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tupp

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Posts posted by tupp


  1. 6 hours ago, Vladimir said:

    output of an original dc power supply is 9V 2A.

    Are you sure that DC power supply is made by Fuji?

     

     

    6 hours ago, Vladimir said:

    maybe there is converter inside original dummy battery.

    Or maybe the camera just runs hot and noisy when powered by 9V.

     

    The voltage of the X-h1's internal battery is definitely 7.2V.  I would avoid running any camera at a voltage higher than that of its internal battery.


  2. 4 hours ago, sanveer said:

    Actually, there is no question if crop, cause it' a fixed lens camera. 

    Crop factor works on fixed lens systems just like it does with interchangeable lenses -- the difference is that you merely have one possible lens with a fixed system.

     

    Panasonic (and Leica) list the 10.9mm-34mm zoom as a 24mm-75mm FF equivalent.  So, the crop factor is built-in to (an can be determined from) those two given ranges.


  3. 5 hours ago, cantsin said:

    The Panaleica lenses are neither Leica-made nor (in most cases) Leica-designed, but Panasonic lenses with a Leica brand license and quality certification.

    Interesting... so does that mean that the lens on the Leica D-Lux (typ 109) is actually designed and made by Panasonic?

     

     

    5 hours ago, cantsin said:

    It's very likely that this lens design cannot be made an interchangeable lens because it probably has a shorter flange mount distance than MFT (which helps achieving larger apertures in a compact design).

    I don't think that flange focal distance applies to cameras with fixed lenses -- there's no flange.

     

    At any rate, the only physical limits in converting that glass to an outboard M4/3 lens is for the rear optical elements (and their barrel) to clear the M4/3 throat and for those elements to not make contact with a camera's shutter.

     

     

    4 hours ago, sanveer said:

    The lens causes the sensor to have a lot of crop, and that is why despite being a 16MP sensor, its highest resolution is limited to 12.7MP (in the 4:3 aspect ratio).

    That makes sense, but the crop factor on the LX100 is 2.2 -- just slightly more than M4/3.  The difference between 16MP and 12.7MP seems to be more significant than the slight difference in crop factor between the LX100 and M4/3.


  4. On 5/6/2018 at 1:37 PM, Alpicat said:

    I guess this must be 720p mode because when shooting 1080p mp4's (with or without bitrate hack) I'm pretty certain you wouldn't get so much moire?

    It was full HD.  I think that the sharpness of the lens, combined with the subject distance and the fineness of the wood texture made for a "perfect storm."  However, I have made some more tests, which I will try to post soon, and there was also moire problems with some coarse fabric.

     

     

    On 5/6/2018 at 2:27 PM, Alpicat said:

    Here is my first test filming 2520x1080, 12 bit lossless on the EOS M with the sd card hack

    This is an amazing capability for such an inexpensive camera!  Thanks for sharing!

     

    I've got to get some S16 lenses, or try the BMPCC speed booster (if/when the Photodiox M4/3 to EF-M adapter appears).

     

    By the way, I tested it, and one can't shoot video with a manual lens while the "Release shutter without lens" is disabled -- so one might have to be careful not to press the shutter button when using the BMPCC speed booster on the EOSM.

     

     

    On 5/6/2018 at 2:27 PM, Alpicat said:

    Currently you need to perform an overclocking test and then a benchmark test for your SD card after each time the camera is turned off, so it's a bit cumbersome.

    Oh, that's a bummer.  Hope someone finds a way around that.

     

    The thing is, I would be happy with just 1920x1080 and less overclocking.


  5. Here are a few seconds (30MB MOV file) shot on the EOSM with the more recent ALL-I hack enabled and with bitrate boosted 1.5x:

    MVI_5681-short.mov

     

    The frames are definitely all I-frames.  However, as you can see, moire was problematic with the back wall and with the lens that I was using -- the Pixco Mini 25mm F1.8 APS-C lens ($25 when I bought it last year).  Sorry for the shaking, but the Pixco has no stabilization.

     

    I am going to start trying to boost the bitrate, but I also want to try recent, stock ML builds and just boosting bitrate to 2.5 to see if that makes any difference.  I especially want to try 60 fps.


  6. 21 hours ago, Matt Kieley said:

    Thanks! I don't know about 60p in Raw, I'm not sure I've hard of anyone doing it. It actually crashed a few times when shooting with the bitrate at 3x so I had to drop it to 2.5x (I also tried 2.7x but that crashed too). All you need to install ML is the right Canon firmware 2.0.2 or whatever, and a fully charged battery. This is a good video that walks through how to do it:

    Very informative and helpful!  Thanks!

     

     

    21 hours ago, Matt Kieley said:

    Incidentally, the maker of the video, Ryan Moorman, made some great videos with the EOS M and ML. His videos, as well as the videos of Victor Suwatch, and Johnny Santo Domingo were my initial inspiration to get the EOS M. These are my favorite EOS M videos:

    Very nice!  Thank you for posting their videos!

     

     

    17 hours ago, Alpicat said:

    I never realised video on the EOS M could look this great without using crop mode, shows how useful the h264 bitrate hack is! When shooting raw without crop the amount of moire is extremely bad, and I'd assumed it was exactly the same with h264 video but that's definitely not the case, it's much more usable. 

    Yes.  It is an amazing little bargain camera, and it is so versatile with the EF-M mount and ML.  Thanks for posting the Ryan Moorman 4:3 video.

     

    @dfort on the ML forums has directed me on how to get a build with ALL-I working, and I have already installed it and enabled ALL-I and set the bitrate to 1.5x.  Testing soon, and if I don't get any glitches, I will try to gradually boost the bitrate until the video breaks.  Will posts the test results as soon as I am able.


  7. 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.


  8. 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!


  9. @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.

     


  10. 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

     

     


  11. 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?).


  12. 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!


  13. 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?


  14. 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."


  15. 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?


  16. 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.


  17. 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.


  18. 3 hours ago, OliKMIA said:
    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.

     

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