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Nick Hughes

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  1. Like
    Nick Hughes reacted to SleepyWill in FULL FRAME or SUPER 35 - What do you prefer and why?   
    OK, here we are then. 4 cameras, 4 different sensor sizes, 8 of the blandest lenses in my collection (read: most uniform). One camera is full frame, one is crop, one is 4/3's and a lot of kudos if someone identifies the other, with sound reasoning.
    My method was to use the full frame camera first, to take a shot. Then I examined it and set up all the other cameras to attempt to get them to replicate that look precisely. I used every trick in, on and around the camera that I know, with the exception of additional lighting, reflectors etc. Once I was happy with my setup for each, I took all four shots (including the ff again). Camera profiles were the most basic straight forward, consumer friendly ones, the reason being, so that the only post processing done was in photoshop where I combined the 4 shots into a single picture. No work was done on the pictures beyond pasting them into a square and putting a letter on them.
    The question is, of course, can you tell which sensor size took which image, failing that can you identify only the full frame?
     




  2. Like
    Nick Hughes reacted to Jimmy in EOSHD opinion: smartphones are not killing DSLRs, apps and online services are   
    It is smartphones AND apps... The two are symbiotic.
    The cameras on modern smart phones are great, the apps are great... I can shoot and edit raw images on my Nexus.
    As Mozim says though, this will help separate the two industries... Which I think is a good thing. Canon, Nikon etc can cater to people who care about lasting imagery, rather than shoot and share.
    You say "no wifi on high end",,,, it doesn't need it, it doesn't need grading apps, facebook sharing apps.... Just a very low battery consumption bluetooth, like the NX1 has. Send the raw to your phone.... Grade and share (while the raw file is uploaded to dropbox, for backup). Let the phone do what it does best. Simple.
     
     
  3. Like
    Nick Hughes reacted to jgharding in FULL FRAME or SUPER 35 - What do you prefer and why?   
    Larger formats can work some magic that smaller can't. This is because to create the equivalent DOF of 65mm film/sensor on 35mm for example, you'd need an impossibly fast lens or some kind of massive speed booster.
    Truth is though, it's quite hard keeping even Super 35 in focus at apertures of f2.8 and wider.
    As a result I find S35 to be the best balance between a great look and handleable focusing. I spend most of my time shooting about f4 or f2.8 on Super 35 unless it's very dark or I want the super shallow aesthetic.
  4. Like
    Nick Hughes reacted to jcs in FULL FRAME or SUPER 35 - What do you prefer and why?   
    I 'took the sensor size challenge' and used the equivalence math to match the settings for different sensor sizes: full frame vs. Super 35. The predictions by the math were correct: there was no substantial different in looks. The goal was to learn if there really was something unique about the full frame sensor size and the images it could create. While there are differences, there's nothing unique. So there's no point saying 'the full frame look'. Shallow DOF, deep DOF, bokeh character, artifacts (good or bad), are all better in describing what we are seeing or trying to achieve in terms of looks. That said, if there is some kind of unique character that can be measured or defined with any size sensor: m43, Super 35, full frame, medium format, large format, then we can compare cameras as long as they are matched with the equivalence equations to examine the unique differences.
    We're already on the same page regarding lens availability for desired looks. Full frame is certainly useful for the variety of options currently available. However smaller cameras are understandably becoming more popular- more options are becoming available all the time.
    If one disagrees and knows of examples where the theory isn't true- the ball is in your court: you can share the images so we can learn what those unique traits are. Lots of folks are disagreeing but not providing any evidence to support their position.
  5. Like
    Nick Hughes reacted to SleepyWill in FULL FRAME or SUPER 35 - What do you prefer and why?   
    ​Funny, I heard the precise opposite argument over a coffee time discussion of this thread. My collegue whom I have a great deal of respect for was raving about how, for the same lens, FF picks up all the interesting, more distorted, less perfect and precise edges of the image circle, and there lies a unique aesthetic.
  6. Like
    Nick Hughes got a reaction from leeys in FULL FRAME or SUPER 35 - What do you prefer and why?   

    Exactly- it's not that FF is better because it has this otherworldly look that can't be replicated. It's that it is cheaper and more practical in many situations to achieve this look using a FF camera. It might seem like a moot point to some (same way that it's not a tele lens that causes compression, but rather your own distance from a subject), but I personally think it's an important discussion to be having. If you know what's really going on with your camera, then you have more opportunities to 'exploit' it to your advantage.
  7. Like
    Nick Hughes reacted to Brother in One month with Samsung NX1   
    One month has passed since i bought my NX1 and i thought i would share my thoughts so far.
    Coming from full frame as my main camera i was hesitant to the change in the beginning. I started my hobby with a Canon 550D/t2i and then later upgraded to a 5D Mark 3 which was really pleasant, i loved the full frame look. The choice to abandon both Canon and full frame did not come easy but a Panasonic G6 (Micro 4/3 entry level camera) helped a lot in the transition.
    The NX1 really fits well in my hands and after a not so steep learning curve of the controls i feel comfortable to just pick it up and shoot. I have pretty large hands so when i changed from a 550D/t2i to a 5D I pretty much decided to never again buy a smaller camera. That didn’t work out as I later bought, tried and sold the A7s as i was reminded why i don’t like small cameras. This is of course a very personal opinion, i know that many people prefer portability. Somehow the NX1, being smaller than a 5D, feels really good to hold for hours.
     
    Image quality of both stills and video are great, just great. You can throw whatever specs and lab test at me you want saying that the NX1 is inferior in dynamic range and what not but i just love the sensor and the colors it produces. With that being said, im not a professional and i don’t have professional needs. What i also like to point out that this is a $1500 camera, not an Alexa. And what you're getting for your $1500 is in my opinion a very capable camera.
     
    On a lot of videos posted from the NX1 there have been comments on banding and macroblocking, including my own. As there is no/almost no banding or macroblocking in the raw files this is a result of transcoding. I use Samsung Movie Converter which comes with the camera and it’s clearly not the best option yet every other software i’ve tested seems to fail me in some way (Maybe i should invest in a new computer?). Still waiting for Adobe to support H265!
     
    To sum it up. I feel that i have finally found a camera that will stay with me for a long time. I'm not over the "wow i have a new camera let's see what it can do"-phase but i have high hopes for this plastic monster. This camera has been discussed a lot on this forum but if there’s any questions i'll be happy to answer them.
     
    Here’s my latest video shot with the NX1, 16/2.8, 30/2.0 and 45/1.8. Shot in both 4K and slow motion 1080p. Standard picture profile with sharpness and contrast set to -5. No change to luminance or master black levels. Edited, stabilized and graded in Adobe Premiere with Visioncolor LUTs Osiris M31 and KDX as base and then RGB Curves. No sharpening in post.
     
  8. Like
    Nick Hughes got a reaction from IronFilm in Fantastic slow-mo/detail on new Canon C100 Mark ll   
    Delivering in 1080 does not necessarily mean shooting in 1080.
  9. Like
    Nick Hughes reacted to Hans Punk in Red Epic or not Red Epic   
    Ok - my analogy was a bit of a stretch. I guess I was trying to say that the increasing relience of firmware and sophisticated electronics in modern cameras is an Achilles heel compared to the mechanical reliability of traditional film cameras.
    modern electronics seem less like they were built to last - not even built to standards they were 10 years ago.
    I too have a 10 year old Sony cybershot camera and the first 1TB LaCie hard drive...both have outlived equivalent products half their age. 
    My first Arri camera for example was an original 1940 release that throughout the years was only modernised in its lens mount and motor. That camera has worked for almost 70 years so far (with very minimal mechanical matinance needed) and is still going strong...I just don't think we will be saying that of any of today's digital cameras in 2085.
     
  10. Like
    Nick Hughes reacted to Cinegain in Alexa Mini!   
    I'm kinda on the fence... a GoPro Hero4 Black or this... hum.
  11. Like
    Nick Hughes reacted to jcs in FULL FRAME or SUPER 35 - What do you prefer and why?   
    Hey Ebrahim- I've wondered what the FF look was ever since getting a Canon 5D Mark II when it was launched (after seeing Vincent Laforet's "Reverie"). When the 5D3 was released, I bought two and sold the 5D2. When the FS700 came out, I didn't pay much attention, but when the Speedbooster was released, I bought the FS700+SB.  When the GH4 was released, I didn't really consider it until I realized I could get equivalent looks with fast native lenses on m43 after learning about the math and physics of equivalence. When the A7S was released with low light performance and being able to shoot with my existing Canon and Sony lens collections, along with decent color potential (with some work), and much smaller file sizes and effort vs. 5D3 RAW, it was a good deal.
    After shooting with all these cameras and understanding the math, it's clear the "full frame look" is a myth, an illusion. Full frame provides affordable options, better low light, and higher potential resolution, but it's not really a significant difference on a camera like the A7S.
    Here's the Nikon D810 again, shooting the same scene with almost the correct settings for equivalence (aperture should have been F4 on FF shot + different ISO):

    Even when not set exactly right for equivalence- where is the full frame magic? A slight difference in DOF, which can be matched by setting the FF shot to F4. As leeys noted, most people won't notice the difference in this example (which again isn't equivalent).
    So here's the challenge: you own or have access to the A7S? Shoot a still in APS-C crop mode with good shallow DOF. Then turn APS-C mode off and use the equivalence math: multiply focal length by 1.5, aperture by 1.5, and ISO by (1.5*1.5), then shoot the scene again and post the results. If there's a difference it will be undeniable in the photo(s).
    Hey Simon- randomly ran across a solution for the F5: http://www.adorama.com/KABEFZEOS.html . Wasn't looking for it- google's ad technology surfaced the link! This means your T1.5/F1.4 24mm lens can look equivalent on your A7S and the F5 (very close: 1.05 crop).
    This challenge can be done with any full frame camera (shooting a still), even it if doesn't have a crop mode. Follow the math for equivalence, then crop the "1.5 crop mode" settings shots in post, and downscale the FF version to match resolution. You can blur the FF version to perhaps help reduce sharpness to match frames better. Other than sharpness, both cases should look equivalent. If one isn't convinced by the above photo, doing the test yourself is the best way to find the truth, whichever way it leads.
  12. Like
    Nick Hughes reacted to richg101 in FULL FRAME or SUPER 35 - What do you prefer and why?   

    I suppose the reason for the difference is that generally from what I see an 85mm at f2.8 is almost always sharper than a 50mm at f2.  Since the 85mm will be used on full frame, the full frame setup has the advantage in sharpness of the in focus subject.  as a result the actual ratio between in focus and out of focus is greater.
    Also, from my experiences using usually full frame lenses on both full frame and aps-c/s35 on a full frame sensor the whole image circle is being utilised to deliver the sensor resolution.  Assuming a full frame lens wide open will resolve 30lp/mm on a full frame sensor the horizontal resolution 36mm x 30x30 = 2160px.  crop into that for s35 and you only have 1440px of horizontal resolution.  So assuming the actual lenses are full frame lenses - an 85mm on the full frame sensor, and a 50mm on a s35 sensor, the 50mm will project the same fov as the 85mm but the actual overall line pairs is divided by 1.5 on s35.
     
    The difference is less obvious when true s35mm lenses are used on the frame they're designed for.  The sigma 18-35 f1.8 for example will outresolve most full frame lenses.
     
    Then we have speed boosters - which compress the resolution down onto a smaller area, so if there was a 'optically perfect' speed booster available you could take the 30lp/mm full frame lens and compress it by the 0.7x and have around 45lp/mm of resolving power onto your s35 sensor.  Unfortunately no commercially available speed boosters allow optical perfection so some of the lens resolution is lost.      Still the delivered resolving power onto the s35 sensor is normally more from a 50mm + speed booster than the resolution from a 35mm lens without a focal reducer.
     
    The only real way to properly illustrate the difference would be to take a m4/3 camera and a 25mm lens and put it against a 645 camera and an 80mm lens.  The 80mmbeing set at f2.8 and the 25mm lens having to be set at something like f0.7 to get the same amount of defocus.  Quite obviously the 80mm will blow the 25mm lens out of the water in terms of sharpness. 
  13. Like
    Nick Hughes reacted to Hans Punk in FULL FRAME or SUPER 35 - What do you prefer and why?   
    Easy....70mm
  14. Like
    Nick Hughes got a reaction from Axel in The future of cameras and slomo: how does 1 Trillion frames per second sound?   
    ​Jodorowski is the first to pop into my mind. Still, I don't think psychedelic usage is exactly a well-kept secret in any of the creative fields. 
     
     
  15. Like
    Nick Hughes reacted to Mozim in GH4 simultaneous audio recording while in 96fps mode   
    ​The camera doesn't record sound internally though, at least when shooting 96fps with a GH4 or 120fps with a Samsung NX1. There's nothing to sync the audio file of the external recorder with, so that's a fairly big problem. 
  16. Like
    Nick Hughes reacted to Cinegain in GH4 or EM5MK2, What accompany's the A7S best?   
    ​Be careful in thinking it's 'just perfectly amazing' though. I mean... it can be. But there's some trickiness to it at the same time. Mathieu of Mirrorlessons did a good video on that:
  17. Like
    Nick Hughes reacted to Policar in Moire Removal / Lessening   
    ​1) Certainly good advice, but not always possible. I agree, though, that's the best approach. I've even seen the Alexa alias pretty severely in the right circumstances (fine-pattererned red fabrics at certain distances), and beta cam did terribly. Being smart when addressing set design is always a good choice.
    2) Uhh... sure. 
    3) No. CCDs alias just as much as CMOS sensors... it's what's in front of the sensor and how it's processed that matters.
    4) Worth a try, so is pushing the image just slightly out of focus if you really need to. If it's a brick wall in the distance, you won't lose that much resolution throwing it just a little out of focus to lessen aliasing. But kind of iffy.
    5) The human eye does not see any more moire than you put in front of it. If you put an image of something that has moire in front of it, it will see it, same as with film, which also doesn't otherwise alias. 
    I've had really, really good luck with some post techniques, assuming the aliasing isn't horrible. I sample the aliasing in Neat Video and use a 0-radius temporal filter and extremely strong low frequency noise reduction settings. Then I mask this in After Effects where needed, maybe add a little blur, then regain. For less severe (color only) aliasing you can copy the footage onto a layer above the original shot, add a 12-pixel radius blur (or thereabouts) and superimpose that blurred footage using the color transfer mode. I also mask this layer as it fuzzes out the richness of the color. These techniques are a pain, but very effective at at least reducing aliasing. 
    That said, the fabric thing is your best bet. Although I'd had decent luck tackling fabric in post, only if it's pretty minor in the first place though. So shoot smart... choose appropriate fabrics for your camera (as I said above, Alexa aliases with some red fabrics, and the Canon C series even more so, despite both being pretty alias-free normally), throw your worst aliasing out of focus or avoid shooting brick walls in establishing shots (or shoot a still and blur it and composite it in later: seriously).
    Suddenly I don't miss my t2i as much.
     
  18. Like
    Nick Hughes reacted to Cinegain in Best way to achieve overhead shot?   
    Might want to get one of these Vanguard Alta Pro's for that kind of stuff?
  19. Like
    Nick Hughes got a reaction from Hitfabryk in GH4 or EM5MK2, What accompany's the A7S best?   
    Just keep in mind that pans, tilts and punch ins from a 4k file don't have the same feel that you get from physically moving a camera. The perspective isn't changing and so the subtle visual cues that our brains pick up on with real perspective changes aren't there. The capability is still extremely useful, but shouldn't be treated as a replacement for an actual second angle, movement, etc.
     
     
  20. Like
    Nick Hughes reacted to Cinegain in GH4 or EM5MK2, What accompany's the A7S best?   
    Just another tool in the bag.
    Here's Caleb putting something together with both A7S and GH4: http://dslrvideoshooter.com/a7s-gh4-music-video-production-breakdown/ .
  21. Like
    Nick Hughes reacted to Marcio Kabke Pinheiro in 10K Timelapse on a PhaseOne IQ180   
    Rio de Janeiro, I live here (the last shot was made near my apartment). Brave guy to bring a Phase One to Rocinha (the first shot) and return with the camera back home.
  22. Like
    Nick Hughes reacted to alexcosy in Kodak celluloid film saved by studios - oh and by the way - what's the point?   
    I found this video yesterday and it made me think of this thread. It's kind of related to this subject, especially on the matter of archival and how today's digital footage will hold up in time. And it actually is also wonderful and kinda magical.
    Watch it, you're in for a very cool (digital video about lost, and refound film...
     
     
  23. Like
    Nick Hughes reacted to dahlfors in Problem - Nikkor 50mm 1.2 + Canon ef to m43 speedbooster + GH4   
    If you want to mod a 50mm Nikon lens, there's far cheaper alternatives like any of the 50mm f/1.8 or even the 50mm f/1.4 AF-D! Filing down the protruding metal parts will certainly make you lose a lot in possible resale value.
    Personally, I'd have a look around for a Canon 50mm f/1.2 and sell the 50mm f/1.2 Nikon. The Canon 50mm f/1.2 performs well, I believe even better than the Nikon (and I'm a Nikon shooter saying this ).
  24. Like
    Nick Hughes reacted to Deadcode in ETTR: The Ultimate Exposure Technique?   
    I also tried to shoot ETTR with my LX100. I also had lower noise, and good colors, but the grading process is far longer, because i got different exposure on almost every scene. I dont think there is enough benefit to shoot ETTR with compressed codec, it's easy to clip highlights, and much more work for just a littlebit better results.
  25. Like
    Nick Hughes reacted to leeys in 63.7 megapixel raw with the E-M5 II - and finally 24p at 77Mbit!   
    They're having retail demos all over the place here. Maybe I should try to get a hands-on. Anyone wants to know anything? No promises, but I'll see what I can get.
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