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elgabogomez

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About elgabogomez

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  1. https://www.monoprice.com/product?p_id=24187 monoprice is a good quality- low cost cable maker, I’ve used their cables for years specially for micro hdmi. Not angled unfortunately
  2. Appalling rolling shutter? Nah! The 1d C had bad rolling shutter, the original A7s, the Sony a6xxx series... The S1H is fine. Obviously the new sonys are better, so is the R5 or the ursa12k
  3. 35mm motion picture film doesn’t struggle to match 4k, just look at a film like the matrix in 4k blu ray ultra hd, or 2001 space odyssey or the original blade runner... They look amazing! None of them share a common look per se, but nothing shot on digital after the transition to the alexa, red or sony cinealtas beats them. You have to remember that digital means pixels, pixels means squares and thus it cannot give the same type of detail the film grain of layers of color being burnt by light in the negative. A grain is a random shape (I know that 4k blu is a digitized image -converted to
  4. As someone who does stills as a hobby/family memories, the idea of browsing through video to get a still is not desirable, I think of photography as “freezing the moment “ and video as “getting the mood” so the shutter speed is a tool that video capture doesn’t do for me in the same vein as deliberately hitting the button in the exact moment. If I were doing event photography I might think different.
  5. I may have come too strong “against” MF, let me digress: gfx100 had me researching 645 lenses to build a set with the kipon focal reducer to propose to a project. The new 100s is more affordable and closer in handling to the mirrorless ff cameras so it’s definitely an option. But if you consider the price and think video first, you could get a red Komodo, a Sony fx6 or a canon c70 and all 3 of them offer huge advantages for video/cinema work. The fact we can have MF in the conversation for a project is a milestone in itself, but you still have to consider lenses, codecs, nd filters, battery op
  6. I think the gfx100s has a chance of big popularity considering it’s a day after the announcement of the Sony a1 at a similar price point, but honestly the difference between 35mm and these “medium format” digital sensors is kinda like the difference between apsc and full frame. You still need a “speed booster” to get the real look of the 645 lenses of yesteryear... I think the industry is better off with “open gate” 35mm sensors and anamorphics, even 1.33x has a look so similar to the alexa 65 that I think that’s where the “film look” will be for big time productions in the next 5 years. Betwe
  7. Their mirrorless cameras are called Z but lack refinement and exciting new features, there are cinema cameras named “Z” that lack name recognition and service centers around the globe... Maybe a partnership for a Nikon Z cam FM cine ultimate camera!
  8. VLC is a weird, unpredictable program. It can read dnxhd and dnxhr files, but gets tripped by prores on occasion (4k prores) sometimes it reads s1h h264 4:2:2 10 bit files (24p) but sometimes it just reads the first seconds and then gets stuck buffering, h265 gets read fine if the drive it’s reading from is ssd but not a spinning drive... there’s a 30% chance it will read files without issues. I switched to media player classic for reviewing material, sad really as with vlc I can Desqueeze anamorphic footage and even change colors to something somewhat watchable in log footage. On braw fo
  9. How is the s1h outdated?? Last I looked, movies were shot at 24fps, tv at 25 or 30 depending on region, and in most cases still delivered interlaced. If theater quality still means something, it’s still finished as 2k. If on Netflix, Amazon or similar, I’ll concede the bump to 4k is a “given” but it’s still 24p, 25 or 30. How any of that is outdating the s1h?
  10. Regarding the 180 degree rule... I honestly think it’s best used on 24, 25, 30 frames footage as it gives it the “illusion of movement/blur” that works in our collective memory (and at 30 the motion is already so fluid that it matters less). But on higher frame rates you are already messing with reality and time so if the blur is not there is a lot less objectionable. If you are not slowing down 50 or 60 frames, the motion is already hyper-real so it’s a different aesthetic in itself and the 180 rule can be thrown out the window.
  11. 10 bit has been a request for Sony mirrorless since the GH4 got it externally in 2014. In 2017 the GH5 got internal 10bit. In 2018 Canon make it external with the R, Nikon with the Z6 (External) and Fuji with the Xt3 (internal). Sony got the a7iii out in early 2018 before the wave of new 10 bit full frame/apsc models from competitors so it had “no pressure “ to do so at the time (discounting m43 which is condescending). But normally Sony is quite aggressive with features once one of its products have them, was it naive to expect cameras launched after the a7siii to have 10 bit? Is the s5 not f
  12. At some point I will, just not at launch. There are still gotchas that might pop up. But for my personal camera I want something that can handle anamorphic, so open gate or 4:3 shooting; c4k Is also something I would like to have or more megapixels for stills (both of these not deal breakers but prefer to have them than not). An apsc 4k crop is also a consideration. I like the fast readout of the siii and dynamic range seems great. Even if I don’t end up buying it I know people who will and will use it then to decide.
  13. I’ve been a Sony mirrorless user since the nex 5n days, I like the mount a lot and the blend of features/size/price/hybrid % stills-video in many of their products. When I can use the same lenses (or adapters) from the cheapest camera to the fs, fx and Venice cine lines it gives a reassuring knowledge of the results I’ll get on any given lens, lets not forget the first speed booster was made for e mount. But the wait for 10 bit in video has been perplexing for many years, even before the full frame a7 line. There has always been an excuse to not have it regardless of cost. 1. No clean h
  14. It’s time to reward innovation, let’s all hop on Sony train for the full frame hybrid experience! Now you can have 4k video and high megapixel stills in one body, with auto focus and image stabilization! 42 megapixels and small body for less than $1500.00 new... or even less used, as seen for the first time in 2015! Run to your online store to get the ilce alpha 7r iii!!
  15. It’s a good sensor... for photos that is, for video it’s still last gen in read speed (rolling shutter) and dynamic range. Not bad but the r6 sensor reads faster I believe, or it would have 4k60. And I don’t know why do a camera they already have a73 but in a different configuration. Only the AF has been ported from the a7s 3. No 10 bit, no faster read, no 4k60, just last generation but smaller. The S5 and the Fp have much better video. Auto focus is a big deal I suppose... but the a73 wasn’t bad in that area and could have get there on firmware. I can buy an a7s 2 for less (used) and be bette
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