Jump to content

squig

Members
  • Content Count

    580
  • Joined

  • Last visited

  • Days Won

    3

Everything posted by squig

  1. Zak are you seeing any difference in highlight roll-off between the BMMCC and BMPCC?
  2. Hey Lance, I think the extra noise is mostly due to the BMMCC ISOs being slightly darker (<1/3 of a stop) than the BMPCC as Zak mentioned. I'm not seeing much of a difference in noise looking at the wide shot of the room. Best to test raw because prores is gonna add some compression artifacts.
  3. I was thinking about how it's faster on the 5D MK3 raw, but I just remembered that's 720p
  4. My partner shoots everything on her iPhone in portrait. Drives me insane! Smartphones have become smarter than their users. Don't believe it? Google "selfie deaths".
  5. Shot my first rave on VHS-C 25yrs ago. The video was noisier than the rave. There's no more excuses.
  6. Yeah just raw, I haven't played with prores. Samuel's crunched the numbers on my rolling shutter test: 13.4ms. Damn good. Beats the Pocket by 4.4ms. http://www.dvxuser.com/V6/showthread.php?303559-Measuring-rolling-shutter-put-a-number-on-this-issue! 3:1 compressed raw in 60p only. Rolling shutter should be faster in 60p. I haven't tested it, but I'm guessing it would be around 10ms.
  7. Initial impressions. I haven't done any proper lighting setups yet, I’ve just been pushing it to find its breaking point. It's a good sensor, but it's not the 5D MK3 ML raw killer I thought it might be. It's not far behind the 5D raw, but the 5D image is a little more robust (more predictable & solid overexposure and low light results). The image is less saturated than the 5D but it's red heavy. I can get them to match pretty well by boosting saturation 25%, cooling the color temp to match the 5D, and slapping filmconvert or a KD5207 LUT on both. One thing I do like is it doesn't have fixed pattern noise like the 5D, the noise is more filmic, but it does need a bit of denoising to get rid of the blue chroma noise. So far I think the 5D raw has a slight edge in resolution, color, low light ability (at equal DOF), and IQ. Dynamic range is closer than I expected, there's not much in it. At this point I think the BMMCC is going to be B-cam to the 5D, but I've got more testing to do to be 100% sure. It’s better than every 8bit H.264 DSLR I’ve tested including the A7s.
  8. I'll do a measurable rolling shutter test shortly.
  9. Knew I shouldn't have hitched a ride in that DeLorean. That's fucked up. Can't wait to hear the PR guy spin some BS on that.
  10. I was really enjoying that until the vimeo stream died half way through. I haven't even done any testing yet, but I'm almost certain I'm shooting my feature with the BMMCC. It IS the baby Alexa I've been looking for. I have to start shooting the crowdfunding trailer in a couple of weeks so BM better hurry TF up
  11. I had a look at the manual. What really sux is you can't make any contrast, saturation, or sharpness adjustments in video mode. 6400 ISO tests look about equal to the 5D MKIII (albeit with slightly less resolution). http://www.imaging-resource.com/PRODS/fuji-x-pro2/XPRO2hSLI06400NR1.HTM http://www.imaging-resource.com/PRODS/canon-5d-mkiii/E5D3hSLI006400NR0.HTM It doesn't have that nasty chroma noise like the Sonys http://www.imaging-resource.com/PRODS/sony-a7s/A7ShSLI006400NR0.HTM
  12. The A7s isn't all it's cracked up to be in low light, hence my transition to the micro cinema camera sometime before the Replicants run amok in 2019.
  13. I was just watching a clip on vimeo and mid way through it switched back to the lowest resolution. vimeo is FUBAR. <Checks youtube rules for violence, nudity, and profanity>
  14. Hmm. I want something mirrorless to replace the A7s for production stills and behind the scenes footage that won't need a lot of post. What's the rolling shutter like?
  15. I was going to post the crowdfunding trailer for my feature on vimeo, but now that I can't choose the playback quality it makes a lot more sense to post it on youtube.
  16. "In 2007, B&H had to pay $4.3 million to settle a discrimination claim by another group of Hispanic workers with jobs in the firm's Brooklyn Navy Yard warehouse." http://www.nydailynews.com/new-york/b-h-photo-discriminated-2-hispanic-employees-lawsuit-article-1.991286 http://heebmagazine.com/b-and-h-camera-lawsuits/31725 http://hyperallergic.com/275052/federal-agency-finds-labor-violations-at-bh-photo-fines-company-32000/ http://www.nytimes.com/2009/11/19/nyregion/19bagels.html?_r=0 Context, eh.
  17. Would you like fries with that?
  18. Good luck with that. It's that kind of arrogance that makes the decision to shop elsewhere a no brainer.
  19. I'm missing the point? Firstly, "cinematic' has to be the dumbest word I've encountered on the filmmaking forums. The dictionary definition is: relating to the cinema, and: having qualities characteristic of films. In the 21st century an increasing number of films are shot digitally; not all those films look like they've been shot on film, some have been shot digitally and attempt to emulate the look of film, others have been shot digitally to deliberately look like video. Some films are shot on film with deep DOF, realistic color, and grain removed in post, and look like they've been shot digitally. So "Cinematic" doesn't have any real specific meaning, it's a misnomer. "Filmic" on the other hand does have meaning because "filmic" means something that looks like/emulates actual film stock. You can choose a camera that produces a "filmic" look to suit your story, or you can choose a camera that produces a "video" look, but if you're a director asking a cinematographer for a "cinematic" look, expect the cinematographer to shake his head and/or laugh. You wouldn't shoot The Walking Dead on a Red Epic because it would take a lot more time and cost a lot more money to get the deliberate lo-fi S16mm look right in post. If I was asked to shoot The Walking Dead digitally I'd shoot it with the Digital Bolex. You choose the camera that best tells the story you want to tell (within your budget), it's as simple as that.
  20. @henryp How many female salespeople do you presently have working in your store?
  21. Camera choice is crucial. Shane Hurlbut doesn't spend weeks testing cameras for the hell of it; neither do I. Imagine The Walking Dead shot on a Red Epic. Sure you could, but why would you want to?
  22. B&H has a well documented history of discriminatory practices.
×
×
  • Create New...