J.P reacted to andy lee in BMCC variant Metabones Speed Booster works on GH3 and GH4 to give 1.28x crop, almost full frame look!
Having just got my Speedbooster this week and from all my tests I would agree with Andrew on this.
Sharper, faster, wider , to the naked eye it all loooks good!
Im not bothered about issues of fringing; corners etc etc , if I have to actually go looking for it by zooming in , then its not really an issue for me etc ,,thats for pixel peepers
in the real world it looks better ....so Im using it from now on.
J.P got a reaction from Ray C.Chen in Panasonic GH4 pricing official - $1698 body only, $1998 for the external 10bit / XLR box
Adorama pricing a bit steep eh?
J.P got a reaction from Andrew Reid in Panasonic GH4 pricing official - $1698 body only, $1998 for the external 10bit / XLR box
Adorama pricing a bit steep eh?
J.P got a reaction from Julian in New Olympus E-M1 with "moire reduction" but no 24p
J.P got a reaction from Zach in New Olympus E-M1 with "moire reduction" but no 24p
J.P reacted to Julian in Olympus EM-1 announcement
I kind of get the idea there is more to it then just laziness on their part. They must grasp the simple fact that they would sell some more camera's to another audience if they'd include 25p/24p. And it can't be that much work.
Is it some kind of agreement with Panasonic to leave the video features to them in return for some favor by them? Just a conspiracy theory... but I find it hard to believe it's something they simply 'overlook' every time.
J.P reacted to anchoricex in On trying to understand Canon and Blackmagic's strategy on cameras...
Enjoyed a lot of your points, especially the one noting that it's ludicrous that these companies are using stupid simple 3$ features like headphone jacks to swing us around by the necks and "protect their higher models". It's pathetic, more competition needs to enter this industry and actually sell devices that are in line with what is technologically feasible at the moment. If someone came in and tried to do what BlackMagic was doing but actually thought out their production flow and business model, Canon/Nikon/Panny/Sony/Olympus/Red/etc would be forced to compete or be crushed. BlackMagic has an opportunity to exploit a VERY vulnerable exploit in this market...yet they choose to remain so small that they cannot sustain the demand for their product. Seriously, they could be industry leaders. It's suicide, because it's only a matter of time before someone else comes in and does what they're doing and does it better.
J.P reacted to Julian in Blackmagic Pocket Cinema Camera c-mount lens compatibility list
Come one guys... Don't make it harder than it is. The numbers are there. The sensor size is known (in the specsheet on the Blackmagic website), so is the crop factor! There is no doubt about it.
Of course the cropfactor is measured from fullframe camera's, because the term cropfactor comes from the photography world I suppose. We all know what the cropfactor of 2x means for MFT, or what the cropfactor of 1.6x means for our Canons (and 1.5x for Nikon dslrs).
So lets stick to the standard that a fullframe camera with a 36x24mm sized sensor has a cropfactor of 1x.
The cropfactor is determined by the diagonal of the sensor. In video mode the aspect ratio is 16:9 instead of 3:2, so the active sensor area is 36 x 20.25mm for fullframe.
Fullframe (5D Mark III): Active sensor area 36 x 20.25 mm, diagonal of 41,30mm.
Blackmagic Pocket: Active sensor area 12,48 x 7,02 mm, diagonal is 14.32 mm.
Divide 41.30 by 14.32 = 2,88. So the cropfactor (in relation to a 35mm fulframe dslr) is 2,88x. Fact.
his data is what the test is based on and I don't have any reason to believe it is incorrect. Science just prohibits from Blackmagic from changing anything to this fact. Or the Pocket must have a built in a Speed Booster... but it doesn't.
Lets just accept that the cropfactor is 2.88x, at least till someone can prove otherwise. The people mailing answers like 'we don't know the technical details yet' aren't very technical I suppose. I'm not a professor either, but this is all very basic stuff and the sensor size is in the spec sheet, so the cropfactor is know.
Sorry, It just frustrates me that people get all confused over this.. The way Blackmagic is answering to those questions doesn't help a lot either.
J.P reacted to chauffeurdevan in Making sense of the new Blackmagic Production Camera and Pocket Cinema Camera
Watch out, you're mixing Pocket specs with Production 4K specs.
Pocket : Lossless DNG compression
Production 4K : Lossy DNG compression
John Brawley confirmed that the visually lossless compression the 4K is actually lossy compression. However, it should be 12bits. So some Adobe DNG specs update should follow !
J.P reacted to tungah in New Blackmagic Camera
Blackmagic just exposed (again) the entire camera industry. This is what Panasonic should have done to beat Canon and Sony, but didn't even bother to try.
I hope they can manage demand better this time around. We need them to.
This is history in the making.
I'll buy one when it's available. I can wait.
J.P got a reaction from P337 in Live coverage - Blackmagic Production Camera 4K and Pocket Cinema Camera
Too bad there's no 50/60fps for the pocket cam. Would've been absolutely flawless, but I want it anyway of course :)
J.P reacted to /p/ in Blackmagic Production Camera 4K shocks NAB - 4K for $4k, Compressed Raw, Super 35mm AND global shutter
im so excited i cant sleep
J.P reacted to Jon7athan in Nikon V1 - shooting 4K 60fps raw for $200
Y'all are working entirely too hard at this. Adobe created the CinemaDNG & the photography DNG specifications. Use their tools.
In Adobe After Effects, create a new composition. Import File. Select the first .NEF file, Import As: Footage, check Camera Raw Sequence. Very Important to bring the hotness. Use Camera RAW to initially grade your footage. There is this weird thing where the default Frame Rate is set to 30fps. Right click sequence and interpret footage where you will change the frame rate to what you captured in camera at.
Ready to use Premiere Pro to create your edits.
In Premiere Pro, under File, select Adobe Dynamic Link, select Import After Effects Composition, find your .aep file in the browser. It will list all the compositions in the right panel, choose your shots. Add to timeline and edit.
You have not compressed the files (converted to jpeg or tiff), you get to use Adobe Camera Raw (same as used in Lightroom) to edit your RAW sequences/files, any changes you make in After Effects will now be reflected in your Premiere Pro project through dynamic linking and you did not need to create proxies. The best of all worlds.
This works with .NEF files as well as .DNG CinemaDNG files. With the original CinemaDNG files you keep the timecode generated by your Blackmagic Camera, Ikonoskop A-Cam dII, or Digital Bolex.
J.P reacted to Dane in Nikon V1 - shooting 4K 60fps raw for $200
Tested out the v1 over the weekend:
Fantastic camera, especially for the money. Thank you Andrew for spreading the word about it!
So tempted to get a v2... I really want those 10 extra frames + access to non-cx lenses in burst mode + the faster write speeds to the sd card!