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  1. pietz

    Sony a6300 4k

    the last time i was this impressed was when the a7rII came out. The autofocus of the a6000 was the first and only one i would actually consider using as a videographer and the a6300 seems to be even better. just wow
  2. @Emanuel Sorry mate, i can't answer your two questions as I'm not an engineer. I just know that things move forward and overheating might soon be a problem of the past, as sensors get more efficient. Your entire post sounds like you are arguing that 10bit will not be available in the future of semi professional cameras. well, you might be right and i never said anything against that. My post covered two things: A) it was stupid of you to blame 4:2:0 for the banding in the mentioned example. B) in my opinion 10bit is much more important than 4:2:2 for already stated reasons. i never argued abou
  3. hey man, i'm no photographer, but i think this is a quite simple question to answer. lets start out at the beginning: 1) New Camera: Is 12MP enough for you? If yes, then the A7s and A7sII are excellent choices. The best, really, for what you want to do with them. You will be surprised how good they are in low light. Probably even better than your high expectation expect . If no, think about going broke for the A7rII, as its also brilliant in low light, plus also comes with IBIS which you seem to dig. Its super expensive but completely worth it and a good investment for the next decade if you
  4. I believe that the jump from 8bit to 10bit is far more important than 4:2:2 instead of 4:2:0. The bump to 4:2:2 increases the theoretical gain of picture information by 1,3x, whereas 10bit increases it by 64x more information. The A-B-C example that Emanuel posted doesn't prove the opposite for quite a few reasons: 1. When testing the impact of a certain change or setting you can only vary one factor to make assumptions regarding that setting. But as it has been pointed out it not only changed from 8bit 4:2:0 to 8bit 4:2:2, but the entire system that recorded the scene changed including the co
  5. Andrew builds some amazing stuff and I totally think he should make some money with the time he invests into EOSHD, but isnt GH4 LOG Converter total bullshit in theory? Log gives benefits in terms of higher dynamic range and smooth highlight roll of, but these two factors only play into account if they are applied between capturing the light and saving it in a video file. after that the dynamic range is set and so is the definition in highlight roll of. taking regular footage and making it flat doesnt give you any more information that you had in the first place. quite the opposite: flattening
  6. wow, this makes complete sense. thank you for your time! so why is everybody so psyched about 4:2:2 these days? sure its twice as much color information compared to 4:2:0, but i never looked at footage (even graded material) saying "4:2:2 or 4:4:4 would have helped to make this look any better." if the lack of color information bothers you in 4:2:0, it should also bother you in the horizontal of 4:2:2. why favor the quality of vertical color information over horizontal? and yet all editing codec come at least with 4:2:2. i dont get it. i think it makes a lot of sense to start delivering 10bit
  7. knowing how chroma subsampling works i often ask myself why 4:2:2 is the (semi) professional standard in case 4:4:4 is not an option. it bothers me to imagine that the color information will be full in vertical terms but only half in horizontal direction. and why does everybody use 4:2:2 and nobody ever talks about 4:4:0? why is the vertical color information more important than the horizontal? to my understanding it should be the other way around. since most of the motion in a film is horizontal, shouldnt be the horizontal color information be full instead of the vertical? somebody here that
  8. ​and im 70% sure the both of you don't understand how percentage works.
  9. ​ive been saying this for years and always get weird looks all over the place, but the relationship of Sony and Panasonic is strikingly similar to RED and ARRI. One tries to innovate wherever they can, which always looks great on paper. the other focuses on complete reliability and only uses what works 100%. If moire isnt a huge deal on the a7r II there is another benefit opposed to the A7s. native iso at 3200 is annoying as f*ck and while its awesome to have nightvision in our camera, we wont need it more then 2% of the time. Shooting in bright daylight and having to use iso 3200 happens a w
  10. i disagree with those saying that "especially now Panasonic needs to deliver V-Log for the GH4". We're lucky that the update is rumored to drop very soon, because if anything Panasonic needs us to buy their next camera. And thats not going to happen if the GH4 takes away another aspect that the GH5 could show off. They will only make us buy their next product if they amaze us. V-Log is definitely the first thing on my list, closely followed by 10bit. the latter got even more important now that the A7r II doesnt have it. Personally i never cared for 4:2:2 and dont see why this is such a big dea
  11. ​thanks for your time john and no, the crop seems to be native pixels, just like the regular 4k mode. even for anamorphic shooters, this just doesnt sound like big news at all then. sorry, i dont wanna spread bad attitude, but seriously whats all the fuzz about? we were able to shoot 4:3 video in the same resolution before. i challenge everybody to see a difference between 25p and 24p. like one of us is shooting a hollywood picture with the gh4 that needs to be 24p... and even it you needed 24p it was all there you just needed to crop the 4k width from 3840 to 2880. and since you need to adjus
  12. i read the changelog and i understand whats in it, but what exactly is now possible with the 2.2 firmware that wasnt possible before? im asking because to my understanding the new anamorphic recording is not destreched in live view nor is the actual recorded footage. so whats better now than shooting in 4:3 photo mode or just using 4k and cropping the sides? i feel extremely stupid. i must be overlooking something because everybody is so psyched, but what?
  13. the human eye can see between 2-10 million different colors depending who you ask and what study you put believe in. thats between 7 and 7,75 Bit of different colors per channel. if you think you can distinguish 14bit original footage in an 8bit video uploaded to youtube, you must have super powers, because its just not possible. its impossible because not only has the video playing a higher number of colors that you can see, but it also is the original brought down to the 8bit color space. that video you're referring to looks so absolutely disgustingly oversaturated that it hurts my eyes. in
  14. this doesnt sound like something that panasonic would do. i hope. however the wording sounds very solid and not like "the gh5 will have ibis!!1 yolo" -trash rumors. i would most definitely switch system if its a paid update. even if its just a few bucks. the competition is extremely high these days, with lots of other companies to switch to. Panasonic has never been "great" about firmware updates (not terrible either) and going this route would make me sell my gh4 immediately and get a NX1. (im on the edge anyway) this kind of marketing and selling scheme disgusts me. Panasonic said themselves
  15. every update bringing new features is a good update, but i clearly dont agree with Panasonics aproach here. Anamorphic recording on a device like the GH4 is still such a niche kind of feature. i dont think more than 2% of all gh4 owners will actually use it. plus, the implementation is rather poorly without a destretched live preview. and lets not forget, anamorphic recording was possible before and just meant some adjustments on the computer. so why not work on something that a majority of people actually need, like putting more pressure and time into V-Log. with the history and knowledge of
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