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Everything posted by utsira

  1. Good work! I sold my em5mk1 but I do miss it, and this reminded me of why. I might get the em5mk2 or maybe just the em10mk2 (has there been a video-centric review of the 10ii yet?). Particularly with long manual lenses (like an Ai-S 85 f2), the 5-axis is jaw-dropping.
  2. thanks! Is it the macro version of the lens?
  3. Love the Miranda 28 shots. I might have to pick that one up. Which mount/ version of the lens do you have?
  4. I haven't used the GX7 but I have a G6 and an A6000. The G6 is a previous generation sensor to the GX7, and apparently the GX7 is a lot better for noise and low light than the G6, so I can't really compare the A6000 to the GX7. The A6000 now has very nice video with XAVCS. It's very clean indeed up to ISO 800. I don't own the other two lenses, but I have the SEL 35 1.8. It's very sharp, great autofocus, but the stabilization is useless for video, I leave it off. It produces very slight but IMO very ugly warping effects. I prefer my Voigtlander color-skopar 35, much more characterful (but completely manual). TBH I think the A6000 would be an incremental upgrade over the GX7. Slightly more dynamic range, slightly better low light (presumably?), slightly easier to get shallow depth of field. I'd advise you to wait. I'm sure it's only a matter of time before Sony do an APSC cam with something exciting like, 4K, BSI, IBIS, high frame rates etc.
  5. IBIS looks very nice to me, didn't see any warping. Loved the low-angle running after the dog shot. It's interesting how sometimes you can get a smoother-looking shot when moving at speed than when trying to do stealthy ninja walking.
  6. ImpulZ LUTs are nice too. You can buy them in a bundle with LUT Utility (an FCPX plugin). I'm not sure if they've been bundled with their newer product Color Finale yet. I installed the trial of Finale, it has slightly better options for managing lots of LUTs, compared to the older LUT Utility. You get film grain clips too with ImpulZ.
  7. If anyone can't be bothered to watch the whole camera store TV video, they start discussing GX8 video functionality at 8.30 or so, and around the 9 minute mark they show screen grabs of 1080p vs 4K, so you can see the crop. Has the 4K crop been measured by anyone yet? (I personally can't be bothered to grab those two stills and compare them, but I guess someone will do that at some point... )
  8. I wonder whether the on-sensor stabilisation works in video mode this time round (it was photos only I think on the gx7).... and why it's only the gx series that gets sensor stabilisation. Looks v promising tho. Love the tilting evf. Looks like three dials too (one round the shutter release?) one top rear, plus exposure comp.
  9. You can select individual clips and transcode them. I'll look again to see if there's an option to transcode the clips in the timeline automatically. You could be right though that it transcodes the entire original file, (not just the section in the timeline). I'm not sure though that transcoding is even necessary. The only time I've ever seen it remove codec issues was with the mark 1 omd em-5 footage, which would become really macro-blocky sometimes if you edited it natively. With other cams I've occasionally tested this, transcoding one clip in the timeline but not the others, and I've never been able to see a difference. I guess if your media is fast enough to handle the increased amount of data, then editing transcoded footage should be lighter on the processor. But I'm always amazed at how well fcpx performs, even on lowend laptops. I was playing with someone else's 100 Mbit GH4 footage, and even that worked ok on the Air.
  10. I've just checked my settings, I have transcoding turned off for import in FCPX. I think it's just the clips that I drop into the timeline that get transcoded (although.... when I look at video info for a clip in the timeline it says that only the original is available)
  11. Fcpx transcodes everything to prores on import anyway. I'm curious, why do you want to transcode before import? XAVCS in fcpx is seamless, even on the lowest spec MacBook Air.
  12. There is less moire and now almost no edge-weirdness (not really sure how to describe it) in XAVCS vs the old codec. Moire is still present though, the usual suspects like distant brickwork. I would say, less moire now than the 5N, but more than the Panny G6. The XAVCS is a whole lot nicer overall though. It doesn't break up when you have lots of detailed movement (trees blowing etc).
  13. weird that full frame pixel binning is so much faster than one-to-one sampling of the middle of the sensor. Would have thought it'd be the other way round
  14. ​Wow. There's a sentence I'd never thought I'd read. ;-P
  15. I just had a search around, and it seems the Send To app I mentioned has disappeared, both the free version, and the paid app store version. I have the free version. I haven't used it for a while, but it was working fine last time I checked. You export the xml of your fcpx project, then you open the xml in Send To, select which shot you want to work on, and it automatically sets up a Motion project with the rush preloaded with the correct in and out edit-points, ready for you to work on. Here's the post describing the app: http://www.fcp.co/final-cut-pro/news/743-now-you-can-send-clips-from-final-cut-pro-x-to-motion Really sucks that it's not available anymore for anyone starting out with Motion. Anyone else have alternative methods for roundtripping clips from FCPX to Motion?
  16. Motion has nice motion tracking, and it's only $50. In some ways it connects to fcpx really well (you can add extra effects, titles etc that you've made in Motion to fcpx very easily). In other ways, there're definitely missing links. There's no "send to Motion" round-tripping feature, which seems odd. There's a very good (free) third party app, called SendTo, which handles round-tripping footage from fcpx to Motion and back.
  17. No, I just use the Rec709 version of the LUTs. I have a G6 and an A6000, so no CineLikeD for me. I did try grading some GH4 footage with the Rec709 LUTs and it looked good to me. It looks like the Osiris LUTs might be quite a bit more aggressive and pushed than ImpulZ, just going on samples I've seen.
  18. Yeah, I noticed one of them was a little cooler, but very hard to see such subtle differences without a direct, left-side right-side composite image I think. I have the ImpulZ Luts, but not Osiris. I probably should experiment with using them at different levels instead of just putting them at 100%.
  19. ​Thanks for the report, was thinking of getting one of these for my A6000, as my M43 lens turbo is pretty good I think. Can I ask which camera this was with, and also, do you know whether this was the v2 lens turbo?
  20. The images look identical to me. Did you upload them correctly?
  21. ​I got the lens name wrong, it's the SEL35 1.8 that I meant (ie the APS-C one). Don't think they have OSS on their full frame 35s. I can't really describe the effect I see that well, other than it's a kind of warping, not dissimilar to what you sometimes see with IBIS. I should probably test some more though.
  22. I have the M43 - Nikon F lens turbo (the one with an orange Zhongyi logo on top). Not sure if that's the same as the Camdios one. It fits very snugly on the Panny G6, almost zero wiggle, but it was very very tight on the OMD-EM5, at first I thought it wouldn't fit on, you had to really push it into the mount before twisting to click, and you could feel it grinding slightly as you locked it in. No damage to the mount that I could see though (have sold the EM5 since), and it meant there was absolutely no wiggle on the EM5. I've never heard of videopad, so I can't really help you there. I've experimented with various types of upload to Vimeo (H264 and the lowest bitrate ProRes), but can't really see much difference to the stream once Vimeo has added its compression. I think Vimeo streaming quality is generally pretty good (as long as you're not adding film grain).
  23. With the first EM-5, you could put an 85mm manual lens on (170mm full frame equivalent), shoot handheld with no rig whatsoever, and not only would all jitters be removed, if you stood very still, the shot could even look as if it is locked off on a tripod. That's pretty amazing. Movement is a lot more tricky, and definitely requires practice and experimentation. ie a horizontal pan, the IBIS will lag/overshoot the beginning and end of the movement, so you're probably best off turning off lateral stabilisation. Lens OS varies by manufacturer (by lens even?) I find the stabilisation in the Panasonic 14-45 kit lens to be great, more than enough to make handheld look like "handheld" (ie tiny camera literally held in the hands look like heavy shoulder-mounted camera). Sony OS has disappointed me though (SE35 1.8), I see warping. I love IBIS, because it means you have consistent (and therefore predictable) stabilisation across all your lenses. It can make a handheld 170mm equiv shot look locked off. No OS or IBIS is going to be a substitute for a gimbal though. Also, I think it's hard to judge from a video, unless the uploader has also described their working method for the shot/ test, because you don't know how much they're waving the camera around, how shaky their hands are and so on.
  24. ​Yes. I'm saying that the A7S in this mode should show less moire than the A6000. I'm saying that the differences between the cameras won't show so much in a close-up scene with subject separation, fairly shallow depth-of-field and so on, like the shots that you've provided. I'd be interested to compare the cameras shooting a deep focus scene with lots of detail, such as a landscape.
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