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  1. Thanks
    Juank got a reaction from andrgl in RED Files Lawsuit Against Nikon   
  2. Like
    Juank reacted to Django in Alexa Classic vs RED Komodo   
    Yeah that's definitely an added bonus but not the main appeal to me when deciding in between those two. 
    For me it is a balance of convenience & reliability during the shooting experience, and the final image output and workflow in post.
    The C70 with its DPAF, NDs, battery life & XLRs in combination with DGO sensor and RAW capabilities really ticks a lot of boxes and for run & gun, corporate work, docu etc it is really a slam dunk of a camera for such usage. Which is why I had it at the top of my next camera purchase list.
    The Komodo again is a sensor in a box. You will need to rig it although the dual hot swap batteries, PDAF, touch screen, iOS RED app & RF mount (that will allow Canons vari-ND adapter) are all great things to have on the field and are often missing on most cine cams. The simple yet effective traffic light exposure system also seems awesome. These are all features that have pushed me into considering the Komodo even for run & gun applications. 
    And then of course the IQ from the footage. The file sizes of the compressed RAW. The global shutter. 
    The image does feel 'just right' as you say. The 6K doesn't feel over sharp. The motion is beautiful. The CS, the noise. The R3D raw settings. The image also holds even under extreme grades which allows to get more subtle and creative I find, there is great nuance. The LUTs that RED provide are also great. Overall the whole experience just seems to take you closer to that high-end polished "ARRI" cine look. 
    But that's just my reasoning and playing with files, not actual hands-on field experience. A lot of operators here or on YT that have both C70 & Komodo seem to favour the C70 for solo jobs and fast turnarounds. That is a major chunk of my work, I have to think practical too. But then again a lot of higher end clients keep asking for more cinematic look. They want the IQ they see in advertising on TV, Netflix etc. I'm also planning on getting back to music videos and more artistic projects with higher production value. So right now, I am really leaning towards Komodo. I also think working with that footage will excite me and that's also always a good thing!
  3. Like
    Juank reacted to BenEricson in Alexa Classic vs RED Komodo   
    Agreed. I was skeptical of the Komodo until I used it. I really love the footage that camera produces. I also love the noise and the motion. The look with the Vazens is really nice.
    I also own the C70. I use it for a lot of corporate jobs. The face tracking, NDs, built in audio, 4K 120 are all really nice. I've used the RAW a little and it still is not close to the Komodo in terms of color depth and overall IQ. The motion is really bad. To be honest, I use it more, it makes a lot of money, but not really a fun camera. Means to an end.
  4. Like
    Juank reacted to webrunner5 in Smartphone sensor size on a rampage   
    I don't think there is any phone that does Prores and Raw. The Apple iPhone 13 Pro does Prores at these rates.
    All iPhone 13 Pro’s ProRes are 10-bitt with 4:2:2 chroma subsampling. These are maximum bitrates tested by FilMiC Pro at 4K 30fps.
    iPhone 13 Pro’s ProRes variants:
    ProRes Proxy: 170Mbps = 21MB/s = 1.3GB/m
    ProRes LT: 360Mbps = 45MB/s = 2.7GB/m
    ProRes 422: 540Mbps = 67.5MB/s = 4GB/m
    ProRes 422 HQ: 735Mbps = 92MB/s = 5.5GB/m
  5. Thanks
    Juank reacted to Andrew Reid in Smartphone sensor size on a rampage   
    Filmic Pro is bettered by mcpro24fps on Android in my opinion. But neither are the same proposition as Motion Cam as neither shoot raw video, which is its own thing entirely. The way the image looks, the way it bypasses the phone's processing, the way you grade it, is all totally unique to raw.
  6. Like
    Juank reacted to hyalinejim in Canon EOS R5C   
    I also noticed blotches (compression artefacts?) on flat areas of 60p GH5 footage that I didn't find in the same shot taken on a GH6. It was most noticeable in the first couple of frames of clips shot in long GOP, and not as noticeable but still present in subsequent frames. So if you're flicking through unedited clips then it definitely looks worse on frame 1 of each clip.
  7. Like
    Juank reacted to PannySVHS in Canon EOS R5C   
    Don, you are very old school, b4 and PL loving man.;) L mount is highly adaptable just like Canon RF, Nikon Z and what not mounts. Lumix S5 with full HDMI would have been my dream camera. So close. You can get them used for 1200 EUR, S1 for similar prices.
    With the GH5 I discovered a nasty blotch issue in VLog again. I have almost forgotten about it. Pink large blotches on skintones f.i. It was a well exposed shot, daylight, cloudy summerday, which I did last year for a shortfilm. Yesterday I was grading some of my older stuff away and building some digital emulsions and bang, GH5 reminded me of an issue I had found years ago with caucasian skin. Had forgotten about it.
  8. Like
    Juank reacted to PannySVHS in Canon EOS R5C   
    They did a comparison with the S1 and S5, both sharing the same sensor, pipeline and sofore image, being indeed the dynamic range and latitude champs with Canon getting close and Nikon Z9 equalling it with its N-Raw flavours. All tests for video of course.
    Nevertheless GH6 image in DGO mode is very impressive. Too bad it still has a few things left out in comparison to the two GH5 models, such as 2xDigi zoom or 1.4 crop for S16 coverage. No 2x digizoom for my S1 neither btw.
    S5 is a steal for the image you get. Even lower price than a S1. S series still needs some grading love. But with that any look is achieveable. Natural light being the most "videoish condition", needing more effort than in lit enviroments imho.
  9. Like
    Juank reacted to Django in New Firmware for R5/R6/R3   
    Yeah I'm still pretty upset the R6 didn't get any kind of overheating fix but at least R5 seems like a solid option now.
    I'm in the US currently and there are some pretty good deals ($3,500) not to mention the second hand market. 
    This makes the R5 a lot more appealing than the R5C now imo since you gain IBIS, battery life etc for at least a $1000 cheaper.
    Kind of a game changer I guess. Its finally the killer hybrid spec camera it was meant to be and the price is getting appealing too.
  10. Thanks
    Juank reacted to Andrew Reid in New Firmware for R5/R6/R3   
    Well since it is 35 degrees C in Berlin today I decided to do a quick test. Put it in 4K HQ mode (8K sensor readout) and record until card fills up. I'll let you know what happens.
    (Don't expect any melting! The magic screw trick showed it could go for hours virtually non-stop shot after shot in 8K!)
    Of course the client reviewers will all now be out praising Canon for fixing the non-existent problem they tried to cover up.
  11. Like
    Juank reacted to Andrew Reid in New Firmware for R5/R6/R3   
    Does this mean I finally get to retire my Magic Screw?
  12. Like
    Juank reacted to Andrew Reid in New Firmware for R5/R6/R3   
    It all goes to prove our original point that it was a purposeful software limitation, and that you were not allowed to use the full capabilities of the hardware you just paid £4000 for. It should have been a class action lawsuit and maybe Canon knows it, which is why this u-turn has happened.
    At least we don't have to do the card trick now.
    I currently have an EOS R5 because I'm a hypocrite. So I'll see if it can go the full 2 hours of 8K without the card pull, and report back.
  13. Like
    Juank reacted to ntblowz in New Firmware for R5/R6/R3   
    I did shoot yesterday all day on 4k50p and some 100p, no overheating symbol once! Soo over the moon with this update! 
    Man if they do that in the first place 2 years ago it will be way different market now.
  14. Like
    Juank reacted to Emanuel in New Firmware for R5/R6/R3   
    ...which put them to be ashamed for, to my book : )
    On the other hand, no surprises here, the world is cruel anyway, as I've heard this week from someone who had no fear of dead people, only living ones.
    It's mere waste of time, it is what it is... But people should call it what it is with no thrift.
  15. Like
    Juank reacted to Andrew Reid in New Firmware for R5/R6/R3   
    So it was a fake timer then.
  16. Thanks
    Juank reacted to Avenger 2.0 in New Firmware for R5/R6/R3   
    The big question is, how will this affect camera life? Once bought a second hand 70D with low shutter, that failed quickly with a faulty motherboard (was used a lot for video).
  17. Like
    Juank reacted to KnightsFan in How much bitrate do I actually need?   
    This. Do your own tests and trust your judgement, but here's my opinion.
    If all you care about is how it looks on YouTube, 50 is perfectly fine. No one can tell the difference between a 50 and 100 source file on a 7" phone screen, or a 65" 4k screen 12' away with window glare across the front. I care more about how my content looks in Resolve than on YouTube. And even then, I use 100 mbps H265 (IPB). When I had an XT3, I shot a few full projects at 200 mbps and didn't see any improvement. I've done tests with my Z Cam and can't see benefits to >100. I'd be happy with 50 in most scenarios. It might be confirmation bias but I think I have been in scenarios where 100 looked better than 50, in particular when handheld.
    Keep in my also, on most cameras, especially consumer cameras, the nominal rate is the upper limit (it would be a BIG problem the encoder went OVER its nominal rate because the SD card requirements would be a lie). So while I shoot at 100, the file size is usually closer to 70, so it might not even be as big a file size increase as you think. But for me, 100 mpbs is the sweet spot, when shooting H265 IPB.
  18. Like
    Juank reacted to PannySVHS in How much bitrate do I actually need?   
    It also depends on the specific flavour of codec, not only related to bitrate but its "magic" as well. The S1 without the VLog and 10bit 422 update it had a h265 10bit 420 codec in HLG and with 75 Mbit. It had definate flaws in homogenously coloured surfaces such as painted blue wall fi. In these areas the material was full of artefacts, specifically cluster of blocks, which were easily revealed by a strong contrast curve. The 4K 150mbit h264 422 10bit codec, as well as the 100mbit 10bit 422 HD flavour are pretty much seemingly unbreakable. I assume one could film a valid cinema project with it. The 4K8bit 100mbit codec was not shabby at all neither for its proposed use in 709, though paling in comparision to its fantastic 10bit counterpart. The 4K 8bit 100mbit flavour on a Sony A7S2 on the other hand sucks pretty much for more elevated grading needs, even in comparison to a tiny GX85. GX85 flavour of 4K 8bit 100mbit is no slouch if not overwhelming it with the task of serious low light, like above 800Iso under Golden Hour fi. Then mushiness will sneak in, also with noise reduction set all way down to -5. cheers
  19. Like
    Juank reacted to newfoundmass in How much bitrate do I actually need?   
    Like with everything, there's diminishing returns. If you're not doing a ton of tweaking in post, you really don't need huge files, especially if it's only going on YouTube. For a lot of my work 50mbps (or 100mbps in h.264) is more than enough, given the final edit will end up on a streaming service that will stream it at maybe 1/4 of that. 
    That's not an argument against higher bit rate options, as there absolutely are plenty of good reasons to have that as an option, but not everything needs to have 400mbps just as not everything needs to be filmed in RAW.
  20. Like
    Juank reacted to PannySVHS in How much bitrate do I actually need?   
    Like I said the 150mbit 422 10bit on the S series and the GH5 is an anwesome codec. Highly recommended even for feature work I must say. Talking about acquisition of course, but that should of course be clear, if talking about codecs in cameras.:)
  21. Like
    Juank reacted to MrSMW in How much bitrate do I actually need?   
    Good point.
    My Panny's are all 150Mbps 420 10 bit and my grade is fairly mild but a lot of 50% Slow mo.
    I tried very briefly (once) jumping up to the 400Mbps option...but never again. I didn't see any benefit and it chewed through cards at a crazy rate.
    150 therefore is Goldilocks for me.
  22. Like
    Juank reacted to kye in How much bitrate do I actually need?   
    Use however much you need, but be aware that how much you need can vary radically depending on what you're filming.
    50Mbps is tonnes if you're filming a talking-head with a blurry background, but point you camera at a tree while there's lots of wind, or during rain or snow, or at the ocean, or from a moving vehicle, and the 50Mbps you were loving before might make you cry.
    Also, if you're filming in higher frame rates and then conforming to normal speed to make things appear in slow motion then your bitrate will get stretched accordingly.  50Mbps is 25Mbps when viewed at 50% speed on a timeline, etc.
    You can't add bitrate in post!
  23. Like
    Juank reacted to kye in Panasonic GH6   
    If you record 1080p Prores HQ then that card should be good for about 94 mins, 422 should be longer...  Just in case you're feeling like more testing would be fun 🙂 
    Great to hear the 2h 17m GH6 result was with the DR boost mode on.  I can't think of what other features would drain a battery so much that it would reduce that battery life significantly.  Thanks for doing these tests.
    I've said it before, but I'll say it again.  Even basic tests frequently prove that a significant proportion of "what everyone knows" is actually just plain wrong, or so oversimplified or limited in context that it is either so useless or misleading it has the same effect as being wrong.  If you can test it yourself, you really should.
  24. Like
    Juank reacted to hyalinejim in Speed Booster on Full Frame   
    I would add that from my experience of using a manual focus 58mm Rokkor 1.2 on a 5D3 for photography I found that if I used the optical viewfinder to judge focus, forget it, it was out of focus. I missed it nearly every time.
    However, I got an almost 100% success rate by using an LCD viewfinder (remember those?). So you're magnifying the large, high resolution image on the rear LCD screen. It's actually possible to nail focus this way.
  25. Haha
    Juank reacted to webrunner5 in Canon EOS R7 and R10 have released...   
    Yeah, Cleff has been doing tests on DPR for a Long time. I find his stuff more accurate in real life than DXO's. Cine D's DR test of video cameras are way more accurate than what the company's spew out.  Like Red's 20 stops bullshit.
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