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tupp

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  1. Thanks
    tupp got a reaction from Emanuel in H.266 Codec Released   
    Press release here.
     
    I've never even tried H.265!
  2. Like
    tupp got a reaction from noone in H.266 Codec Released   
    Press release here.
     
    I've never even tried H.265!
  3. Thanks
    tupp got a reaction from kye in H.266 Codec Released   
    Press release here.
     
    I've never even tried H.265!
  4. Haha
    tupp got a reaction from Antoin e in Sony PMW-F3 with 2500 hours on it. Should I buy it?   
    On one feature I shot, we used a "Snow White"-themed rolling case, very similar to this:

    We put in a little padding in it, and it was very convenient in carrying the fully built camera.  When we wanted the camera on set, we would call, "'Princess Case' on set!"
     
    When shooting in crowds, we could walk a fair distance away from the case, and nobody bothered it.
  5. Haha
    tupp got a reaction from TheRenaissanceMan in Sony PMW-F3 with 2500 hours on it. Should I buy it?   
    On one feature I shot, we used a "Snow White"-themed rolling case, very similar to this:

    We put in a little padding in it, and it was very convenient in carrying the fully built camera.  When we wanted the camera on set, we would call, "'Princess Case' on set!"
     
    When shooting in crowds, we could walk a fair distance away from the case, and nobody bothered it.
  6. Haha
    tupp got a reaction from IronFilm in Sony PMW-F3 with 2500 hours on it. Should I buy it?   
    On one feature I shot, we used a "Snow White"-themed rolling case, very similar to this:

    We put in a little padding in it, and it was very convenient in carrying the fully built camera.  When we wanted the camera on set, we would call, "'Princess Case' on set!"
     
    When shooting in crowds, we could walk a fair distance away from the case, and nobody bothered it.
  7. Like
    tupp reacted to Antoin e in Sony PMW-F3 with 2500 hours on it. Should I buy it?   
    Well ive already done it with small cameras but not with the F3, but yes i guess it is not the best for car rigging however it still is a solution for low budget ( around 300e).
    Yes the image woobles a bit when there are bumps in the road but at low speed (no more than 25mph) in a controlled environnement you can get pretty good results, at least with small camera.
    You can see it at around 29sec on this music video i did :
     
     
    Of course it is amateur but at least i can still get some cool shots
     
     
     
  8. Like
    tupp reacted to IronFilm in Sony PMW-F3 with 2500 hours on it. Should I buy it?   
    You'd 100% want a vest too. 
    Not unless you're doing the shortest of shots, and only on an infrequent basis. 
    I've had my F3 on a steadicam before (not me though, had a steadicam op), and yeah, it's not something to be handled lightly. (ha!)
    It is weird. 
    Put a timecode box and a wireless RX on it for scratch.
    Pick any two (although all three is ideal, or in a pinch, just one) of:
    1) wireless camera hop
    2) timecode box
    3) any SDC, or a very short shotgun (such as Sanken CS1e /  CS-1M, Rode NTG5, Deity S-Mic 2S)
     
  9. Like
    tupp reacted to TheRenaissanceMan in Sony PMW-F3 with 2500 hours on it. Should I buy it?   
    I use a Sachtler "Doctor Bag" for mine.
  10. Thanks
    tupp got a reaction from TheRenaissanceMan in Sony PMW-F3 with 2500 hours on it. Should I buy it?   
    I am primarily concerned about the risk of losing your camera and more so about the hazard that the rig poses for motorists behind the hero vehicle.
     
    At minimum, replace the open hooks with strong carabiners or with removable chain links.  The top carabiner needs to completely encompass that runner on the luggage rack, so that it cannot fall off during a bounce.
     
    In addition, to prevent the bounce/wobble, solidity could be added with two extra ratchet straps (or motorcycle straps) -- one strap tensioned between the camera platform and to the top of the car and the other strap tensioned between the camera platform and the bottom of the car.  These extra straps would also increase safety.
  11. Like
    tupp got a reaction from TheRenaissanceMan in Sony PMW-F3 with 2500 hours on it. Should I buy it?   
    Not familiar with Glidecam (as much as Steadicam), but there has to be a Glidecam model with enough capacity for a Sony F3.
     
    Be aware that Steadicam-style stabilizers are not something that the typical gimbal-kiddie can just pick up and instantly start shooting -- it takes a bit of practice and training.  The best Steadicam operators have years of experience.
     
    On the other hand, I would bet that gimbals exist that could hold an F3 with an FD prime.
     
     
    I see two alarming problems with the rig pictured:
    That tag line with the hooks should be replaced with a solid strut (or, even better, two "triangulated" struts).  Every significant bump will cause the camera to bounce up and down (ruining that part of the take). There is no backup "safety" portion of the rig -- a rig that uses suction cups and a tag line with open hooks.  With each bounce, there is a possibility that one of those open hooks could fall off of its pick point, and if that happens, "that's all she wrote" for the camera (and possibly for a motorcyclist following the car).  If they had to go with the tag line (instead of a strut), those open hooks should have been carabiners.  Regardless, any car rig should have separate, properly-tensioned safety straps, and the pictured rig has nothing in that regard.  
    A typical grip hostess tray with risers and a head would be more secure and would be easier to rig and adjust.
     
    Also, I am not an audio person, but why is that mic mounted like that on the camera with a car rig?
     
    I strongly urge you to go review several different tutorials on how to properly and safely rig car mounts, before trying to do so yourself.
  12. Thanks
    tupp got a reaction from Geoff CB in Sony PMW-F3 with 2500 hours on it. Should I buy it?   
    I am primarily concerned about the risk of losing your camera and more so about the hazard that the rig poses for motorists behind the hero vehicle.
     
    At minimum, replace the open hooks with strong carabiners or with removable chain links.  The top carabiner needs to completely encompass that runner on the luggage rack, so that it cannot fall off during a bounce.
     
    In addition, to prevent the bounce/wobble, solidity could be added with two extra ratchet straps (or motorcycle straps) -- one strap tensioned between the camera platform and to the top of the car and the other strap tensioned between the camera platform and the bottom of the car.  These extra straps would also increase safety.
  13. Like
    tupp got a reaction from IronFilm in Sony PMW-F3 with 2500 hours on it. Should I buy it?   
    I am primarily concerned about the risk of losing your camera and more so about the hazard that the rig poses for motorists behind the hero vehicle.
     
    At minimum, replace the open hooks with strong carabiners or with removable chain links.  The top carabiner needs to completely encompass that runner on the luggage rack, so that it cannot fall off during a bounce.
     
    In addition, to prevent the bounce/wobble, solidity could be added with two extra ratchet straps (or motorcycle straps) -- one strap tensioned between the camera platform and to the top of the car and the other strap tensioned between the camera platform and the bottom of the car.  These extra straps would also increase safety.
  14. Thanks
    tupp got a reaction from Antoin e in Sony PMW-F3 with 2500 hours on it. Should I buy it?   
    I am primarily concerned about the risk of losing your camera and more so about the hazard that the rig poses for motorists behind the hero vehicle.
     
    At minimum, replace the open hooks with strong carabiners or with removable chain links.  The top carabiner needs to completely encompass that runner on the luggage rack, so that it cannot fall off during a bounce.
     
    In addition, to prevent the bounce/wobble, solidity could be added with two extra ratchet straps (or motorcycle straps) -- one strap tensioned between the camera platform and to the top of the car and the other strap tensioned between the camera platform and the bottom of the car.  These extra straps would also increase safety.
  15. Like
    tupp got a reaction from leslie in My love/hate relationship with the XC10 and grading the C-Log files that I shot   
    Generally, the darker the image, the more the saturation.  Furthermore, most digital cameras give a lot of saturation in their non-raw files, and Canon cameras additionally boost the reds.
     
    Starting with the brightest sample posted, the image below was yielded merely by boosting the gamma/mid-tones, bringing the blacks down to zero, reducing the saturation and backing off the reds (for Canon):

     
     
    If one wants to keep it a little darker (and still have it look like daytime), be more gentle in boosting the mid-tones but further reduce the saturation, and keep the blacks at zero and keep the Canon reds reduced as in the image directly above:

     
     
    By the way, the fringing/chromatic-aberration doesn't look too bad, and a light touch with a CA/fringe filter should take care of it nicely.
  16. Like
    tupp got a reaction from kaylee in My love/hate relationship with the XC10 and grading the C-Log files that I shot   
    Generally, the darker the image, the more the saturation.  Furthermore, most digital cameras give a lot of saturation in their non-raw files, and Canon cameras additionally boost the reds.
     
    Starting with the brightest sample posted, the image below was yielded merely by boosting the gamma/mid-tones, bringing the blacks down to zero, reducing the saturation and backing off the reds (for Canon):

     
     
    If one wants to keep it a little darker (and still have it look like daytime), be more gentle in boosting the mid-tones but further reduce the saturation, and keep the blacks at zero and keep the Canon reds reduced as in the image directly above:

     
     
    By the way, the fringing/chromatic-aberration doesn't look too bad, and a light touch with a CA/fringe filter should take care of it nicely.
  17. Like
    tupp got a reaction from heart0less in My love/hate relationship with the XC10 and grading the C-Log files that I shot   
    Generally, the darker the image, the more the saturation.  Furthermore, most digital cameras give a lot of saturation in their non-raw files, and Canon cameras additionally boost the reds.
     
    Starting with the brightest sample posted, the image below was yielded merely by boosting the gamma/mid-tones, bringing the blacks down to zero, reducing the saturation and backing off the reds (for Canon):

     
     
    If one wants to keep it a little darker (and still have it look like daytime), be more gentle in boosting the mid-tones but further reduce the saturation, and keep the blacks at zero and keep the Canon reds reduced as in the image directly above:

     
     
    By the way, the fringing/chromatic-aberration doesn't look too bad, and a light touch with a CA/fringe filter should take care of it nicely.
  18. Like
    tupp reacted to leslie in bmp4k adventures   
    your right,  a quick look for np battery lists alot of options for cheaper and more expensive. it could soon turn into a real rabbits warren. I have to confess i'm nearly sold on the smallrig setup. Admitably more pricey than your suggestion, i feel the metal base with the mounting options and the dummy battery gives one a lot of flexibility. 
  19. Like
    tupp reacted to leslie in bmp4k adventures   
    A quick google search has that smallrig np battery holder on preorder  for $ 95  aus from the videoguys.  I like it, if i bought the dc cables from bmd thats about the same price. With the smallrig option everything's done for you,  hard to screw it up and fry your pk4/6 with the smallrig as opposed to three sets of power cables from bmd but maybe, its the way i think. Nice that your get a dummy battery as well with the smallrig.
    interesting video, once i saw the battery door come off, i just had to try it 😀 i also like the idea of hanging it off the opposite side to the of the grip as the p4k tends to be lopsided once its on the rails having the battery there may rebalance it.
    not really a fan of half cages they just look like a job half done... the full cage looks much nicer,  again probably my thinking.
  20. Like
    tupp reacted to Oliver Daniel in Dirt cheap lights that are actually good   
    When I started out, I had barely any budget for lights and bought 3 X 800w redheads for £120. They sparked when I plugged them in, burnt my hands and melted all my gels in like 2 minutes. But they played a huge role regardless. 
    Since I’ve only had pretty expensive lights... Dedolight, Kino Flo and Lupolux to name a few. But as I’m now on the search for a very portable setup, couldn’t resist seeing what’s super dirt cheap and actually decent for a bit of fun.
    Cane across a brand called GVM (rather humorously called Great Video Maker). They make RGB Panels (like the 50RS) for hardly any money and only seeing very positive reviews. Tempted to try one for a laugh.
    What other dirt cheap lights do you use that are actually good? 
  21. Like
    tupp reacted to sanveer in Upressing Resolution and Bit Depth   
    I have been saying this for the longest. And now it appears that most things can be fixed and improved in post.
    Theoretically, as long as a JPEG (or any other 8-bit photo or video codec) isn't exposed absolutely terribly, its possible to not just improve (usable) dynamic range, but also increase the bit depth (super useful for post work) as well as increase the resolution. 
    This doesn't mean that all photos will suddenly start looking insanely better, but most photos which don't have severe highlight clipping or way too much shadow noise, can look remarkably better.
    This also means that codecs can stretch dynamic range (way) above the bit depth, as long as the sensor allows for it.
    Interestingly, this should be even better for modern smartphone photos, since those suffer from actual details and bit depth, noise (except in night mode), lower resolution and bit depth.
    I noticed it already in the upressing video of Topaz Lapbs where 480p was upressed to 4k. It removed all kinds of artefacts and banding. Which, implies that, intentionally or unintentionally ir was also improving the vit depth. This particular software is more Phtoos. But the same principle applies. Though it would be super strenuous on a system yo handle this. 
    This JPEG to RAW AI engine should be even more effective for smartphones.
     
    https://topazlabs.com/jpeg-to-raw-ai/
  22. Like
    tupp reacted to Mark Romero 2 in Editing 4K 100mbps Clips on a Macbook   
    @tupp
    Thanks for the info! Ubuntu studio looks cool. Never used Xfce before (always Mate, Cinnamon or Enlightenment when I fooled around with Bodhi Linux a while back). 
  23. Like
    tupp got a reaction from Mark Romero 2 in Editing 4K 100mbps Clips on a Macbook   
    I am sure.
     
    Kdenlive, Cinelerra (GG) or Blender is what I would recommend.  I have heard good things about Shotcut and Olive.  Openshot would also work for someone who doesn't need anything fancy.
     
    One of the the great things about Cinelerra is the Blue Banana plugin -- a very unique and powerful color grading interface.  I wish that somebody would port it to MLV-app.
     
    If one is okay with proprietary software, then there is Resolve, Lightworks or Piranha.
     
     
    All of the open source NLEs work on most distros.  On the other hand, there are special media distros that are worth considering, such as AV Linux and Ubuntu Studio.
     
    I tried Resolve once, and I as I recall it was distributed as a tarball, and I had no problem installing it on my Debian-based distro.
     
     
    Not sure where you are from, but, as I recall, my current Ebay machine cost US $145.  It has an i7-3770, 3.4GHz cpu, and it came with 16 gigs of ram, two mediocre graphics cards and a 500GB drive.  I put an SSD in it and loaded a non-systemd distro.  It's fairly snappy.
  24. Like
    tupp reacted to SRV1981 in Editing 4K 100mbps Clips on a Macbook   
    Thanks all! I will try to create 720 proxies as well as film 1080 vs. 4k and see if there is a noticeable difference on the a73.  Worst case I will look into trading my 2015 MBP in for a 2020 13" MBP.  I think I have a good game plan thanks to the suggestions here.  Much appreciatd!
  25. Like
    tupp reacted to Mark Romero 2 in Editing 4K 100mbps Clips on a Macbook   
    I like Linux (particularly fond of Linux Mint which I have on a few machines). And I LOVE saving money. But I am not sure that the OP could edit on a US $200 linux box. What would you propose as an NLE???
    And would one need a particular Distro in order to run that NLE? (For instance, Resolve is coded to work on Cent OS and isn't really guaranteed to work on other Distros, although i have heard of people using it on Ubuntu).
    Of course, my vision might be warped because around here, people sell their used PC's for WAY MORE than the rest of the USA. 
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