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Everything posted by squig

  1. Size matters. I'd never take a DSLR on a backcountry snowboarding trip, I only carry what I need to stay alive. On overseas work trips I want all my gear to fit into an overhead locker. A mate of mine asked what he should get to replace his D600 and Nikkor primes for his regular Japan pilgrimage. I told him to get a Fuji X-T2.
  2. Nikon will know how the next hundred years is going to play out for them when they see everybody lining up to get a glimpse of the A7sIII.
  3. Niche's drive sales, look at what the 5D Mk2 started.
  4. We'll be the only guys in 2028 with mirror boxes. The evolution of digital cameras reminds me of the evolution of digital synthesizers. In the 70's synths were fat sounding analog beasts (I still have my Roland Jupiter 8), covered in knobs and sliders, built to create. In the 80's digital synths lost the fatness and the knobs, you spent more time reading the manual than you did creating. Now 30 years later the big synth manufacturers have finally figured out what people want and it's all analog or analog modelling covered with knobs. The same thing happened with digital cameras, aperture rings and ISO dials disappeared, and you had to study the manual just to do what used to be simple things, cameras stopped being fun. Fuji figured this out, and alas Fuji cameras have ISO dials, aperture rings, very analog flim-like profiles, and short flange distance so you can adapt lots of vintage glass. Corporate marketing people are clueless.
  5. I don't come to this discussion as a hater, quite the opposite: my first SLR was a Nikon FM2. My first DSLR was a D90, I tested a D5200, and I had a full set of ai primes, still have a 180, 105, 300, and 16mm fisheye. If the Nikonhacker raw hack succeeded I would've dumped the 5D Mk3 for a D750. "Nikon, we made a lens for NASA once, buy our shit" just won't cut it anymore.
  6. Nikon did market a D850 filmmakers kit, so they're not completely comatose. But throwing together a few accessories because your competitors are kicking your arse is lame. How's playing it safe working out for ya Nikon? Complacency
  7. The rumor certainly suggests they'll be the mirrorless equivalent of the D750 and D850, and Nikon knows (finally) they have to counter the A7 S and R line. But just ripping out the mirror boxes and hacking off the mount won't cut it, they have to bring something more to the table, especially with the A7sIII looming. They're gonna need something like DPAF, global shutter, raw or lossless 10bit log recording, and the kind of professional menu options Magic Lantern and Panasonic have been doing for years like: anamorphic mode. Stellar dynamic range and low light performance won't be enough alone to increase market share. What's the bet they do something dumb like 8k video because it sounds impressive to Joe six pack.
  8. Diehard loyalists die, companies that don't innovate die with them. Sony made their intention to be number 2 public years ago, Nikon did NOTHING to prevent it. Nikon has the expertise to build an awesome mirrorless video spec'd camera. Nikon DSLRs have been used as B cams with Alexas for a reason, mostly for their high DR and color science. I'm still shooting with a hacked camera I bought in 2012 because no stock camera under $10,000 is any better for my requirements. If Nikon hasn't consulted with cutting edge creatives on the mirrorless design, the chances are they're screwed. Nikon has to blow our minds or it will wither and die.
  9. Nikon has been the architect of its own demise. Nikon sat on its arse when Sony was feeding on its brain. Its arrogance has been almost fatal. If the Nikon mirrorless isn't amazingly good, it's gonna be corporate Seppuku for Nikon. Nikon had an opportunity to pwn Canon with the successor to the D90. Nikon has no video division to cannibalise yet video has always been an afterthought with crappy low bitrate inter frame codecs, aliasing, huge crops, etc, etc. Give us 10bit, give us raw, or give us Seppuku.
  10. https://www.magiclantern.fm/forum/index.php?topic=20025.0 Jun 27 build. Isco 36s are going for between $3000 and $5000. Considering how good they are and how much new anamorphics cost they're worth the money I suppose. I just wish they were 2x instead of 1.5x. Andrew put together a guide to anamorphics, you might find some cheap options in there (I haven't read it). I don't like the Kowas. I think the Isco Ultra Star with a single focus adapter are probably the next best thing to the Isco 36, they're more like 1.8x. Most of the cheaper anamorphics are pretty crappy, very soft, probably OK for 4k on a GH5s.
  11. Just copy the new files onto the card and write over the old ones. I've been playing with the latest build, seems good so far. I'm shooting some tests for a short over the next few weeks so if there's any new bugs y'all will be hearing about it. I bought two single focus Isco 36's in like 2012 before they went bitcoin. The Isco Ultra Stars are quite good, double focus though.
  12. When I was a mod at cinema5D, banning members was quite rare and taken very seriously with a lot of internal deliberation amongst the mods. Ultimately the good of the community won out over the personal issues of the disruptive individual. I reported jon's defamatory post, it was really ugly stuff. I think that's the first time I've reported a post on this forum. You cross a line when you distort the truth in such a way that it may damage someone's reputation. Malice should never be tolerated.
  13. I'm actually shooting 1920x1280 14bit lossless with the Iscorama, it's a 1.5x stretch which ends up as 2.8k 2.39:1. That's a 50% horizontal line boost over cropped 1080p. It's then either a 1.5x 4k upscale or downscale to 2k. I could shoot 3.3k 12bit lossless anamorphic but I'd lose the full res real-time preview and there's a huge 2.6x crop. I'm happy with the resolution I'm getting out of it now.
  14. It's the 1080p youtube compression, they should've uploaded 4k. I don't know how soft SLRmagic anamorphics are, but I shoot 5D Mk3 raw 2.8k with Iscorama anamorphics and it looks as sharp as you could ever want it to be for 2k DCP.
  15. That's all you've got? ??
  16. This statement is offensive, defamatory, and a distortion of the facts. Ed's owned an Ursa, have you? Or are you just talking out of your arse as usual. This is the second time you've attacked a professional cinematographer on this forum in as many weeks. Keep it up mate, tick tock.
  17. I bought a $50 hammer to build a cabin. It didn't make my hammering any better, I still managed to hammer my thumb just as much as I did with a $10 hammer. It is a nice hammer though, people see it and they stop and say "that's a great hammer you've got there". Do you think anyone who stays at the cabin gives a shit whether I built it with the $50 hammer or a $10 hammer?
  18. Looks fine to me, I don't have any problem with the softness. It's not like the whole film's gonna be 48fps. Just shoot with a sharp lens at its optimal f stop. What ISO was that?
  19. Too many bloody acronyms. It's interesting what you said about the BMCC having more latitude in the grade than the 5D Mk3 raw. Did you ETTR with the 5D? I found the BMMCC to be a bit too noisy for my liking, and it didn't like tungstens: yellow turned to orange. I expect the Pocket 4k will be much improved in both areas.
  20. I don't. I look at real stuff like highlight roll-off and shadow noise. Which is exactly what I did/do. Not just the backyard: tungstens, low light, etc. Mos def. Exactly. And different cameras have different noise characteristics like fixed pattern, blotchy, chroma... some noise is better/more tolerable than the rest. Hence the need to do your own tests rather than just buying on spec. Pasty?
  21. I'm talking about the Micro Cinema Camera, not the BMCC. I graded both in Resolve.
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