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TrueIndigo

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  1. TrueIndigo

    Fuji X-T4

    I don't know, you're probably right; be interesting to see how it shakes out. Everyone has their ideas, ultimately we'll have to wait for the Fuji announcement.
  2. TrueIndigo

    Fuji X-T4

    On his YouTube channel Theoria Apophasis believes it's too early on the T series cycle to be an X-T4, so perhaps an H camera with a built-in battery grip to mark the Japanese Olympic Games. If so, expect it to be at least the launch price of a X-H1 plus the battery grip, maybe a bit more. Be interesting to see how this one shapes up, and what gets carried over in a firmware update for existing X-T3 owners. Fuji is very much on it at the moment.
  3. Thanks for the info. In C-mount I have a Schneider 10mm, Angenieux 15mm and a Bausch & Lomb 26mm which would be fun to try out.
  4. Is the UHD crop mode on the X-T3 only available for high speed shooting? I was wondering if you can set lower speeds like 25 fps in crop mode (with a view to using some old C-mount lenses on it).
  5. Sage, why does the 10-bit HLG profile use the reduced range of 64-940 - wouldn't the extra tones in the extremities be an advantage?
  6. Potato Jet buys a cheap Arri classic:
  7. When Andrew looked at the G9 he mentioned pincushion distortion in the EVF which he thought was distracting. I understand you can change the relative size of the generous EVF view in order to have the information icons appear outside the image area, so maybe that would help reduce the distorted view of the picture area? The only other comment I read about the G9's EVF distortion was that it was slight, and the user soon got used to it. Anyone here own a G9 like to comment on this?
  8. If someone had hacked this two-year-old camera for 10-bit UHD video, the forums would have been amazed; the fact that Panasonic did it themselves is even more surprising. Makes amends for the relatively pointless G90 release.
  9. This track is a recent addition to my playlist at the moment:
  10. Happy Valley - two-season box set (small town realistic police procedural investigation). Such good writing by Sally Wainwright; she seems to understand that not only does something need to be interesting, but the main characters need to be likeable too. Many times I find this is not achieved in TV drama - there's action, production values, hip cinematography, smart one-liners, but it goes for nothing because you just don't care about the people enough. It's almost as if aliens had written them and in a subtle way, got the wrong idea about us. The main characters in Happy Valley are ordinary, realistic, but we want to be with them because we care. So when we see a big close up of Sarah Lancashire with a bloodshot eye, it means something. This is old school drama at its best, with excellent actors to bring it out. Strongly recommended.
  11. "I think people would be surprised if they ever went back in time and watched the projections of most movies on the film circuit." -- The second (or third) run houses were pretty bad. I remember seeing Chariots of Fire at my local, and a few minutes coming up to every reel change the image was so scratched it looked like it was raining (a bit strange on the interior shots).
  12. TrueIndigo

    Who experiments?

    One thing I experimented with was "Two panel Cinerama". Historically, the real Cinerama process in the 1950s used three separate cameras, locked together, and the resulting three projected images were brought together on a single ultra wide screen. The two overlapping edges were blurred by using moving combs to help fuse the presentation together. I did not hope to replicate all that stuff! As a simplification I used two camera positions, and in fact I just used one camera which filmed the two panels one after the other (two cameras would have been used for a "live" shoot). I had my camera display set for a "thirds" grid, and filmed the left side, then to shoot the right side I panned the camera on the tripod over by two thirds. This meant the image overlap would be one third in the middle. In post, I would first create a custom wide canvas (the exact dimensions were arrived at after some tests) and import the left and right clips. You can temporarily lower the opacity of the top layer a bit to help the line-up of both panels by moving one of the clips into position. A simple feathered mask (which you can animate over time) is used on the top layer within the third overlap area, to make a sympathetic and less obtrusive join line according to the subject. Yep, I realise all this sounds nuts (lots of restrictions compared to normal shooting), and I didn't do much with it, but it was fun. I messed around with this several years ago during the FHD era, but when I got an UHD camera, that canvas size seemed big enough to me to make 2-panel Cinerama a bit obsolete (you can mask it down to simulate an ultra wide look without much loss). One thing that it doesn't replicate of course is the wider field of view (just as using an anamorphic lens has a laterally wider field of view compared to just masking a 16:9 frame). It was quite interesting to shoot on a crop camera with say a 35mm lens but get a wide field of view by the two-thirds "extra" you get when you pan over to film the second panel.
  13. Anyone seen this video exposure shift when using manual adapted lenses, or is it just confined to Fuji auto lenses?
  14. Michi, this Wiki page gives some info about Fuji Super CCD technology (link below). I remember seeing their promotional material at the time and it looked like a great idea for organic images. And of course it was a CCD (not CMOS). Andrew asked if I took stills -- not recently, but I remember when I first got it the stills struck me as having a very nice grain structure, very photographic, and the colours were vivid but retro vivid, not modern electric vivid. https://en.wikipedia.org/wiki/Super_CCD
  15. The camera used was a compact stills camera, the Fuji FinePix E900. I bought it new for £140 in May 2007 and haven't used it for seven years (the first thing I had to do was reset the clock!). The 4:3 video it shoots (auto exposure only) is 640 x 480 x 30p. I enlarged this with a video utility to make it 1440 x 1080 x 30p before editing on a 1920 x 1080 timeline, so the "Academy" shape was retained. But absolutely no exposure or colour changes were made, so the colours you see are straight from the camera. Interestingly, it's the auto exposure (and it's sudden changes within a shot) that makes it look amateur, more so perhaps than the ultra low resolution. A sad sign of the times regarding increasing obsolescence: I took out the xD card to put in my computer multi-memory card reader, only to find that xD was not one of them! Luckily, the camera features a USB socket, so I could connect the camera directly to access the files. Michi: "I'm particularly curious to see what camera @TrueIndigo has used. I liked the colours of that one the most." -- This camera features a 9MP 5th generation Super CCD HR sensor. From the days when Fuji photsites were octagonal in shape and some were of a different size -- wild times!
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