Jump to content

tupp

Members
  • Content Count

    933
  • Joined

  • Last visited

Everything posted by tupp

  1. tupp

    Hybrid Mono Tripod

    I've used lightweight, aluminum baby stands with tilting mechanisms mounted on top. Some such light stands with tubular legs are fairly sturdy and have a wide base (which is adjustable). The tilting mechanism that I used mounted to the baby pin on the top the stand, just like one mounts a light fixture onto a light stand. This configuration made it a breeze to swap the tilting head (with the camera mounted) between the baby pin on the light stand and the baby pin on my DIY camera stabilizer.
  2. No need to overthink this patching job. Get some PC-7 or plumber's epoxy and try it on a hole. If it needs reinforcing, drill it out and try it again with reinforcement. Plumber's epoxy is more of a hard putty, so it will hold it's shape when curing (which only takes around 5 minutes).
  3. I would try PC-7 epoxy, or J-B Weld or plumber's epoxy. PC-7 is probably the strongest, but plumber's epoxy is readily available at most hardware stores.
  4. tupp

    Pocket 4K Time Lapse

    Okay. Great! Thanks. Does the Pocket 4K have an IR pollution issue like earlier Blackmagic cameras?
  5. tupp

    Pocket 4K Time Lapse

    I see. Well, Google really likes to know what everyone is doing and where they are doing it. So, if the camera has been bonded and then I turn it off and shoot again five days later, it is not necessary to enable "Locations?" Okay. That limitation prevents use of the Pocket 4K for many night time lapses. We'll probably rent a GH5 for the time lapse shots. Thanks!
  6. tupp

    Pocket 4K Time Lapse

    Is this the app? It looks good, however, I see a possible deal-breaker -- what is the reason for forcing users to have "locations" enabled?
  7. tupp

    Pocket 4K Time Lapse

    There is a special time lapse program that still photographers use in conjunction with Lightroom. I know more folks that have Resolve than that special time lapse program, so I will look into using Resolve. Thanks. I have been watching day-to-night time lapse tutorial videos. Sometimes they ramp the exposure manually, sometimes they use aperture preferred mode (especially on the A7RIII) and occasionally change and aperture, and sometimes they use a special controller. There are comparisons of all three and I'm not seeing better results from the auto modes nor from the special
  8. tupp

    Pocket 4K Time Lapse

    That's great to know! Thank you! I wonder how the shutter angle is handled -- relative to the playback frame rate? That could be a problem a one sometimes needs to make multi-second exposures when shooting time lapse. Ha, ha! Whoever it is, that person must be very smart and resourceful! I am interested in all of those features. Where can I learn more about the app? Thanks! Thank you! It is good to know that it can be done in Resolve without having to obtain a special program.
  9. I am shooting for the first time with the Pocket 4K. I need to shoot a time lapse sequence as background plate, from daytime through sunset to night time. I have to separately shoot a subject for the foreground on a green stage. I would like to use the Pocket 4K for the time lapse, instead of renting a separate still camera. Has anyone used the time lapse function on the Pocket 4K? Can you ramp exposure (change shutter angle/speed, aperture and ISO) during the time lapse? If so, what are the shutter angle/speed increments (1/3rd of a stop?)? If the exposure can't b
  10. I don't think that the tester moved the camera -- the tester was using a single zoom lens and he simply zoomed to change the focal length and then cropped into the image to change the sensor "size." On the other hand, in doing so, the entrance pupil of the lens might have moved forwards/backwards. The problem with such a test (other than the fact that the tester is using the exact same zoom lens for a comparison) is that he didn't test separate optics made for different size formats. That won't work -- it's an almost identical scheme to the above mentioned te
  11. A halogen bulb is one of the two primary types of tungsten light sources. This type of lamp uses a thick, quartz glass "envelope" with a tungsten filament and halogen gas inside, hence the terms "quartz," "halogen" and "quartz halogen" -- all of these terms refer to the same type of bulb. The other type of tungsten lamp is "incandescent," which is the same technology as traditional household bulbs. Incandescent lamps have a thin, large glass envelope enclosing a tungsten filament and such bulbs are often filled with argon gas. Quartz halogen bulbs are significantly sm
  12. On the contrary, tungsten lights are usually smaller and lighter than their LED counterparts with equivalent output. Plus, tungsten lights have no fans. The Lowel Omni is compact and light-weight with a high power density and a nicely focus-able beam, but a redhead would work, too -- it's just a little bigger and has a more limited focusing range.
  13. The DP light is a great fixture! I used two of them in a shoot just last week. With the FEL (1kw) bulb, you have a lot of punch that you won't find in most LED fixtures. Easy enough to use 1/2 CTB gels, so that the tungsten color mixes well with daylight. Keep in mind that the dimmer has to be rated for at least 1kw, if one uses the FEL (1000w) bulb or the EHF (750w) bulb. Completely disagree with you here. Omnis are GREAT lights! The reason why folks have had problems with the bulbs is that most of the bulb manuf
  14. Higher resolution is not necessarily the primary advantage of larger formats -- the advantage is the look. Our own @richg101 developed a medium format DOF adapter -- the Forbes 70. He used the OG Blackmagic Pocket (HD) with the Forbes 70, and the images were beautiful and distinct from smaller formats. In addition, or own @Gonzalo Ezcurra made the largest format DOF adapters that I have seen (14"x14" and 20"x20"), and he used HD cameras with it, but the footage was wondrously gorgeous.
  15. LOL!!! Actually, it would make me happy to have an 8"x10", reflective, DOF rig like the one created by Zev Hoover shown in the video above.
  16. We've had heated discussions in this forum on the DOF equivalency principle and on the difference in the looks of different size formats. I am on the side that there is definitely a difference in the general look of different size formats. I also maintain that the DOF equivalency principle does not account for the rate that the focus "falls off" outside of the mathematical DOF range and that this DOF falloff rate differs between different formats. Keep in mind, that the assertions above apply not to the size of a sensor nor emulsion, but to the optics made for a partic
  17. Even though the format you mention may be uncompressed, the fact that it is 8-bit might cause banding artifacts to appear when you adjust the levels back down in post. Be careful and/or run tests in advance. In your NLE, you might find filters that have sliders and color wheels that will allow you to quickly change the Sony skin tones to your liking.
  18. ETTR is suitable for raw and uncompressed formats. Just be careful going by a histogram alone. If you have zebras, set them in the range of 95%-100%, and use them to determine your upper limit and to choose which parts of the image may or may not blow-out. Waveform is also good for finding the upper limit.
  19. Well, he certainly didn't invent tacky sunglasses and ugly shirts. Promo-wear has built-in hype, just because it is part of the fashion industry. On the other hand, the sunglasses and shirts probably didn't get as much hype as the RED One, which was vaporware for about 3 years. The RED founder and "hoax" mentioned in the same post? Oh, the irony... Some guy made a video about RED's special drives. I think he noticed something.
  20. Has anyone here bought a Panavision DXL? ? Whether or not someone on this site bought something has no reflection on the innovation nor quality of the item in question. I don't think that I ever actually knew what the rental prices were on any one of the different Dalsa 4K raw cameras. Nevertheless, Dalsa was offering 4K raw long before it was even a glint in Jannard's eye. Keep in mind that the first ones to break ground usually incur the most development cost and sink the most resources into a type of product. So, initially, a new t
  21. RED was not the first to offer a cinema camera that shot 4K raw -- that distinction goes to Dalsa. Dalsa introduced their 4K raw camera at the 2003 NAB. At any rate, 4K raw and compressed raw were inevitable and obvious in the cinema world. At the Dalsa 2003 launch, raw files and the megapixels war had already been around for years in the still photo world. So, it doesn't take a genius to simply apply such notions to moving pictures. In regards to RED's wavelet compression, it had already been established in JPEG2000. So, it doesn't take a huge mental leap to merely
  22. Yep! That would be somewhat smaller than 15m x 15m! ?
  23. 15 meters x 15 meters is a small room?
  24. Up until about eight years ago, we said the same thing about the difference in the solidity of the look between a dolly and a Steadicam.
  25. Hollywood/Western Station FTW! Thanks for the link! Some of those shots are beautiful.
×
×
  • Create New...