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tupp

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Posts posted by tupp


  1. 13 minutes ago, BTM_Pix said:

    You did see that it was a quoted post, right?

    It's an unfortunate fact of life that those who do the heavy lifting often do not get the proper credit.  Either some opportunist takes the credit or others simply cannot discern the facts (or have short memories).

     

    For the sake of the rest of us, please keep up the excellent work!


  2. 23 minutes ago, heart0less said:

    Sure! 

    Sony a6300, Samyang / Rokinon 12/2, JJC LCH-A6 LCD Hood, Peak Design Anchor Links, Zomei Variable ND2-400 77mm

    Gini Rig Pro-10, a 3D printed part to attach the counterweights (https://www.thingiverse.com/thing:2761632) and 2 standard weights (2.2lbs + 1.1lbs aka 1kg + 0.5kg), which can be bought in a sports departament store and act as a counterweight. 

     

    All rods, clamps, handles, etc. are the part of the above mentioned Gini Rig, no additional parts (besides the counterweight system) were added to it. 

    ( :

    Thanks!  Nice rig!

     

    Do you have your own 3D printer?


  3. 1 hour ago, mercer said:

    I’m confused because I’m unsure if this is an in camera hack where you’ve figured out how to write motion or cdng files in the NX1 (or an equivalent like MLV) or if this requires something in post to complete the process?

    This is exactly what I have been wondering.

     

    @Arikhan

    Great work!  Can you please say whether you are hacking the camera itself or are you applying your "IDOB"/stacking process outside of the camera?  ... or are you doing both?

     

    Thanks!


  4. On 3/20/2018 at 3:59 AM, Aussie Ash said:

    here is a pic of the IMAX shoulder rig

    it only weighs 54 pounds- about 24 kgs.

    Definitely, some heavy duty IBIS with that rig.

     

    Looks like they forgot the cage with a Rode and shoe mounts!   /s

     

    Jeez!  That's as massive than a Mitchell BNC or a Dalsa Origin.


  5. 12 hours ago, Pavel Mašek said:

    (NX1 is running on Linux-like OS Tizen)

    Not sure that Tizen is "Linux-like" -- I think it actually is version of Linux.

     

     

    4 hours ago, Arikhan said:

    As the processor of the NX1 is very powerful, I invented a workflow called IDOB - Image Data Optimization Blocks. It can combine 2 RAW images and output a single DNG file (16 bit) with a convenient amount of data (much less than a single RAW) but with a tremendous amount of DR. And it fits in a modern workflow with Premiere or Davinci.....

    This ground principle is not my invention: When putting (stacking) more images together (even shot under same conditions = similar EV) you will get a single superiour image with great DR and tremendous possibilities to work in post.

     

    This sounds like the old Magic Lantern HDR video in which alternating H264 frames have different ISOs  (WARNING!  STROBING/FLASHING FRAMES):

     

    The trick is that you shoot with the ML HDR video feature at a higher frame rate (50fps or 60fps) and then combine every two consecutive images to get HDR video at half the frame rate (25fps or 30fps).  As mentioned in the video, one can encounter motion/ghosting problems with this method.

     

    I wonder if the Magic Lantern HDR option works their 60fps raw video feature on the 5d III (although I am not sure if this HDR method makes sense when shooting raw).

     


  6. 45 minutes ago, cantsin said:

    The EOS-M is simply not powerful enough for that. Blackmagic is the only affordable option if you need these specs.

    I said that those specs would be "ideal" -- I realize that those exact specs are probably not currently feasible.   On the other hand, 12-bit/10bit raw at 1800x1024 is working with the EOSM, and that is certainly close enough to what I seek.  However, the Magic Lantern documentation, nomenclature and forum are so confusing, I cannot figure out whether or not those specs are available in a super16 crop.

     

    ML has not been able to get higher raw resolutions from the full sensor, but I am not sure that is due to the EOSM lacking "power."  I assume that this current limitation doesn't involve the EOSM's SD card controller bottleneck, because the EOSM can obviously record full-HD+ resolutions at higher bit depths with crop modes.  So, there might be a way to get raw and "near-full-HD" without a crop.

     

    I am just trying to figure out what is possible right now with the EOSM.


  7. 5 hours ago, Alpicat said:

    I think part of the confusion in crop numbers comes from the fact that the magic lantern menu always states crop factor in relation to 35mm full frame (i.e. same sensor size as Canon 5D), no matter which camera.... 

    That's not the cause of my confusion -- I don't even have Magic Lantern installed, so I am not looking at the menus.  Indeed, if all the crops were simply labeled relative to full frame, there would be  a lot less confusion in regard to crop sizes.

     

    I think that a lot of the confusion with Magic Lantern comes from three things:

    1. The official documentation is not current and a lot of features are left out;
    2. The only mention of some features is scattered over a zillion forum posts, so information on is difficult to find;
    3. Since all of the features are released as they appear, the features weren't named together, all at once, so the naming has been somewhat arbitrary, reactive and haphazard.  Consequently, it is difficult to tell from the feature's name what that feature does (especially relative to other similar features).

     

     

    5 hours ago, Alpicat said:

    Do RJ do a focal reducer for the EOS M mount directly? I'd definitely be interested in getting one.

    Yes.  I have this one.  There are other brands that have "dumb" EF-to-EF-M focal reducers -- just search on Ebay.

     

    Thanks for the info!


  8. 27 minutes ago, byuri734 said:

    I agree, if you are looking at S16, it is better to go with a BMPCC. You probably can get a used one for just a bit more than an eventually new eos-m speed booster.

    Thanks.  As I mentioned above, I have shot extensively with the BMPCC, but I don't own one nor do I own a BMMCC.

     

    I own an EOSM with an RJ focal reducer.  For the optics that I have, it would be ideal to get a super16 crop, full HD, 10-bit, 4:4:4 (or raw),  or to get the same specs with no crop (APS-C).


  9. 1 hour ago, Matt Kieley said:

    3x + the 1.6x crop of the sensor. If you want s16 and RAW, just get the Blackmagic Pocket or Micro. It reliably shoots Full HD in RAW as well as ProRes, with a s16 sensor.

    Thanks for the confirmation on the 3x crop.  I wonder what resolutions are available at that crop and whether or not I would have to deal with focus pixels.

     

    In regards to the Blackmagic pocket and micro, I have shot a lot with the pocket, and it gives great images.  I own an EOSM, but not any Blackmagic cameras.  So, instead of spending another US$1000, I would rather try similar functionality with my EOSM.


  10. 12 hours ago, Alpicat said:

    I posted a comment on one of their youtube videos where they demonstrate the adapter: https://www.youtube.com/watch?v=GPseT8Ok3EA&lc=

    What happened to Bohus?  Thanks for the link.

     

     

    12 hours ago, Alpicat said:

    I think the only way to get close to a 3x crop (which is approx Super 16 size) is to increase the horizontal resolution to 2.5k (using 5x zoom mode). However at that resolution you only get about 3 seconds record time, and the vertical res is limited to 1080. 

    I am fairly sure that there is a 3x crop mode in Magic Lantern, but I don't know what resolutions are possible, nor if one can shoot in that mode and not suffer pink/green focus pixels.  It is difficult to determine Magic Lantern capabilities as the only mention of features is sometimes spread over many threads on their forum, with some threads having 60+ pages of posts.

     

     

    12 hours ago, Alpicat said:

    I actually emailed the metabones sales team last week about their plans to make a speed booster for the EOS M mount (since it would be useful for the Canon M50 too), and they say they plan to do it but can't provide further info at this stage. If they do make it, that would be one way of getting super 16mm field of view on the EOS M!

    Well, if Metabones doesn't make a speed booster that mounts on the EOSM, some of their competitors already got the EOSM covered.  Plus, if an EOSM-m4/3 gets made, that would allow the use of a lot of m4/3 focal reducers on the EOSM, including Metabones.

     

    Metabones should actually make their $peedboosters with interchangeable camera mounts, so you only have to spend $500+ for one set of optics.


  11. 46 minutes ago, Alpicat said:

    I've also checked with Fotodiox as they already make a Sony E-mount to M4/3 adapter, as do various other manufacturers

    Wow!  I had no idea that such adapters existed.  Thanks!

     

    Here's the Fotodiox version, by the way.

     

     

    47 minutes ago, Alpicat said:

    The Sony mount is very similar to the EOS M mount with the same flange focal distance so should be easy to produce an adadpter for EOS M to m4/3, even if it lacks electronic contacts.

    Indeed, both mounts have the same flange focal distance (18mm), plus the EF-M has a slightly wider throat diameter at 47mm, compared to the 46.1mm throat of the E-mount.  So, it should be a little easier to make a M4/3 adapter for the EOSM.

     

    50 minutes ago, Alpicat said:

    Fotodiox said they'd talk to the design team and see if they can make such an adapter.

    Can you post your Fotodiox contact info?  I would like to "second" your proposal for such an adapter.

     

    By the way, much of this thread involves shooting with a "Super-8m" crop on the EOSM.  I would like to enjoy the same HD resolution and raw benefits, but shoot with a Super-16 crop.  Would that be the equivalent of the 3x crop?  If so, can I shoot that crop on the EOSM with full HD, raw, 24p at 10-bit?

     

    Thanks!


  12. On 3/2/2018 at 5:29 AM, Alpicat said:
    On 3/2/2018 at 4:07 AM, Yurolov said:

    Is there any way I can use my pl mount s16 super speeds on the cam? Any recommendations?

    There is a PL mount to EOS M adapter, but it's from MTF so it's expensive: https://www.srb-photographic.co.uk/pl-mount-to-canon-eos-m-mtf-camera-adaptor-9290-p.asp  I don't know if there are cheaper alternatives. 

    There are PL to EF-M tilt adapters for US$195.  I seem to recall non-tilt versions selling for a little over US$100, but I can't find them anymore.

     

    Another option is to get a PL to EF adapter for ~US$100 and merely attach that to a dummy EF to EF-M adapter (US$9).

     

     

    On 3/2/2018 at 5:29 AM, Alpicat said:

    Funnily enough I was talking to the MTF guys at BVE expo yesterday asking them if they had an EOS M to M4/3 adapter! It would be great to use Micro 4/3 lenses or a BMPCC speed booster on the EOS M. Unfortunately no such adapter exists. 

    The flange focal distance for M4/3 is 19.25mm while the flange focal distance for EF-M is 18mm.  So, it should be possible to drill matching holes in a M4/3 mount to match the screws on the EF-M mount and shim the mount ~1.25mm further out.

     

    Of course, making the locking pin work is another consideration.  Also, safe clearance for the EOSM's EF-M electronic contacts should be considered, to prevent damage.


  13. 1 hour ago, kidzrevil said:

    Image resolution also helps with color depth so 4k 8 bit makes the 10 bit argument less and less of a factor hence why sony is sticking hlg curves in 8 bit cameras.

    Glad to know somebody gets it!

     

    1 hour ago, kidzrevil said:

    I have totally abandoned luts

    I don't use luts in grading, but a lut can help with "client preview" on set.


  14. 10 hours ago, Matthew Hartman said:

    One more time in English. :grin:

    Ha, ha!

     

    If you start out with an uncompressed file with negligible noise, the only thing other than bit depth that determines the "bandwidth" is resolution.  Of course, if the curve/tone-mapping is too contrasty in such a file, there is less room to push grading, but the bandwidth is there, nevertheless.

     

    Bandwidth probably isn't the reason that  8-bit produces banding more often than 10-bit, because some 8-bit files have more bandwidth than some 10-bit files.

     

     


  15. 20 hours ago, Matthew Hartman said:

    8bit has very little bandwidth to be pushed around in grade.  8bit cameras are setup by the manufacturer through internal testing to capture the optimum image gradiation for it's respective sensor encoding. Just because an 8bit camera offers log or exposure tools doesn't mean that the image is that mallabe. 

    The 8bit HEVC images coming out of my NX1 are vibrant and brilliant stock, and I notice very little artifacts as is. But I have little room to push channels in Lumentri before I break it and see artifacts, banding, macroblocking, noise, etc.

    Barring compression variables, the "bandwidth" of 8-bit (or any other bit depth) is largely determined by resolution.  Banding artifacts that are sometimes encountered when pushing 8-bit files (uncompressed) are not due to lack of "bandwidth" per se, but result from the reduced number of incremental thresholds in which all of the image information is contained.

     

     


  16.  

     

    Here is a 1-bit image (in an 8-bit PNG container):

    radial_halftone.thumb.png.2c11aa87f4f80287c6379767baa7b870.png

     

    If you download this image and zoom into it, you will see that it consists only of black and white dots -- no grey shades (except for a few unavoidable PNG artifacts near the center).  It is essentially a 1-bit image.

     

    If you zoom out gradually, you should at some point be able to eliminate most of the moire and see a continuous gradation from black to white.

     

    Now, the question is:  how can a 1-bit image consisting of only black and white dots exhibit continuous gradation from black to white?

     

    The answer is resolution.  If an image has fine enough resolution, it can produce zillions of shades, which, of course readily applies to each color channel in an RGB digital image.

     

    So, resolution is integral to color depth.

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