tupp

1 hour ago, silvertonesx24 said:

Would it be considered acceptable policy to blanket ban phones on my set except for emergencies?

I don't think so.  In addition, it is often helpful for crew to be connected to the world outside the set, as, for instance, they might be expecting delivery of gear/expendables or waiting on the arrival of other crew, or if they are consulting a technical expert on a new piece of gear outside the set, etc.

1 hour ago, silvertonesx24 said:

I feel like if my company is paying fair day rates for (non-union) crew, that they are focused on the work and even in down time working on consolidating gear, prepping for next shot, etc.

Are you certain that  they have not consolidated gear nor prepped for the next shot?  With pro crews, a lot of that work is built-in to the process and is muscle memory.  Would you rather have pros who do their job without thinking and who, consequently, have free time to deal with any unexpected eventualities, or would you rather have inexperienced crew who must constantly focus on every detail and might miss something important or strike out when thrown a curve?

If you are genuinely concerned about whether or not they are prepped for the next shot, you can merely have your AD remind the department heads what's coming next.  If you do so, you will probably find out that the crew is several steps ahead of you.

By the way, consolidation of gear is usually automatic and built-in, because it it makes the work much easier for the crew and makes it easy to deal with unexpected problems,  and, most importantly, wrap goes much faster!

If you see a pro crew sitting around on their phones or twiddling their thumbs, it's probably because everything is done, dressed, staged and prepped, and they are waiting for the department head to give them their next order -- it's usually a good sign.  Also, if there are any sudden, unexpected changes, there is a free pro crew on hand to roll with the punches.

On 4/17/2018 at 11:55 AM, Matt Kieley said:

These are my EOS M videos. Both have grain added but the original images were very clean. The first video is 3x bitrate and has some grading, but the lobster claw segment is the off the card color, with grain added. The second video was entirely 720p60, with the bitrate between 2.7-3x I believe. The detail/sharpness isn't bad considering it's just 720p, although you can tell the moire is a lot worse.

Love your work.  Both videos are inspiring.

I am definitely leaning towards just shooting my EOSM with a boosted bitrate, because I have a rapidly approaching shoot with no time to try to make cropped raw/SD-overclock work.  I also lack S16 or 1" lenses (although, if I had a couple I would consider cropped raw).

I will probably need to shoot 60fps with the EOSM, and it appears that 60fps works with boosted bitrate at 720p (with increased moire).  I wonder if 60fps is possible with raw.

Don't know if 60fps is possible with ALL-I frames.

Do I need to reset the camera before installing ML?  I run Linux, so clearing the installed picture styles becomes problematic, as the EOS software only works with Windows/Mac.

Thanks!

@salim

Thank you for the post on the Largesense camera.  We have discussed it before in this forum in a few threads, but it is always helpful to revisit the camera, especially now that Largesense seems to be taking orders.

8 hours ago, Raafi Rivero said:

or the DIY way:

the guy who did it was 18, btw: https://www.newsshooter.com/2018/01/03/this-18-year-old-photographer-built-his-own-8x10-large-format-video-camera/

Thank you for the link.  I had never heard of this project.  Basically, he has made a large format DOF adapter, except this adapter uses front projection, rather than the typical rear projection.  That makes it unique, but it sort of necessitates dual tilt or dual shift (simultaneous tilt or shift with the each lens).

I would guess that a rear projection DOF adapter with condensing optics would be more efficient than this front projection system, but a lot depends on the projection screen material.

Speaking of large format DOF adapters, our own @Gonzalo_Ezcurra created the ECyclops (20"x20") and the "Mini" Cyclops (14"x14") several years ago.  Here is one of his videos showing the rack focusing on the MiniCyclops:

In addition, our own @richg101 created the splendid Forbes 70 medium format DOF adapter.

2 hours ago, mercer said:

I did try Raw on it a few years ago but I really couldn’t get rid of the pink dots without chroma smoothing and the IQ took a hit.

I think that a few ways have been developed to remove the pink dots without compromising the IQ.  I think that the most recent method is to employ a "map mask" to cancel the dots, but perhaps one of the more ML knowledgeable users could chime in about this.

2 hours ago, mercer said:

But the crazy thing I’ve noticed is that even the simple 3x Bitrate bump does wonders for this camera. @Matt Kieley has some great samples. Sure it isn’t Raw but for small, fun little videos why put up with the added workflow?

A big advantage of this method is that one gets to use the entire area of the sensor.  So, the look becomes more about lens character than about bit depth and extreme grade-ability.

One other possibility is All-I.  It was originally introduced about 5 years ago (article date incorrect) with Tragic Lantern for the 600D/T3i and EOSM.  There was controversy with TL, and, eventually, it's mere mention was forbidden on the ML forum.  Consequently, TL died.

However, there was a more recent effort to get the All-I Tragic Lantern feature into the main build, but I am not sure if it made it.

By the way, here are some compiled TL EOSM builds that I uploaded to EOSHD awhile back:

tl31337eosm6-9-14.zip

 tl2.3eosm202_2-14-14.zip

tragiclantern-v31337.TRAGIC.2014Jul28.EOSM202.zip

tragiclantern-v31337.TRAGIC.2014Sep30.EOSM202.zip

tragiclantern-v31337.TRAGIC.2014Dec19.EOSM202.zip

57 minutes ago, Alpicat said:

Could be risky though as the EOS M has a mechanical shutter which might hit the back of that speedbooster but I suppose it's possible to shoot video without firing the shutter.

That risk might be minimized by disabling the "Release shutter without lens" function in Custom Function menu (C.Fn-7?).

1 hour ago, Alpicat said:

We're getting close to this capability on the EOS M. As mentioned in the main EOSHD magic lantern video thread, the magic lantern people found a way to hack the SD card writing speed on Canon cameras, which on the EOS M would mean being able to shoot at max 2520x1072 continuously in 12 bit lossless raw in 5x zoom mode (2.35:1 aspect ratio), as opposed to just 5 seconds max recording time. The crop factor at this resolution is 3.33x which is between 16mm and super16. With a speed booster, the crop factor would get pretty close to micro 4/3.

Wow!  This is great!

I talked to Photodiox at NAB and they are considering making a M4/3-to-EOSM adapter, so it might be possible to use a Metabones BMPCC speedbooster with this scenario!

Thanks for the update!

I asked the guy in the Atlas booth if the optics were original, and he said that everything was made from scratch.

@DBounce

NIce video!

5 minutes ago, Andrew Reid said:

Raw is unprocessed data straight from the sensor,

I think that an analog-to-digital converter is draining juice somewhere in the middle of that scenario.

 Hitting the show floor in a couple of hours.  Probably won't make it to the South Hall (BMD) until tomorrow.  Will there be an EOSHD cocktail party?

6 minutes ago, jonpais said:

You can see a slight shake, so it pays to use a good tripod or to use a light touch when pressing the LCD screen.

Nice demo.  It is always a good idea to show foreground and background surfaces/objects when doing any kind of focus test.  Your use of the foreground wall superbly shows the rate of the programmed focus pull as well as the precise focus "fall-off."

2 minutes ago, kidzrevil said:

@tupp the programmer labelled the 16bit file maximized because he stretched the values to fit the whole 16bit container. This prevented the “pink highlight” issue in adobe premiere. The unmaximized version are just the regular Canon values in the 16bit cdng 

Thanks for the explanation.

However, I am not sure how the "un-stretched" situation can occur.  Is the programmer taking a 14bit file and converting it to 16bit?

Not sure about that raw2cdng chart.  What is going on with the "un-maximized" 16bit cdng?

Almost every digital system (video, audio, whatever) "maximizes" the bit increments within the given amplitude range.  In other words, the maximum bit increment occurs at (or near) the maximum amplitude and the minimum bit increment occurs at (or near) zero amplitude.   So, the proportional range of bit increments in noise should be the same across all bit depths mapped to the same dynamic range (and to the same mapping curve).

Sure, mapping 16bit to the same dynamic range will put a greater number of shades into the noise, but that number of noise shades will be proportionally the same as the number of 8bit shades in noise with the same given dynamic range.

2 hours ago, jonpais said:

However, cinema lenses can run anywhere from around $1,000 to over $30,000 apiece.

I don't know.  Here is footage from a cinema lens (shot on a Panasonic GH5) that costs only US$750 brand new.  It looks great, but that might be due to the shooter's excellent chops.

In regards to programmed focus pulling, it works when the talent can consistently hit their marks, but if the actor lands off the mark, it's nice to have an AC's hand on the focus ring/knob for a quick adjustment.

Thanks for this!

1 hour ago, lucabutera said:

My friend right now I am in a 5 star luxury hotel to drink chapagne and eat caviar, my wife is here with me and she also tells me to be very happy and relaxed.

Speedbooster money...

16 minutes ago, Trek of Joy said:

Canon just one-upped everyone with a 120mp sensor that shoots video.

Actually, this Canon camera still has far to go until it can "one-up" this Forza camera from 2014.

The Canon model shoots 120mp at 9.4fps, while the 2014 Forza unit can shoot 200mp at 60fps.

3 hours ago, OliKMIA said:

Here it is: small, lightweight and affordable

https://www.bhphotovideo.com/c/product/1399823-REG/canon_3042c002_eos_c700_full_frame.html

35 minutes ago, Django said:

that's exactly what i'm afraid of: Canon doing something stupid.. at least from us consumer pov.. canon's strong segmentation & cinema line protection seem too strong for them to all sudden give out everything on a MILC (FF, native EF mount,

If Canon does make a full frame hybrid camera, I hope it uses an EF-M mount -- unlike the EF mount on the C700 FF.

The FF camera could utilize an EF-M-to-EF adapter with a shape and reinforcements that follow the contour of the camera body.  By designing the adapter in this way, clueless EF lens users would never realize that they were actually mounting their lenses to an adapter.

This configuration would not only allow fully functional use of EF lenses, but one would also be able to mount a zillion other lenses, focal reducers, tilt-shift adapters, etc.

By the way, the EF-M mount should work with a full frame sensor, as the EF-M throat diameter is 47mm while the required image circle for full frame is 43.3mm.

1 hour ago, BTM_Pix said:

With its spin off 70s themed detective series The Rockford RAW Files and Kojakrome no doubt.

N I K K O N

50 minutes ago, BTM_Pix said:

Thank you???

When opportunity knocks...

13 minutes ago, BTM_Pix said:

You did see that it was a quoted post, right?

It's an unfortunate fact of life that those who do the heavy lifting often do not get the proper credit.  Either some opportunist takes the credit or others simply cannot discern the facts (or have short memories).

For the sake of the rest of us, please keep up the excellent work!

23 minutes ago, heart0less said:

Sure! 

Sony a6300, Samyang / Rokinon 12/2, JJC LCH-A6 LCD Hood, Peak Design Anchor Links, Zomei Variable ND2-400 77mm

Gini Rig Pro-10, a 3D printed part to attach the counterweights (https://www.thingiverse.com/thing:2761632) and 2 standard weights (2.2lbs + 1.1lbs aka 1kg + 0.5kg), which can be bought in a sports departament store and act as a counterweight. 

 

All rods, clamps, handles, etc. are the part of the above mentioned Gini Rig, no additional parts (besides the counterweight system) were added to it. 

( :

Thanks!  Nice rig!

Do you have your own 3D printer?

39 minutes ago, Matthew Hartman said:

That counter weights looks huge for that setup. 5lbs? 

The center of gravity is the shoulder pad.

@heart0less

Can you please provide a list/links of the components in your rig?

@jonpais

Wow!  That's pretty!

1 hour ago, mercer said:

I’m confused because I’m unsure if this is an in camera hack where you’ve figured out how to write motion or cdng files in the NX1 (or an equivalent like MLV) or if this requires something in post to complete the process?

This is exactly what I have been wondering.

@Arikhan

Great work!  Can you please say whether you are hacking the camera itself or are you applying your "IDOB"/stacking process outside of the camera?  ... or are you doing both?

Thanks!

In addition to @BTM_Pix's suggestion, you could use an EOSM AC adaptor and connect the dummy EOSM battery to a Sony NP battery plate.  Then you could just use readily available and inexpensive Sony NP batteries (which come in various sizes/capacities), with the added option to use wall power with your EOSM.

49 minutes ago, kye said:

What's the small thing on top of the main camera?  Is it a remote viewfinder?  Or a small digital camera being used in parallel for footage review and management?

It's an ultrasonic tape measure (for setting focus).