Jump to content

tupp

Members
  • Content Count

    794
  • Joined

  • Last visited

  • Days Won

    2

Posts posted by tupp


  1. 14 hours ago, KnightsFan said:

    I've honestly liked the look from decent LEDs as much or better than tungstens in my uses. 

    Okay, but real tungsten has a smoother spectral curve than fake tungsten.

     

     

    14 hours ago, KnightsFan said:

    Yeah, it's bizarre. I did equipment checkout for a few semesters, and I had an entire shelf of totas with problems. Maybe someone before me had methodically ruined each one?

    I seem to recall hearing that some folks were buying off-brand replacement bulbs and double-ended bulbs for hardware store, quartz work lights.  They were putting these sub par bulbs into production fixtures with double-ended sockets (Totas, Nook lights, various zip lights, Colortran Multis, etc.), and the bulbs were slightly shorter than the standard bulbs.  Perhaps someone in your organization purchased a batch of such bulbs, and that is what caused the buzzing/arcing on multiple fixtures.

     

    I have never seen such problems, but I have always used brand-name bulbs in my fixtures.

     

     

    14 hours ago, KnightsFan said:

    That and the exploding one really put me off totas.

    What?  No.

     

    As I said above, a popped quartz bulb has nothing to do with the fixture -- someone likely touched the bulb without cleaning it, or the bulb could have been defective.  Don't blame the Totas.

     

     

    14 hours ago, KnightsFan said:

    Oh wow, that's disappointing. Another strike for totas, I guess. 

    No.  If anything, it's another strike against the relatively pathetic output and power density of LED fixtures.  The tungsten Totas are fine.

     

    Actually, the LED Tota is probably also fine -- it just gives less output (and is undoubtedly more expensive) than a tungsten Tota.


  2. 43 minutes ago, KnightsFan said:

    ...and if you are using equipment that students have touched, assume the worst and never use one without a protective screen.

    Yes.  Always use protective screens with open-faced tungsten fixtures, regardless of the level of the crew's experience.  Most manufacturers will give you a protective screen for free if you don't have one.

     

     

    43 minutes ago, KnightsFan said:

    This is the main reasons I use LED lights: if you are working with inexperienced crew on a no budget set, LEDs won't burn anyone or explode.

    Well, you definitely do not want students (nor inexperienced crew) handling your cheap, delicate, re-branded LED fixtures -- they will break something on such fixtures at some point.

     

    In general, non-pros handling professional equipment should be very careful, and you have to clearly and emphatically warn such folks of any potential hazards or equipment vulnerability.  I never had a problem with students ruining bulbs by touching them -- I simply don't let them install nor handle bulbs.

     

     

    43 minutes ago, KnightsFan said:

    Or cook the room.

    Well, LEDs generally don't provide the punch nor control nor clean color that tungsten fixtures give -- so there is a trade-off.  Also, LEDs generally have more weight-per-footcandle (especially if one is toting batteries)

     

    Furthermore, on cold sets or on locations with plenty of AC, any heat from the lights is often not a problem (sometimes it's a benefit).

     

     

    43 minutes ago, KnightsFan said:

    To be fair, though, I only ever had one tota bulb explode on me.

    Oh.  Well, you wrote, "totas," a plural tense indicating that someone inexperienced installed multiple bulbs.  If several bulbs pop, it's probably because a clueless person used their bare hands to lamp the fixtures  -- popping bulbs have nothing to do with the fixtures themselves.

     

     

    43 minutes ago, KnightsFan said:

    I used 2-3 different totas with electrical problems, shorting, buzzing loudly, or sparking. I never had any issues with other Lowel lights, just the totas.

    Really?  2-3?  I have never had one Tota (nor any other tungsten fixture) "buzz," "spark" nor "short."  I have experienced sockets go bad from someone who didn't fully seat the bulb.

     

    If there is contact arcing on a Tota double ended bulb, it is easy to see merely by removing the bulb.

     

     

    43 minutes ago, KnightsFan said:

    Like, half as bright, or like 500w equivalent? If you got any sense from what you've seen so far.

    It looked like it had the output of a 300w tungsten bulb.


  3. 14 hours ago, Levi said:

    I like that idea, but I was thinking going with one capable of being battery powered would give me greater versatility. (I sometimes shoot in buildings without electricity or places that aren't near an outlet)

    Are you shooting your interviews in outhouses?

     

     

    5 hours ago, IronFilm said:

    With a tight budget then you'll get your best bang for your buck by buying 2ndhand tungsten lights. 

    With tungsten, you also get a smoother color spectrum, greater beam control and a higher power density.

     

     

    56 minutes ago, KnightsFan said:

    I am curious if anyone has experience with the new lowel tota led? I haven't seen many reviews. They seem to output a lot of light for relatively cheap.

    I saw it at NAB.  I doesn't look as bright as Tota with a 750w bulb.

     

     

    56 minutes ago, KnightsFan said:

    I have fond memories of tungsten tota lamps exploding in college.

    Here's a tip:  never touch the glass part of a quartz bulb, because the oils from your skin will cause it to eventually pop (explode).

     

    Always use a clean paper towel to hold the bulb when lamping a fixture.  Don't use a facial tissue -- it can be impregnated with moisturizing oils.

     

    If you accidentally touch the glass part of a quartz bulb, do not turn it on until you have first cleaned it with a new paper towel and isopropyl alcohol.


  4. Here's a used tungsten kit with a decent sized Rifa and a small Pro light for US$425.  It also comes with a 40-degree egg crate for the Rifa.  This kit is a good deal and that Rifa with the egg crate is great for interviews.

     

    It would would probably be a good idea to add  a "medium-sized" focus-able light, such as an Omni (here's a beat-up one for US$32).  An extra stand for this light will probably run US$30-US$100.

     


  5. 3 hours ago, kye said:

    The owner is obviously a 'character' and may simply be misunderstood, but mentioning that you have a Lamborghini in a note where people lose their money sure isn't the right way to handle these things...

    If he were trying to rip-off people, why would he put so much effort into a working prototype and why would he still pursue a review from Bloom?  Perhaps he has some sort of psychosis.  It's too bad, because they seemed to have made significant progress with the camera.

     

    On the other hand, choosing Windows for a camera OS doesn't make much sense.  Any embedded version of Linux/Tizen would be simpler and more solid.  Linux would make it much easier to get a more appealing GUI up and running.

     

    It certainly would have been nice to see the how the camera performs in the hands of someone who has some review skills.


  6. On 3/20/2019 at 6:16 PM, mnewxcv said:

    Has anyone ever made a rig for a car to film either in front of/behind the vehicle, or the occupants/interior? I am planning to build some sort of rig that attaches to my vehicle to work with a gimbal to film vehicles in motion. If anyone has ever done anything like this, please post of some photos!

    I've done one or two car rigs.  Which camera are you using?

     

    You probably don't wan't to use a gimbal if you are mounting the camera on the picture car -- the car will bounce and turn while the gimbal will have a tendency to remain still.

     

    There was a thread about car rigging last year.

     

    Hood mounting can be easy, using just a board with some padding/thick fabric underneath and a motorcycle strap or ratchet strap.  You can use a bracket mounted to the board that receives a tripod head or use some sort of tilting/panning mechanism with 1/4"-20 threads.  Don't forget to "safety" the camera with a separate tag line/strap.

     

    If you want to mount a camera on the side of the car there is a special bracket called a "hostess tray" -- a term derived from the American drive-in diner food trays that the skating hostesses would hook to the customer's car door.  Don't forget to "safety" the camera with a separate tag line/strap.

     

    Suction cups can wobble and should always be used with an additional safety strap (which can also help stabilize the suction cup rig).

     

    There are a few tricks to keep reflections off of the windows.

     

    If you are shooting a car in which an actor is actually driving, avoid busy streets!  An 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.


  7. 10 hours ago, Mattias Burling said:

    The coolest footage from the Mavo Ive seen is definitely the tests with the Kipon Medium Format Speedbooster. Kipon is supporting this guy who is working on shooting a film (can't remember if it was a feature) using only MF glass and the reducer.

    [instagram.com link]

    Very interesting to see the Kipon MF focal reducer combined with the Mavo LF!  Is there any footage available?

     

    As nice as it is to see the Kipon-MF/Mavo-LF combo, I must say that the car mount rig shown Instagram link is "ugly" (in grip parlance) and that the motorcycle/ratchet strap stretched on the edge of the car window is alarming, as is the lack of a lens support for the MF lens with the Kipon focal reducer and the Kinefinity E-mount adapter.

     

    I hope that they at least attached a lens support for that rig before they drove over any bumps.


  8. 52 minutes ago, androidlad said:

    12bit ADC places an upper limit on the DR, which is 12 stops. Current silicon based sensors work in linear, so 1bit=1 stop.

    It's not going to do any good if both of us to keep repeating ourselves.  I'll try a different explanation.

     

    In the first place, dynamic rage was originally a property of analog systems to indicate the useful amplitude range rated in decibels (not "stops").  It is similar to the property of signal-to-noise ratio in that it gives some idea of the useful amplitude range above the noise floor.  DR now applies both to analog and digital systems.

     

    Bit depth on the other hand is strictly a digital property that simply gives the number digital level increments mapped to an amplitude range (usually including the noise floor).

     

    So, the useful amplitude range (analog or digital) and the number of digital increments mapped to the entire amplitude range are two very different, independent properties.  The noise floor of the sensor and/or ADC determines the actual dynamic range at that point in a camera's signal pipeline -- not the number digital level increments mapped (log, linear, whatever) to the signal's amplitude range.

     

     

    52 minutes ago, androidlad said:

    It seems that you're confusing linear ADC bitdepth with encoding curve bitdepth which can be log or linear or anything in between (for example, BRAW is non-linear RAW)

    Or perhaps we are confusing usable capture contrast range with dynamic range.


  9. 17 minutes ago, androidlad said:

    It does. sensors respond to light in linear way. 12bit quantisation results in 12 stops of theoretical maximum DR.

    There are a zillion different 12-bit capable ADCs/cameras, but they all don't have the same dynamic range.  You can map 12-bits (linear, log or whatever) to 200 "stops" of dynamic range or map 12-bits to 3 "stops" of dynamic range.  Dynamic range and bit depth are two different completely independent properties.

     

     

    17 minutes ago, androidlad said:

    ADCs have everything to do with DR. That's way ZCAM E2 has a low-noise mode that takes advantage of a 14bit ADC. 

    The E2's low noise mode may take advantage of the 14-bit depth (I would say that the E2's 14-bit depth takes advantage of it's low noise mode), but, nevertheless,  ZCAM could have just as easily mapped 8-bit, 10-bit or 12-bit to that low noise mode.  Bit depth and DR are independent properties.

     

     

    17 minutes ago, androidlad said:

    16bit ADC do exist but the framerate is in single digit at the moment.

    Okay.  I haven't kept up with the progress (doesn't sound like there has been much 16-bit progress in the last ten years).


  10. 7 minutes ago, androidlad said:

    ADC bitdepth directly determines how much DR can be extracted from the sensor

    No, it doesn't.  Dynamic range and bit depth are completely independent properties.

     

    Now, an ADC might be part of the signal pipeline that constricts DR, but that has nothing to do with bit depth.

     

     

    7 minutes ago, androidlad said:

    Sony sensors use single 12bit ADC for video. The new BMD 4.6K G2 uses dual 11bit ADC, ARRI uses dual 14bit ADC.

    Again, the bit depth of those ADCs don't have anything to do with the DR.  Those ADCs could just as well be 4-bit with the same DR.

     

    By the way, 16-bit ADCs exist.


  11. 2 hours ago, Mark Romero 2 said:

    ALSO: I thought someone on this forum posted a few months back that the 8-bit codec of the a7 III actually helped increase dynamic range when compared to 10-bit codecs.

    2 hours ago, Zeng said:

    Even more so with Sony A7III 8bit output. It's just impossible to have 14 stops in that. 10bit log is said to carry up to 12 stops (11.5 according to cinematography.net), so...

    1 hour ago, androidlad said:

    It you're solely talking about video then DR is between 11-12 stops, since the moving picture readout drive mode is limited to 12bit ADC.   [snip]    10bit log encoding can efficiently store up to 16 stops of dynamic range, that's why most film scans have been using 10bit cineon format.

    Folks, just a friendly reminder:  Dynamic range and bit depth are two different and  completely independent properties.  A change in dynamic range does not affect bit depth, and vice versa.

     

     

    1 hour ago, KnightsFan said:

    Bit depth doesn't necessarily correlate exactly to dynamic range.

    Bit depth and dynamic range do not correlate -- period.  They are completely different properties.

     

     

    1 hour ago, KnightsFan said:

    You can make a 2 bit camera that has 20 stops of DR: anything below a certain value is a 0, anything 20 stops brighter is a 3, and then stick values for 1 and 2 somewhere in between. It would look terrible, obviously, because higher bit depth  reduces banding and other artifacts.

    Exactly.

     

    You can also make a 16-bit camera that has 2 "stops" of DR.  In addition, you can make a camera with a given dynamic range that allows one to choose 8-bit, 10-bit or 12-bit depths (many such cameras actually exist).

     

     

    1 hour ago, KnightsFan said:

    There is pretty much no scenario in which an 8 bit encoding has an advantage over 10 bit encoding of the same image.

    I can think of a few scenarios in which an 8-bit encoding would be more desirable than a 10-bit encoding of the same image -- if the 10-bit encoding has a lower resolution than the 8-bit encoding, the 8-bit image could exhibit more detail.

     

    Furthermore, if the resolution of the 8-bit version has over four times the resolution of the 10-bit version, the 8-bit version will have more color depth than the 10-bit version.  Keep in mind that color depth and bit depth are not the same:  color depth = bit depth x resolution

     

    Also, an uncompressed 8-bit version could very well have an advantage over a highly compressed 10-bit version.


  12. Looks like a nicely performing cinema/broadcast camera.

     

    Quote
    • Interchangeable lens mount with EF mount included as standard. Optional PL, B4 and F lens mounts available separately.

     

    The F-mount is interesting.  The B4 mount suggests a crop sensor mode (but there might also be magnification optics in their B4 mount).  Perhaps, in regards to S35, Blackmagic is starting to think a little outside of the EF/PL box.

     

    However, from the photo it appears that the internal NDs are permanent and this is yet another S35 camera from Blackmagic with an interchangeable lens mount that will not accept lenses and adapters requiring shallow mounts.  So, there are countless nice, interesting lenses that cannot be used with this camera, nor will interchangeable FF-to-S35 focal reducers work with this camera and nor will special adapters (such as tilt/swing/shift, continuously variable ND, etc.) work.

     

    If this camera has a crop sensor mode, it would be great if it could accept M4/3 and C-mount lenses.

     

    On the other hand, @lucabutera's internal Magicbooster insert might work inside the camera's EF mount, even with the camera's internal NDs.


  13. 1 hour ago, thebrothersthre3 said:

    I wonder if I could mount Minolta lenses on any of those focal reducers.

    The TechArt E-mount adapter with a speed booster (as suggested by @BTM_Pix) is one way to go.

     

    Or you could simply go FF-to-FF and just use the Kipon MD-to-NZ adapter.

     

     

    58 minutes ago, thebrothersthre3 said:

    Medium format would be fun to play with and I have a bunch Minolta lenses that would work with minimal vingetting. 

    Which MF Minolta lenses do you have?


  14. 1 hour ago, tomsemiterrific said:

    How about an FD to Z mount adapter with throttle ND filter!

    Kipon has it, without the ND:

    kalankzca_1.jpg

     

    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?

     


  15. On 10/11/2018 at 7:28 PM, IronFilm said:

    Which means we can expect to see the final shipping camera in the stores sometime in early 2030

    7 hours ago, seanzzxx said:

    So this camera is going on sale soon,

    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.

     

     

    1 hour ago, Mako Sports said:

    Jesus Christ that pre release footage. Compare that to the Sony rx100mk6 release video and I'd say the lil point shoot is the real cinema camera 😂

    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.

     

     

    4 hours ago, Eric Calabros said:

    The name of the company should be Cinetrolla.

    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.


  16. 41 minutes ago, webrunner5 said:

    Only camera you can really use most 16mm lenses on is the Original BMPCC and the Digital Bolex.

    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.

×
×
  • Create New...