Jump to content

tupp

Members
  • Content Count

    959
  • Joined

  • Last visited

Everything posted by tupp

  1. If I could collect a dozen of the 1000-krona bills, I'd get an NX1. It's all about the "Hammarskjölds!"
  2. Wow! That's spectacular currency!
  3. Agreed. This is a cool bill. What will be the denomination of the Garbo bill? Thanks for posting that cool, historic photo of Eastman and Edison! By the way, it was shot at a 1928 demo of Kodacolor film (motion picture cameras weren't really "new inventions" at the time). Here's footage of the same event. The camera is a Bell & Howell 2709, which first appeared in 1911. Here's Sam Dodge with a 1928 version of of the 2709.
  4. Don't know if this unit has been discussed here, but I imagine that in the near future we will be seeing a few more of these single-handled gimbals with semi-dedcated cameras.
  5. I was about to make these very same suggestions. The only drawback to this path for the OP is that he is evidently already significantly invested in Canon glass (no aperture control on lens). So, unless there is an option for a powered EF speed booster that enables aperture control, OP would probably have to get/rent new lenses (and sell his Canon lenses).
  6. Don't belittle Lukas' crucial foundation work. He did most of the heavy lifting for those that followed, and he did it only May of last year. Obviously, the NX hacks moved farther because of his work. The Lukas rooting of NX cameras led to this work (and this work), which led to the simple work of your boy on DP Review disabling the video time/file-size limit. Your boy acknowledges the immediate upstream source, and that source acknowledges Lukas. From the comments on Lukas' page, there are evidently others who are also hacking the NX cameras, thanks to him.
  7. Okay. I think we agree that archival optical disks, such as the 1000-year Millenniata disk, will outlast film by centuries and will also survive an "über-sunstorm." Thus, film is already soundly trumped by digital in archival scenarios. However, I would still be interested in hearing about any incident in which a magnetic field from an über-sunstorm has ruined a disconnected hard drive.
  8. You don't have to take my word for it. Just consider this -- how many times have you heard of "sunstorms" ruining DVDs or disconnected hard drives? I can't recall ever hearing of such a problem.
  9. That would definitely have to be a strong "sunstorm." Not only would it also probably melt your film, but people would probably spontaneously combust.
  10. Not exactly. If you keep a hard drive disconnected and in cold storage, the data on the discs should last a very long time, as should the mechanical components. No one knows for sure how long a hard drive will last in this scenario, as we have not yet reached the point of failure in such a case. With a stored, disconnected drive, I would imagine that the capacitors in the hard drive's circuitry will go bad sooner than a breakdown in the mechanics or with the info on the disk. Those tapes are digital, not analog. And that tape suffers the same deterioration problems as regular audio tape
  11. I think I understand what you are saying, but I am not sure that film is actually more archival than digital. Film ages, and its colors fade. Furthermore, every time an analog image is copied, generational loss occurs, so there is a practical limit to how long film can be maintained. In contrast, one can keep making copies of a digital file on fresh medium, and the copies will be exactly the same as the original -- no generational loss and no aging nor fading. The thing about film is that, when properly shot and handled, a film image can capture an incredibly vast, "fluid" color depth,
  12. I believe that the Novo 4K is a GoPro 4K modified for C-mount lenses. Radiant Images has also modified earlier GoPros to take interchangeable lenses.
  13. I imagine that if you dropped it on the pavement that it would be groundbreaking. Seriously, I think it is a great product, but it seems more of a natural phase of the evolution and miniaturization of balancing/gimbal/camera technology, rather than a major breakthrough. Gimbals certainly are helpful tools, but they can never replace the precision and artistry of a good Steadicam operator. Furthermore, both a gimbal and a Steadicam give a dramatically different look/movement than a camera on, say, a Fisher 10 dolly. Dollies give a more solid and controlled feel.
  14. +1 Nikon F mount can be physically adapted to almost any camera, but keep in mind that the electronics (AF, image stabilization) may not work.
  15. This argument assumes that one is using a full-frame lens along with a typically sized focal reduction element. As David Bowgett mentioned above, one could start with a medium format lens and also use a larger focal reduction element (perhaps something like this). Not sure if such a large focal reduction element would have to be positioned inside the camera, but both pros and "amateurs" have modified Canon HDSLRs to internally accommodate larger optical systems.
  16. You can use a wide angle adapter that fits on the front of the lens, but you won't get a gain in brightness. The cheaper wide angle adapters sometimes exhibit a slight loss in sharpness, but a few brands such as Century Precision Optics (now Century Schneider) have very sharp adapters.
  17. Evidently, this guy made it work. Of course, you could also dual boot.
  18. Not so sure about that. There have been many tests between the two modes, and the results are inconsistent. Some tests show bigger differences than others. Here's one in which there seems to be very little difference. I agree that, generally, the raw looks a little sharper than h264 when both are shot at the same resolution. However, a lot depends on how the footage is handled. Good results can be had with h264 by setting picture style sharpness to "1" while giving a slight sharpness boost in post. Of course, doubling the h264 bit rate and shooting all I-frames with TL/ML additionally
  19. I think the shuttle bug problem only occurs with EF-M lenses, but they are working on it. Ahem... The C-mount adapter and an extension tube was included with my Fujian 35 -- all for $28. Might be possible as the flange focal distance of the EOSM vs. M4/3 is 18mm vs. 19.25mm, respectively, while the throat diameters are 47mm vs. 38mm, respectively. So, a slightly recessed adapter is possible, especially if the M4/3 lens release lever is on back/inside face of the adapter.
  20. I just remembered a couple of caveats. To boost the bit rate and/or use all I-frames, the audio has to be disabled -- best to do so in the Canon menu. So, you have to sync the sound the old fashioned way -- no Pluralize or other such software. With a fast card and with sound disabled, you should have no trouble getting a stable 2x bit rate with all I-frames. Also, use a flat picture style, such as "Cinestyle" or "Flaat 11," but don't push things too far or you could tangle with FPN or banding in parts of the frame. Again, try setting the sharpness to "1" instead of "0," which requires
  21. International Space Station... with the way the fan is mounted it looks like you're "floating" upside-down.
  22. Never tried the 3x crop on the EOSM (nor on the T3i), but I can't imagine that a pixel peeper would be happy using the RJ focal reducer in crop mode. Lenses only have a finite number of resolving lines within their image circles. The more one crops into the image circle, the more one reduces the number of resolving lines in the frame. Focal reducers squeeze more of a lens' resolving lines into the frame, but at the same time the focal reducer causes a slight loss of sharpness by introducing another piece of glass into the optical chain. If the focal reducer is high quality, this tradeoff
  23. Your videos are inspiring and informative. The "Angry Toddlers" video is what induced me to get the EOSM along with the Fujian 35mm -- that's a magical combination! For those unfamiliar with the Fujian 35, it is an inexpensive C-mount lens that has a wonderful "wonkiness" in its plane of focus, and its image circle covers the EOSM's entire APS-C sensor. Using the Fujian with such a large sensor maximizes its focus wonkiness so that it "pops" across the frame. I avoided raw with ML and TL, as the "work flow" early on seemed to be a little tedious. It was okay to sacrifice a little dynam
  24. Regular Magic Lantern for a while has allowed one to boost the h264 bit rate. The main advantage of Tragic Lantern's h264 is the ability to set all I-frames, so that there are no inter-frame artifacts. The all I-frame capability combined with a boosted bit rate eliminates almost all perceptible artifacts in h264 at the EOSM's full HD resolution. By the way, TL also provides this same all I-frame capability on the 600d/T3i (not sure if it does so on the 7D). On the other hand, I believe that regular ML has all I-frame capability in the source code, but it is not "switched on" in the provid
×
×
  • Create New...