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jgharding

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  1. jgharding
    C300 at the top makes sense! Footage looks great and it really incredibly easy to use.   90% of the stuff I've edited this year has been C300. It killed 5D shoots in one fell swoop, I've used none in the corporate and ad world this year at all! Some Alexa, Red Epic, bits of FS700. But no 5D anymore...
  2. jgharding
    Good idea. I feel the difference is too subtle to be the difference between sRGB and Adobe1998 though, if you look at the kind of difference it should make.   My testing wasn't that consistent (it was five minutes at my desk between edits) so I think you can attribute the difference to that, realistically. It's probably just Rec709 space all round.   One chart here shows it's very subtle though, maybe it would explain the difference in the reds? Still, for my purposes I've concluded it's not worth worrying about, so I'll leave it on sRGB!   http://www.fxguide.com/wp-content/uploads/2011/02/chromacity-all.jpg]
  3. jgharding
    To me, the most exciting idea here is one of replacing square pixels with irregular film gran shapes at capture. That would be wonderful. Think scanned film vectorised to a very fine degree, as opposed to a block of blocks.
  4. jgharding
    Cheers for the link, it's great to see inside the Alexa! Iit's still my favorite image of all the high end so far (though I've not yet used or edited F65). They seem to capture such a nice overall "feel", rather than chase one aspect -- like resolution or dynamic range -- alone.
  5. jgharding
    If someone has a chart and an RX100 they could do a scientific test, I tend to do ones that look like the kind of thing I'll shoot! From that evidence here I think I'll stick with sRGB as the reds seems more squashed in Adobe. Looking at them as full 1080p (Photobucket downscaled them) there's even less difference. I'm thinking most of the change may have come from the Photobucket re-encoding.
  6. jgharding
    I suppose the test will be the classic "can you make one look like the other". It looks like a contrast shift to me more than a hugely different look. Now these differences have been mentioned I can see a subtle difference. The sRGB looks marginally flatter...
  7. jgharding
    It happened to be on my desk at the moment, so I've done a quick test. Stills from 1080/60p videos. I think they're as near as identical! Or if there is a difference I'm struggling to see it. Perhaps the reds seem a tiny bit darker/saturated in the Adobe ones, but I am looking for a difference, which can skew judgement. What do you think?   sRGB   Adobe 1998   EDIT:   Tried it with my hand for more complex tones. Pretty much the same again! (It's a slightly different angle hence the darker index finger, the greatest of all picture profiles: LIGHTING! ;) )   in sRGB:   in Adobe 1998:
  8. jgharding
    A few from my time at Sound On Sound:   Beginners guide to making video part one: http://www.soundonsound.com/sos/may10/articles/makingmovies.htm   Beginners guide to making video part one: http://www.soundonsound.com/sos/jun10/articles/makingmoviespart2.htm   Colour grading: http://www.soundonsound.com/sos/sep10/articles/colour-by-numbers%20.htm   Nearly three years old now, but still have good stuff in them.
  9. jgharding
    I remember turning Auto knee off last time I used it because I figured it was adaptive and would cause shifts throughout shots. I could be wrong though!
  10. jgharding
    I find peaking most useful when pulling manual focus. I don't really like carrying external monitors around so not having it would piss me off. What a shame :(
  11. jgharding
    Ah I see what you're saying.   I figured it doesn't affect video though, just stills. Colour spaces in compressed video are usually Rec709 or Rec601.   So in Canon EOS original you have Rec601. oddly enough.   Since Sony RX100 video reads in Media Info as BluRay BD Video, I'm assuming the colour space is Rec709 Y,Cb,Cr, and unaffected by this sRGB/AdobeRGB 1998 setting.
  12. jgharding
    This fellow has an interesting chat about it: http://www.kenrockwell.com/tech/adobe-rgb.htm
  13. jgharding
    Yeah they tried to spin that one I think ;)   Still, with DRO and Portrait at minimum we have a very very flat profile, which is cool.
  14. jgharding
    Another addition:   As far as I can see, DRO only affects shadows, not highlights. Try blowing out a shot then upping the DRO. You'll notice the highlights stay the same, but the shadows come up with each setting.   What I've seen with my eyes here is also borne out by DP-Review's test:   http://***URL removed***/reviews/sony-cybershot-dsc-rx100/11
  15. jgharding
    Well, my download failed the CRC check and wouldn't extract, so scratch that idea!
  16. jgharding
    Nino Letiner has stuffed one on his server. This will run out of bandwidth eventually though.   I figure this is the best way to judge it, actually take a film and grade it yourself. It's been output as 4K ProRes, so not quite original but as close as you're gonna get.   http://ninofilm.net/blog/2013/02/05/canon-eos-1dc-test-short-hyber-nation-review/   I don't see myself buying (!) or really even hiring one any time soon, but it's nice to see what kind of video we can expect in cheaper models in not too much time.   JG
  17. jgharding
    You can switch off most of the hand-holding in camera then customise the shortcuts, and it's really fast. I have the left button swp between auto and manual focus with peaking for example, and right to change ISO.   I've used it on two shoots so far, it's done extremely well! I even attached a filter thread to the front so I could add a UV for protection and a fader ND.   I wish it were a faster lens when zoomed in, but you can't have it all eh? The RAW stills are quite brilliant.
  18. jgharding
    Try an aperture-less one I'd say... This adpator is for lenses with auto apertures, like Tokina 11-16 for example. Perhaps the widest aperture in the adapter is tighter than 1.5 at 35mm and causing issues? Or perhaps something to do with how the light is bouncing around in there...
  19. jgharding
    I always forget that having a PAL model, the camera is a lot nicer.   Can you not shoot 60p and interpolate down to 24 or 23.976?
  20. jgharding
    Some more examples of aliasing in this one at the 400fps setting, this time it's a woolly sheep :)   http://www.youtube.com/watch?feature=player_embedded&v=PNGquFXmLOU
  21. jgharding
    400/480 is serious degradation.   The other settings aren't as bad, and aren't very distracting to most audiences.   PP wise, if I remember rightly cinegamma 2 is good. Also the ability to dial back detail (sharpness) and raise black level is useful too.   I've posted this on this forum loads already, but it's useful I think to see the footage in context of a completed project.   Worst aliasing here is on the beard in some parts: http://www.youtube.com/watch?v=cuMjew8TbnE
  22. jgharding
    Unfortunately there's no C/Y to EF adaptor that has a release mechanism (so the adaptor can stay on the body and you just change the lenses) because there's no space for it really, so I'm stuckk with an adaptor per lens. I've tried various ones and they're all identical despite varying prices.   Some of then have very "off" focus confirmation too. Here's how you program a Canon one in this listing. It's insanely confusing.   http://www.ebay.co.uk/itm/EMF-AF-Confirm-Contax-Yashica-C-Y-CY-Lens-To-Canon-EOS-EF-Adapter-50D-60D-550D-/290610319823?pt=UK_Photography_CameraLenses_Lens_caps_hoods_adaptors_ET&hash=item43a9b991cf
  23. jgharding
    There's a Dropbox link on this site where you can download some 4K DPX stills.   https://www.dropbox.com/sh/s9f5pmnfi3rvoud/40OVBuP-6V   Some have been sharpened some haven't.   Scaled down to 1080p it looks good, though to be honest, it's still quite soft around the edges compares to its 4K competitors. I don't mind soft per say, but it seems strange. Blow it up to 100% and it the squishy Canon SLR look we all know and love (ish).
  24. jgharding
    This is pretty common with adapters from eBay. I have only cheap eBay EF adapters, some do it a little but many not at all.
  25. jgharding
    Hmm there's so much contrast added in here it doesn't tell me a lot about the camera's footage, for a test! 
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