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norliss

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  1. Like
    norliss got a reaction from webrunner5 in Two new pro sound recorders announced: Zaxcom Nova ($5K) & Sound Devices Scorpio ($9K)   
    First vid on the forthcoming F6 from the ever-reliable Curtis Judd:
     
  2. Like
    norliss got a reaction from Mark Romero 2 in NAB 2019 predictions and major talking points - BMPCC 4K Pro anyone?!   
    Not camera-related but I'm predicting (hoping) that Zoom unveil either an F4n or perhaps another model in-between the F4 & F8n....
  3. Thanks
    norliss reacted to BTM_Pix in NAB 2019 predictions and major talking points - BMPCC 4K Pro anyone?!   
    I think you may be in luck with that one

    More information here
    https://www.miroc.co.jp/report/prolightsound2019-zoom/
  4. Haha
    norliss reacted to Andrew Reid in X-T3 vs A7III vs EOS R vs Z7 vs Pocket 4K - Video Quality Compared!   
    ah those well known matching colour profiles - PP1, Eterna and Neutral!
  5. Thanks
    norliss reacted to androidlad in I WILL be getting a Fuji X-T3!   
    I'm thrilled to say that Metabones just confirmed in an email that they are working on EF-X Speedbooster and some other new products!
  6. Like
    norliss reacted to Andrew Reid in First ever shots from the Nikon Z7 at F1.0 with Leica Noctilux - In the darkness   
    Ah yes thanks for spotting that. Should say:
    "Until now my two favourite cameras for shooting 4K video with manual focus lenses have been the Leica SL and Sony A7 III."
  7. Like
    norliss reacted to eyesuncloudedphoto in Blackmagic: a middle-gound...?   
    At first glance this looks like a good idea, even a necessity in a certain sense. But let me play devil's advocate for a moment.
    The problem is with (a) availability of  S35 sensors with the same properties as the one in the BMCC4K and (b) the lens mount. 
    If they somehow manage to overcome the first problem, the one with the mount remains. Having an EF or PL mount defeats the purpose of such a camera; a BMPCC4K with a speedbooster will be its equal or better. They could go for a m43 mount (it can cover a S35 sensor for video) and also perhaps offer their own SB versions, with embedded ND, but I don't consider it probable. 
    I still find the idea of such a camera highly interesting, especially considering the larger physical format could enable updated battery power, cooling, different storage media or even a clever modular design. 
  8. Like
    norliss reacted to Andrew Reid in Blackmagic: a middle-gound...?   
    I think there's room above the Pocket 4K for the same image quality in a better built body with more features. Seems like a no brainer to me. People love the image and the back-end monitoring on the Pocket but it's never going to have the depth of features of a GH5 for the price it is - they would have to up the price to make it more ambitious. Around $2500 would bring us all sorts of goodies. I also wish the form factor would be more along the lines of a GH5 as well with an EVF.
  9. Like
    norliss got a reaction from Kisaha in Blackmagic: a middle-gound...?   
    Firstly: apologies if this has been discussed here before (if so I've never read anything) but a thought just occurred to me....
    At the moment Blackmagic has the Pocket Cinema Camera 4k at £1055 +VAT and the URSA Mini Pro at £4845+VAT with nothing in-between. What are the odds of them coming up with something in-between i.e. something a bit bigger than the Pocket with an APS-C/Super35 sensor but about £2500-£3000? Surely there are loads of people that want something a bit more than the pocket (ie a bigger sensor) and able to spend more but unable/unwilling to go for the URSA Mini: it would be a winner, no?
  10. Like
    norliss reacted to Andrew Reid in "Plants" from companies on this forum   
    It's been noticed in the back-end of the site that some new users are joining in order to future the agendas of PR and marketing at some companies.
    It's a tricky area for me to deal with, but I'll get some advice on how to better detect it and prevent it from happening in the future.
    Whilst I know it is happening, the evidence as to what exact company is responsible for which posts isn't solid enough yet to go naming them.
    But rest assured if I do find out, they will be named and shamed on the front page of EOSHD.
  11. Like
    norliss reacted to mkabi in Is the 1DX2 still worth getting?   
    I'm making an assumption here... given that you are in this forum and not some other forum, you are more inclined towards video.
    And, given that you are not invested in any ecosystem, I recommend that you stay that way... if you are going to invest in lenses look at PL lenses. May be get 1 kit lens with whatever camera you want... this is the advice I give anyone, this way you are not disappointed with a particular brand/system for not bringing out the latest/finest. 
    My current recommendation is get the X-T3.
    If you want to wait for the Panasonic FF or A7S3... then wait... but you could be waiting and waiting and waiting for something better to come along all the time... if you need something now... well look at the options you have now.
     
  12. Like
    norliss got a reaction from OliKMIA in Why YouTuber Logan Paul can't put his camera down   
    I'd never heard of this bloke until this recent controversy and have no intention of looking at any of his content, neither.
  13. Haha
    norliss got a reaction from DBounce in Kinefinity Terra 4k has landed   
    Don't you mean "Egypt" what with you being a Pharoah n' all....
  14. Thanks
    norliss got a reaction from Raafi Rivero in Kinefinity Terra 4k has landed   
    I seem to remember a lot of chat about these Kinefinity cameras: many interested alas many people a little hesitant to go for what seems such an unknown quantity (compared with all the usual suspects of manufacturers) so I salute you for taking the plunge 
  15. Like
    norliss got a reaction from tigerbengal in Biggest clusterfuck of 2016   
    I think it's the things that are happening behind the scenes that you should be worried about....
  16. Like
    norliss reacted to Andrew Reid in Canon sponsored content on DPReview   
    When I worked for them I had my suspicions they would try and suppress the strident tone of my reviews when it came to Canon's shortcomings in video.
    Now it's plain for all to see what is going on there -
    https://www.dpreview.com/articles/9717214609/filmmaker-scott-dw-trades-his-pro-video-gear-for-canon-eos-80d-watch-the-results
    I will be sure to get my fix of Canon PR marketing there from now on and of Ebrahim's latest forum frauds.
  17. Like
    norliss reacted to Andrew Reid in How to save the consumer camera: DON'T!   
    I don't understand the video and don't understand why it is being given as a good example of cinema.
    This is mainly a cinematography forum, about cameras and shooting images.
    It isn't a content lab.
    OK you get 5,674,515 people to endorse your message, you move some of them, you get 48,000 likes and 179,000 re-tweets. I am sure the content must have some merit. But I am equally sure that it won't be remembered in 30 years like the work of great cinematographers is.
    There is poetry not just in faces, words, music, dialogue, messages, content, stories...
    Images are poetry.
    If you cannot grasp this point and think that images are meaningless without shoving some kid's story in front of the camera, then reconsider and go and see Koyannisquatsi immediately. Cinematography in the purist sense IS content and HAS a message. Incredible camera work, beautiful rendering, the lenses used - the medium is the message.
    Cinematography can also elevate almost ANY kind of content so that it has more impact and is more memorable.
    I am SICK TO DEATH of people saying that boringly shot content is all we should aspire to because hey... it works... of course it does... but it doesn't mean to say a cinematographer should stop speaking the language of cinema and go and become a writer or a one-man filmmaker instead.
  18. Like
    norliss got a reaction from Jn- in How to save the consumer camera: DON'T!   
    Excellent article, Andrew and I find myself agreeing with you rather than Tony Northrup. Then again, I'm not sure how much Tony Northrup really agrees with Tony Northrup: his video smacks of being one to pull in an audience with a headline-grabbing title...
    Sure, I'm all for improving usability wherever possible but proper photography and "hey, look at my friends having lolz tonite" pictures on social media are two different things. There really is no point trying to make cameras operate exactly like mobile phones because for the vast majority of people, it wouldn't make any difference: they'd always opt for the phone and the phone-alone because it's 'good enough' and the extra performance of the dedicated camera just doesn't warrant the cost/size etc.
    Ultimately, if people are genuinely interested in photography they'll move up to a 'proper camera' and learn to use it. I don't subscribe to this dumb-down/ race-to-the-bottom mindset that says we should gear everything toward the people that have grown up in the smartphone/iPad era.
  19. Like
    norliss reacted to joema in How to save the consumer camera: DON'T!   
    Northrup's point is the tortoise-like advance of dedicated cameras have been bypassed by smartphones, leaving cameras that feel clunky and archaic, esp from a consumer UI and ease-of-use standpoint.
    However he did NOT address that this was likely an unavoidable development, rather he implied it was poor decision making by the camera manufacturers. 
    Apple is on track to spend $10 billion per year on R&D -- Nikon spends $550 million. Apple spends more on R&D than every camera company on earth combined (unless if you consider Samsung a camera company, who spends even more than Apple -- $14 billion). For many people the cost of their smart phone is subsidized by the cellular carrier. This produces a mobile device that is unusually powerful, very refined and artificially cheap relative to a consumer camera.
    It is not just limited to cameras. I have the highest-end automotive Garmin GPS. It is OK but the UI is nowhere near as responsive as a 2016-model smartphone. Garmin's annual revenue is 1/100th that of Apple or Samsung -- they can't spend the R&D of those companies, and there's no cellular carrier to subsidize their product.
    Of all the companies making cameras, Samsung might have the highest annual revenues. It's further interesting that the NX1 was probably closer to Northrup's ideal camera than most others.
    My point is there is a lot more to implementing Northrup's vision than the *idea*. Implementing that at a polished level and a consumer-affordable price requires an *immense* and ongoing R&D investment. Admittedly there are also the corporate cultural issues of a camera/instrument hardware manufacturer in a software, UI-centric world, but I question whether Canon and Nikon could have delivered Northrup's ideal consumer camera in a timeframe to make any difference -- even *IF* they had the vision.
    Like you, I am not sure if it would have made much difference anyway. This is a tidal wave of change sweeping across the photographic landscape. The idea that consumer cameras could somehow "carve out" a protected little enclave by adopting a  few more consumer-friendly features is questionable.
  20. Like
    norliss reacted to Oliver Daniel in How to save the consumer camera: DON'T!   
    Thanks Andrew, this is a good article. 
    I think consumers will be perfectly happy with their smartphones. They will get better, and consumers will have no need for another camera - it's not perfect, gorgeous, well composed shots they are bothered about. 
    This reflects through platforms Instagram and what content is popular.  Long gone are the days when Instagram was a creative photo sharing network..... you get FAR more likes on Instagram for a noisy, badly lit selfie of yourself eating a takeaway pizza, rather than a magnificent, beautifully lit, well composed shot you'll never match again. 
    Again, because of the consumer onslaught of constant videos and photos being uploaded and shared online, there's some great stuff out there which isn't getting a look in. Actually getting anyone to give a crap about your latest masterpiece is much harder. A video of a drunk fat man dancing is widely far more interesting. 
    Coming to cameras - we are that the point where they actually matter less. Models are getting replaced within months, users are on and endless buy-sell cycle to have the latest, and many people are not really learning their craft properly because they can't keep hold a camera for long enough. Lenses, lighting and camera movement have a FAR FAR greater impact then your camera. There's really no point in constantly changing, swapping , upgrading. It's a waste of time. 
    Recently, I got an FS5 and soon an external recorder. I can grade the Slog footage well. I have everything I need - LOG, HFR, ergonomics, audio, blah blah. Man I can now do 200fps RAW!! But since having the camera, my videos haven't improved at all. I have more bells and whistles.. but it all comes back to what the hell I am actually filming with it. 
    Sometimes, something does arrive which will dramatically improve your work, or will heighten creativity or make your life easier. However this camera race is far too distracting for many of us, and for a large bunch I think some people have took the eye off the ball as to why they are using cameras in the first place. 
    I'm sticking to what I've got, and will be spending time on throughly improving my skill set, rather than my camera arsenal. 
  21. Like
    norliss got a reaction from kidzrevil in How to save the consumer camera: DON'T!   
    Excellent article, Andrew and I find myself agreeing with you rather than Tony Northrup. Then again, I'm not sure how much Tony Northrup really agrees with Tony Northrup: his video smacks of being one to pull in an audience with a headline-grabbing title...
    Sure, I'm all for improving usability wherever possible but proper photography and "hey, look at my friends having lolz tonite" pictures on social media are two different things. There really is no point trying to make cameras operate exactly like mobile phones because for the vast majority of people, it wouldn't make any difference: they'd always opt for the phone and the phone-alone because it's 'good enough' and the extra performance of the dedicated camera just doesn't warrant the cost/size etc.
    Ultimately, if people are genuinely interested in photography they'll move up to a 'proper camera' and learn to use it. I don't subscribe to this dumb-down/ race-to-the-bottom mindset that says we should gear everything toward the people that have grown up in the smartphone/iPad era.
  22. Like
    norliss got a reaction from Davey in RAW vs 10bit vs 8bit   
    Interesting vid from Dave Dugdale and Matt Scott. I have a feeling Matt's comments and conclusions will wind up a few people here 
     
  23. Like
    norliss got a reaction from Cas1 in RAW vs 10bit vs 8bit   
    Interesting vid from Dave Dugdale and Matt Scott. I have a feeling Matt's comments and conclusions will wind up a few people here 
     
  24. Like
    norliss reacted to M Carter in Small lighting (& some other kit) advice   
    I do a ton of corporate interviews, musing about some doc projects if I get some free time...
    The #1, by-god awesome, holy-cow thing for me as an interview shooter and editor: freaking 4K. If you have a feel for narrative, human nature, drama, etc, you can guide and cut a great interview. But reframing has changed the game for me. You can hide cuts, and tighten up the shot for the most dramatic or impactful statements. When I come in tight, I can do subtle camera moves/pans which really just "work" subconsciously. I can shoot a little wider than usual for lower thirds or graphics and still have plenty of pixels for a wide range of shot changes, without moving the camera. That's my #1. I use the NX1 for all interviews now (the 4k footage is pretty astounding), with a Nikkor 28-70 2.8 zoom generally - that zoom looks fab and it allows me to adjust framing quickly, like I setup with a stand-in and then the subject is 7' tall. 
    (#1-a? A morphing plugin for your NLE. When they work, they're lifesavers - get every f*cking UMM and pause and stutter OUT of your edit!!)(Unless those express the personality - for corporate stuff they're goners).
    Other MASSIVE thing for interviews - if it's not "to the camera" (which I generally dislike) - who is the subject talking to? If it's me, I'm in a chair with a monitor on my lap, but I HATE looking down to check focus - people instantly feel like you've got something more important on your mind. So I have to go deeper with the DOF and if the subject is really active or excited - you'll lose focus. So I try to get someone to be an eye line. I QUIETLY whisper questions to that person - if you're behind the camera and you ask the question, even if you say "tell her...", their eyes will shift back and forth and it looks shifty. I'd much rather be riding focus behind the camera. With a follow focus and a 12" whip, so no jitters. I only wear headphones for initial setup and first roll with the subject, they are too "distancing" for me, unless I'm not the interviewer.
    IF THE INTERVIEWER IS NOT IN THE EDIT - make sure they answer IN CONTEXT so the question is not needed. Most people understand this, and understand if you stop them and say "context, please" or lead them - "I'm sorry, could you start that with 'the reason I love what I do'..."
    #3 major thing for a great interview - a third person with an eye for detail and grooming - most any lady or your gay buddy will do - (not trying to be sexist, just my hard experience) - even the receptionist - to keep an eye on hair, collars, lint, wrinkles, etc. There's too damn much to be focused on (for my tiny brain anyway) - most ladies like to be asked to be the grooming police and watch for that lock of hair that pops up halfway through, to watch for makeup issues on female subjects that guys don't even SEE. Have them look through the monitor for issues like shining skin, too. (I KNOW this sounds sexist and generalized, but I've found it to be true!!! If a lady looks decent in her clothes, she'll see what needs fixing.)
    So for a doc, I'd think about your assistant - someone that can watch for those details, help setup and pack and carry, and either be an eyeline or can babysit focus.
    I also use the NX for steadicam b-roll, I just stick the cheap little 16-50 OIS kit lens on it, very small and light on a Came steadicam, and I use the same QR on everything so I can be on the steadicam in seconds. From there, b-roll, establishing shots, whatever you need... lenses, tripod, jib, sliders, shoulder mount, etc. Have an ND solution if you'll be moving in and outdoors.
    Good audio is a must, the DR60 is a great piece of gear, and the camera-out with its own level control means you can use it as a preamp and not need to synch (I use the NX1 and when gain is staged properly, no difference between the DR card or the camera). But you have the recorder files as a safety if you get an over (and the DR records a 2nd track at -6DB which can save your ass). Get some closed-back headphones (even cheap ones). You need a great mic, or at least a good one - Oktava, AT 4053, or at the least a Rode, but get a hyper, not a shotgun. For about $200 you can get one of the OST lav mics AND the XLR barrel converter, which converts phantom power to mic power. So you can use a lav and not mess with wireless and be all-XLR, no monkey-business 1/8 crap in the chain. There's a small OST that hides great in a tie knot.
    LIGHTING - for a big window office where you want to hold the exterior, you generally need a 575 or 1.2k HMI par. And with many angles, your diffusion frame will reflect in the window, so you need strategies for that. Often a polarizer will knock down lesser reflections. Or you can ND the whole window if you have all day.
    I keep a 575 in the truck, but I have a "one-rock-n-roller-cart" setup to make one trip in for most gigs. I TRY to use a quad biax - they're usually under $200, and I clip diffusion across the barn doors, instant softbox that's the right size for faces, small and easy to move, no cold-start issues, etc. I also bring an Aputure 672 LED for rim/hair, or background (probably will get another sometime)... usually a small 300 fresnel if I want warm BG light... I also have a 400 HID setup that works with all the photoflex softboxes, but that's a DIY grow light thing (it kicks ass and looks legit, about 1200 watts of nice daylight). I also have a 2" daylight fresnel with a 150 HID globe and ballast, again DIY but looks like actual gear, about 500 watt equivalent) handy little problem solver. And a bunch of CTB and CTO gels cut to size and ready in a big ziplock. Usually doesn't take many lights to get a nice looking interview setup. In a pinch I can be setup and ready to roll in 20 minutes, though that's kinda stressy!
    For overhead mic, I use a steel roller stand - it's heavy enough to not need sandbags but easy to tweak the position. Those are pricey, $180 or so, but worth it. I don't bring c-stands to most interview gigs, too hard to pack, too heavy. Use good quality folding stands though, the Matthews steel kit stands are good. Find a good solution to pack all your stands in.
    I generally bring the steel roller w/ arm - decent stands for key, LED, fresnel - I bring a couple black flags (18x24) for spill or if the hair light is hitting the lens as a flag; a cookie and grip stuff; a couple extra boom arms and heads. Usually 5-7 stands in a bag. An 18" and 22" popup reflector/diffusor, gaff tape, spring clamps, and A LINT ROLLER!!!
    There are LEDs that would make a suitable key (the Aperture doesn't have the kick except for very dark setups), but they're a grand and up, the biax quad is still a trouper for me.
    All of that on one cart - I use two motorcycle tie-down ratchets to hold it on the cart.
    That's my business interview setup, but I'd likely use the same for a doc interview.
    Last week, basic setup:
     
     

  25. Like
    norliss got a reaction from Asmundma in No value of c-log on 1dx2 and 5d4   
    This is going to raise the blood pressure of a few people, I bet...
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