten by Sony and Panasonic. Sad times, cos they have all the know-how to rule the sector, but instead they committed seppuku
  14. Ah , looks like it's a model, I wonder when it will be out and the other stats?
  15. It's probably cos they're sold on specs, and spec arguments attract that kinda crowd. Same with Red. Most high-end is still shot on Arri no matter how many pixels Red chuck in, but that doesn't stop the red fanboys going postal on threads all over the shop. I actually owned a Red for a while and it was good, but a bit heavy-duty for the kind of stuff we use in-house cameras for. I always sold Sonys after finding them hard to use in post, but hopefully the next batch will have nicer colour. Tools are always part of a working process, but for some people they'll always be the real obsession.
  16. For the price it just isn't much of an upgrade as far as I can see, though if colour is stunningly better that would be good, but I think there are better options from competitors, personally It's good in theory, but you better nail your focus and have a damn sharp lens!
  17. They should really focus on colour, it's the main thing that stops people using their equipment, at least for me and others i know. Whenever I've had a little Sony on a shoot with a Canon, or an Arri or a Red it's been torture to match it afterwards or just comparing its BTS shots with main shots it doesn't look good. They have poor skin-tone in general and a sort of cool, soul-less look, and it takes a lot of work to make them look nice compared to other cameras. That's not to say that there is NOTHING nice made with them, but that it's hard work and the colour doesn't allow much varsatility from my experience, regardless of stats. Sony have amazing stats on paper but most of the time you can spot the footage cos it has that "look". Even the F65 has a "look" that's not nice compared to an Alexa. It's sharp and cold and clinical. And if they can't get their colour up to scratch at least give people more chance of making it palatable by offering 444 or 422 12-bit or something. But I'm guessing this is all part of a "we are selling 8K TVs let's have 8K capture in phones and cameras" thing. We will more likely get 16k than 444 1080p ??
  18. I have done a combination recently, and had a GH5 with IBIS on top of a heavy tripod with the legs pulled up, and holding it by the “neck” section or you can build a shoulder rig and hang a weight off the back in short nothing replaces weight but you can get some reasonably similar looks by other methods
  19. Weight is part of it, an Alexa weight a ton as do the lenses usually, most often it'll be on easy rig or steadicam vest or both. If not it's on a big tripod. The example looks great, but it does look like a small camera still, it's the quick jitter at the start I've tried using GH5 with Dual-IS2 and a Ronin S recently and it gets closer but it doesn't look like a heavy camera. So perhaps just add a load of lead ? Maybe a Ronin S in briefcase mode?
  20. Ah sorry, it's a GH5 in 16:9 mode with a Speedbooster Ultra 0.71, So it's about 1.4 crop i think That's a good idea, I'll have a look at getting the isco closer to the lens.
  21. sure, it's more for my viewing pleasure TBH, i'd like Chorme not to make video look like a bag of boiled dicks
  22. haha this is definitely a meme format now Yes this was the solution, thank you
  23. Hi all, I wonder if anyone else has seen this. On the right is my film in Firefox on YouTube, it looks as it did in Resolve On the left. it's in Chrome, very de-saturated. My hardware acceleration for video in Chrome is active.
  24. God I hate all this "TACTICAL ASSAULT ARMOUR" bro marketing stuff, I'm sure it's a great product, but Red style MONSTER ENERGY WOOOOOOO HIGH FIVE TRIBAL TATTOS marketing puts me of
  25. Gotta love the Pre 36 Iscorama... Gorgeous as it is, I've found the oft-recommended Mir-1B has quite some vignetting when i clamp the isco on with a Redstan clamp. Does as anyone have any recommendations for wide (at 1.5 stretch, so 35mm and wider) lenses that won't vignette very noticably? I wonder if i need to move the isco closer or further away?
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