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nathanleebush

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Everything posted by nathanleebush

  1. Terrible.. When I was in the UK a few times over the last decade, it always felt like 1984. I'm am always shooting street photography everywhere I go, and it's the only place I've ever been stopped and questioned by the cops, and not once, but many times. Sad to see Europe following suit. Liberal governments are always trying to regulate the shit out of everything. Just leave us alone!
  2. Vimeo sucks a big one, always has. For the base upgrade of $84 a year, you get a whopping 5GB a week. Someone has to break it to them that YouTube has been offering unlimited uploads since...forever, and was like 2-3 years ahead of Vimeo in offering basic things like 4K, again, always free. Vimeo video search is beyond terrible, with very limited filter options. And they do all the most annoying tricks where, rather than add value to premium options, they strip away very basic functionality from the free product, like having to wait in an arbitrarily long queue to get to see your uploaded video, and only 500MB per week, a pathetic sum. Vimeo has the best encoding, but for everything else it's a total scam.
  3. One of the realities of being a EOSHD reader is the occasional Andrew Reid temper tantrums and flame wars. As something of a self-righteously indignant flame war enthusiast myself, I recognize his reaction. Still, it seems like ultimately Brawley is right, BM is sharing this cameras with working pros, not enthusiasts. I don't know where Andrew makes his money to buy all these cameras, but pretty sure it's not shooting ads or features. No offense, I enjoy his videos and his color work and his idiosyncratic taste, but he's not exactly the industry perspective, which is apparently what BM is seeking.
  4. Does it work with flat profiles like S-Log 3? I want the dynamic range and control in post, but I'd love for it to grade into that nice color quicker.
  5. The left have become a bunch of whiny, pearl-clutching Victorians. They've gone completely off the deep end with the offense culture and all the divisive race-baiting and reverse sexism/racism. Hillary was the last time I vote with them. Glad we still have a few brave people like Kanye and von Trier who truly don't give a fuck, but they are few and far between.
  6. I don't know. Sony's implementation of features does vary camera to camera, and I've only seen it explicitly written so far that the A6500 supports E mount/A mount.
  7. Does anyone know if the IBIS on the a6500 works with non native sony lenses like it does on the A7s II, where you can manually dial in your focal length? That will be the decisive issue for me in buying it because I have a lot of old manual lenses. Really wish Sony would put an ND 6 or 9 in that RX100 V. With Log mode starting at 1600 ISO, ND 3 still means you're shooting at F13 in daylight and still clipping highlights. I've rarely found myself in a situation with my Mark IV where the ND3 was useful.
  8. At my main rental house in NYC (Adorama), the C300 II is renting for the same price as the FS7, which tells me they have over-invested like you say and are pricing it to move. So for me it's a no brainer, why not rent a $13k camera over an $8k camera when the cost is the same?
  9. This footage looks terrible. Sooo video-y.
  10. Vimeo sucks. I can't believed they've extracted hundreds of dollars from me over the years for a comparable experience and quality to YouTube (increasingly inferior). Like the whole pressured upgrade thing is a major dick move. You have to wait 45 minutes in the queue for your video to start encoding. This does nothing to help their speeds or anything, it's just an arbitrary punishment for not paying.
  11. And lose any weight advantage :/ Hilarious that almost a year after they announced at NAB pre production units are starting to filter into the world. After the first few releases I was hoping BM would pull it together with its release schedule, but it's been more of the same. Delays, delays, delays. Weird strategy: get everyone all hyped and then make them wait just long enough that they've forgotten about it completely and are hyped about something else. Then release it.
  12. It's dead. Nobody's going to hack a camera which won't have a successor.
  13. It's a shame.. they were so close to making a real dent, because they were respecting the enthusiast needs and thus gaining their trust. The NX1 was a grand slam in the photo/video nerd online world. These blog/forum reading enthusiasts are the evangelists that everybody goes to for advice on their next camera purchase. Still, it was probably a savvy business move, as phones are really going to do the job for 99% of people's needs 5 years from now. They have 4K and high megapixel counts already, and with AI advancing as fast as it is, post is not going to be an issue either. Google and Apple already have BS auto enhance features. They are laughable now but will improve exponentially in the next few years. The high end camera business lends a brand cache, but I don't get the sense it's a huge moneymaker, and sprawling companies like Samsung and Sony generally make a push every few years to reign in operations and far flung pet projects to concentrate on the core businesses. For Samsung, that means consumer electronics sold at scale, not niche enthusiast/pro products. Do they make their own cellphone camera sensors? If they do, they are arguably as much in the photo business as they need to be.
  14. Yeah exactly. All-in-one cameras are incredibly convenient. And there are actually people (like me) who love both mediums equally, so to have the option to do both with one piece of kit is a godsend. On some jobs, and certainly in my personal work, I oscillate between the two mediums constantly based on how I'm feeling about the scenario.
  15. Sony's been remarkable in this regard. Their stills camera division was a distant third for a decade. They just kept chip chip chipping away, adding more features than the competition, iterating and modifying their designs radically until they found a way into the future (mirrorless). People who were paying attention switched a few years ago with the NEX-7 era. Now I see a huge sea change happening with a majority of filmmakers I know switching and lots of photographers taking Sony seriously as well. Nice to see the hard work and patient approach pay off. Their consistency approach is smart, too. They built an array of product categories and packed each with category leading features, so you can confidently move between the levels. I can use my A7s, RX100 IV on most standard shoots, and rent the FS5/FS7 when I need something more capable, knowing I can shoot S Log on all and have a color matched solution. The idea of adding pro codecs on the RX100 IV especially, was genius. I've picked up B Roll for major shoots when I'm just walking around and pull it out of my pocket. to grab something in 4K S Log.
  16. I've long since given up on being angry at Nikon for ignoring video shooters. Once upon a time I thought they'd note the 5D II revolution and fire a quick dart back with the next iteration.. Almost 8 years later it's pretty clear they don't give a damn and never will. I stuck with them for years for video thinking they'd finally figure it out. We shouldn't even discuss them when discussing video. You mentioned RED's compressed raw codec.. what's the bitrate on that?
  17. I love this zoom range, and am looking for a nice all purpose lens for doc work on my A7s. I always found the Canon L 24-105 lacking in many ways. Specifically they always have a jerky zoom performance if you're trying to zoom mid shot. It's nice for shock zooms but not smooth slow zooms like I can accomplish with my Sony 28-70, which for some reason has a nice damped zoom throw. I'm looking to do 70s style zooms like Altman, just very manual looking, slow zooms mid shot. Also interested to know if the focus throw is long or short. I've noticed some photo lenses have extra short focus throws making manual focus tricky. Also, will the Image Stabilization work on non-native mounts, as I'll be using with a Nikon to E mount adapter, most likely.
  18. What about that form factor though? The FS7 and URSA Mini were a step in the right direction, ergonomically, in my opinion. Seems like it's a step backward when you can't shoulder mount the thing, but have to hold it out in front of you like a soccer mom. C300/100 bugged me for the same reason. Ergonomics and the 8 bit codec are the only demerits I see, but at that price, who can complain! Anyone have tips on rigging it up to be shoulder mountable but still light and compact?
  19. Definitely a sign of things to come. I've been flirting with a pistol grip style gimbal like the CAME TV Single for my a7s with 35mm or RX100 IV. Seems like the perfect carry everywhere solution for travelers still aiming for cinematic results, just throw it into your backpack and you can travel the world with a mini steadicam. I could see next year something like this combining 1 inch sensors and the faster autofocus we've been seeing from various manufacturers. Or if it was a pistol grip with some sort of focus knob like on a wireless follow focus built onto the back of the device and syncing to a focus gear coming out from the baseplate to the lens (if that description makes sense at all), I could see that being a pretty intuitive and portable setup that allows for maximum single operator control. Tangent.. this is my own weird dream product, but what do you guys think about a 35mm equivalent fast lens 1 inch sensor compact, like the RX100 but with no extrusion needed to house the collapsible lens? Seems like those Sony engineers could figure that out. The RX100 is slightly too bulky for my jeans pockets, but I love the simplicity of street photography camera with viewfinder that slips into your pocket, like s110 dimensions. Basically a tiny X100T or RX1 ii Definitely niche, but I'd pay good money for it.
  20. I agree. I always overcompensate (in post) magentas on my Sony cams, stills and video, Log or no Log. I've always personally felt that Canon has nice color science, but not accurate, especially in stills. Sony sensors, especially on Nikon cameras, produce color more accurate to what my eye sees, but not as flattering or punchy. I prefer to have accurate but less sexy color, and then work it in post, but I can see how sexy color out of camera is appealing. I think that explains especially the predominance of Canon on the studio photography side (when not using medium format). I've noticed Fashion and commercial photographers in NYC prefer the 'Canon look,' despite the files being significantly less flexible. I've only once seen a Nikon in a studio environment, and Sony never. But I think it's also inertia, as pro photographers have invested in the system and glass and know how to work with it.
  21. I was at PhotoPlus talking to a senior Sony technical lead (who was integral to the release of the FS7 as a consumer advocate to management, as I understand it). Won't name him as not sure he'd be comfortable with it. He admitted that Sony is doing a terrible job of educating people about how to work with S-Log. He recommends Sony's own coloring solution (Catalyst) for preliminary color correction during the ingestion process. I'm starting to feel less inadequate about my difficulty with coloring it, especially since I've never had a problem with Canon's Log. Still, as much as this review makes me disappointed that the a7s too is less than the perfect camera I had fantasized about, I'm overall in favor of Sony's approach, with frequent iterations. I mean the 5D Mark III is 3.5 years old, and it was pretty underspec'd when it came out. We'd probably have a horse race between Sony and Canon if Canon would update more frequently. Sony iterates at probably double the speed, but the jumps are more incremental, with each version stuffed with some new features. This means that wherever you are in your buying cycle, you'll have a pretty recent update to pick from Sony. Maybe the incarnations are not as polished, but at least they are packed with the latest technology.
  22. The overheating is a very real issue. I've been renting an a7r ii from an assistant for interview work and having to take breaks to let the camera cool down is very unprofesh.
  23. I have a question about the in-body image stabilization: when paired with an image stabilized lens, is the effect compounded, e.g. more stabile?
  24. Am I wrong or do the sample images not look substantially less noisy than the A7s? http://www.filmanddigitaltimes.com/wp-content/uploads/2015/07/NYC-Night-51.2K_ISO.png
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