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tupp last won the day on October 27 2019

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About tupp

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  1. Isn't the IR cut filter on the GH5 stronger than the one on the P4K?
  2. No. It's not. He is just doing stitch/shift (he cutely calls it "twinspin"). Shots are captured as the sensor is shifted around the focal plane to cover the larger image circle of the lens -- the lens/camera is not panned. On the other hand, shooting a panorama with a normal camera involves panning the entire camera between shots -- there is no shifting of the sensor along the focal plane of the lens to capture more of the lens' image circle. I don't mean to be a downer, but there is nothing special about what this guy is doing in this test, and he makes most of the same fatal mistakes as other "format comparers" who came before him. What he calls "twinspin" has been around for awhile known by another name. He could have bought a more versatile shift/stitch bracket, instead of using that rig. The most popular line of shift/stitch brackets probably are the Vizelex/Rhino-Cam offerngs: By the way, our own @maxotics made his own shift/stitch bracket!:
  3. You might be able to adapt the Rawlite Ursa Mini OLPF for other APS-C cameras. There have been a few lens filter moire/aliasing solutions over the years. Here are the Caprock filters. Here is a filter set solution from Kristian Ponttopidan. Here is "variable" anti-aliasing filter from Kristian Ponttopidan.
  4. There is no theoretical limit on bit depth relative to dynamic range, as they are two independent properties. On the other hand, there certainly are practical limits (and ideals) as to how much bit depth is mapped to the amplitude range (bit depth is mapped to the range in amplitude -- not to the dynamic range). Applying bit depth numbers that approximate the dynamic range has become standard practice for feasibility reasons. However, there is no connection between bit depth and dynamic range -- they are two independent properties. Bit depth is simply the number of digital intervals mapped to a amplitude range. Dynamic range is essentially the portion of the amplitude range without noise. Amplitude range is the total range of signal level (including the noise). One can have a camera with a bit depth of 3, but with a capture dynamic range of 16 stops. Likewise, one can have a camera with a bit depth of 16, but with a capture dynamic range of 3 stops. Indeed, there are many cameras with multiple, selectable bit depths, yet the capture dynamic range remains unchanged in each of those bit depths. By the way, the lack of beer functions was very disappointing.
  5. The mythical "Sharpene" is improving! I wonder how this "AI" product compares to typical wavelet sharpening. The Topaz Labs JPEG to RAW AI seems to get rid of macro-blocking. Topaz Labs offers six products, some with apparently overlapping functions. Yes, resolution can be traded for bit depth while maintaining the same color depth, but those figures are not mathematically correct. Keep in mind that bit depth is not actually color depth. Digital color depth is a product of resolution and bit depth: digital color depth = resolution x bit depth. The color depth of an image cannot be increased, unless something artificial is introduced (which is evidently what some of the Topaz Lab products do). So, scaling down the resolution of an image to increase bit depth won't add any color depth for grading. On the other hand, if you merely scaled down the resolution without summing the binned pixels and then just increased the bit depth, you likely threw away a lot of the color depth. The pixels have to be binned/summed (or averaged) to retain the image's color depth, when trading resolution for bit depth.
  6. I would buy this camera just for the "beer functions!"
  7. Glad to hear that Olympus is alive and well and advancing M4/3. 3 stops. Yes. 25 > 50 > 100 > 200.
  8. I am not so sure that's the situation with my similar difficulty. Apple's HFS+ file system does some crazy things and is notoriously delicate. Don't throw away the drive. A Parted Magic torrent is free, and it takes about 15 minutes to download it, install it on a thumb drive and boot it on your Mac. If it sees your T5 drive, you're set.
  9. I had a similar problem on a recent shoot with a Pocket 4K. The T5 drive was first accessed by the DIT's mac laptop, which put on the T5 drive all of the Apple FS hidden files. I was able to mount the drive on my Linux-booting Chromebook several times, but, unfortunately, I accidentally unplugged the drive without first unmounting it. In doing so, I apparently borked one of the hidden Apple FS files, because when I subsequently tried to mount it, I kept getting an error message that one of those Apple FS files was corrupted. When we connected the T5 drive to the first Mac laptop that accessed it, it had no problem mounting. Of course, you can reformat the drive on your Ipad after you have backed up all the files, correct? If not, I would suggest downloading the open source Parted Magic live OS. There are plenty of rescue/drive-accessing live OS's out there, but Parted Magic sometimes works when others don't. Parted Magic should be able to access your drive and format it. It costs $11 to directly download the compiled version, but there are usually several torrents available for free. Or, since it is open source, you could compile it yourself. ☺️
  10. No problem. Here is the colorized version. However, I have a feeling black & white footage is not the real reason that they would dismiss the Buster Keaton classic. It probably has more to do with how actively and deeply they want to work their minds. "Never make the mistake of assuming the audience is any less intelligent than you are.” -- Rod Serling It appears that filmmakers are not as intelligent as they were back in Serling's day.
  11. If you have an X86 based computer (Mac or PC), you can also just boot a free Linux live OS and use that to make ext4 partitions on a separate USB thumb drive. With the live OS still running, you can then copy the DCP file from your hard drive onto the new ext4 partition on the USB thumb drive. Here is Gparted Live, a Linux live distro configured expressly to run the Gparted partition editor
  12. Yep. Below is a 98-year-old film story told with a lot less than what we have today . They didn't even have sound, and it is still entertaining!: Sorry to the pixel peepers for the YouTube compression! /s
  13. US$1,200 for a 1200 watt HMI is a huge bargain (provided that it works safely and reliably). The desire to go with hardware store fixtures is understandable, but it is best to avoid them. The controllability and flexibility of many movie lights is primarily what makes them useful on film sets. Often, the light controls on the fixture are more important than the core of the fixture. So, you are getting much less than 40% of the capability with the hardware store fixtures. Instead, look for used film lighting fixtures.
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