Jump to content

elgabogomez

Members
  • Content Count

    175
  • Joined

  • Last visited

About elgabogomez

  • Rank
    Active member

Recent Profile Visitors

2,733 profile views
  1. Up by this point in the discussion, I think both of you (tupp, kye) are deep into your own trench and will never settle with the other. Yedlin’s test is for the world he is living in which is of world class feature film budgets, not “everyone’s regular 4:2:0 cameras “ or “monochrome, foveon or ccd sensor cameras”. Moving pictures have a way of pulling you into a story, engaging the viewer with more than pretty detailed pictures. Once you consider that filmmakers (world class directors, producers, cinematographers) are the target audience for his tests, it gives both of you and your valid
  2. Something is wrong with those recording times, on a 128gb card I get around 40 minutes of c4k 10bit all-i on the s1h, that is 400mb per second. On a 64gb card I get an hour and 10 minutes on an a7 s2 and that is uhd 4k 100mb per second (long gop, 8bit). Surely 150mb per second should give you close to the 3 hours you seek on a 256gb card.
  3. Red still has the patent for compressed raw recording, atomos got a deal with them and was able to have the prores raw, canon got a deal with them and is able to have canon raw lite. Blackmagic created Braw to avoid a Red lawsuit and is in the clear. Everyone else can’t have internal compressed raw on any camera. Now s1h can send out the hdmi signal for compressed raw to two different formats, so no, I don’t think internal raw is coming to any Panasonic camera any time soon.
  4. Like everything in life, context is paramount. The example of the ursa/a7sII is (without context) quite misleading. First it depends on what Ursa, 4k, 4.6k, pro, g2. Second it’s not useful to compare one shoot with one camera with a shoot (even if it’s the next day) with another camera (unless you are shooting exactly in the same conditions. And thirdly, I wouldn’t use an ursa for any shoot that I would consider using an a7sII, the Sony in log starts at iso1600, most ursas you wouldn’t want to use 1600 for anything. The size and weight of both is a great differenciator for the types of use of
  5. In all seriousness, at the time of his postulates, Netflix was rejecting the arri alexa for not being native 4k (and other platforms were following suit) and in Mr. Yedlin’s line of work it was really creating issues during pre production or in pitch meetings. On the high end there was the alexa65 but not everyone wanted the hassle of it (limited sets of lenses, a lot more power hungry) and for many pro cinematographers it felt preposterous for the producers to select the camera package on specs basis instead of them proposing a package based on the artistic look. I think it was not meant for
  6. I saw his first part video when it came out and liked his theories, then the last Jedi came out, I watched it... by the time the second part of his comparisons came out, I liked Yedlin a lot less
  7. 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
  8. 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
  9. 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
  10. 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.
  11. 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
  12. 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
  13. 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!
  14. 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
×
×
  • Create New...