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Tim Naylor

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Everything posted by Tim Naylor

  1. ​Like or not, 4k deliveables will become standard. I personally don't care for it. I diffuse images already in 2k. All but one Acedemy nominee was mastered in 2k. But TV's must be sold so 4k is here to come. That being the case, for crop in and motion stabilzation you might as well be shooting 6k for 4k broadcast,
  2. I absolutely love the images I see in the "test". The flesh tones look full and rich to me. Also worth talking about is the camera's ergonomics. While it may not displace an Amira soon, it definitely will take a broadside at Red. What I see design wise over Red is placing all the ins and outs on the dumb side facing the rear. Used an Epic last week and it reminded me what a POA it is to getting to some of its ins/outs especially the HDMI. Also, the Kine's menu and dedicated function buttons for things like ISO, WB, IRIS, etc. will be welcome. Though once an Epic owner, the touchscreen system
  3. As much as I love those NX1 images thus far, comparing it to C300 seems a bit off. If I had to do doc / client work, I'd still go with the C300 as it has the things that make a production go smooth: built in ND's, XLR's, 4:2:2, SDI, ready to edit codec, etc. I could see myself using the NX1 for productions that are a bit more savvy, not run n gun or doc, perhaps more narrative, music video, etc world. They just seem like completely different tools for different jobs. It's like comparing an ENG camera to an Alexa. Sure the Alexa takes great images but I wouldn't use it for news.
  4. So I'm seriously considering this NX1. What do people do for lenses? Are EF mounts out of the question? Can it support a dumb EF mount? Love to know what people do for lens solutions, especially manual options. Also, has anyone started making a form fitted cage for it? Thanks
  5. ​I have no issues with the A7s layout. Mine is permanently in a Movcam cage (best accessory ever). I never shoot video with it unless it's on my rig (18" 15mm rods, Wooden Camera hand held grips and an F&V monitor mounted on the cross bar with a counterweight in the back). It balances perfectly for hand held as well as on sticks. I use it for work and play. Sure this rig might seem a bit much for many here. But as someone who shoots Arri's all week long, it's a welcome relief. On occasion when I'm fooling around I'll shoot it "naked" (cage / top handle only) and just use the camera's EVF /
  6. ​Well put. I come to this site because I learn things about small and inexpensive cameras that we don't regularly test or use on set. Last week I shot an AMEX commercial with an F55 but we also used a BMCPC as well for a different look. Much of the info on that cam came from sites like this. For the past month, I'm on a TV show where we use Amira's all day but guess what, we also break out the A7s and Go Pros from time to time. Again this site and several others help pros get a handle on emerging tech. I'm actually considering shooting my next feature on A7s (even though we have the choice of
  7. ​Will definitely give this camera a shot. I've been a Samsung fan since I bought a 53" Plasma from them a few years back. Still the best colors I've ever seen on a TV.
  8. ​A face with a color chart are essential in all comparative IQ tests.
  9. ​Agree on most points except the rolling rehearsals. Nothing worse than saying, "it looked better in rehearsal." If the set is lit, AC has marks, blocking roughed in, etc. Why not roll? Just don't call it a rehearsal I guess.
  10. I started on film ages ago. The last time I shot it was three years ago (See: "Besides Still Waters" in last month's American Cinematographer). We had issues that I rather not revisit. For one, shooting on a remote location, our dailies were not daily. So dirty gate and static issues reared their ugly heads. Also, focus. Today's younger AC's are brought up more with focusing off monitor instead of tape. Problem is, with film camera monitors it's hard to judge critical focus. The more experienced AC's with a film background are older and hence much harder to afford for low budget indies. Should
  11. Tim Naylor

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  12. I own the 24,35,50 and 85. Non DS. The only difference is DS has markings on both sides. I love them. Bought them to use with my A7s. Best lens for the money. The only short comer is the 24mm. It's not the sharpest of the bunch. I wouldn't recommend shooting below a 2.8 with it if you want it to feel as sharp as the rest. You can get away with a 2.0 in a pinch but at 1.4 it's unacceptable. The 35 looks great down to a 2.0. And the 50 and 85 perform well wide open. I use these lenses with a Ronin and because they're so light, they work great. Also, the dampening on the focus/iris rings is butte
  13. Placement aside, mics definitely make a difference. For the money, Rode is hard to beat. I've tested it against mice that were 2x-3x the price and I preferred the Rode. If $ were no object, I'd get a Shoeps.
  14. Ebrahim, good stuff. Love that step by step tutorial. Casey, just remember to expose to the right. I get as right as I can to the clip threshold. Also, I like screwing around with the pre-sets in camera such as boosting saturation and magenta signal (ever so slightly) in both S Log or PP6. I find this gives me a signal I can bend to my tastes better without breaking down or looking so "thin".
  15. ​Make no mistake, I love my Canon Zooms. But compared to Leica R primes, the Leicas are in a different league IQ wise. But I was a controlled situation (we had time to change lenses). They're definitely not for doc / run & gun world. I'm a big fan of Nikon AIS glass. I feel they have the "magic" especially their 85, 105, 135 and 180. Mechanics are rock solid.
  16. D Bolex definitely has a great look. Reminds me of 16mm.
  17. ​Glass is often overlooked in the whole skin game. I did an ABC tests with Cooke S4's, Zeiss Super speeds and Xenars. The Xenars were dead to me skin wise. Almost corpse like compared to the Cookes and Zeiss. Was once doing an interview style shoot with Canon Zooms and Leica R glass. Once we put on the R Glass it was night and day. The skin tone was better in every respect. The director didn't want to see the Canon glass for the rest of the day.
  18. ​It's a big deal in narrative. Even with make up, we still need an accurate chip. So when we dial in the face our backgrounds aren't AWOL. I work mostly episodic TV. We have ridiculously tight turn around times. They like cameras that have less fiddling and grade time in post (saves them $$). It's the reason why Alexa and C300's have been dominating TV. I I'd say they comprise 80 percent of my work and it's not because of the resolution. I've been on many a shoot for broadcast where they use 5D's because they love the colors. Granted, you're right about Canon being saturated and warm, but pos
  19. You asked why we make a big deal of skin tones. We've taken the time told to break it down for you. Now you seem dismiss it as a luxury too rich for your blood. Not sure why you brought the subject up the first place unless it was to tell us why it doesn't matter to you. Of course writing and directing should take a front seat - at any budget. Not a groundbreaking discovery, but you asked a tech question, hence tech answers. People with 1k + cameras usually won't have the budget to consider complex production design but next to writing / directing your one of strongest cards is how you capture
  20. Thanks for the review. I pondered the Shogun for my A7s but then decided at the extra expense, etc., I'd sell the whole lot and get something else. Also, the stealth of the A7s gets lost with the Shogun. What Atomos needs to do, like you mentioned, is make a small 4k recorder like a Blade that I can velcro or screw on to my cage and call it day. Also, the fact that Atomos don't have an HDMI lock or hood, is disappointing. How were they expecting us to use it. Even with full size HDMI, the last thing you want is a lost connection during a take. It will happen. Andrew, you may want to consider
  21. Skin tone to me is the baseline for a camera. I'm always tinting it this way and that or sometimes delivering it as "honest" as possible. If the base is accurate skin tone/color chart, I know can create the most flexible rich signal possible with my camera. When I did extensive tests for a feature last Summer, we were spanning looks from cool/green nights to magic hour golden light, but the mid level / mean look was color balanced skin tone. So we tested the big three (Sony 55, Alexa, Dragon) at a variety of ISO's and contrasts (2:1, 4:1 to 64:1) always with a color chart and the same face. If
  22. So I've been kitting out a Ronin package for full on set work, from DSLR to Epics to Sony F55's, indies to full commercials. The Ronin is the cheap part. To do this right you need numerous components namely: wireless HD feed, wireless follow focus and monitors. For wireless HD feed I'm using Paralinx Arrrow 3: one transmitter and three receivers. It's a great deal for what it does and perhaps the best option for gimbals. I use one receiver for the Ronin Op's monitor, the other for the AC and the third for 2nd camera remote op/client monitor feed. The Ronin monitor must be small and lightweight
  23. My ideal monitor would have: Smart phone size 1080p High Brightness (800 NIT or more - no more hoods!) HDMI loop/through (in case you need to go to Paralinx or similar) CFast 4k Recording A hinge that can either attach to camera (Andrew's example) or screw onto 1/4 20. Replaceable internal battery External power options
  24. ​This is very cool. I could see myself getting a couple for drone / gimbal remotes or AC monitor.
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