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About soupkitchen

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    Melbourne, Australia

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  1. Are any of these cameras actually log though? Going to log DPX in redcine/Alexa is clipping data. A proper test would be to perform all the corrections of each camera in the conversion program of choice and then output one format to view so that any floating point stuff is done properly before output.   Anyway good stuff, though I could have watched all the tests in one go with half as much filler before, during and after.   Neither of my cameras turned up in time to use on my last Epic clip but I think I'm shooting one on Alexas next week so I'll try and throw some lenses on the BMCC MFT and BMPCC, see how they work and report back.
  2. Let's hijack this and turn it into a log/lin flame war ;)   I believe Resolve 10 defaults to ACES, either that or it carried my settings over. but anyway I was being facetious. DPX is just such an old format when you could spit everything out as EXRs from the Red and Arri converters.   And Rob. Super 16mm lenses are the go. Find a nice old zoom or wide prime. I have a 5.9mm Angieneaux which is just fantastic. Sure you need to crop in a touch but it's so lovely I don't care. Also the switars and other bolex lenses are beautiful. I shot this clip all on switars and and Eclair ACL in Tokyo. The 10mm and the 75mm are especially gorgeous.   http://vimeo.com/611870
  3. You wouldn't want to do this for stereo as the rolling shutter will be going in the opposite direction for each eye which will be be really hard to look at.
  4. Is it wrong that I discounted whatever his findings are the minute he said he was using log DPX in the chain? Go linear or go home ;)
  5. If you are shooting in tungsten light the BMCC is a better choice than an Epic. The noise that REDs all have displayed under tungsten drops the resolution right down.   I've just shot a high budget music video with Epics and a tiny budget one with a BMCC. Guess which needed more denoise-ing in post...   For B and C cams I think you'd find the BMCC a better choice than the others, specially the pocket, as they have tried to match their colour science to Arri's pretty closely.
  6. Hey Karim,   Setting the screen to video works and gives you a better idea of exposure and the final image. Just do that and make it look nice on the screen and it will look fine.   HOWEVER   Just use a light meter. They still work.   I never saw the final image through the lens shooting 16 or 35mm. As a director I got to see a terrible standard def video split. But it didn't matter because we knew it was being exposed properly. Exposing to the right is no different from lighting a stop over, just using video terminology. It's not new and for most stocks and pretty much all digital cameras post CineAltas it's been a good rule of thumb. (CineAltas sucked)   I took my camera out of the box, put a fresh battery in my meter and shot a music video straight away. Everything was metered and I ignored the back of the camera for everything but framing. It all came out as it was intended. Crazy that 100 year old tech still works huh?   Cheers,   Toby     PS REDs are just as bad at giving a false idea of what you are recording and don't get me started about their poor performance in tungsten light. 
  7. Andrew, you need to try and get your hands on a Kinotehnik LCDVFe. Not only is it one of the best looking and the least laggy evf available, it does have a mounting solution that is way better than the magic arm thing that everyone else relies on and it comes with the camera, unlike say, getting a solid camera/wooden camera evf sled.   Cheers,   Toby
  8. Honestly, spend the 1k because with evfs and monitors, you absolutely get what you pay for.   I have a Kinotehnik and it is the best evf I have ever used. It has all the desqueezes etc and is properly fast. Unlike the TVlogic or Zacuto I don't get a weird seasick disconnect between the real motion and what I'm seeing. It has focus assists but I don't use them because it is easy to tell sharps just from the image.   Great looking shots too dude.   Cheers,   Toby
  9. so tony is there anywhere you'd recommend for one off jobs like this? Surely somewhere like TLS would be able to rehouse it in a tube AND make it focus-able for less than an Iscorama costs.
  10. hmmmm. And those with them are keeping quiet.....
  11. you want the diopter in front of the anamorphic rather than behind. That's the problem
  12. I hate to repeat myself... but   Where oh where did you find the .3 diopter???   Cheers,   Toby
  13. Looks great!   BUT PLEASE post a still of what you've done to your LA7200. I really want to see what's being done before I take to mine with a hacksaw.   Cheers,   Toby
  14. oh this is no Ikonoskop. Hopefully you can get a decent match though. Also on the 4k one, I seriously don't understand why they have gone for the EF mount over something like the IMS mount on the ikonoskop.
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