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Nick Hughes

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  1. Like
    Nick Hughes reacted to Michael Ma in 3 axis gimbals are dead, this is insanity   
    In my opinion it is pretty limited in use.
    You can't use this if you want to shoot 24p with motion blur.  Which is pretty much what most people want to shoot in.
    Also, the processing this requires is gonna be a pretty heavy workload, even though it doesn't have to analyze the video.  it's still working with 4K frames.  With a gimbal, it is stabilized out of the box.
    Last, if you want native 4K this is not the solution either.
    Additionally, it is still not a product you can buy today.
    Is the 3-axis gimbal dead?  I strongly disagree.  This is not a replacement for a gimbal.  It's just an improvement for unplanned shooting day with just a camera and nothing else.  Unless you prefer to shoot 30p or 60p at 1/60 or 1/120 shutter, your footage will be compromised.
  2. Like
    Nick Hughes got a reaction from Zak Forsman in How to Edit to a Beat in Premiere Pro   
    If you can't detect a beat (or rhythm) in a song, it probably means:
    -The song is poorly written
    OR
    -The song is atmospheric,experimental,etc and shouldn't be edited to a beat
    OR/AND
    -You should practice more at detecting rhythm, as it's one of the most fundamental tools of editing
  3. Like
    Nick Hughes reacted to sunyata in Blue Color Clipping   
    Yea, I tried to help Kristopher with this issue, but the problem was basically unrecoverable. I did make him a LUT though, which just turned the blue spot down to look less saturated while trying not to affect skin tones. Others have suggested avoiding the problem by shooting white balance higher than 5000k and turning PP off. Assuming you were also using SGamut, my best guess is that your problem lies there, specifically it being too wide in the blue corner when scaling into sRGB, and with a lot of blue LED light in your signal -- see image below -- If you look at the problem with a scope, it's not actually clipping blue, it's red and green that are dropping to zero past a certain threshold; blue still has data. That makes sense if you consider how wide SGamut is in B. I also suspect it's the reason people are having other color problems shooting log with the A7s. Another more analog solution could be to use a blue blocker (orange) filter to avoid triggering or overrunning the threshold and then color correcting for the orange in post.
     

     
     
  4. Like
    Nick Hughes reacted to Zak Forsman in Great Deal on X-Rite ColorChecker Passport   
    I've been keeping an eye out for a deal on one of these. Don't know how long it will last but the coupon code PSWBH15 will take $40 off the $99 price tag at B&H Photo. Davinci Resolve users will find it particularly useful. I'm hoping with enough testing and tweaking, I can come up with a custom LUT that will neutralize the GH4's unique color issues.

    http://www.bhphotovideo.com/c/product/651253-REG/X_Rite_MSCCPP_ColorChecker_Passport.html

    How to use it in Davinci Resolve to balance colors. This gives a general idea despite the fact that the guy in the video screws things up a bit (like setting his ProRes footage to sRGB instead of Rec 709). And I think he's comparing an unbalanced tungsten shot to a balanced fluorescent shot. I think if he'd balance both, they'd be close in the end?
    https://www.youtube.com/watch?v=onom8tpiof8 
     
  5. Like
    Nick Hughes reacted to IronFilm in I broke my rules and pre-ordered the URSA Mini 4.6k   
    Don't be so ridiculous! I reckon absolutely nobody will ever be recording 24hrs straight with the URSA Mini in 4.6K

    Either they can do lightweight ProRes flavours, or it will be stop/start for 24hrs, or they'll be offloading and cycling cards along the way.
    Which thus then makes the URSA Mini waaaaaaaaaaay cheaper vs film.
  6. Like
    Nick Hughes got a reaction from IronFilm in I broke my rules and pre-ordered the URSA Mini 4.6k   
    And it'll take a year for them to fix it. By the time they do, everyone will have built elaborate rigs for upside-down shooting.
  7. Like
    Nick Hughes reacted to AaronChicago in Stumbled upon a possible GH4 color enhancing trick   
    So for anyone who does not have the newest Premiere I have made available the LUT pack. (shhhh)
    .cube: https://www.dropbox.com/s/u2see09x4a5s16c/GH4alexa.cube?dl=0
    .3DL: https://www.dropbox.com/s/v3a0bbek7p5qmki/GH4alexa.3dl?dl=0
    Instructions for GH4 profile:
    Portrait
    Contrast -5
    everything else 0
    0-255
    Master Pedistal: 0
    Shadows: 0
    Highlights: -3
  8. Like
    Nick Hughes got a reaction from jonpais in I broke my rules and pre-ordered the URSA Mini 4.6k   
    And it'll take a year for them to fix it. By the time they do, everyone will have built elaborate rigs for upside-down shooting.
  9. Like
    Nick Hughes reacted to Andrew Reid in Sony A7R II Review - Part 1 - Summoning the devil   
    In part 1 of the Sony A7R II review we will look at the A7R II not as a consumer camera but as a professional cinema camera.
    The benchmark for this camera is going to be the Canon 1D C.
    Read the full article
  10. Like
    Nick Hughes reacted to Zach Ashcraft in Quick RX100 iv 4k test + Ongoing thoughts   
    Just received the RX100IV today and I'm dang excited to create some things with it. I had the mark 1 and despite its limitations, had lots of fun shooting with it. 
    I created a 15 second instagram video at work today just as a means to try out the 4K mode. I was in a hot warehouse in Texas right next to an open door. After 1 take, it began to display the overheat symbol. After two takes, it told me to let the camera cool and shut off. Switching to 1080p mode and I was just fine. 
    This is by no means an A Camera, but I do think it is an absolutely incredible creative tool. Its so versatile! The 4K is sharp and clean, and the image grades well. This particular short was shot in  Picture Profile 4 and graded with film convert to add a lot of punch. I'll continue to share my thoughts and include more video after I've had more of a chance to shoot with it. 
    General light coming from a nearby open door. A bit of spot from below added by a pair of Lumos Trip Pro LED's. Cinevate Duzi V3 slider.
     
  11. Like
    Nick Hughes reacted to Chrad in 4K Mirrorless for vacation landscape   
    We all understand your point and have heard it many times before. In the context of this thread it's an off-topic rant. 
  12. Like
    Nick Hughes got a reaction from Cinegain in A7rii vs ursa mini   
    Nope. If you're stuck in that loop, another camera is not going to get you out of it.
     
  13. Like
    Nick Hughes got a reaction from IronFilm in A7rii vs ursa mini   
    Nope. If you're stuck in that loop, another camera is not going to get you out of it.
     
  14. Like
    Nick Hughes got a reaction from graphicnatured in A7rii vs ursa mini   
    Nope. If you're stuck in that loop, another camera is not going to get you out of it.
     
  15. Like
    Nick Hughes got a reaction from Julian in A7rii vs ursa mini   
    Nope. If you're stuck in that loop, another camera is not going to get you out of it.
     
  16. Like
    Nick Hughes got a reaction from Inazuma in A7rii vs ursa mini   
    Nope. If you're stuck in that loop, another camera is not going to get you out of it.
     
  17. Like
    Nick Hughes got a reaction from Zak Forsman in A7rii vs ursa mini   
    Nope. If you're stuck in that loop, another camera is not going to get you out of it.
     
  18. Like
    Nick Hughes got a reaction from Mattias Burling in A7rii vs ursa mini   
    Nope. If you're stuck in that loop, another camera is not going to get you out of it.
     
  19. Like
    Nick Hughes got a reaction from Don Kotlos in A7rii vs ursa mini   
    Nope. If you're stuck in that loop, another camera is not going to get you out of it.
     
  20. Like
    Nick Hughes got a reaction from Emanuel in anti moire filter yes or no   
    The first time I ever recognized aliasing was after reviewing footage from a shoot in the woods. It was fall/winter so the trees were bare and the branches were aliasing heavily. To be fair, we were shooting 720p60 on footage on the 6D, so there probably would have been aliasing on a white wall, but it can happen out in nature. Still, it's a lot less likely than when you're surrounded by power lines and brick walls. 
  21. Like
    Nick Hughes reacted to Cinegain in anti moire filter yes or no   
    Yeah, of course it depends. If you're far away of trees, they suddenly become very thin lines as well. Or getting detailed shots with narrow aperture of branches, or perhaps some bushes. But if you're filming some kind of horror chase scene in the woods, or following talent for a music video in nature, mostly on eye level, you're probably dealing more with rolling shutter than moiré/aliasing. You're probably focussing on the talent, with not such an incredible deep depth of field and rather up close, where trees aren't thin lines, just big chucks of wood. In such cases, it's probably hardly a struggle.
    Then again, if you're shooting some documentary footage in nature and rather go with that deep depth of field and sharp look, with lots of wide detailed landscape shots, then it might get tricky. Add that you will probably use it in urban environments as well and don't want another thing to crowd your mind to keep in check, then... well, maybe. Personally though, I'd rather try to avoid it than getting the filter. You could buy a nice vintage lens for that kind of money is what comes to my mind, you know.
  22. Like
    Nick Hughes reacted to cpc in Why recording LOG with an 8bit codec is most probably going to get you in trouble.   
    This only applies to humans. We simply don't see color well at low light levels because of the way human vision works.
    Cameras don't have this problem. What you perceive as lack of color in low light captured images is for a couple of reasons:
    1) In naturally occuring low light situations the spectrum of the light is often overly monochromatic. For example, dusk light has lots of blue and tungsten has a strong red component. This offsets the image toward monochromatic.
    2) Overly noisy image.
     
    Anyhow, the A7s s-log2 lacks tonal precision even when shot at its minimal ISO (which is 3200) and overexposed for healthier signal.
  23. Like
    Nick Hughes got a reaction from TheRenaissanceMan in Why recording LOG with an 8bit codec is most probably going to get you in trouble.   
    Exactly. Color exists because of specific wavelengths of light being reflected off surfaces. Color doesn't exist without light, so if there is less light, there's going to be less color. If you're shooting a scene at 52,000 ISO, of course the colors will look weird because they literally aren't there!
    (physics people please correct me if I'm wrong about this)
  24. Like
    Nick Hughes reacted to fuzzynormal in Canon's new $30,000 video camera does only 1080p   
    I think you got a bunch of kids that want to act like they know a lot --so the contrarian opinion mixed with criticism makes them feel like they're offering insight. It's a curse and blessing of being young...and, yes, stupid.
  25. Like
    Nick Hughes reacted to sunyata in Why recording LOG with an 8bit codec is most probably going to get you in trouble.   
    lots of different issues in this thread. 1) does log in 8bit ruin colors? 2) does much power come with log and is it magic? 3) are wide gamuts the real problem? 4) does Kodak choosing 10bit for Cineon  mean that 10bit is the least you can get away with before you see artifacts? 5) is it really all about the camera as a package and the sensor, codec, even the lens for example? 6) should we be more concerned with chroma sub-sampling? 7) is this debate incredibly boring and useless?
    4) trick question, Cineon was designed to re-print a film negative, not based on digital to digital tests, it was also R',G',B'. so unfortunately i don't think it can be used as a fair comparison, even though it was how this workflow started. 
    7) not at all, i just wasted several minutes. 
    i think log has the same advantages with 8bit that it does with 10bit or any other depth, even though i disagree that 8bit is not distinguishable from 10bit unless doing keys. when you combine 4:2:0 compression with 8bit you get a negative re-enforcing effect (the blocks get much larger in dark areas because they have fewer codes to use), which shows up when doing lifts in particular. but all that is slightly separate from the initial log color question, of which log is the easy part to untangle; figuring out all the other stuff is really the challenge. so in that sense i think the "other" things that affect color, such as everything in question 3 and 5, are really the problem.
    the thread started with 8bit log and color, but sub-sampling and bit depth came up so i thought i'd re-post this old video i did, it's exaggerated but hopefully useful. hit spacebar (pause) when the description changes.
     
     
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