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Everything posted by GMaximus

  1. DXO Labs test result: We have to keep in mind that if we shoot slog2, the base iso is 3200, so in bright conditions a7s loses lots of DR compared to GH4 or itself.
  2. I think it's just started, we're going to see new footage every day now. 1GB MOV file available for download. Looks like ISO3200 would be clean --- Nice colors
  3. They do "Who said it to be so? Let the sword resolve it! Contest! And God be the judge!" (which means we want side-by-side footage :) )
  4. To me it looks like a combination of a terrible image stabilisation (especially when she walks @0:24) and slow shutter speed. So when the camera is handheld, every second you get a smooth motion followed by a hard drop - not very pleasant.
  5. Those are ALL-I, not just i-frame codecs :) Every blueray movie we watch has lots of p- and b-frames between i-frames, but you usually don't experience those cadence perception problems. That's just how MPEG works since the DVD days. Or even older Video-CD times. If motion cadence problem is actually the frame jitter, then you can test it experimentally.
  6. I'm sorry, i've never did it. That's just what i've read about it: I know the directors want total control over their image and I do respect the colorists suggestion and their hard work. But still with the low budget shoots , where you don't create a LUT for every scene beforehand and can't afford a monitor with custom LUTs, the DPs are losing control shooting on LOG. Advice to producers - the 30 second version I don't have time for a grade; I want a finished picture straight out of the camera: Use Standard Gamma 5 (STD5) I / my editor will be grading it on our in-house edit suite: Use Hypergamma 7 or 4 (HG7 / HG4) It's being finished in a dedicated grading suite, by a full-time colourist: Use S-log S-Log: Exploits the full range of the F55 chip, but must be graded by an experienced colourist. Easy to over-expose; read up before shooting. Sony says S-log has 1300% dynamic range, capturing 14 stops of latitude. Nate Weaver: It's pretty simple. Hypergammas make an image that is kind of "ready to go" from an editorial standpoint. It's intended for people who like to paint their cameras and create in-camera what gets seen in the final product. Intended for minimal color correction. S-Log on the other hand is intended for folks who want the cleanest, un-adultrated image going into post. Full sensor dynamic range, no matrix "looks" in the camera, no sharpening, nothing. The philosphy of "raw" but still recorded into a video signal. It also assumes there is somebody in post who has the tools and skills to make a pretty image, most likely a colorist. In post production as the curve is so close to Cineon you will be able to use almost any Cineon compatible LUT’s or Looks. It’s also very, very close to Arri’s Log-C curve so LUT’s designed for Log-C will work very well with SLog3 and Sgamut3.cine making it much easier for many colourists to transition from cameras like the Alexa or a film based workflow to material from the F5/F55. --- So what's the workflow? Do you just nail the exposure and then use some standard LUT (or de-log) in post - and voila - the colors are right? Or do you need to create a LUT for every scene before you shoot? Do you have to spend days of work on the colors only if you create a unique palette? For example, if someone shoots with F55, slog3 - and then simply applies Cineon compatible LUTs - will there be a good film-looking result, without extensive color corrections?
  7. Those gammas are intended to be used in different shooting and production situations: http://www.johnhoare.tv/f55gammas.htm http://blog.abelcine.com/2013/01/18/sonys-s-log2-and-dynamic-range-percentages/
  8. Aren't those Cinelike- profiles "loggy" already? This roumor sounds to me like they're going to introduce another log profile. If you shoot log, you NEED a colourist ) There are plenty of GH4 vids at Vimeo shot Cinelike- and shouting - i don't know what to do with the colours! )
  9. That's so strange. The only purpose of S-log2 existence is to capture up to 14 stops of DR. Why would they limit s-log2 usage by sensor sensivity? What's the point of s-log2 if the sensor captures 10.5 stops DR at best and it's color capturing performance drops so much?
  10. standard, cine- and log-gammas http://www.xdcam-user.com/2012/07/why-nailing-your-mid-range-will-make-post-production-happy-even-with-cingammas-and-log/
  11. GMaximus

    BMPCC or GH4?

    More on topic Skin tones, DR etc.
  12. Well, if that's really what it's claimed to be, than panny seems to show more details in highlights @
  13. Far more people are going to buy it for stills. Almost any enthusiast photographer is keen to shoot in low light. And yet Sony can put this sensor in FSsomething, make a 10-bit color output and sell it for 10 grand.
  14. I don't see people here bashing A7s for the bitrate... let's be solid on our opinions and wait for some A7s footage to discuss )
  15. The reason why we'd like Canon to make something to compete with GH4 and A7s. OK, if it's a crop, and maybe even not 4k, but with all that jazz color stuff.
  16. You were given an answer in a nearby thread which you've probably missed. Yet again, that "transfer rate" is just how much data you get for every pixel when you record internally. Compressor efficiency and workflow not taken into account, so that's just useless conceptual pixel peeping with theoretic pixels. There is no equivalence, unless you're trying to say "if i put off 2 wheels from my car, its equivalent speed would double". Or, as they say, if grandma had balls, she would be grandpa.
  17. Those mbps are not about sending data somewhere in the middle, it's just what you get after compression, at the end. GH4 compresses HD at 100 and even 200mbps, so no. Looks like A7s doesn't have enough processing power to compress 4k with adequate quality.
  18. It happened once, when VP6 was better than h.263. Now you find your old VP6 video - and - ooh, how do i playback this? Hardware support is a big deal.
  19. Nah, to keep that DOF with smaller sensor you can have a longer lens and make a few steps further away ) To me, a larger sensor system just gives you more options in shooting - you have more control in capturing light, angles, geometry, dof, in exchange of mobility and money. So you think of your shooting and check if you can make it with this or that gear. That's one approach. '> For example, can you shoot like this with GH4?
  20. As it's there in the spec sheet, the sensor readout speed is only 22.5 fps. If we crop the central part of the sensor, 4k sized: the speed is 1/81300 sec per line, we need 2160 lines => that's 37.6 fps. If we crop the readout part to 16:9 (full sensor width), it would read 31.1 fps.
  21. I've talked to a guy working with Ikonoskop, he told me that it's resolution is somewhat bigger than FullHD, so you can crop. That could be the reason for black borders. Right, 1966 x 1092 as stated here.
  22. Hi, > So they key to home cinema is probably more in the seating position and screen size than whether you choose 4K or 2K it's also the choice of how much of your viewing space (FOV) would be filled with the screen. If we match the optical resolution of 2 screens, 2k and 4k, the 4k one would go much farther into your peripheral vision. That has an interesting effect involving vestibular apparatus.
  23. An incredible piece of equipment. Want more footage, though i'm already convinced and start saving money today.
  24. [img]http://pixelpainter.com/PVC/11-4-12/Driving-1_H2-detail.jpg[/img] [img]http://pixelpainter.com/PVC/11-4-12/Driving-1_H3-detail.jpg[/img] [url="http://provideocoalition.com/index.php/lightscameraaction/story/hands-on_review_gopro_hero3_part_2/"]http://provideocoali...o_hero3_part_2/[/url] NICE What the 2.7k 30fps mode would look like, i wonder
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