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TheRenaissanceMan

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Posts posted by TheRenaissanceMan

  1. 4x4 floppies and 6x6/8x8 solids are useful for negative fill. Anything dark you can put up--a duvetyne, black visqueen, black rip stop nylon, etc--will help block the light bouncing off those bright walls and restore contrast to the setup.

  2. 7 hours ago, Attila Bakos said:

    Ah I see. To create Fujifilm Film Simulation LUTs I need to have the camera for 1-2 weeks, and I don't know a single person in my area who owns it. The other thing is that it takes quite a lot of time for me to create these packs so I mainly go for cameras with large user base. In this regard I'm not sure about the F3.

    Honestly, that's completely fair re: F3. It's a pretty niche market. 

     

    So these are tailored to specific cameras, not just the color space + gamma? That's amazing. I'm assuming that means I can't just use a color space transform to put an incompatible camera into an appropriate color space, or at least wouldn't be guaranteed optimal results?

  3. 7 hours ago, majoraxis said:

    Delivering 4K in camera maybe a delivery requirement for some productions, so getting it right in is essential.  Plus, there may be times when shooting an interview or an all day conference etc where you would want the highest quality at the lowest bit rate.

    Why would you use an expensive 12K camera to shoot a conference?

  4. 6 hours ago, BenEricson said:

    I was told it was the same sensor as the FS7? I guess they were misinformed. 

    I kinda think something like a C300 Mk2 Or C200 might make sense at that price point. (Unless you want all the high speed stuff.) 

    I haven’t seen another model of Sony camera that has the magical quality of the F3, besides the F35. 

    It's unclear if the FS7 sensor is a stripped down version of the F5 sensor or an updated version of the FS700's, but either way it doesn't offer any unique look or capabilities. 

  5. On 10/19/2020 at 9:44 AM, Antoin e said:

    What are your thoughs on the pmw F5 ? I've seen some for sale online at around 4000/5000€ and im curious about it.

    I see it can do 4K internally with a small hack and 16bit raw, but i've not seen any very good footage like the F3.

    Does it have the same sensor (same color science and all) as the F3 or is it completely different ? 

     

    No, it's the same sensor as the F55 with a lower end CFA array, slightly different color science, and no global shutter. A really nice image and good workhorse, but the price puts it out of casual purchase territory. As a business investment, it's a little long in the tooth to make your ROI back in a timely manner. Personally, I would reach for other Sony bodies.

  6. AF performance differs radically based on lighting. A flatly lit face will track much better than a moodily lit one. Contrasty lighting bit me hard on a C700 shoot, and wasted 5 minutes of valuable setup time wrestling with AF settings. I'm sure it works well for many people and many projects; personally, I'm not ready to give up the level of control I have with a wireless puller.

  7. 37 minutes ago, zerocool22 said:

    Well its news media, they could shoot it with an iphone, it would make no difference to me. 

    If universal studios would have an exclusive deal to only use sony cameras for example , that would have been huge. Allthough I am digging the sony venice.

    Canon and Nikon were long seen as the only reliable options for professional photojournalism. 

    This may not make a difference to you, but it is a HUGE shift in the market.

  8. 1 hour ago, BenEricson said:

    That's not how IR pollution works though. Raw might help you slightly, but you'll spend hours applying masks to the effected areas. 

    I'm not sure BM ever even officially announced the IR pollution issues with the bmpcc or bmmcc, even though the camera is basically unusable without one.

    For what it's worth, I use the C300 Mk2s constantly and have never seen a trace of IR pollution. The baked in color profiles on a Canon C series camera are pretty damn close to "perfect color out of the box." 

    I wasn't saying you should fix IR in post as a rule--just that this specific instance didn't seem to lose much. 

    My experience with Canon has been mostly good, especially in regards to pleasing color.  However, the extended ND settings on the C200 invariably needed an IR cut to decontaminate the shadows. On the 2 commercial projects I've shot with newer Canons, I've run into issues with cycs lit by blue LEDs turning purple. Turns out I'm not the only one--there's a whole topic about it on DVX User (the answer from Canon: "the camera is operating within spec" lmao). And while rather pleasing at first glance, the color isn't what you'd call accurate. It took a ton of secondary work in post to get the company colors dead on without fucking up everything else. 

    All I'm really driving at is that every camera (and brand) has its issues to mitigate, be it form factor, color accuracy, IR, codec, sensitivity, etc. In the scheme of things, considering what the 12K offers, remembering to use some IR cut is pretty damn manageable.

     

    At least for my kind of work. Ymmv.

  9. 1 hour ago, newfoundmass said:

    You're not wrong, I was just sharing my experience. 

    Fair enough! Glad they came through for you. Hopefully, that bodes well for owner-ops/rental houses who embrace this new camera. 🙂

  10. 12 hours ago, Super8 said:

    I know magenta cast or IR contamination can be removed. 

    IR contamination shouldn't be in that 12K footage.   I'm sure @John Brawley should have seen it.  He wrote up that blog about it.  I'm sure BM has a few great colorist that should have caught it. Heck, the built in ND's are supposed to eliminate IR contamination. 

    This is the reason ARRI, Canon and RED have clean color.   No company is perfect but these 3 companies seem to understand color science and working with the right sensor foundation. 

    Black Magic seems to get the most out of sensors for lowest cost compared to any other camera company.   Instead of cutting corners they should just make sensors and cameras that get the best results at any cost. 

    I'm begging to wonder if they have the engineers to pull of great color science. 

    Take a look at the picture from BM website, someone thought that IR contamination was acceptable to showcase.

    colorscience-xl.jpg

    It's RAW. You don't lose any information pulling color casts out of shadows. That's the entire point of the format.

    Alexa skews green out of the box. Canon has issues with blue-ish grass, inaccurate reds, and blue fringing around bright highlights (depending which matrix you use). RED has had heavily documented color issues since they've been around, including massive IR problems with all their pre-Dragon sensors.

    "Perfect color out of the box" is a myth perpetuated by pretentious gearheads; every camera (and many a lens) has quirks that must be managed. Try using the heaviest internal ND settings on a C200 and not seeing IR pollution!

    I understand that you were unable to screw an IR filter on some BM cameras in the past, which bit you in post. That's unfortunate; however, the issue is easily managed with skilled workers who do their homework. 

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