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  1. Like
    Juank reacted to BTM_Pix in DJI Pocket 3?   
    Bitrate is 100mbps fixed which is near as dammit the upper limit of the variable bitrate that my iPhone 12 uses (a typical comparator for what people would use a Pocket for) and I don't find it lacking for the purpose.
    More important for me is that the Osmo Pockets have Cinelike D which is a good compromise and very easy to grade.
    I had to do a little project at the weekend using the LX10/15 (with my Cinelike D hack activated) and the Pocket and they matched easily both in terms of colour and acceptably enough in image quality.
    On the Pocket 2, it is derived from a 4.6K sensor which is giving about 1.2x lossless zoom when shooting in 4K and roughly 2x and 1.6x in 1080p and 2.7K respectively.
    In the edit, I punched in to around 2x on a 4K file from my weekend project and was comfortable with the result so I wouldn't be bothered going up to say 1.5x as a safety and then adding the rest in the edit.
    A big advantage of the Pocket is adding the control stick which will give you full pan/tilt/zoom controls right from the handle.
    That usability trumps a small loss of image quality for the purposes I use it for.
    The 24mm in that spec is coming from it being a drone camera though.
    The actual lens on a Pocket 2 is 20mm f1.8.
    On of the beauties of this camera though are the magnetic clip on wide angle adapters (which gives you 15mm) and of course the anamorphic versions too.
    As well as also simultaneously being able to us magnetic ND filters too.
    If DJI do bring a new version 3 out with an optical zoom and/or with 10 bit capture then that would be great but I have to say that even as it stands now the Pocket 2 is a very compelling camera for travel and, for me, it is a vastly superior proposition to my iPhone for that role.
    Its not only because of the creative possibilities it has with having an integrated gimbal so you are not only stabilised but can do tracking etc or the anamorphic and NDs or the ability to have real hardware controls with the control stick.
    Its that you can take it out of your pocket, hold the power button on and be ready to shoot 2 seconds later rather than titting about unlocking the phone, opening an app and making sure you are in the correct mode.
    Another bonus is that if do have a need for remote shooting or self shooting with tracking then you can operate it from your phone which you can't do with your phone as you are already using it to film with 😉 
  2. Thanks
    Juank reacted to markr041 in New Nikon Camera coming…Z8?   
    Was this color graded? Yes, heavily (and no LUTs) like all of my videos, to create the "illusion of reality."
    Think National Geographic video of meerkats - no film-like color tints or distortions; rather see the habitat and watch the activities of its inhabitants as if you were there. But with humans, unlike with animals and birds, one cannot hide or wear a disguise or shoot with an enormous lens.
    Some good stills too:

  3. Thanks
    Juank reacted to kye in New Nikon Camera coming…Z8?   
    Peter Doyle (colourist on Harry Potter, Lord of the Rings, etc) speaks about how closely we can reproduce the colours in the real world.  Spoiler: no.  (linked to the relevant timestamp)
  4. Like
    Juank reacted to markr041 in New Nikon Camera coming…Z8?   
    The Z8 as an APS-C video camera.
    You can shoot RAW in DX mode, which crops the sensor and gives you 5405x3040 clips, better than 5K and much better than 4K. You can shoot RAW at the highest quality (HIGH), with the bitrates 1/4th those for 8K - so you can shoot 48 minutes at HIGH RAW on a 1TB card, as opposed to 12 minutes for 8K!
    You can of course us DX (APS-C) lenses in those mode. For this video I used the FF Nikon Z 24-70 f4 lens. An advantage of the crop is that mostly one is using the center of the lens, so corner drop-off is irrelevant - most lenses from Nikon are really good in the center.
    So, how does it look:
    Think meerkats - habitat and inhabitants in their activities.
    5K (5120x2880) frame grabs:

  5. Like
    Juank reacted to backtoit in FX3 or FX30.. getting back into video 15 yrs later   
    Hey all - Back in my 20s I was very much into video. I was living in Japan and traveling around Asia and would make videos/music videos with all my travel footage. I had a Sony handycam with a Carl Zeiss lens that I bought for... prob $600. I feel like I definitely got the most I could out of that camera at the time. After my travels, I came home and started a career, and 15ish years passed just like that. I have really neglected the creative side of my life, and now I want to get back to it. I really loved creating videos. I do have 3 youtube channels at the moment, nothing crazy in terms of size, around 500-600 subscribers on each account. I just use an iPhone and a HD logitech cam because it's mainly talking head stuff. But I really want to expand and get back into making fun videos. Additionally, I do "walking tours" where I visit cities/parks/hikes and do 1-2 hrs of straight shooting with me walking around the location, sometimes with commentary (DJI mic). I currently do this on an iPhone 13 with a gimbal. I really want to upgrade at this point.
    So after researching quite a bit, I've narrowed it down to either the fx3 or the fx30. I have a lucrative career (planning to retire in my early 40s lucrative), so the budget is flexible. This makes me want to just go for the fx3, because I have the money, but I know very little about videography at this point. No experience using RAW or log.. or even know what to do with the footage once I have it. I have done color correcting on my previous videos but very amateur. So basically I'd be learning from the ground up. So the fact that I have very little experience makes me lean more toward the fx30. But a lot of my walking videos are at sunset, so having spectacular low-light performance is important. I've watched a ton of youtube videos on fx30 vs. fx3.. and a lot of the fx30 footage looks amazing.. but something in me just wants to go big and get the fx3.. I think having the money is part of it but I also really want the best end product possible in that budget range (not looking to upgrade above the fx3). 
    So.. I'm at a bit of inflection point on what to do. Here's an example of what I was doing around 2007ish. 
  6. Haha
    Juank reacted to MrSMW in Panasonic S5 II (What does Panasonic have up their sleeve?)   
    I knew it.
    I went to Perth WA for an entire week once and it was just too quiet.
    You could pull up for instance and park right outside a restaurant on a Friday evening without a problem.
    There was a big movie being filmed around the same time elsewhere and they needed a lot of extras, so it makes sense now why the artificial city of Perth was so quiet.
    My brother lives there now. Says he does but now I realise that is a lie. My own family lie to me. What is this world coming to?
    Must dash, I have Aslan and Mr Tumnus coming round for breakfast shortly.
    Conspiracy theorists 🤣
  7. Haha
    Juank reacted to IronFilm in Panasonic S5 II (What does Panasonic have up their sleeve?)   
    Australia doesn't exist. 
    That's why it confused @MrSMWthat someone could be posting from that timezone. 
  8. Haha
    Juank reacted to MrSMW in New Nikon Camera coming…Z8?   
    My OCD prefers round numbers based on 10 so 20/40/80/160mm would be my preference so zoom lenses; 20-40, 40-80 and 80-160.
    Then f stops as: 1,2,4,8,16 so being realistic, f2 for my 20-40, f2 for my 40-80 and f4 for my 80-160.
    Plus all filter sizes the same while I’m at it.
    Under 500g, around 750g and no more than 1000 for the big boy.
    This is my open letter to Sigma 😉
  9. Like
    Juank reacted to IronFilm in Tascam announces a new updated "Pro" model of the Tascam DR10L for US$219 that includes timecode support   
    Correct.  You need to find a mic that can handle that high SPL. Or think more about your mic placement,  that would be the easiest/best fix.
    This is also true for wireless,  you distort that, there is  no way to recover it.
  10. Like
    Juank reacted to IronFilm in Tascam announces a new updated "Pro" model of the Tascam DR10L for US$219 that includes timecode support   
    "Tascam has announced the DR-10L Pro, this is the newest addition to the DR-10L family. While the Pro version maintains a similar form factor and functionality, it adds the ability to record in 32-Bit Float and offers Atomos Wireless Time-Code-Sync Support."
    Battery life has gone up from 10.5hrs to 24.5hrs (based on two AAA lithium batteries)
    Has a high-visibility OLED display, with lots of physical menu buttons for navigation. 
    Has a headphone output so you can monitor the audio before/during/after recordings. 
    Has an app for Android and iOS phones, you can add metadata (including project name, scene name, and take number) to the audio file. The app also gives you visual confirmation of the input audio with a waveform display over time. You can name each DR10L Pro via the app, for easy identification. 
    The DR10L can now take MicroSD cards sizes up to a massive 512GB. (previous limit was 32GB) 
    Comes with a free copy of iZotope RX Elements. 
    Available now to preorder:
  11. Like
    Juank reacted to MrSMW in New Nikon Camera coming…Z8?   
    There have been a lot of boring and conventional focal length lenses in recent years, the; 24/35/50/85, 24-70, 70-200 in full frame.
    Yawn 🥱
    Back in the 70’s and 80’s we had far more interesting stuff like; 30-70, 40-80, 28-85 (albeit that one being variable aperture yuck) and recently from Tamron; 20-40, 35-150, 70-180 plus those interesting APSC Sigma 18-35, 50-100 f1.8’s.
    I’d happily sacrifice a bit of aperture speed for size & weight, even focal range, especially with something like Tamron’s 35-150 f2/2.8, so something like 40-120 constant f2.8 because who cares about f2 for a couple of mm?!
    For me it’s been the one weakness of L Mount, boring as f**k focal lengths and/or lenses that are too big and heavy.
    I look at Sony e Mount and Nikon Z with envy.
    I need an R2D2 projected Princess Leia moment with a message to Sigma about being my only hope…
  12. Like
    Juank reacted to Django in Canon EOS R5C   
    No multi custom settings is wild on a hybrid although not uncommon on most cine cams which the R5C video OS is based upon. 
    Great that battery life was finally addressed and seems to be adequate.. for XFAVC at least!
    At this point I wonder if a Z8 is not a better solution for 45MP / 8K60p RAW hybrid?
    You loose some of the nice video assist tools and LUT support but gain a stacked sensor, ProRes options, custom settings and long battery life. 
  13. Like
    Juank reacted to markr041 in New Nikon Camera coming…Z8?   
    Testing NRAW HIGH Zlog 8K 60P at Night using ISO4000 (the alleged second base ISO):
    HDR 8K. Nikon Z 40mm f2 lens.
  14. Like
    Juank reacted to MrSMW in Panasonic S5 II (What does Panasonic have up their sleeve?)   
    And final decision made…
    The S1H is staying and the S5IIX going back without breaking the seals of the packaging never mind the box.
    I went into this weekends 3 day shoot edging towards the 3 identical camera body approach, which I would prefer in principle, plus smaller, lighter, faster, newer has certain benefits, but…
    The S1H is just too good a stills camera. Yes, stills.
    It’s meant to be ‘The Video One’ but actually excels as a stills camera for shooting people and events because it’s that little bit less critically sharp than the others without The OLPF.
    And then there is build, the ergos, the feel of the thing to use and the shutter sound is just sublime.
    The S5ii by comparison feels and sounds tinny. 
    So decision made. I can’t sell or not use the best camera I have ever used. At least not until a genuine replacement comes along. When or if that happens, but otherwise the S1H is being reconfigured in my line up as principal stills with occasional video and the S5ii’s becoming more video specific and less stills.
    Same kit, just re-jiggled about a bit!
    I think the gimbal is going though. Just not getting any real use out of it and the S5ii is pretty good in that department for my limited needs.
  15. Like
    Juank reacted to markr041 in New Nikon Camera coming…Z8?   
    800. But with sun shining on water, there are lots of specular highlights. And, sun on white swan. I'd rather be prepared for high DR and preserving higlights than worry about noise in shadows. On no-sun days SDR and low ISO might be better indeed.
  16. Like
    Juank reacted to markr041 in New Nikon Camera coming…Z8?   
    You all like frame grabs...

  17. Like
    Juank reacted to markr041 in New Nikon Camera coming…Z8?   
    Speaking of cropping. The Z8 has a massive crop to 4K UHD for 120P NRAW. No pixel binning, no "subsampling," no line skipping. But, a 2.3X crop.
    This was shot in 12bit N-RAW HIGH, ZLog cropped 4K 120P to see what we get:
    There is audio too; it is not an S&Q mode.
  18. Like
    Juank reacted to TomTheDP in New Nikon Camera coming…Z8?   
    I’d argue modern hybrid cameras are noisy too unless using heavy internal noise reduction. Shadows are always noisy at base iso. You gotta over expose to negate that. 
    for example on my pana S1, for a noise free image, I would overexpose by 2 stops. Pretty much the same thing on my Alexa, I’ll shoot at 200 iso if I want it completely clean. 
  19. Like
    Juank reacted to MrSMW in Please recomend me a câmera for cinema verite easyness   
    S1H’s are becoming ever more affordable.
    I just checked the current trade in on mine vs a new S5iix and it’s dropped about 600 euros in the last 3 months!
    Very robust and capable though.
  20. Like
    Juank reacted to Django in Blackmagic to join L Mount alliance ?   
    Just saying there exists proper Panasonic cine cameras with V-Log etc.
    An L-mount BMD cam would have different log and color science so not really an upgrade path to Panny users imo.
    I do wish/hope Panny comes out with an (L-mount) EVA-2 or something..
  21. Thanks
    Juank reacted to BTM_Pix in Budget Timecode Sync Solutions   
    As you already have the Ninja then it may be worth looking at the Atomos Connect which does a few different things (shoot to cloud, stream on set, adds SDI to the Ninja etc) but can act as the central timecode hub.
    It will embed the timecode into whatever you are recording on the Ninja V (which would also take care of your footage handoff scenario) whilst also acting as the master wireless timecode source for the Atomos/TimecodeSytems family of products.
    So you could attach an UltraSync One to anything that has a timecode input (such as your F4 or other cameras) and they would sync wirelessly and you could also do the same with your F3 (with the BTA-1 dongle) or anything else that supports their Bluetooth timecode protocol.
    As the Atomos Connect provides the timecode over Bluetooth then you wouldn’t need the additional UltraSync Blue unit that is usually required to sync things like the F3.
    So in that regard you can knock £180 off the price of the Atomos Connect due to that saving.
    You’d then be also able to painlessly integrate other products such as the F2-BT lav recorder or even Tascam X8 or Nikon Z8/9.
    I’m picking my Atomos Connect up the week after next (they had it in a heavily discounted bundle with the AtomX Cast which turns the Ninja V into a 4 camera switcher) so I’ll report back if it works as advertised!
  22. Like
    Juank reacted to BTM_Pix in Budget Timecode Sync Solutions   
    Whilst its true that if you had the BT versions then you would be able to achieve it, even then its still not that straightforward/inexpensive as you would need the Ultrasync One for the camera and also the UltraSync Blue to connect to that to provide the BT timecode to the F2s.
    With the non-BT versions you will have to rely on basic audio sync in post but that has got a lot slicker over the past couple of years so, whilst far from being as ideal as having TC sync, it will still do the job albeit with an additional burden on file handling and making sure the mics are rolling etc.
    The issue with doing it through basic audio sync though is you still have to get good scratch audio into the camera to make the post syncing easier.
    This is where using a Rode Wireless Go system (or similar) in tandem with the F2s will be a big advantage if you have access to them. 
    The output of each F2 can be attached to the input of a Wireless Go as shown here in the Newsshooter review (https://www.newsshooter.com/2021/01/14/zoom-f2-review/).

    The dual channel receiver can then be attached to the input of the 6K to provide good scratch audio of both F2s in the camera files whilst still taking advantage of the 32bit float audio of the recorder's own internal recordings.
    Of course, this setup will also be a boon in terms of remote monitoring of the audio of the F2s.
    Obviously you don't need to go the extra step with the transmitters/receivers and can just use any decent mic that you have around plugged into the camera but the audio monitoring aspect of such a setup for the F2s will potentially payoff in picking up issues.
  23. Like
    Juank reacted to MrSMW in Blackmagic to join L Mount alliance ?   
    I'm thinking more the sub-Hollywood level of productions. Like weddings. 
    One of my 3 cameras is 'gimbal ready' and I shoot it 3 ways:
    1. Handheld using the excellent IBIS.
    2. On the gimbal for gimbal type stuff. (Very limited)
    3. On the gimbal which itself has a quick release plate onto a tripod.
    This 4D can do the latter 2 ways but is not ideal for the first as it's a bit overkill due to it's size and weight ie, is hardly discrete.
    But perhaps with some kind of shoulder harness to take the weight, it could...
    What intrigues me about it is not how it compares to an Arri or really any other cinema camera, but the fact that it has 4 axis stabilisation built in for those times when that is required, full frame 50/60p 6k sensor and built in ND's.
    My interest is also as has been discussed in other threads, pulling high quality stills from video footage and ideally from full frame 6k or 8k.
    It kind of ticks a ton of boxes in this regard providing there is no requirement to shoot actual stills from the same unit.
    In combination with Sigma's excellent compact 28-70mm f2.8 (my workhorse) lens, for us video and smaller real world production types, this is actually a very interesting piece of kit.
    I would still need something static for ceremonies and speeches and a second 4D in this role would be silly, but for the other 90% of the event, just shooting one camera and then pulling the stills, has massive appeal on a certain level. For me.
    But horses for courses and all that and it's got sweet FA to do with Black Magic so I'll wind my neck back in 😉
  24. Like
    Juank reacted to IronFilm in Blackmagic to join L Mount alliance ?   
    From John Brawley:
    "No. Canon, like Sony won't license their mount. It's an open secret that Red did an IP swap for the ability to use RF mount on some of their cameras and in exchange, Canon can make their own internal raw codec that can be used in-camera.

    It's easy to test the theory. Name a single camera (not lens) with E mount that isn't made by Sony? Same for Canon with RF (excluding Red)?"
  25. Like
    Juank reacted to newfoundmass in An end of an era...   
    After my close friend decided to upgrade to the Lumix S5 II X he gave me an incredible deal on his Lumix S5 that I couldn't pass up. As a result I just finished packing up my trusty GH5, 12-35mm mk II, 35-100mm mk I, 25mm, and 14mm to ship off to MPB. For the first time in nearly a decade I will no longer have any M43 cameras or lenses. I think my time in the system has finally come to an (unplanned) end. 😞
    I'm feeling some kind of way about it right now, honestly. I still believe in the promise of M43, I just don't know that Panasonic will ever realize it or if the market will ever be there to make it viable. It's a damn shame, honestly. I'll be happy with my full frame cameras, and having three of the same bodies will make things a bit easier for me, but I still can't help but wish there was a professional level compact M43 camera that could fit my needs and fit in with my two S5 bodies. I just don't see it happening. 
    I had planned to always have at least one M43 camera in my kit. Eventually I was going to upgrade to the GH6 in a couple years, once they were even more affordable on the used market, but I couldn't pass on another S5 with kit lens for $750, so plans changed. It just didn't make sense to keep the GH5 and follow through with my original plans anymore, as these three S5 bodies will get me through until I can snag some S5 II bodies in a couple years when people upgrade to the latest camera.
    The GH5 was a total game changer for me and my work. I'm sad to see it go, because in many ways it did things that I never thought a camera would be able to do. It really cannot be overstated how much the IBIS changed things for people like me. I no longer had to set up a cumbersome shoulder rig, I could simply hold it and get steady shots even as I rushed around a wrestling ring and dodged people flying all over the place! Life goes on though, I guess.
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