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jhnkng

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  1. Like
    jhnkng reacted to mercer in ON THE STREETS OF TOKYO   
    Was this D500 4K? It looks stunning.
  2. Like
    jhnkng reacted to webrunner5 in ON THE STREETS OF TOKYO   
    Yeah, the dreaded Rolling Shutter thingy. You know, other than us and others like us, I doubt "Normal People" would never even notice it.
    Yeah those new GoPro HERO Sessions are the cats ass to have. Crazy good even under water. I sure as heck don't want to see them go Bankrupt.
  3. Like
    jhnkng reacted to Tim Sewell in ON THE STREETS OF TOKYO   
    Left me wanting to see more (well, maybe not more rolling shutter ;-), but definitely more of the story!).
  4. Like
    jhnkng got a reaction from Juxx989 in ON THE STREETS OF TOKYO   
    I was in Tokyo earlier in the year and I shot this over an afternoon. Most of it was shot on a D500 with the Sigma 17-50 f2.8, the bike shots were on a GoPro Hero 3 Black, and I recorded the interview on a Rode Lav hooked up to a Zoom H1. Amazingly the bike audio was all off the GoPro -- I'd recorded some engine sounds on the H1 as well but the GoPro sounded great so I saved myself the hassle of synching audio.
    Edited and Graded in Premiere Pro with the Impulz Kodak Ultramax LUT (which was great because they had a LUT made for Nikons AND GoPros) and I used their 2.5K Grain track as well.
    Overall it turned out pretty well. If I had more time I might've found a better way to grip the GoPro to try and dial out the camera shake, but I wanted it to look rough anyway and I grew to like it. I'm constantly surprised by how well GoPro footage can look if you use it in the right way. Kinda wished I'd had the Hero 5 with the Karma grip, might've been able to do some faux drone shots by putting the whole gimbal on a stick and holding it from the back of the bike as we went along. 
    Hope you enjoy the film, love to hear your thoughts!


    ----
    What drives you to do what you do?
    With 
    SEVEN ESCOBAR
    Direction/DOP/Sound/Edit/Grade 
    JOHN KUNG
     
  5. Like
    jhnkng reacted to Kisaha in New Blackmagic URSA Mini Pro looks great, but where's the new Pocket Cinema Camera?   
    "Since the BMCC and Pocket Cinema Camera however they have only focussed on pros."
    Most of the amateurs will be happy with whatever Panasonic offers for 600euros while those Panasonic's are plug and play and the footage appears without much hassle on their brand new shiny 65" 4K TVs.
    Video companies are becoming more specialized because not a lot of people will be buying exotic video cameras with additional equipment to run, and not amateur friendly codecs; and the worst part is that they are NOT taking photos. How many are these specialized amateurs that will create a buying buzz (and absorb the R&D and marketing funds) for a completely new video camera? 
    My impression was that pocket was good for a lot of indie people (I have seen a few around Europe) but never was the "pocket" camera its name promised. 
    I am editing a project with the pocket right now, the whole rig was huge, the second -huge- battery didn't work and my friend lost the last 40 minutes of the performance we were recording and the video files were unnecessary big for such a low budgeted project (80GB for the pocket, and 60GB for the NX cameras with at least 40 minutes additional footage!) and the other cameras we had were around 40-50GB.
    Great image, but it was somehow out of place in my opinion. Great idea, poorly manufactured.
    If they can really make it a great portable pocket camera, then I will reconsider!
    This Ursa is the most interesting camera they ever produced, and the fact that it is available right now is a statement that this time they are really serious.
  6. Like
    jhnkng reacted to BlueBomberTurbo in Opinion - DXOMark's camera scoring makes ZERO sense!   
    I do agree that DXO's rankings are a bit questionable, but not too far off.  There are generally valid explanations of the issues you cited:
    NX500 over 5DS and NX1:  I've personally handled 5DSR files, and can say that the IQ is terrible. Even Canon stated not to expect much more than their old APS-C cameras in the IQ department.  I've read a few times that the NX500 is considered to have higher IQ than the NX1.  By how much, I don't know.  But viewing test RAWs of the NX1, I'd say DR and high ISO are around 1/2 stop behind the Nikon D7200.
      DXO One:  Its Super RAW literally is super.  It takes 4 RAW files, stacks them, and averages out the noise.  The difference is dramatic.  While the detail level isn't the best at high ISO, the lack of noise is well beyond FF capability.  This is similar to Olympus' high res RAW mode, but instead of increasing resolution, it reduces noise and increases detail at the same output size.
      D3X over D5:  The D5 is a bomb below ISO 1600, nearly matching the 5D III.  Even crop sensors beat it.  The sensor is tuned for mid/high ISO performance, though current technology only goes so far.  The gains, while there (+1/2 stop vs 1DX II), really aren't worth the trade off for the flexibility in low ISO RAW.  Worthy of note is that the D3X has a Sony sensor, while the D5 is Nikon's own creation.
      D600 over 1DX II and P40+:  It's true.  The D600 kills the 1DX II in DR at base ISO, and at worst, ties it the rest of the way up.  the 1DX II literally has years-old crop sensor performance in that area, despite Canon's massive gain in their new generation of sensors.  High ISO is also neck and neck.

    Vs the P40+, the sensor in the MF camera is quite old.  Despite having the resolution advantage, it loses out in DR and high ISO by quite a big margin.  By ISO 1600, colors turn to mush, which doesn't really happen on the D600 at any ISO.
      D3s and D700:  I've also worked with files from a D700 multiple times, and can say that yes, its sensor is outdated at this point.  It's competitive with today's crop sensor cameras (minus Canon's) at best.  The A7S/II sensor has been compared to current medium format in its DR and ability to reproduce color. 

    Once again, the D3s/D700's sensor is Nikon's own.  Nikon isn't very competitive when it comes to sensors, and probably had its best attempt at competing with Sony in the D4/s/f.  All of the rest of their sensors just don't stand out, though aren't as bad as Canon's. I have a feeling that resolution plays a big part in DXO's rankings.  If you downscale the A7R II's files to A7S II size, they will certainly have an advantage in their "Sports" rating. It might also be why the A7R II beats the D810, when the D810 clearly has about 1/3 stop advantage at high ISO.  My friend tested 2x A7R IIs before returning them and keeping his D810.  #IQsnob.
    For DR and high ISO, they test noise up to a certain amount.  How they get to that amount, who knows, but it's a cutoff point they chose that represents the transition from "OK" noise to offensive noise.  So while sensors may have DR response up to a certain amount of stops, after a point, it becomes wiser to turn things back a bit in software.  Where that happens is up to the user, as it's a more subjective choice.
    And "Color" is more about correctly reproducing color in RAW than how the final JPG is rendered.  Color in the Canon sense is highly subjective.  Color against a known testing scene/chart isn't.
  7. Like
    jhnkng got a reaction from IronFilm in Nikon Customers   
    It would be amazing to map the eVR to a button, so you can easily turn it on and off as required. I can totally see myself using it tons more if I can click it on when I want to hold steady, and click it off when I move. But since it crops the image I can't imagine that will ever happen.

    The image is at least as good as the D750, but I think the D500 has a slightly better metering system. It makes a difference for any of the auto functions like Auto ISO, which is freakin' INCREDIBLE. Being able to follow someone from outside to inside and have the camera just sort it out is brilliant. Match that with the excellent Auto WB system and it makes run and gun weddings just that little bit easier.

    But I agree, if you have a D750 and don't need a second body it's not worth switching. 
  8. Like
    jhnkng got a reaction from mercer in Nikon Customers   
    I just tried the movements you mentioned and with a little practice I think it could work for you. As far as I can tell it doesn't work for random movements -- but a simple left - right or up - down the system works pretty well. When I get the chance I'll play with it more and maybe post something else.
     
     
    The crop would probably be more, since the D750 is 24MP (6000x4000). Looking over those short clips I shot, I think the 4k looks even better than the 1080p, there's more texture to the image. I have a Tokina 11-16, and that's wide enough for me even in 4K, so while I hadn't planned on it I might actually use the 4K mode more now. So thanks for giving me the incentive to test it out! :D

    Would I would love (and would never happen) is for Nikon to go crazy and do a 2.39:1 scan in 4K, so 5168 x 2160. The sensor width is 5568px so it would just fit. The XQD card is plenty fast enough to write it, and I should think the new Expeed 5 chip is fast enough to handle it. It's not real anamorphic, but gee it would be an epic crop!
  9. Like
    jhnkng got a reaction from bamigoreng in Nikon Customers   
    I don't have anything in production to show, but today I shot a couple of short clips that I've uploaded to Vimeo:
    The password is: eoshd
    The clips are straight from the camera, you can download it from Vimeo. The first is my son backlit with a colour card in very light shade, there's bit of flare at top of frame. The second is to give you an idea of what kind of dynamic range you can expect. Both are shot in 4K using the Flat profile with the Nikon 20mm f1.8, around f2 - 2.8 (can't remember). 

    Regarding live view, you have to engage live view every time you turn the camera on. I'm pretty sure there isn't a way to have live view turn on automatically. Then again, even when the camera is on it uses very little battery, so there's very little penalty to leaving the camera on and live view off. Except for changing lenses with IS/VR/OS elements, if you don't turn off the camera the lens won't park the moving element and you'll hear the lens rattle like crazy.
    I'd appreciate it if you don't share this all over the internets, I made these for this community because I've learnt tons here and I want to give a little back. I just feel a bit weird about my son's face all over the internet even if he is hiding behind a colour card...
  10. Like
    jhnkng got a reaction from mercer in Nikon Customers   
    That was all auto white balance by the way, which I've always found works pretty well. And I have played with the Electronic VR, and it's a mixed bag. There's a crop for starters, I'm not totally sure what it is but it seems half way between normal and the 4k crop, so maybe 1.7x -ish? And while it does a great job if you want to hold the image completely steady, if you try to pan or tilt there's a lag so the image stutters as you move -- not even remotely close to being smooth. It basically mimics a tripod. The good news is that you can turn it on and off in the movie quick menu that's available when you're in live view, so it's easy enough to turn it on and off, but it's nowhere near a regular use feature.
     
  11. Like
    jhnkng got a reaction from mercer in Nikon Customers   
    I don't have anything in production to show, but today I shot a couple of short clips that I've uploaded to Vimeo:
    The password is: eoshd
    The clips are straight from the camera, you can download it from Vimeo. The first is my son backlit with a colour card in very light shade, there's bit of flare at top of frame. The second is to give you an idea of what kind of dynamic range you can expect. Both are shot in 4K using the Flat profile with the Nikon 20mm f1.8, around f2 - 2.8 (can't remember). 

    Regarding live view, you have to engage live view every time you turn the camera on. I'm pretty sure there isn't a way to have live view turn on automatically. Then again, even when the camera is on it uses very little battery, so there's very little penalty to leaving the camera on and live view off. Except for changing lenses with IS/VR/OS elements, if you don't turn off the camera the lens won't park the moving element and you'll hear the lens rattle like crazy.
    I'd appreciate it if you don't share this all over the internets, I made these for this community because I've learnt tons here and I want to give a little back. I just feel a bit weird about my son's face all over the internet even if he is hiding behind a colour card...
  12. Like
    jhnkng got a reaction from Adept in Nikon Customers   
    I have the D750 and the D500 (and a D3s and D800), and they're both excellent. The difference between the two are mostly to do with features rather than image quality -- both images are pretty much the same, you have to push pretty hard to see the difference. One place where you can see differences is at high ISO -- the D500 might have a 1.5 million ISO headline, but it's pure BS. It's just acceptable for certain applications* at 12,800 ISO in RAW, the D750 is definitely better at 12,800 (not a massive difference a la A7s, but noticeable.)
    The D750 and D500 has the same colour, they mix and match perfectly. Not sure if that will be the case for any new cameras, since I've noticed that Nikons do change in look from generation to generation (as you would expect). It changes enough so that I keep slightly different Lightroom presets for each of my cameras to get a consistent look, even in RAW stills. 
    Another thing I'll note is that while each new Nikon I've bought have feature differences, they're not hugely different. Nikon is at a place where they're happy to do 4K in crop mode -- I wouldn't expect a new upcoming Nikon to do 4K without a crop. Nikon is incredibly conservative when it comes to adding new features, it would not surprise me that it would take a D6 (probably 4 years from now) before you see un-cropped 4K. No one buys Nikon for bleeding edge tech, they buy Nikon because it always works, under any circumstances, all the time.
    (That said, the 4K crop is about the same as the GH4 with native lenses at 2.3x, and I never had a problem with either camera. I do have a Tokina 11-16, which is a lovely looking lens)
    For what it's worth, if I absolutely had to only go with one camera I would pick the D750 with the 24-70. But only just, since I also have a D500 with the Sigma 17-50 2.8 with OS, and that is a pretty sweet combo. 
     
     
    * I'll go right up to 12,800 for events in a dark room, but in any situation where I have some control over lighting/set/talent, I'd keep it no higher than 6400.
  13. Like
    jhnkng got a reaction from mercer in Nikon Customers   
    I have the D750 and the D500 (and a D3s and D800), and they're both excellent. The difference between the two are mostly to do with features rather than image quality -- both images are pretty much the same, you have to push pretty hard to see the difference. One place where you can see differences is at high ISO -- the D500 might have a 1.5 million ISO headline, but it's pure BS. It's just acceptable for certain applications* at 12,800 ISO in RAW, the D750 is definitely better at 12,800 (not a massive difference a la A7s, but noticeable.)
    The D750 and D500 has the same colour, they mix and match perfectly. Not sure if that will be the case for any new cameras, since I've noticed that Nikons do change in look from generation to generation (as you would expect). It changes enough so that I keep slightly different Lightroom presets for each of my cameras to get a consistent look, even in RAW stills. 
    Another thing I'll note is that while each new Nikon I've bought have feature differences, they're not hugely different. Nikon is at a place where they're happy to do 4K in crop mode -- I wouldn't expect a new upcoming Nikon to do 4K without a crop. Nikon is incredibly conservative when it comes to adding new features, it would not surprise me that it would take a D6 (probably 4 years from now) before you see un-cropped 4K. No one buys Nikon for bleeding edge tech, they buy Nikon because it always works, under any circumstances, all the time.
    (That said, the 4K crop is about the same as the GH4 with native lenses at 2.3x, and I never had a problem with either camera. I do have a Tokina 11-16, which is a lovely looking lens)
    For what it's worth, if I absolutely had to only go with one camera I would pick the D750 with the 24-70. But only just, since I also have a D500 with the Sigma 17-50 2.8 with OS, and that is a pretty sweet combo. 
     
     
    * I'll go right up to 12,800 for events in a dark room, but in any situation where I have some control over lighting/set/talent, I'd keep it no higher than 6400.
  14. Like
    jhnkng got a reaction from Richard Bugg in Nikon Customers   
    I have the D750 and the D500 (and a D3s and D800), and they're both excellent. The difference between the two are mostly to do with features rather than image quality -- both images are pretty much the same, you have to push pretty hard to see the difference. One place where you can see differences is at high ISO -- the D500 might have a 1.5 million ISO headline, but it's pure BS. It's just acceptable for certain applications* at 12,800 ISO in RAW, the D750 is definitely better at 12,800 (not a massive difference a la A7s, but noticeable.)
    The D750 and D500 has the same colour, they mix and match perfectly. Not sure if that will be the case for any new cameras, since I've noticed that Nikons do change in look from generation to generation (as you would expect). It changes enough so that I keep slightly different Lightroom presets for each of my cameras to get a consistent look, even in RAW stills. 
    Another thing I'll note is that while each new Nikon I've bought have feature differences, they're not hugely different. Nikon is at a place where they're happy to do 4K in crop mode -- I wouldn't expect a new upcoming Nikon to do 4K without a crop. Nikon is incredibly conservative when it comes to adding new features, it would not surprise me that it would take a D6 (probably 4 years from now) before you see un-cropped 4K. No one buys Nikon for bleeding edge tech, they buy Nikon because it always works, under any circumstances, all the time.
    (That said, the 4K crop is about the same as the GH4 with native lenses at 2.3x, and I never had a problem with either camera. I do have a Tokina 11-16, which is a lovely looking lens)
    For what it's worth, if I absolutely had to only go with one camera I would pick the D750 with the 24-70. But only just, since I also have a D500 with the Sigma 17-50 2.8 with OS, and that is a pretty sweet combo. 
     
     
    * I'll go right up to 12,800 for events in a dark room, but in any situation where I have some control over lighting/set/talent, I'd keep it no higher than 6400.
  15. Like
    jhnkng got a reaction from IronFilm in Nikon Mystery Solved!   
    I just got a D500 to complement my other FF Nikons and it's a sweet little camera. I don't really notice that it's not full frame, and it matches my D750 so well that I have to check to see which files came from which camera. I'm mostly a stills guy, but I have shot video jobs with the D750 and I like the video I get from it, it's got a really efficient codec but there's still a little bit of room to grade, and once I get the loupe on the screen I don't miss peaking at all. 
  16. Like
    jhnkng reacted to Django in Nikon Mystery Solved!   
    I dunno what exactly you guys seem to complain about. The Nikon D750 introduced in 2014 is a FF camera with zebras, 60FPS, tilting screen and a Flat profile. May not be as good as Sony, but is a hell lot better then what Canon is offering, and Nikon doesn't even have a dedicated pro video department..
  17. Like
    jhnkng reacted to Cinegain in How much would you knock off for this damage?   
    Ask him to send you a sharpie. 
  18. Like
    jhnkng reacted to John Brawley in Ursa mini...is this the end of blackmagic?   
    Hi.
    You may think I'm a brand ambassador, but lets examine what that would actually mean. It would mean that I get paid to promote and generally aid the cause of Blackmagic and their brand awareness and experience with their users, is that right ?
    I am not a Brand ambassador for Blackmagic, mostly because I don't get paid to be one, and I'd rather speak my mind openly in public forums like this.  I've believe I've been honest in my views of the pros and cons of their products.  I have a personal relationship with many of the people that work there and I've had a lot to do casually with helping with test shoots, iterations of changes to fundamentals,  which again, I'm not paid for.  In return I get to be involved with the development of cameras, furthering my own understanding of how a camera is built from the ground up, I get to see some of my input make it into the development cycle and I get some cameras.  Blackmagic once flew me to IBC to help with the launch of the MFT version of the 2.5K, a version I strongly lobbied for internally with BM.
    None of my involvement with Blackmagic has EVER lead to me getting work as a DP, or increasing my profile.  If you think that's what producers go for then you'd be wrong.
    If you don't think I'm polite enough then it's really your problem.  I would much rather remain independent and be able to speak my mind frankly.  It's exactly because I'm not a Blackmagic Brand ambassador that I can do this and the more I do this job, the less patient I get with armchair experts like Kino.
    I feel like I've earned the right to be able to speak on that which I know something about and I don't really have the patience to argue points of fact with someone anonymous like Kino who has no ability to back up his claims nor legitimacy in his identity.  Anyone who's been on camera forums knows me and my history and has that posting history to inform them.  I have been on CML since nearly the begining, on C.com for many years and DP review, REDUSER, DVXUSER  all long before Blackmagic came along.  I have a blog where I try to write meaningful and helpful work and share my very own camera tests from actual shows with anyone who wants to see them without monetising it or having any kinds of adverts or kickbacks.
    Because I like to be able to speak my mind when I wish to. I'm not building a profile with this audience because I am not tied to you guys for money.
    JB
     
     
  19. Like
    jhnkng reacted to AaronChicago in Ursa mini...is this the end of blackmagic?   
    I'd recommend gear insurance if you're owning expensive equipment.
  20. Like
    jhnkng reacted to John Brawley in Ursa mini...is this the end of blackmagic?   
    My mistake.  You know it all.  They just rock up to the sensor drive though and get a Big Mac sensor meal to go.
    JB.  
  21. Like
    jhnkng reacted to John Brawley in Ursa mini...is this the end of blackmagic?   
    Neither RED nor ARRI make their own sensors. They have them outsourced and made to their specifications. Just like BM do with their 4.6k sensor. 
    BM make their own circuit boards.  They don't outsource them.  Then make them from scratch.  They make the physical bodies themselves.  They rely on commodity items for the chips and screens but they manufacture more than most other companies in house.  They have an active policy of not outsourcing.  
    You're just guessing or making things up when pass mis-informed opinion as fact.   Maybe think about qualifying your guesses next time so those reading will understand that you're guessing or making something up.
    How does anyone know what the margins are for Blackmagic ? A company that don't tend to outsource but do tend to keep as much as they can in-house.  Just like the first post that posited that few would sell when thousands have already been sold. It's just guessing at best, and most are way off.
    They're doing fine.  Compare them to AJA and the Cion.  Similar sized company to BM, they made a camera based on the same sensor package, but one that was considered to be the much better camera.  Look how well that went for them.  Why is it that Cion failed ? Everyone who was a "pro" breathed a sigh of relief that a "real" camera would be made and yet...
    Axiom ? That was going to show everyone how an open source market/ ML style approach would make a camera right ? Show those Blackmagic clowns how to do a camera OS.  Look how grindingly slow that's been going because Canon didn't do all the heavy lifting on the sensor front end.
    or DB ? Why did they fail ? Again, they have an apparently loyal following and unique features.
    Again it failed. 
    Panavison have failed at least twice to launch a new camera to replace the Genesis.
    Dalsa, who everyone forgets made the first 4K cinema camera have gone out of making cameras.  
    Aaton went bust trying to make a digital cinema camera.
    Ikonoscope went bust using the same DB sensor.
    You armchair quarterbacks are all posting guesses but you actually have no idea what it actually takes to make a camera from scratch.  I sure don't but I know that after seeing Blackmagic do it up close for the last few years it's way more complex and intricate than I ever imagined. I know that when I ask about a feature or aspect that I like or don't like of the engineering team they've spent a long time already thinking about it or trying to get past the hurdle. 
    Making and developing cameras is a very expensive game and there's no way it would be some kind of loss leader.  It's just way too expensive.
    At least they're still in the game and offering choices.  They continue to innovate, and I think if you look at their first efforts, compared to now, they obviously listen to what their customers want even if it doesn't appear to be so.  
    They have certainly hit some pretty big bumps in the road too but they are still here and trying to compete with the big boys, something a lot of others have failed to do.
    I find the "qc" issue hasn't hit me.  I guess I'm lucky or maybe I don't expect to have my camera working or repairable after dropping it but in years of using all the BM cameras I have on commercial and paying jobs, I've not run into most of the problems that are cited as being their weakness. I mean honestly the camera doesn't overheat and yet it's constantly written as a problem on review sites or in the mythology.  
    In the early days of RED they had to educate their users about how to get the most from their cameras and how to shoot RAW.  
    I think BM need to do the same thing because you still get people who have no idea about a RAW workflow stumbling into using RAW for the first time after having only shot 8bit 4:2:0 previously.  
    This community more than "pros" is where BM cameras do the most for filmmakers.  Which other big box company gives you ProRes or even 10bit ?
    JB
     
     
     
  22. Like
    jhnkng reacted to IronFilm in The next Blackmagic Pocket or Micro Camera?   
    Yeah screw this talk of making another BMPCC v2.0, just put the BMPCC on another $500 sale again! :-D
  23. Like
    jhnkng got a reaction from mercer in The next Blackmagic Pocket or Micro Camera?   
    A new Pocket camera with the 2.5K sensor would be amazing, but even the existing sensor with a redesigned body to take LP-E6 batteries like the Micro would be a welcome update. Hopefully that means it'll have more space for a bigger heatsink, and 60p.
  24. Like
    jhnkng reacted to Mattias Burling in Sony Mirrorless reliability...   
    Only user issue is your reading, I had a iv not a iii
  25. Like
    jhnkng got a reaction from mercer in BM micro cinema grip and LCD   
    Sounds like lots of people really want an updated Pocket Camera with LP-E6 batteries and 60p...
    Actually, somewhere on the internet there's a guy who showed that you can use a servo tester for RC planes to make your own controller for the BMMCC (like this). You get 4 channels of analog PWM controls with the expansion port, and if you attach a servo tester to each channel you'll have direct control over each of those settings. Add a LANC pistol grip and you're almost there with what you have in mind.
    In fact, you can take the composite video out and send that signal to a little LCD that takes composite, and you can do it all with just the expansion port (Composite out, 4 x PWM channels, and LANC). Find a mechanical engineer friend who has a 3D printer and away you go!
    Though having shot the BMMCC for a month now I don't know that I really, really needed anything like that (definitely a "nice to have" rather than a "need to have"). Though I built my micro camera into a camcorder style that's bigger than the GH4 it replaced, because I found that I needed the weight balanced rather than the smallest possible package. It's hard to beat the original Pocket Camera for size if you really need to get under the radar.
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