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1tkman

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  1. Like
    1tkman reacted to sekl in Shooting with a 4K pocket camera - the exceptional Panasonic LX100   
    If the size of LX100 doesn't look impressing for the customer smile emoticon
    FOTGA rig,
    Zoom H4N,
    RODE stereo mic,
    RAM mount,
    LCD-V3,
    Opteka 58mm extention tube.
    There is no need for a belt to attach a follow focus.
    The follow focus blocks access to the focus mode switch.




  2. Like
    1tkman reacted to fuzzynormal in Using 4K to simulate two-camera shoot (and other things)   
    ​To hell with you guys.  I'm going to shoot an entire film in real time, with 28 different scenes, and in one take --from the top of the empire state building.  http://gearburn.com/2012/06/the-aware-2-worlds-smallest-and-fastest-gigapixel-camera/
  3. Like
    1tkman reacted to sunyata in Yet another depressing story about Kodak!   
    To be fair, I haven't tried their pasta sauce. 
  4. Like
    1tkman reacted to AaronChicago in Why so much slomo shooting   
    I think it's way more common in music videos and sport commercials. But you're right. A ton of slow mo beach/city footage going up on Vimeo.
  5. Like
    1tkman reacted to Sebastien Farges in C-mount anamorphic style   
    Hi my anamorphic friend, here is a a new match I've found for my baby Hypergonar, the Pentax Cosmicar 25mm f1.4 C-mount lens, and I like the result, despite the distortion and the slight vignetting. What do you think ? (more information below)
     
     

    Oleron Island (Baby Hypergonar on Pentax Cosmicar C-mount)
    GH4 UHD photo mode 3:2 25p
    Cinelike V +0 -5 -5 -2 +2
    Highlight +1 Shadow +5
    Master Pedestal +11
    Pentax Cosmicar 25mm f1.4 C-mount lens
    Baby Hypergonar 1.75x anamorphic lens
    Redstan clamp
    SLR Magic +0.33, +1.3, +1.8 diopters, Narumi +3 diopter
    SLR Magic ND variable filter
    Lumetri CC and levels adjustments in Premiere
    Everything was shot between @f2 / f2.8 (because upper gives more vignetting) or more when exposition needs, except close shost with diopters @f1.4
  6. Like
    1tkman reacted to tosvus in Deciding on camera body for documentary work   
    You probably need to think about what things are most important to you. As people have mentioned, the D5300 is probably the best budget solution to combat moire. I'm not so convinced there is that much practical difference in terms of low-light compared to the GH3, unless you shoot very specialized, demanding scenes. You may prefer the colors from the Nikon. I think that's the positives for the D5300, except possibly AF speed if you plan on using that a lot. In all other regards, for video, the GH3 will win hands down. (usability, features, codec, stability, robustness, weather-sealing etc). If you prefer to use manual glass, the m43 cameras are great for that, and you can even get a speedbooster (maybe a cheaper one first, and save up for a good one!). Some people feel using this and say Nikon lenses gives a less clinical look than using m43 lenses, and it will allow shallower depth of fields for when you want that & equalize any low light advantage the D5300 may have. The Panasonic G6 could even be a good alternative. Think about how you want to deal with audio. The Gh3 has headphone jack, which is hugely helpful if you plan to record audio straight into the camera.  If you plan to use an external recorder and sync in post, not a big deal, of course.
  7. Like
    1tkman reacted to lafilm in Deciding on camera body for documentary work   
    Save up for a used Canon C100.
    Can't beat it for Docs.
  8. Like
    1tkman reacted to fuzzynormal in Deciding on camera body for documentary work   
    I just shot a doc with a GM1 and a Gx7.  Outboard audio isn't the greatest process, but aside from that the imaging looks great.  I got better results from those Panasonic cams than I would have acquired from my 5DII...except for interviews.  That FF interview look with a wide open 50 or 85mm is pretty sweet.
  9. Like
    1tkman reacted to Sam Baker in Deciding on camera body for documentary work   
    Hello everyone
     
    I'm trying to decide on a second hand camera body for some documentary work, low budget, probably short docs (though I hope to progress to full length, though I'll invest more money when that day comes).
    I'm kind of half settled on getting the Canon 5D mk ii, but only when I see it at a particularly good price second-hand, for example recently I saw it going for (body only) £440. This may have been a one off, I'm willing to spend something around £500 for the body.
    I want this to be something that will last me quite a while, hence why I'm not going for the much cheaper body's available, I feel like the 5D mk ii is perfect in this sense.
    I'm open to other ideas, for example, the GH3 has had so many recommendations all around the internet. I kind of wanted to stick to Canon, mainly because of the functionality that comes with Magic Lantern. But maybe someone else has a better recommendation, maybe a different model of Canon.
    I'm concerned about moire, I've seen the Mosaic VAF-5D2 filter which combats this, though I can't seem to find it for sale in the UK. I would like the body to have a full sensor, basically I'm looking for as much of a cinematic look at possible within my budget. 
    I know this is all very vague, it's just a general outline, maybe some of you have some questions that I can answer which will lead you to recommend something to me. Any help with be much appreciated! I'm sure you must get people asking for camera recommendations every day!
    Thanks again,
    Sam
  10. Like
    1tkman reacted to richg101 in Positive Locking Canon EF and Nikon adapters by Ciecio7 (for E-Mount / Sony A7S / Micro 43 / GH4 / FZ Mount / F55)   
    the key dfference here is that all other adaptors rely on the pin itself to stop rotational play.  as the leaf springs become older they seem to loose their strength and dnot pull the lens in tight, and the play in the pin shows itself even more.
    I'd been eyeing up Lockcircle's range or PL mounts for nikon / ef.  As a fellow fan of ciecio7, these adaptors are the only thing tempting me away from the lockcircle offerings.
     
      
  11. Like
    1tkman reacted to Andrew Reid in Positive Locking Canon EF and Nikon adapters by Ciecio7 (for E-Mount / Sony A7S / Micro 43 / GH4 / FZ Mount / F55)   
    Also, best manual aperture control for Nikon G lenses / Sigma ART on E-Mount & Micro Four Thirds I've yet used. Very robust and smooth.
  12. Like
  13. Like
    1tkman reacted to Cinegain in mystery item what is this anamorphic device?   
    Well, looking into the company, it must've been part of some kind of optical comparator for inspections and optical measurements.
    Not sure how anamorphics get involved in that... and not sure whether it's the inspection end or the projecting on the circular display end...
    http://www.starrett.com
    https://www.youtube.com/user/lsstarrett/videos
    Given the possible newspaper background maybe has to do something with this as well: http://www.google.com/patents/US3450464?hl=en .
    But I think it's fair to say you shouldn't count on it to be any good for anything cinematic given its designed purpose.
  14. Like
    1tkman reacted to Cinegain in Panasonic buying advice : LX100 or FZ1000 ?   
    ​Well yeah, every option should (although some only ever so briefly) be considered.
    But we're not talking price range here per se. It's mostly because they are comparable to a considerate degree. Both are 4K capable hybrids, with built-in stabilization and they share the fact that they're non-interchangeable lens systems with flexible optics. And then you're going to throw a 1080p RAW recording cinema camera in the mix that doesn't even take stills or includes glass with a decent range of coverage and sensitivity. If you're considering the LX100 and the FZ1000 I don't really see how you think the BMPCC fits in there in terms of comparability. Sure; from a price point they're close, but they're different sorts of cameras altogether.
    The LX100 is nice as allround everyday camera. Don't add no nothing, just have it with you (perhaps some neutral density filters) and go about your day, always having that little powerhouse with you if the occasion arises. Same goes for the FZ1000, though it's more an allround travel cam with a higher degree of flexibility, but with some added chunkiness to it. Both have their ups and downs. Surely you can use them in a production environment as well. Though perhaps in limited capacity and rather as added specialty to another camera that's being used as main cam.
    Sure, you can consider numerous other cameras, like the BMPCC, but then you might as well consider everything... from the GM1, GM5, G6, GX7, GH3, NX500, A5100, A6000, D5300 and D5500 all the way to the GoPro Hero4 BLK or everything upwards from that for that matter, GH4, NX1, A7S, D750, D810, 5DmkIII, 1D C and upwards of that even. And actually. You should. You should consider each and every single camera out there. Might even throw in the E-M5II, don't know why one would, but you can consider it for a brief second. Same goes for the Arri Alexa Mini, although it might be entirely out of your price range (but hey, renting is still a thing). Or hey, forget what I said, just use your smartphone instead!
    The BMPCC is great because it's pushable due to its RAW recording possibilities. It's small and easily adaptable within a modular system. Footage looks great. Nice 'n flat, pretty great dynamic range for such a sensor. And... and... em. Hum. Well. Em. What's not to like, really? Well... perhaps... it's not for stills, so forget hybrid use. No built-in stabilization. Bad crop/difficult to get wide shots. Doesn't come with glass, you probably end up buying a couple of primes and having to swap 'em all the time. Not particularly high frame rates. Fills your cards up rather quickly. Goes through batteries like it's nothing. Screen isn't the most ideal. This is not a point-'n-shoot, you need to carefully set-up your shot. No blind use with mode and setting dials and tons of (customizable) buttons, just some navigation buttons. Not to mention it's all rather just basic functionality. Audio handling is poorly done. Oh. And last summer it was on sale with spectacular prizes. People were anticipating a successor soon... or a catch. Nope. Nothing of the kind. But the knowledge of putting down money for a camera, of which the amount months back would've bought you 2 of 'em (with no apparent reason other than the fact they can), that kinda stings, doesn't it? Anyways. In the end... it's great if you use it purposely. But it requires a very different approach than the LX100 or FZ1000.
    Listen, I have the BMPCC... but not instead of the LX100 or FZ1000. They simply can't replace one another. That's why I have all three. And the GH4. And the GH2. And the E-M1. And the D5300. And several action cams. Although, surely that's the most ideal situation: not having to choose one to stick with, just have plenty of tools so you can put each tool to each specific use without compromising due to of the drawbacks a single solution would bring with it. Bit tougher if you have to pick one. It will depend on how you use it. Hybrid (stills/video) or not (video only)? Does size and weight constrict you? Do you need an all-in-one solution with a spontaneous point-'n-shoot character? Do you mind swapping out lenses and rigging your gear? How are you going to handle power supply? Are you going to use it in a production environment? Quality requirements? Gradeability? Need for slowmotion? Storage/archiving? Would you need specific system requirements for quick editting turnarounds? There's a lot that can make you go one way or another. There isn't a universal solution that meets the requirements of all shooters out there. Pick something that suits your individual needs the best... which can be any camera, really... just not sure if you want to take a too long look at the BMPCC, when you were thinking a LX100 / FZ1000 would nicely fit in your way of shooting. They might be similar at initial purchase, but are pretty much worlds apart. And with the BMPCC you're not even there yet after getting the camera itself...
  15. Like
    1tkman reacted to eosjames in Panasonic buying advice : LX100 or FZ1000 ?   
    I like the LX100. Its fun and has the feel of a fllmmaker cam. I would get the LX100 (over the FZ1000) to couple with a future GH5. 
     
  16. Like
    1tkman reacted to Andrew Reid in Panasonic buying advice : LX100 or FZ1000 ?   
    The FZ1000 initially lacked 24p. It has it now with the latest firmware update.
     
    To answer those Qs above...
     
    1. LX100 is better in low light by quite some margin
    2. LX100 has the better overall video quality, but they have the same codec and at ISO 200 hard to tell apart
    3. LX100 again better picture quality because of larger sensor and it's less noisy. The lens plays a part. The LX100 is simply lovely at wide angle, F1.7
    4. Lens quality is similar in terms of sharpness, contrast, etc. But LX100 doesn't flare too well - green splurge
    5. Both are "clean" but LX100 is less noisy
  17. Like
    1tkman reacted to Andrew Reid in Panasonic buying advice : LX100 or FZ1000 ?   
    The FZ1000 is all about the zoom range. If you need to go really long on the zoom then get the FZ1000. In all other respects the LX100 is better aside from the lack of slow-mo... and a few minor missing menu options. No CineLike D either.
    LX100 review part 1 http://www.eoshd.com/2014/11/shooting-4k-pocket-camera-exceptional-panasonic-lx100/
    FZ1000 review http://www.eoshd.com/2014/11/panasonic-fz1000-review-bargain-4k-super-zoom/
  18. Like
    1tkman reacted to leeys in Panasonic buying advice : LX100 or FZ1000 ?   
    More budget for better audio is always good. People underestimate the importance of good audio. If you're not in a hurry you can see how the new cameras fare first.
  19. Like
    1tkman reacted in Panasonic AVCHD viewer/converter for Mac OS X   
    I've been exporting AVCHD from my G6, in all frame rates, into FCPX for a year now without any problems. I can edit AVCHD natively without any problem. I've experimented with converting to prores but haven't found any advantages. I do have a powerful iMac though.
     
    Having said that, although 24p AVCHD is the best quality image, I find 50p MP4 to be better than 50p AVCHD. 50p AVCHD has much more aliasing artefacts and looks overly sharpened to me.
     
    I shot this with my G6 recently, using 24p AVCHD and 50p MP4. All edited and (quite heavily) graded natively in FCPX. No transcode to prores, AVCHD imported straight into the FCPX event from the SD card:
     

  20. Like
    1tkman reacted to Christina Ava in Dog Schidt Optiks Flare Factory 58 (PL Mount) Review   
    hey guys i have my beautiful DSO and i love the brand, and its unique style lenses.
    i also love the fact that the lens is made by people that love the art themselves and not by some big corp.
     i used it in weddings i used it to take pics of my family both for photography and video.
    very distinct style. if i had money i would buy one of each tint and style.
  21. Like
    1tkman reacted to beeldlab in SLR Magic Anamorphic 2x on the Panasonic GH4 (4:3)   
    Lens will be out this summer and there will be a front attachment too making it a single focus anamorphic. I shot this short with the SLR Magic anamorphot 2X.
    Different taking lenses. Voitlander 17.5mm, SLR Magic 35mm, Canon FD 50mm 1.2, Helios 58mm. Diopters used. 
     
  22. Like
    1tkman reacted to Brian Caldwell in Speed Booster?   
    BMPCC-specific Speed Boosters have a magnification of 0.58x, and are only available in Canon-EF, Nikon-F, and Leica-R lens mounts.  You could mount Yashica lenses to the Canon-EF BMPCC Speed Booster via a EF-C/Y adapter ring.  Another possibility is to use the normal 0.71x m4/3 Speed Booster, which is available in a C/Y mount.  However, you lose the extra speed increase and focal length reduction you get with the BMPCC-specific version.  Also, the BMPCC version is optimized to work with the non-standard filter thickness of the BMPCC camera, which makes a difference if you are shooting with fast optics (e.g. f/1.4).
  23. Like
    1tkman reacted to sudopera in NAB predictions/wishlists ?   
    ​Probably News Shooter 
    http://www.newsshooter.com/
  24. Like
    1tkman reacted to jcs in How they did the Birdman 'trick' [Warning: spoiler]   
    I figured they did it on the pans and really bright/dark transitions. It required a lot more work: http://blogs.indiewire.com/thompsononhollywood/how-they-did-it-technicolors-secret-recipe-for-best-picture-winner-birdman-20150223
  25. Like
    1tkman reacted to M Carter in Audio on GH4 and NX1   
    I've wondered myself - if the screw mount on the 70d is the same hardware as the 60d, that thing is pretty big!
    My only issue with the 60D? When the meter says it's peaking, it's not even close. I've gotten a lot of audio tracks that are pretty weak until I learned to (A) kinda slam the meters, (B) activate the -6DB safety track for peace of mind and (C) use the limiter (See"B")!
    Also, it has some issues with rechargeable batteries, announcing they're too low of a charge. But the 60D will run ALL FREAKING DAY with something like an Anker USB battery - $30!!
    I mount mine on a crossbar of 15mm rod, works great for tripod work...

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