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tupp last won the day on September 18 2017

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About tupp

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  1. tupp

    Sony E mount to Nikon Z mount adapter

    Kipon has it, without the ND: Looks like they have made a few additional Z-mount adapters, including some tilt/shift models. Also, they seem to have made four focal reducers for medium format lenses on the Nikon Z (they appear to offer the same models for the EOS R). Has anyone tried the Kipon "Elegant" lenses on the Nikon Z?
  2. tupp

    Cinemartin Fran 8K Global Shutter Camera

    I wonder which one of you is correct... 😎 Actually, if the camera does get released, I would imagine that it would happen sometime in between your two projected times. It probably won't happen "soon," as the guy in the video announcement didn't give any prices, and also note that the images of some of the camera models are CAD renderings. Two more camera models? That's even more ambitious than two guys producing a single camera. Somebody needs to go to the Ximea site and see if they are offering additional cameras with similar features to these two additional models. The footage looks pretty good to me, especially the properly exposed shots showing sunlit areas juxtaposed to deep shadow areas. However, the only way to get an accurate assessment of the DR is to conduct a proper test with proper charts. I don't see any indication of "trolling." They appear to actually be making progress. On the other hand, this recent announcement is probably premature.
  3. tupp

    lenses adapted to bmpcc4k

    In addition, the Ikonoskop camera and the original EOSM can shoot with 16mm and/or S16mm lenses, plus there are many 2/3" cameras that can use 16mm lenses. Also, I seem to recall seeing an Aaton S16mm digital camera at NAB awhile back.
  4. tupp

    Cinemartin Fran 8K Global Shutter Camera

    Not really. In the first place, the development of this camera is in the beginning stages. They achieved first light just five months ago, and, apparently, there are only two guys working on it. This haphazard test footage is not meant to be a final demo of the camera -- it's way too early for that. These clips just show that the camera works and that some properties might have been improved. Secondly, although I do not think that 8K is necessary nor desirable for 99.999% of filmmaking, no conclusions can be drawn from this footage. A controlled, side-by-side test is the way to discern and advantages/disadvantages of one format/camera over another. Keep in mind that digital color depth (the first property that you mention) is primarily determined by two equally weighted factors -- resolution and bit depth. In other words, resolution has the same influence on color depth as does bit depth. The higher the resolution, the higher the color depth. So, an 8K image has more color depth than a 4K image. Of the three properties that you mention, dynamic range (capture dynamic range) is most important to me. An unwanted camera-induced color tint can usually be fixed by merely white balancing or by moving a slider in grading software. Not sure exactly what is meant by "color science." It seems to be exceedingly subjective how each of us define that term and how we individually perceive desirable/undesirable color. Again, it's way too early to conclude anything about the image quality of this camera, and they don't have John Toll on staff to shoot their test clips.
  5. tupp

    Cinemartin Fran 8K Global Shutter Camera

    More sample footage: It's hare do tell, but it looks like there could be IR pollution in some shots, and they probably have more work to do on the capture DR.
  6. tupp

    Is the EOS-M *THE* Digital Super-8 Camera?

    @Matt James Smith Very nice! I think you've nailed the Super 8 look. The rolling shutter jitter when the camera shakes at the end is the only thing that hints the footage might be digital. Nice job! Thanks for sharing the video and the settings!
  7. There is a possibility that a M4/3 lens-to-EF-M adapter (which would accommodate your PL-to-M4/3 adapters) will appear in the near future. Also, a used EOSM goes for ~US$180. Add US$125 for the PL-to-EOSM adapter and your total cost is US$305 -- significantly less than an Olympus E-M10 III.
  8. tupp

    Is the EOS-M *THE* Digital Super-8 Camera?

    Might need to be shimmed for parfocal. Which lens and adapter did you get?
  9. Consider the original EOSM with Magic Lantern. It can shoot 2520x1080, 12-bit lossless raw at a crop between 16mm and S16mm. Here are two examples shot by our own @Alpicat: https://www.youtube.com/watch?v=rQFKXUS-9V0 https://www.youtube.com/watch?v=K2cEQLVQM78 This resolution (2520x1080) requires the ML SD card hack, which is slightly tricky to set-up -- you have to use the right SD card. On the other hand, there are lower resolutions at that crop (between S16 and 16) that don't require the SD card hack. Of course, there are many other ML raw (and non-raw) possibilities with the EOSM, such as 1736x1120, 14 bit lossless raw utilizing the full height of the EOSM's APS-C sensor (another @Alpicat example). A used original EOSM costs around US$180 right now, but the numbers of EOSMs offered are dwindling. Also, there are several PL-to-EF-M adaptors, including some that tilt.
  10. tupp

    Nikon Z7 is at EOSHD HQ - better video than Sony?

    Well, it's a good guess that Nikon has a slight bias to make the auto-focus of their own lenses to work fairly well with this camera.
  11. tupp

    Nikon Z7 is at EOSHD HQ - better video than Sony?

    The Nikkor F mount is safer, as it has a greater flange focal distance. It can be adapted to almost any camera with an EF mount or shallower. Furthermore, it is impossible to mount some lenses with EF mounts onto the EF speed boosters, while those same lenses with Nikkor F mounts can be mounted to the Nikkor F speed boosters (supposedly because of the EF speed boosters have an EF-S blocking flange). Of course, lenses with EF mounts cannot be properly adapted (without extra optics) to cameras/adapters with Nikkor F mounts. To ensure the most possible camera/lens combinations, the basic rule of thumb is that cameras should have the shortest possible flange focal distance while lenses should have the longest possible flange focal distance.
  12. tupp

    Focal reducer + adapter possible?

    The Nikkor F mount has slightly longer flange focal distance than the Minolta MD mount. So, it might be best to get a focal reducer that attaches a Minolta Lens to a Fuji camera, and then figure out a way to temporarily attach (and coarsely shim) a Nikkor mount to that focal reducer. Or, just buy two focal reducers -- one for Minolta to Fuji and another for Nikkor to Fuji.
  13. This is exciting! On the other hand, there have been concerns about Fuji's previous compression engine givng false, waxy colors, so I hope this latest iteration has overcome some of those issues. If camera manufacturers would just implement a small raw video tap on these cameras, it would allow us to deal with most such issues ourselves (as the linked article demonstrates a raw still fix using a Darktable demosaicking algorithm and chroma filters). It should also be noted that, by its nature, the X-Trans color array yields less color information than a Bayer array, and X-Trans is not immune to moire. As I recall, the only standard 2x3 print aspect ratio was 4x6 (in the USA). The rest were 5x7, 8x10, 11x14, 16x20 and 20x24.
  14. tupp

    Low budget car rig

    Nice rig! Definitely loose the gimbal on a simple hood mount. Also, you really should safety your rig with a motorcycle strap or ratchet strap. For your small setup, you probably need only one strap going across the hood, hooking into opposite wheel wells. Here is an example of a larger rig with straps: In the above car rig images, note the padding where the buckles/hooks make contact with the car body. I would also add soft "groovetyne" fabric scraps at any point at which the the strap webbing contacts the car's body. For a small camera hood rig, I usually avoid suction cups and instead use a simple pancake (1/8 apple box with baby plate) with groovetyne or neoprene underneath: There are plenty of inexpensive tilting heads with 1/4"-20 camera threads that fit on the baby pin. This pancake rig is usually secured with two straps and possibly a sandbag (if there is wobble). One more thing about shooting in a car in which an actor is actually driving -- avoid busy streets! The actor is constantly trying to be the character, which can significantly distract him/her from noticing other cars, pedestrians and road hazards. Having a "spotter" car ahead of the picture car can provide extra safety and can govern the speed (slow speeds often look faster in the footage, so there is usually no need to "press the pedal to the metal").
  15. tupp

    Is the EOS-M *THE* Digital Super-8 Camera?

    I don't think that this is true in all raw modes on the EOSM. My understanding is that raw on the EOSM in the lower res crop modes (which you seem to seek) is stable and can work without over-cranking the SD card. Perhaps @Alpicat could enlighten us further on this matter. It looks like a very clean cameflex mount with the end flanges removed. Here is such a mount with the end flanges: Here is the cameflex mount with no end flanges, but with a PL flanges: Here is is a cameflex-to-Emount adapter: