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thatPhilGuy

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  1. Nice to see you in love. Almost head-over-heals. :-) Can't seem to confirm if there is clean HDMI out. Mind checking?
  2. I second (or is it third?) the interest in crop mode quality. But for me, the real action is in the skin tones. Particularly skin tones in the shadows. I would love to see tests similar to Shane Hurlbut's. Well lit, with declining fill ratios. Back lit bright skies would be bonus. http://www.hurlbutvisuals.com/blog/2013/10/arri-alexa-vs-canon-c500/ I compare digital camera sensors to film emulsions. The reason a cinematographer selects a specific camera for their film is the look and feel of the sensor and their lenses... From Rodger Deakins: ...if you can photograph the human face you can photograph anything, because that is the most difficult and most interesting thing to photograph. If you can light and photograph the human face to bring out what's within that human face you can do anything. While the GH4 is amazing, the color just doesn't engage me in the least. C300 and D750 much more so. Maybe the profile purveyors will ease the effort required to make the A7s work. If I worked at JD Powers, I would invent the category Accessible Color, which I think the D750 would dominate. :-) Andrew, truly appreciate your work, testing cameras that we can't afford to demo in a timely fashion. Helps us narrow the list. Also, I was about to point to this great 2GB original upload of the D750 Making of UNCHAINED.
  3. Thank you for these tests. You really make the case for low light and grade-ability. If possible, could you run some skin tone tests with a natural, soft daylight? Gravy would be with declining fill ratios of -2,-3,-4 stops? Would love to see how the sensor renders skin tones. Thanks again!
  4. So close. Sony is a master of segmentation. Unless I missed it, there is no 4:2:2, uncompressed, *10-bit*. Sadly, it appears no 10-bit anywhere. A great full-frame, low light sensor. Yet even with S-Log2, the image will have to be mostly crafted in the camera. Hopefully I missed it, but otherwise this (10-bit) is the missing feature that protects the higher product lines. All the sample shots are low contrast or low light. Closest to a 'highlight' challenge is the boat captain. So close. Hope I missed it, and will be grateful to be corrected. Even my lowly (yet amazingly) PIX 220 does 10-bit. @yiomo. I'm with you, the "clip at 2.24 with a 5.6 aperture and 120 12800 does it for me", too. :-) I'm sure the Convergent Design, Odyssey7Q, will have a 4K option soon. (They already support the FS700). Andrew, I'm a long time reader, with great appreciation for all you bring to this blog. I just don't quite grasp the whole 4K emphasis. Sure, stunning resolution at an amazing price. Great technicall achievements. However, I've yet to see a piece, either web or big screen, that pulled me into the story. Mostly the opposite. I certainly understand Sony's motivation. But for me, a true 1080p, 10-bit workflow, is worth much more than 4K. Even Shane Hurlbut has gone on record... "... Kamil, I would shoot a feature on the 1DC in a heart beat, but learning what I did on Need for Speed I will never shoot 4K with the C500 again. 2K only it looks much more cinematic and not so sharp, so much I had to do to the image to get it where I wanted it. Nachem, Quote away, I am done with 4K period!!!!!! I am on 2K right now loving it, much more color depth, the blow out looks more filmic, too much resolution makes it look fake." -- in comments: http://www.hurlbutvisuals.com/blog/2014/03/need-for-speed-innovation-gear/
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