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Jonesy Jones

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  1. Like
    Jonesy Jones reacted to Lars Steenhoff in Sigma FP   
    Held the camera at ibc today, really nice little camera with great specs.




  2. Haha
    Jonesy Jones got a reaction from Mako Sports in Fujifilm hint at 44x33 large format "GFX-H100" filmmaker's camera / open gate 4K3K   
    Fake rumor. Thread locked....
    Kidding.
    Philip Bloom just recently posted how much he loves the GFX 100. He mentioned nothing about rolling shutter which seems to be a caveat with many of these large sensor cams. But you mentioned it could be pretty good so time will tell.
    As far as hybrids go, the medium/large format are the ones that attract me most. If I were a serious photog that’s what I’d shoot for sure. 
    Pricey though.
  3. Haha
    Jonesy Jones got a reaction from Cinegain in Fujifilm hint at 44x33 large format "GFX-H100" filmmaker's camera / open gate 4K3K   
    Fake rumor. Thread locked....
    Kidding.
    Philip Bloom just recently posted how much he loves the GFX 100. He mentioned nothing about rolling shutter which seems to be a caveat with many of these large sensor cams. But you mentioned it could be pretty good so time will tell.
    As far as hybrids go, the medium/large format are the ones that attract me most. If I were a serious photog that’s what I’d shoot for sure. 
    Pricey though.
  4. Haha
    Jonesy Jones got a reaction from thephoenix in Fujifilm hint at 44x33 large format "GFX-H100" filmmaker's camera / open gate 4K3K   
    Fake rumor. Thread locked....
    Kidding.
    Philip Bloom just recently posted how much he loves the GFX 100. He mentioned nothing about rolling shutter which seems to be a caveat with many of these large sensor cams. But you mentioned it could be pretty good so time will tell.
    As far as hybrids go, the medium/large format are the ones that attract me most. If I were a serious photog that’s what I’d shoot for sure. 
    Pricey though.
  5. Haha
    Jonesy Jones got a reaction from heart0less in Fujifilm hint at 44x33 large format "GFX-H100" filmmaker's camera / open gate 4K3K   
    Fake rumor. Thread locked....
    Kidding.
    Philip Bloom just recently posted how much he loves the GFX 100. He mentioned nothing about rolling shutter which seems to be a caveat with many of these large sensor cams. But you mentioned it could be pretty good so time will tell.
    As far as hybrids go, the medium/large format are the ones that attract me most. If I were a serious photog that’s what I’d shoot for sure. 
    Pricey though.
  6. Confused
    Jonesy Jones reacted to DaveAltizer in Blackmagic Pocket Cinema Camera 6K   
    Did a shoot this week with the BMPCC 6k and the camera crashed on me multiple times. 
  7. Like
    Jonesy Jones reacted to Sage in GH5 to Alexa Conversion   
    I'm not sure yet, there is much to do. I am working at a consistent pace of late; I put in a few 14 hour days last week. Every day, I'm working as efficiently as I can.
    Yes, that intended HR handling I described has worked with flying colors (pun intended) and the files will be compatible with HR by default (reaching up into the 'super' values to conform them to LogC). Paired with the recent 129x129x129 HDR luts, this will mean superior performance for clipped gamut, especially extreme blue (although these colors are rare in everyday footage)
    Just yesterday, I finished the new EC component completely. At the heart of it are two 129x luts in sequence - they are 84MB each 😮 (the final files will be traditional 65x). It turned out that the final critical piece of the puzzle was to recode to handle negative numbers for 'theoretical' color regions when color is hyper saturated (combined with 129x). I am very happy with the performance of this new EC component; it is a perfect match to the primaries of Arri 709 at center, with 2020-like gamut handling at the edges, in a 709 envelope, and the smoothest conversion I have yet made.
    I think some with an S1 have it. Its not optimized for the S1, but the conversions do take into consideration this theoretical space (no clipping) above the GH5 range. In the case of S1 use, I advise lowering highlights in advance of the conversion (ideally with hue lock as in the pdf) to dial in range. I'm not sure when I'll be able to support the S1; all is resting on my ability to be as efficient with my time as possible.
  8. Like
    Jonesy Jones reacted to fuzzynormal in FILMMAKING 101 by Kaylee   
    Gene Orkerlund.
    Huh.  Weird personal attacks.  Where's this coming from, anyway, and are you okay?  It's hard to recall you being overtly mean in the past here.
    As for me and my biz'ness, we're proud of our productions.
    www.path88productions.com
    Is it high-end expert level?   No.  Don't think it was ever claimed to be here on EOSHD, but there's enough knowledge there to get by.  Shooting with hybrid cameras is enjoyable, and sharing my experiences/work/opinions is something else that's enjoyable.  
    If you run in more prestigious industry circles and have the agency to not hire a person like me, that's perfectly fine.  We're doing what we're doing at the level we're at for a reason, and that's okay with us.
    Sincerely,
    Low Key Autistic Condesending Horseshitter Running Away In Real Life
    Well, for me it's easy to appreciate WeeGee's work as photographer. In my mind, his saying is not garbage, and his advice is worth considering.  My take on it is simply "look at the environment more than the equipment."
  9. Like
    Jonesy Jones reacted to kye in Panasonic GH6 rumours   
    I saved the function that re-saves the custom config to the user shortcuts menu just for that purpose!  But yes, I take your point  
  10. Like
    Jonesy Jones got a reaction from kye in Panasonic GH6 rumours   
    I use the c modes too. But one little change and I have to either re save it or fiddle with that change each time I start up the camera. Either of those options is a hassle for me. As much as I love the camera, and I do love it, I feel like it is working against me. The P4K on the other hand is a pleasure to use. 
  11. Like
    Jonesy Jones reacted to BTM_Pix in Panasonic GH6 rumours   
    To be fair to the P4K, its Preset function does store many more of those complete camera setups (12 as opposed to 3) that you can switch to easily enough off the touch screen.
    They can also have meaningful names attached to them such as "Slow mo" or "Indoor Interview" or whatever so its a bit more intuitive than having to remember what the generic C modes mean.
    They can also be imported/exported from any of your attached media which is useful for sharing between multi camera setups.
    Against that, you don't have the comfort factor of being able to quickly reference which setting you are using by glancing at the top panel like you do with a Panasonic.
  12. Like
    Jonesy Jones reacted to newfoundmass in Canon removing 24p from new 4K mirrorless cameras - THE MEMES   
    Indeed. Someone as skillful as Mattias could use any camera, but the Canon EOS R helps him achieve his vision easiest.
    The $200 challenge should have shown people that it's not just about specs. We're incredibly lucky to have so many tools at our disposal, whether your budget is $200 or $2,000,000 there's no short supply of cameras that can help you create your vision. 
    The issue with Canon, and I think some people maybe forget this, is not that their cameras are inadequate but that they take features away that hinder creativity while every other manufacturer has done the opposite, at least to some extent or another. 
    Do you need 24p? No. Do you need DPAF in 4K? No. Can you use excessive crops? Yes. You can still create works of art with these cameras, even if it hinders your creative vision. But why should you have to, when you can use a GH5, X-T3, a6400, or hell even an old T3i? You shouldn't have to deal with those limitations because Canon decided they wanted to segment the market more and take away features in their lower end models that they've included for years. 
  13. Like
    Jonesy Jones reacted to drm in Blackmagic Pocket Cinema Camera 6K   
    Is it just me or are a huge number of these videos being shot in high frame rates? I am actually started to get bored just seeing these HFR videos. Where are the nice 24p files?
  14. Like
    Jonesy Jones reacted to BTM_Pix in Blackmagic to announce new camera related news at 12 noon PDT (8pm London)   
    Whoah...hang on there you two.
    You are doing forums wrong if you agree to agree.
    Splitting hairs, clinging on to a semantic rock and repelling all boarders...that is what it is all about.
    Now, lets get this back on course and start trading petty insults.
     
  15. Like
    Jonesy Jones got a reaction from BTM_Pix in Blackmagic Pocket Cinema Camera 6K   
    I think from both a marketing and engineering perspective it’s hard to add a mount where ZERO native lenses will work without a crop. Your auto crop idea is cool though.
    one additional solution is to include a BM designed M43 to EF adapter. Like have it already mounted on the camera, but could easily be removed.
  16. Like
    Jonesy Jones reacted to BTM_Pix in Sony RX0 II gains Micro Four Thirds interchangeable lens mount with special mod   
    They can try and sue us about the glue.
    It'll never stick.
  17. Like
    Jonesy Jones reacted to drm in Blackmagic Pocket Cinema Camera 4K   
    I use the Powerextra brand from Amazon. They are close to the same capacity, but are around $35 for 2. I have over 20 of them and have only had one die in the past year or so. I use them in lights, monitors, and on the P4Ks (and now the P6K).
  18. Like
  19. Like
    Jonesy Jones got a reaction from jbCinC_12 in Blackmagic Pocket Cinema Camera 6K   
    When we talk crop factor, what we are all really wanting to know is FOV. What is X lens going to “see” on Y camera/sensor.
    One complicator is that there is both a horizontal and vertical FOV. So in the case of the full 6K 16:9 vs the 6K 2.4:1, the horizontal fov remains the same but the vertical fov is less in 2.4:1.
    The reason why the crop factor is considered smaller is because they use the diagonal measurement from corner to corner, which is slightly more in 16:9 than 2.4:1, even though the horizontal fov remains identical.
    Now, anamorphic adds another complicator altogether. It stretches the horizontal fov but leaves the vertical the same. The math for this is relatively simple, but since I don’t do it all the time it melts my aging brain. 
    Now again, the root of all this crop factor talk is, fov... what will this lens/camera combo deliver. The reason we use crop factor is because it is always good to have a standard, a canon if you will, to compare apples to apples. 
    In our case we use FF 35mm as the standard, and derive a crop factor from there. Even though I’m all for this since I’ve been doing it for years, it is odd since the standard for cinematographers for decades was s35, not FF 35mm or vista vision or whatevs. But clearly we are moving in the direction of FF so I guess it worked out.
    BOTTOMLINE
    I would only pay attention to the horizontal fov numbers/crop since this is what everyone is intuitively looking at anyway. (And then just assume the vertical fov will be relative to the aspect ratio.)
    Here’s the simple math for a few popular cams: (btw, the width of FF is 36mm)
    P6K width is 23.10. So 36/23.1 = 1.558 (can we call it 1.56?)
    P4K width is 18.96 so 36/18.96 = 1.89
    URSA Mini Pro width is 25.34, so 36/25.34 = 1.42
    Alexa Mini width is 23.8, so 36/23.8 = 1.51
    XT3 - 23.5, 36/23.5 = 1.53
    GH5 17.3, 36/17.3 = 2.08
     
    For anamorphic I would first calculate the width based on the pixels. So P6K uses 3728 res for anamorphic. This is about 60.68% of the sensor so we’ll call it 14.02mm. Then you have to multiply by the anamorphic ratio you’re using - 2.0 or 1.3 for this cam. So 28.04 and 18.23 respectively. Therefore 
    P6K anamorphic horizontal fov crop factors are
    In 2.0, 36/28.04 = 1.28
    In 1.3, 36/18.23 = 1.97
  20. Like
    Jonesy Jones reacted to BTM_Pix in RED respond to Apple in compressed RAW patent battle   
    Can't speak for Ed but I'm fine thanks mate, just been a bit busy writing some code to contribute further.

  21. Thanks
    Jonesy Jones reacted to Laser Blue in RED respond to Apple in compressed RAW patent battle   
    Having been present at NAB when RED was first introduced, it seemed at the time to be “pay no attention to the man behind the curtain” vapor ware. I worked in cinema advertising at the time, specifically post production. The Quantel eQ and iQ Pablo 4K I used to create content captured up to 4K left eye/right eye uncompressed in real-time with real-time (no render) color grades and parallax adjustments.
    The Pablo cost $440k. It wasn’t portable. It’s drive arrays were 10 gig Ethernet SANs.
    In 2008, when dealing with .r3d files, import into Quantel workstations allowed for one-light color grading on import with white balance and ISO control among other typical RAW parameters.
    There was nothing like RED in terms of a capture device in 2008. NOTHING.
    Whatever the legalities, Sony, Panasonic, Canon and anyone else made nothing like it. RED was an upstart. It killed Digital Intermediates (scanning film to DNG for dust busting, color grading and editing, then outputting the sequence of final DNGs back to film for theatrical exhibition on film projectors.)
    Now, cinema projectors play back encrypted Digital Cinema Packages, containing JPEG frame sequences, made from graded and edited RAW files. Digital end to end. The entire motion picture industry production, post production and exhibition industries all transformed because of RED.
    While I kinda want RED to lose the patent fight with Apple much the same way as I want generic medications to replace brand name due to the expiration of patents and the resulting cost savings—RED deserves credit.
    Just not enough credit to be aggressively litigious, and be the sole beneficiaries of the compressed raw concept forever.
    Let Nikon and Panasonic users benefit from internal compressed raw without owing RED prohibitive licensing fees. (But don’t let Canon or Sony because I don’t like them.)
    My 2¢.
  22. Like
    Jonesy Jones got a reaction from Trek of Joy in Blackmagic Pocket Cinema Camera 6K   
    When we talk crop factor, what we are all really wanting to know is FOV. What is X lens going to “see” on Y camera/sensor.
    One complicator is that there is both a horizontal and vertical FOV. So in the case of the full 6K 16:9 vs the 6K 2.4:1, the horizontal fov remains the same but the vertical fov is less in 2.4:1.
    The reason why the crop factor is considered smaller is because they use the diagonal measurement from corner to corner, which is slightly more in 16:9 than 2.4:1, even though the horizontal fov remains identical.
    Now, anamorphic adds another complicator altogether. It stretches the horizontal fov but leaves the vertical the same. The math for this is relatively simple, but since I don’t do it all the time it melts my aging brain. 
    Now again, the root of all this crop factor talk is, fov... what will this lens/camera combo deliver. The reason we use crop factor is because it is always good to have a standard, a canon if you will, to compare apples to apples. 
    In our case we use FF 35mm as the standard, and derive a crop factor from there. Even though I’m all for this since I’ve been doing it for years, it is odd since the standard for cinematographers for decades was s35, not FF 35mm or vista vision or whatevs. But clearly we are moving in the direction of FF so I guess it worked out.
    BOTTOMLINE
    I would only pay attention to the horizontal fov numbers/crop since this is what everyone is intuitively looking at anyway. (And then just assume the vertical fov will be relative to the aspect ratio.)
    Here’s the simple math for a few popular cams: (btw, the width of FF is 36mm)
    P6K width is 23.10. So 36/23.1 = 1.558 (can we call it 1.56?)
    P4K width is 18.96 so 36/18.96 = 1.89
    URSA Mini Pro width is 25.34, so 36/25.34 = 1.42
    Alexa Mini width is 23.8, so 36/23.8 = 1.51
    XT3 - 23.5, 36/23.5 = 1.53
    GH5 17.3, 36/17.3 = 2.08
     
    For anamorphic I would first calculate the width based on the pixels. So P6K uses 3728 res for anamorphic. This is about 60.68% of the sensor so we’ll call it 14.02mm. Then you have to multiply by the anamorphic ratio you’re using - 2.0 or 1.3 for this cam. So 28.04 and 18.23 respectively. Therefore 
    P6K anamorphic horizontal fov crop factors are
    In 2.0, 36/28.04 = 1.28
    In 1.3, 36/18.23 = 1.97
  23. Thanks
    Jonesy Jones got a reaction from kye in Blackmagic Pocket Cinema Camera 6K   
    When we talk crop factor, what we are all really wanting to know is FOV. What is X lens going to “see” on Y camera/sensor.
    One complicator is that there is both a horizontal and vertical FOV. So in the case of the full 6K 16:9 vs the 6K 2.4:1, the horizontal fov remains the same but the vertical fov is less in 2.4:1.
    The reason why the crop factor is considered smaller is because they use the diagonal measurement from corner to corner, which is slightly more in 16:9 than 2.4:1, even though the horizontal fov remains identical.
    Now, anamorphic adds another complicator altogether. It stretches the horizontal fov but leaves the vertical the same. The math for this is relatively simple, but since I don’t do it all the time it melts my aging brain. 
    Now again, the root of all this crop factor talk is, fov... what will this lens/camera combo deliver. The reason we use crop factor is because it is always good to have a standard, a canon if you will, to compare apples to apples. 
    In our case we use FF 35mm as the standard, and derive a crop factor from there. Even though I’m all for this since I’ve been doing it for years, it is odd since the standard for cinematographers for decades was s35, not FF 35mm or vista vision or whatevs. But clearly we are moving in the direction of FF so I guess it worked out.
    BOTTOMLINE
    I would only pay attention to the horizontal fov numbers/crop since this is what everyone is intuitively looking at anyway. (And then just assume the vertical fov will be relative to the aspect ratio.)
    Here’s the simple math for a few popular cams: (btw, the width of FF is 36mm)
    P6K width is 23.10. So 36/23.1 = 1.558 (can we call it 1.56?)
    P4K width is 18.96 so 36/18.96 = 1.89
    URSA Mini Pro width is 25.34, so 36/25.34 = 1.42
    Alexa Mini width is 23.8, so 36/23.8 = 1.51
    XT3 - 23.5, 36/23.5 = 1.53
    GH5 17.3, 36/17.3 = 2.08
     
    For anamorphic I would first calculate the width based on the pixels. So P6K uses 3728 res for anamorphic. This is about 60.68% of the sensor so we’ll call it 14.02mm. Then you have to multiply by the anamorphic ratio you’re using - 2.0 or 1.3 for this cam. So 28.04 and 18.23 respectively. Therefore 
    P6K anamorphic horizontal fov crop factors are
    In 2.0, 36/28.04 = 1.28
    In 1.3, 36/18.23 = 1.97
  24. Thanks
    Jonesy Jones got a reaction from sanveer in Blackmagic Pocket Cinema Camera 6K   
    Even though the video looks gorgeous here, YouTube seems to add a “Suck” filter to everything uploaded. The Vimeo version, that I can only find on their site here, looks so much better. Almost 2 different videos.
  25. Like
    Jonesy Jones reacted to Kisaha in P6K: the best EF lenses   
    B. For sure. 18-35mm is too long for me, doesn't match my style at all. If you do the X1.55 or X1.6 maths then is almost a 29-30mm, not wide enough..
    For the P4K the Olympus 12-100mm will be my run n gun.
    For C cameras I use a lot the 18-135mm EF-S for run n gun.
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