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jhnkng

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  1. Like
    jhnkng got a reaction from austinchimp in Wedding videography advice   
    ...did we watch the same video? I skipped to the last few minutes just to watch her work and to see her footage, which I thought looked great -- I mean it's a wedding, you don't have the luxury of a gaffer truck and crew. She was confident in her instruction, she knew her gear and moved fast to get the maximum number of shots in a short space of time. There was a couple of shots where the background was a bit hot, but mate who cares about the background?!? Her exposure was on her couple! As it should be!

    Your criticism makes me wonder if you've ever shot a wedding before, because it's a high pressure environment where you work with people you don't cast and barely know and you're at the mercy of someone else's schedule and the weather. You're on your feet all day and constantly worried about making sure you've covered everything that's happening and with enough variety for the edit, and keeping tabs on battery life and card space and where you've left your camera bag. If I had a second they'd be busy getting a second angle, not holding a reflector. Not entirely sure how you expect to see any diffusion -- to diffuse full sun for two people walking they'd be under a 20' x 12' at least, and then you'd have to worry about shadows on the ground and the wind blowing the damn thing over.

    As a wedding photographer (who have also shot a few wedding highlight films) I'd be more than happy to work with her on a wedding. Definitely better than some that I've had to work with. My only criticism would be that she's simply not charging enough if she has to work 80 weddings a year, that is an express train to burnout town. 
  2. Like
    jhnkng reacted to Jimmy in Wedding videography advice   
    Why not just move the sun while she's at it!?
    The bride and groom are going to want things they cherish from the day in frame... The church, the venue, the grounds etc. Sometimes you might get an angle that also gives good light, sometimes you don't.
    How can you have shot weddings and have this little awareness of what is possible and not?
    "I'm just going to position you next to these grave stones as the light is better than when we have the church in frame"
  3. Like
    jhnkng reacted to nigelbb in Wedding videography advice   
    +1 I couldn't have put it better myself. Her images were a bit over-contrasty for my taste but otherwise it was great. It was in focus, smooth & she got the right shots. I haven't shot a wedding in five years but I would have been perfectly happy to deliver video like that to my clients.
    @jonpais has clearly never shot a wedding nether does he any appreciation of how a wedding is shot. An assistant with a diffuser or reflector? Are you kidding? ND filters? Just crank up the shutter speed. You are shooting a live event there are no re-takes & if you miss a shot like the first kiss or the ring shot you are stuffed.
    Good for her! She is making money & giving her clients what they want. She doesn't need to care about some amateur nitpicking about the quality of her work.
  4. Like
    jhnkng got a reaction from webrunner5 in Wedding videography advice   
    ...did we watch the same video? I skipped to the last few minutes just to watch her work and to see her footage, which I thought looked great -- I mean it's a wedding, you don't have the luxury of a gaffer truck and crew. She was confident in her instruction, she knew her gear and moved fast to get the maximum number of shots in a short space of time. There was a couple of shots where the background was a bit hot, but mate who cares about the background?!? Her exposure was on her couple! As it should be!

    Your criticism makes me wonder if you've ever shot a wedding before, because it's a high pressure environment where you work with people you don't cast and barely know and you're at the mercy of someone else's schedule and the weather. You're on your feet all day and constantly worried about making sure you've covered everything that's happening and with enough variety for the edit, and keeping tabs on battery life and card space and where you've left your camera bag. If I had a second they'd be busy getting a second angle, not holding a reflector. Not entirely sure how you expect to see any diffusion -- to diffuse full sun for two people walking they'd be under a 20' x 12' at least, and then you'd have to worry about shadows on the ground and the wind blowing the damn thing over.

    As a wedding photographer (who have also shot a few wedding highlight films) I'd be more than happy to work with her on a wedding. Definitely better than some that I've had to work with. My only criticism would be that she's simply not charging enough if she has to work 80 weddings a year, that is an express train to burnout town. 
  5. Like
    jhnkng got a reaction from AlexTrinder96 in Wedding videography advice   
    ...did we watch the same video? I skipped to the last few minutes just to watch her work and to see her footage, which I thought looked great -- I mean it's a wedding, you don't have the luxury of a gaffer truck and crew. She was confident in her instruction, she knew her gear and moved fast to get the maximum number of shots in a short space of time. There was a couple of shots where the background was a bit hot, but mate who cares about the background?!? Her exposure was on her couple! As it should be!

    Your criticism makes me wonder if you've ever shot a wedding before, because it's a high pressure environment where you work with people you don't cast and barely know and you're at the mercy of someone else's schedule and the weather. You're on your feet all day and constantly worried about making sure you've covered everything that's happening and with enough variety for the edit, and keeping tabs on battery life and card space and where you've left your camera bag. If I had a second they'd be busy getting a second angle, not holding a reflector. Not entirely sure how you expect to see any diffusion -- to diffuse full sun for two people walking they'd be under a 20' x 12' at least, and then you'd have to worry about shadows on the ground and the wind blowing the damn thing over.

    As a wedding photographer (who have also shot a few wedding highlight films) I'd be more than happy to work with her on a wedding. Definitely better than some that I've had to work with. My only criticism would be that she's simply not charging enough if she has to work 80 weddings a year, that is an express train to burnout town. 
  6. Like
    jhnkng got a reaction from hansel in Wedding videography advice   
    ...did we watch the same video? I skipped to the last few minutes just to watch her work and to see her footage, which I thought looked great -- I mean it's a wedding, you don't have the luxury of a gaffer truck and crew. She was confident in her instruction, she knew her gear and moved fast to get the maximum number of shots in a short space of time. There was a couple of shots where the background was a bit hot, but mate who cares about the background?!? Her exposure was on her couple! As it should be!

    Your criticism makes me wonder if you've ever shot a wedding before, because it's a high pressure environment where you work with people you don't cast and barely know and you're at the mercy of someone else's schedule and the weather. You're on your feet all day and constantly worried about making sure you've covered everything that's happening and with enough variety for the edit, and keeping tabs on battery life and card space and where you've left your camera bag. If I had a second they'd be busy getting a second angle, not holding a reflector. Not entirely sure how you expect to see any diffusion -- to diffuse full sun for two people walking they'd be under a 20' x 12' at least, and then you'd have to worry about shadows on the ground and the wind blowing the damn thing over.

    As a wedding photographer (who have also shot a few wedding highlight films) I'd be more than happy to work with her on a wedding. Definitely better than some that I've had to work with. My only criticism would be that she's simply not charging enough if she has to work 80 weddings a year, that is an express train to burnout town. 
  7. Like
    jhnkng reacted to BTM_Pix in Zeiss ZX1   
    Sorry, Yeah, was just going off current £2.5K for the Sony and £3.5K for the Leica.
    God knows what the UK price will be post Brexit when it's probably launched. 
    Probably cost 500 pairs of Levis, 10 sacks of potatoes and 25 LPs of music from Western bands. 
    I definitely think that both that Panasonic and the Samsung whose name escapes me with the zoom lens would have found the world had come round to meet them if they did new versions.
  8. Like
    jhnkng got a reaction from tupp in What is the medium format look?   
    Let's not forget that the sensor in the GFX50s/r made its debut in 2014 in Phase One and Hasselblad backs. Not to mention there's significantly more money and resources in the development of APS-C and Full Frame sensors, since they sell much much more of them.

    Formats larger than 35mm has always been a niche market. You buy medium format because you like the look and you're willing to give up a lot of practicality for it. Also, less DoF isn't the reason you have a more three dimensional image -- it's the transition between focus and out of focus. It's the way you can get separation between subject and background but not reduce the background to a big blurry smear. 
  9. Like
    jhnkng reacted to KnightsFan in What is the medium format look?   
    I knew this would eventually come up. Perspective distortion is only due to distance between camera and subject. Focal length has nothing to do with it.
  10. Like
    jhnkng got a reaction from Aussie Ash in What is the medium format look?   
    It isn't just shallower DoF, it's the way it transitions from focus to out of focus. The larger the format, the more three dimensional the transition -- if you've ever seen an 8x10 slide it feels like you can reach into the frame. I shoot 4x5 slide film and it feels different to look at compared to 35mm. 

    But having worked with this current generation of APS-C, Full Frame, and both the Hasselblad and Phase One cameras, there's not always a lot in it. You can definitely tell the difference between APS-C to MF, but a D850 with a 50mp Phase XF? Not a lot in it for a lot of applications. But you can tell the difference with a higher megapixel sensor, so I'm very interested in the GXF100s. 
    Larger individual pixel sites gather more light -- not the sensor size itself. Hence the GH5s has a 12mp chip vs the 20mp in the GH5.
  11. Like
    jhnkng reacted to BTM_Pix in Netflix minimum requirements camera   
    Even leaving aside the fact that no one has used the camera to form any informed opinion, it will always be the case that the only opinion that matters is that of Netflix.
    If you find yourself in the position of being commissioned by Netflix to do one of their Netflix Originals then that is the only time that list will matter. At which point it will be the least of your concerns.
    Until then, concentrate on getting yourself into that position in the first place. 
     
  12. Haha
    jhnkng reacted to mercer in Fuji X-T3 has 4K60P and 10 bit   
    BREAKING X-T3 NEWS:
    Fujifilm has decided to axe their upcoming X-T3 release because Jon is “not feeling it.”
    MORE TO COME
  13. Like
    jhnkng reacted to CyclingBen in Fuji X-T3 has 4K60P and 10 bit   
    Quick follow up.  I shot some 120p video on the X-H1 using a Fuji 35mm 2.0 with all of the different peaking settings (Off, Low and High) and all different colors (Yellow, Red, Blue, White) and i saw no difference in the aliasing / ghosting. 
    Then I thought maybe a non-fuji lens would make a difference so tried the same test with a Rokkor 45mm.  No difference. 
    The odd thing is, it almost seems like the processor is sending the peaking data to the recording some how even if it's not turned on.  Could be my eyes, or it could be confirmation bias... Maybe the software coding is sloppy, maybe it's the IBIS, maybe I suck as a cinematographer...
    TL:DR Turning the peaking on or off made no difference
  14. Like
    jhnkng reacted to CyclingBen in Fuji X-T3 has 4K60P and 10 bit   
    I think you might be onto something... We don't see this on the X-T2 120p only on the X-H1.  I wonder if the "high" peaking setting only available on that cam is the reason.  Off to do some testing, I'll report back.
  15. Like
    jhnkng reacted to KnightsFan in EOS R official video specs discussion   
    Yeah, the problem I have with the crop is switching back and forth, not that it's there. It's easy enough to take an apsc photo and then take an apsc (or slightly smaller) video. It's a lot harder to take a full frame photo, and then immediately take an apsc video on the same lens at the same event.
    Of course, i could take cropped photos so that they match the video but then why get ff at all?
  16. Like
    jhnkng reacted to AlexTrinder96 in EOS R official video specs discussion   
    Not this again ? 
  17. Like
    jhnkng got a reaction from karin in EOS R official video specs discussion   
    For Fuji at least the 10min limit is thermal protection for the battery, hence the extended time with the battery grip (which houses two extra batteries.) Sometimes I wish Fuji would change their batteries, but then I have 10 of them now...
    I just got an X-H1 for this very reason — I have an upcoming job where for every stills shot they needed a motion equivalent, and we’re working in real locations around people working so it was just easier to have a camera that can handle both stills and motion in exactly the same way. I previously did a similar job where I shot with my D800 and C100mk2, and the switching back and forth did my head in. 
  18. Like
    jhnkng got a reaction from KnightsFan in EOS R official video specs discussion   
    For Fuji at least the 10min limit is thermal protection for the battery, hence the extended time with the battery grip (which houses two extra batteries.) Sometimes I wish Fuji would change their batteries, but then I have 10 of them now...
    I just got an X-H1 for this very reason — I have an upcoming job where for every stills shot they needed a motion equivalent, and we’re working in real locations around people working so it was just easier to have a camera that can handle both stills and motion in exactly the same way. I previously did a similar job where I shot with my D800 and C100mk2, and the switching back and forth did my head in. 
  19. Thanks
    jhnkng got a reaction from condra in Nikon Z6 features 4K N-LOG, 10bit HDMI output and 120fps 1080p   
    My whole philosophy for buying gear is to buy the camera that does the most stuff, and hire everything else. As much as I love my C100mk2, most of my jobs are in stills, so it tends to just sit in a bag most of the time. There's tons that I'd still prefer about it, from the long battery life, dual card recording, proper audio, and not needing to rig it with anything -- but I can always hire it if I need it. My last video job I was shooting stills and motion and switching back and forth, and for a few shots when I didn't have time to switch, I just shot it with my X-T2 and it looked great. I see the Z7 as a higher resolution X-T2 with better AF, so that's my draw to it.
  20. Like
    jhnkng reacted to Danyyyel in Nikon Z6 features 4K N-LOG, 10bit HDMI output and 120fps 1080p   
    I don't know what you saw but this
    and this
     
    Does not look crappy to me
    You can also add this, which is beyond 99% of what I would call extreme 
     
    Care to show me what FF camera they have that does 4k 60p internal please, I am curious to know.
  21. Like
    jhnkng reacted to Django in Nikon Z6 features 4K N-LOG, 10bit HDMI output and 120fps 1080p   
    Pretty sweet 10-bit 4:2:2 colors demonstrated here. Slow-mo seems pretty sharp / alias free & AF face tracking does good job on the gimbal (ibis?) shot. 
    My Fuji system might be getting the axe soon.. 
  22. Like
    jhnkng reacted to kye in Insta360 One   
    A 360 camera may be a much better second camera than a GoPro actually, so I think that's actually a good idea.
    A 360 camera will probably control exposure via shutter speed and you won't be able to put NDs on it, and will therefore have very short exposures.  This combined with the fact it's 360 means that you can stabilise in post and it will probably be completely fine even if someone bumps the setup.  The ability to choose framing after the fact also means you not only have the variety of shots to choose from but you can ensure that the camera and operator never get in frame.
    My recommendation would then be to put it up higher so that the angle that the camera/operator will be included in will be a lot less and you'll be able to use wider shots.  You only have to hold a camera a tiny bit above head level and it looks like drone footage, so there's that too.
    Low bit-rate 4K spread across 360 degrees makes footage pretty grainy so you want to use the widest shots you can, so the further away from the operator it is the more unobstructed field of view you will have to play with.
    Best of luck - it sounds like it would actually make a pretty flexible B-cam.  I hadn't thought about it in this way either, so this conversation is useful to me too.
  23. Like
    jhnkng reacted to kye in Insta360 One   
    I've tried this type of rig and there are a few issues.  The first issue is that the wide angle of the GoPro makes it difficult to mount so that it can't see the lens or the shotgun mic that are also sticking out the front, let alone your hand playing with the zoom / focus rings.  The second issue is that a second angle is most useful to cut to when something bad happens to the first angle, but if they're mounted together and someone bumps the camera (or some other movement issue) then footage from both cameras are bad at that point.  If you don't need continuity editing and only need a second focal length then it might be ok.
    It would depend on the particular setup.  If I was shooting with a tripod then I'd be tempted to mount the GoPro either quite a lot higher up than the main camera (for events perhaps) or maybe 30cm or so to the side, so they'd still be sharing a single tripod.  This would mean that when you cut between them the angle is a bit different and it doesn't just look like a jump cut with a bit of a crop thrown in to try and cover it up.
  24. Like
    jhnkng reacted to kye in Autofocus vs codec for guerrilla style   
    I would say the measure of a codec is how it looks.  If something looks great and has a lower bit-rate then I would say that is a BETTER codec than one that takes more bitrate to look as good.
    Of course, no-one is suggesting that a sub-40Mbps codec is going to grade like RAW..
  25. Like
    jhnkng got a reaction from mercer in Autofocus vs codec for guerrilla style   
    Just curious — how many cameras with reliable AF has a really crap codec? You could argue that the C100mk2 has a rubbish codec on paper yet it looks nice and is plenty gradable as long as you get you exposure right. 
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