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Everything posted by tupp

  1. ​ Try sliding the button toward the camera and hold it there, while turning the lens clockwise.
  2. ​The throat diameter on the NX mount is 42mm. The RJ focal reducer for my EOSM has a rear element that is around 30mm in diameter, and it "converts" APS-C to near full frame, just like the OP's hacked Metabones speed booster. So, assuming the rear element of the Metabones adapter has a similar diameter to my RJ adapter, the Metabones could be modified to fit inside an NX mount, with a little room to spare.
  3. A stock with a 12 stop capture range?... without any special processing? That's impressive. Just before digital, we were lighting for a 7-8 stop range of tones with most film stocks. One could pull (under-develop) while over-exposing to capture a greater range of tones (along with less saturation and less grain). As I recall, "one stop" pull would yield about a two stop increase in capture range, but getting that extra stop of overall exposure sometimes required double the electric package.
  4. Nice work. Didn't notice any jello -- wasn't looking for it.
  5. I am seeing differences in exposure in most of the recent comparisons/tests posted this general forum. In both of the tests shown in this particular thread, it appears to my eyes that the A7s images are brighter overall than the 1D C images. Can we additionally shoot gray scales and charts, and match the brightness on a middle gray shade in one comparison, match black shade in another comparison and match white in another comparison? Such tests might give us a clearer idea of what's going on. Also, with most monitors, it is easier and more accurate to compare images if they are posted side-by-side, rather than one above the other. Thanks, and Happy New Year!
  6. I know that I mentioned this awhile back, but Handbrake is a GUI frontend of ffmpeg, so if your ffmpeg has the h265 decoding library, you should be able transcode similarly with Handbrake. On the other hand, using ffmpeg on the command line can give one a lot more control of a transcode. The syntax is fairly easy to learn. The same is true of mencoder, which has a lot more filters than ffmpeg. Unfortunately, I don't think that mencoder currently has any h265 capability. Both ffmpeg and mencoder have players -- ffplay and mplayer, respectively. The command to play a file (from the "current" directory) in ffplay is: ffplay <video file>Of course, replace "<video file>" with the actual name of your video file. If the video file is in a directory other than the one that is "current" to the terminal, you must supply "path" with the video file name in place of "<video file>". For full screen we merely add the "-fs" flag: ffplay -fs <video file>See how the full screen flag works? Transcoding works in a similar way, but there are usually more flags.
  7. Neither camera appears to have extra yellow, so you don't appear juandiced (but perhaps a little gaunt ). The color you perceive might be your system/set-up. Have you tried turning off all the lights and closing the shades? Is there anything that is blue in color on or near your screen?
  8. ​Thanks for the correction and for the additional info on the shutter conflict and edge sharpness. I had forgotten that the sensor area was smaller for 4K on the GH4. Good to know that GH4 speed booster works without a hitch.
  9. ​Don't you mean no full frame, 4K, dslr camera? There were plenty of nice 4k cameras before the 1DC, some similar in size to a DSLR and some smaller. Any item seems special, when one keeps adding particular conditions that make it so, even when those conditions are somewhat arbitrary. By the way, the Dalsa Origin (which appeared around 2003 as the first 4k cinema camera) employed a huge medium format sensor. Everything was necessarily bigger in those days. Actually, for awhile, the GH4 has been able to utilize a focal reducer which boosts it's low-light capability to within around 2/3 stop of that of the 1DC, while also increasing it's effective sensor size to a 1.3 crop factor. So, the GH4 ranks only a "matter of degree" slightly less in regards to the conditions of "low light" and "full frame." However, in regards to the conditions of price, size, range of usable lenses and battery life, the GH4 is significantly superior to the 1DC Since it appeared, the A7S could record UHD through any 4K hdmi-to-sdi convertor to a number of recorders. Incidentally, a few folks have made their own 4k recorders with embedded pc systems.
  10. The new site is great, but here are a few more bugs. Sometimes the message doesn't appear from the last poster in a thread, however, the member's name appears as the last poster in a thread on the main forum page. In addition, the actual message can found on the member's profile. Also, when I clicked on the icon indicating that a notification was waiting, the icon disappeared with no notification. Wish that there was a preview function in the editor.
  11. ​Thank you for posting your test. It appears that the A7S image was exposed (or displayed) at about 2-3 stops brighter than that of the 1DC, which could explain much of the noise difference. Do you have any shots in which the exposure is identical?
  12. ​If Dan Lavry's paper implies that bit depth and dynamic range are the same thing, then his paper is flawed. Sorry to harp, but there is no such thing as "16 bit dynamic range" -- not in video and not in audio. Bit depth and dynamic range are two independent properties.
  13. The NX1 and some other Samsung cameras use open source Tizen OS, which is a version of Linux. However, as Neosushi and Andrew Reid suggested, it is likely that parts of the software on top of Tizen are not open source. However, the biggest bummer is that Tizen uses systemd -- the NX1 runs systemd -- oy veh!
  14. I Don't see any way to preview messages before posting them.
  15. tupp

    Joe Cocker...

    Cocker was a accomplished singer and songwriter whose presence will be missed. Not sure, but I think that the only song performed by two different acts at Woodstock was the Cocker-penned "Something Coming On." Cocker did it, and so did Blood, Sweat & Tears.
  16. ​​Thank you for all the great work and info. Interested in knowing if the NX1's best feed is cinema-4K at 10-bits, 422, etc. Also, it would be very helpful to be able to download a 5-second, unaltered clip of a person "tits up," in both the NX1's native h265 and in the Shogun's best format. Thanks!
  17. Thanks for the info and the video, and especially for the whip pans of the books. Definite rolling shutter. By the way, I think ffmpeg decodes h265, which could mean that Handbrake will also convert the codec. Not sure how well the ffmpeg decoder performs.
  18. Great looking footage. Looks like you used a fairly high shutter speed. Would love to see a "180-degree" shutter with some quick pans across vertical lines.
  19. As mentioned in the linked ML thread, the increase in dynamic range is achieved with ML's dual iso feature in which both "interlaced fields" are assigned a different iso. The only drawbacks of this technique is that it reduces the veritcal resolution, and it also increases the tendency for moire/aliasing. The concept behind the Panavision Dynamax sensor was similar, in that it was supposed to utilize neighboring RGB pixel groups of differing sensitivities (through the use of pixel apertures, as I recall).
  20. Sort of... the Magic Lantern developers/forum-moderators effectively killed it. Part of the beauty of Tragic Lantern's h264 control is that it allows capture at full HD (or the Canon HDLSR-h264 variant of full HD) in files that have quality similar to that of higher bit rate mjpeg. TL can yield fairly rich 1920x1080 frames from the T3i, 7D and EOSM.
  21. I would spend my money on used lenses. Lenses with Nikon F mounts are ideal becuase they can be adapted to many cameras (and actual Nikkor glass is usually a good value, too). One little known advantage of the T3i -- it is one of the few cameras that has a Tragic Lantern build. Tragic Lantern allows control of the h264 GOP (group of pictures) setting, so one can shoot h264 with all I-frames. In this scenario, each frame is essentially its own jpeg picture, with none of the blocky interframe artifacts that often plague h264 encondings. Here's an article that further explains things. As mentioned in this article, the early "TL 1" build for the T3i/600D allows more control of the h264 settings than the later builds. With both Tragic Lantern and Magic Lantern, one can also boost the h264 bit rate to one's liking. I think that the 5D mkIII is the only Canon HDSLR that offers "out-of-the-box" h264 with all I-frames. Don't know whether or not Canon offers any control of h264 bit rate on the 5D mkIII. I only know of two other cameras with TL builds: the 7D; and the EOSM. I have the EOSM, and
  22. That is an exceedingly thorough rundown of the video capabilities of the GH4. Glad to see DPReview putting more emphasis on video.
  23. If you are suggesting that converting to 4K to 1080 gives more detail than just capturing at 1080, I think the jury is still out on that issue. There are other variables involved, such as how precise one can focus in 4K compared to in 1080, and such as how sharpening algorithms in 4K affect the results after conversion to 1080. On the other hand, one can certainly retain more color depth when converting from 4k to 1080, all other variables remaining the same. Not at all. Aside from this thread's point that lighting and content are probably more important than resolution, the T3i/600D is one of the few cameras that can take advantage of Tragic Lantern's GOP 1 capability, which eliminates the blockiness from interframe H264 compression. To maximize TL's special H264 controls: 1. disable the camera audio; 2. get a fast SDHC/XC card; 3. install TL; 4. boost your bit rate to at least 2x; 5. use a flat picture style with the sharpness set to 1 (sharpen later in post); 6. and set your GOP to 1. You might be pleasantly surprised by the results. For 1080, I wouldn't necessarily choose an Alexa over a Sony F35. Not sure what is meant by this statement. The BMPCC gives an enormous amount of information in raw. I just shot a feature using two BMPCCs with speedboosters, and we captured about 8 terabytes of raw, 12-bit footage. Generally, I would rather shoot 1080 with a Sony F35 than a BMPCC. Also, there are other cameras that shoot resolutions between 1080 and 4K. Furthermore, other than the GH4, there are cameras that shoot raw cinema 4K (and greater). They spoke of the prevalence of down-scaling -- how gaffers complained about the trend of reduction in power of the lighting package, due to greater camera sensitivity. The gaffers can no longer skim as many of the big 10-ton truck and 1500-amp genny kit-rentals. Now, it is more common to use 5-ton LED/fluo-heavy packages with 500-amp (or less) gennies.
  24. Sorry. Didn't mean to hijack the thread. Just trying to give a friendly reminder that resolution is integral to color depth. On the other hand, there certainly is nothing "geeky" about a thread titled, "Is 4K Not as Important as We Think It Is?" :) I don't think that there is anything inherently wrong with 4K (or with any other given resolution). Of course, the higher the resolution, the greater the bandwidth/resource requirements (all other variables remaining the same). In addition, those DPs stressed lighting over technical specs (including dynamic range and "color science"). YouTube looks awful on a lot of monitors. However, the moire problem could be peculiar to your set-up. What is the resolution of your monitor? That's an interesting topic. Just the other day, I was talking to my Indian filmmaker friend, and he explained that the reason why a lot of Indian films were completely looped (other than practical shooting advantages) was that Indian audiences like the "other-worldly" feel of overdubbed dialog. I don't think that 4K is particularly "exciting." 4K cinema cameras have been around since the first Dalsa Origin (2002?). 4K is yet another step in the cinematography megapixel race -- a conspicuous technical spec for producers (and others) to demand. In regards to the notion that dynamic range and color are more important than resolution, again, resolution is integral to color depth. However, a system with 10-bit depth and at least HD resolution would certainly suffice for a lot of the work done today. As I said earlier in the thread, I would rather shoot HD with a Sony F35 than 5K with a RED Epic. As those DPs suggested, lighting usually trumps all of the technical specs.
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