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ade towell

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  1. Like
    ade towell got a reaction from IronFilm in Fuji X-T4   
    Yep, I couldn't give a shit about 6k, just give me IBIS, flippy screen, better battery - the 30 minute limit removed, full size hdmi, and an easier 10 bit to edit would be icing on.the cake but I don't want anything that will push the price too high. The  XT3 is a great camera that just needs a few improvements, big difference to Canon who are finally coming out guns blazing after all the crap they've been serving up these last few years.
    The R5 sounds like it will be a great camera too but at a much higher price with big heavy full frame lenses required. I much prefer the sleak svelte Fuji system
  2. Like
    ade towell reacted to Emanuel in Fuji X-T4   
    C'mon, R5 is not for you! ; ) You couldn't give a shit about 8K... LOL : -)
  3. Like
    ade towell got a reaction from heart0less in Fuji X-T4   
    Yep, I couldn't give a shit about 6k, just give me IBIS, flippy screen, better battery - the 30 minute limit removed, full size hdmi, and an easier 10 bit to edit would be icing on.the cake but I don't want anything that will push the price too high. The  XT3 is a great camera that just needs a few improvements, big difference to Canon who are finally coming out guns blazing after all the crap they've been serving up these last few years.
    The R5 sounds like it will be a great camera too but at a much higher price with big heavy full frame lenses required. I much prefer the sleak svelte Fuji system
  4. Like
    ade towell got a reaction from Thomas Hill in Fuji X-T4   
    Yep, I couldn't give a shit about 6k, just give me IBIS, flippy screen, better battery - the 30 minute limit removed, full size hdmi, and an easier 10 bit to edit would be icing on.the cake but I don't want anything that will push the price too high. The  XT3 is a great camera that just needs a few improvements, big difference to Canon who are finally coming out guns blazing after all the crap they've been serving up these last few years.
    The R5 sounds like it will be a great camera too but at a much higher price with big heavy full frame lenses required. I much prefer the sleak svelte Fuji system
  5. Like
    ade towell got a reaction from Sharathc47 in Fuji X-T4   
    Yep, I couldn't give a shit about 6k, just give me IBIS, flippy screen, better battery - the 30 minute limit removed, full size hdmi, and an easier 10 bit to edit would be icing on.the cake but I don't want anything that will push the price too high. The  XT3 is a great camera that just needs a few improvements, big difference to Canon who are finally coming out guns blazing after all the crap they've been serving up these last few years.
    The R5 sounds like it will be a great camera too but at a much higher price with big heavy full frame lenses required. I much prefer the sleak svelte Fuji system
  6. Like
    ade towell reacted to Simon Young in How to receive a BAFTA as ungraciously as possible   
    That statement is not only ahistorical and incorrect, it’s downright disgusting.
  7. Like
    ade towell reacted to Simon Young in Oscar nominations Cinematography   
    Such a joke that the Parasite wasn’t nominated in this category.
  8. Like
    ade towell got a reaction from IronFilm in Fuji should make a $2000 full frame cam   
    make the screen flippable and cut the 30 minute limit too please
  9. Like
    ade towell got a reaction from Geoff CB in Fuji should make a $2000 full frame cam   
    make the screen flippable and cut the 30 minute limit too please
  10. Like
    ade towell got a reaction from Dustin in Sony a6500 heavier rig?   
    fuji xt3 if you can stretch that far.
    oh sorry didn't read the whole thread if you absolutely need IBIS then one of the Panasonics. Otherwise xt3 with I.S. lens is hard to beat
  11. Like
    ade towell got a reaction from Rinad Amir in Canon EOS 1D MKIII specs revealed   
    am curious why you need full frame - (and I think there is a bit of a crop anyway, 1.3ish?)
  12. Like
    ade towell reacted to Zak Forsman in Panasonic S1H review / hands-on - a true 6K full frame cinema camera   
    my serials are all pretty close. but I wouldn't worry to much about color. any difference, if there even is one, is going to be a minor shift that's easy to account for in post.
    This is my first camera with IBIS and it takes getting used to. When using manual lenses you have to remember to set IBIS for the correct focal length and I've managed to bungle that a few times already. I also learned (the hard way a few months ago) that IBIS is not something you want to use with an 18mm lens. Ruined more than half of my footage. Now, what I'm liking about the IBIS is that it doesn't feel like stabilization (unless you screw up the settings). It almost feels like the type of handheld camerawork you get with a nice heavy 20lbs+ cinema camera rig.
    Oh he was really happy with it. But he has a healthy approach to it. He sees it as a separate work of art and encouraged them to make it their own and to not feel beholden to make a straight adaptation. That being said, it's pretty damn faithful. Some shots are basically live-action recreations of his panels. I was surprised just how faithful they were.
  13. Like
    ade towell reacted to Zak Forsman in Panasonic S1H review / hands-on - a true 6K full frame cinema camera   
    Seems people like pairing their S1H with Leica-R lenses... and I'm one of them! I'm shooting a short doc on my brother about his comic book, "I Am Not Okay With This", as it's currently being adapted into a series for Netflix. This will be the second time he's had a comic book adapted into a series. The first was "The End of the F*cking World" which did well, however, he told me that people would see him signing copies of the original comic at cons, and accuse him of "ripping off the show". So this time, i wanted to help raise his profile a bit when "I Am Not Okay With This" is released, and it gives me something to flex my creative muscles on. Anyway, some sample stills... Panasonic S1H, Leica Summicron-R 35mm, 50mm, & 90mm. Not a final grade -- just wanted to get some images out.




  14. Like
    ade towell reacted to Oliver Daniel in Predictions for the next decade   
    I’m at home, got beer, kids asleep. Fancy some fun, wild speculation? 

    Death of the Gimbal 
    They will always have their place in high end TV and cinema, however for nearly everything else, I think we’ll see them replaced with insanely improved IBIS and a boat load of sorts gimbal-ish “fluid movement” remote type pistol grips. Every man and his dog will have them. 

    Return of Canon 
    With video rising to such a compulsory level, Canon will crack the cripple and deliver what we’ve all wanted for such a long, long time. Eventually. Or it’s 60fps Canon Log in exciting 720p. 
     
    The Fall of RED
    The Chinese will knock them out like a weapon in the nuts and force out a RED army of affordable cameras named after mystical creatures. 
     
    RAW video everywhere 
    Nearly every decent camera will have it internally within years. Masses of terribly noisy Vimeo videos to follow. 
     
    Smartphone Domination
    They will become “cinema grade” and will be the No.1 choice for Vloggers at least. Computational DOF, crazy AF, all sorts of crazy software. Completely trackable VFX filters. Boobs and penis’s on everything. 

    Computational Focus and DOF
    Already exists but will mature into an essential feature for most cameras for a very different post experience. “Fix it in post” said after every shot. 
     
    Video AF
    Will get so insane that only the high end will use manual. Us forum geeks will still be buying $20 f***d up Helios though ?

    Video Essential 
    It will become absolutely compulsory for every business and person and hamster and pig for everyday communication. Like the internet is now. Video will become the internet. And your very soul. 
     
    and finally.....
    Cameras and gear will be so commonly incredible but so second nature in operation , getting something technically correct will be as hard as passing wind after a curry. Even your 90 year old Grandma will be able to lock focus at f0.95 and orbit round her cat’s face in 10bit 8k. The tools will be so commonly reliable that they will hardly matter.
    We’ll see an epidemic of terrible content with perfect focus and stability. Although this will unearth some under privileged gems, the little fishes will barely be seen in a sea of waste - unless it rises above it. 
     
    As creators, we are not just fighting for quality. You will be fighting to the death for people’s time and attention. The “competition“ will be everyone and everything. 
    Fun times.  
     
     

     
  15. Like
    ade towell got a reaction from leslie in Panasonic S1H review / hands-on - a true 6K full frame cinema camera   
    Some lovely stuff here from Filippo Chiesa
     
  16. Like
    ade towell got a reaction from Lux Shots in Panasonic S1H review / hands-on - a true 6K full frame cinema camera   
    Some lovely stuff here from Filippo Chiesa
     
  17. Like
    ade towell got a reaction from Mako Sports in Sony 6K Full Frame PXW-FX9/FX6 Leak   
    Good thorough review - interesting to see it copes considerably better than the Canon c500mk2 with dynamic range when pushing over and under exposure using internal Sony XAVC and Canon's XFAVC respectively. Wonder how the internal raw on the Canon compares?
    Also the AF on the Sony seemed to kick in and track a lot earlier than on the Canon. Be good to see some more thorough testing between these 2 cameras
  18. Like
    ade towell reacted to fuzzynormal in Introducing the EOSHD Tim Apple LUT for that washed out nationalist propaganda look   
    Believe me, I'm well aware that there's a strategy to manipulate the media, but can we agree that any and all assertions from the POTUS are rarely "little stuff"?
    You know, I've heard that "not a big deal" "just a joke" argument as well.  My reply is that lies matter, regardless. I'll always think it's demonstrably detrimental to the nation.  Personal emotional truths are valued over factual evidence, and that doesn't lead to good places in a society that needs to be secular and inclusive to all its citizens. 
    Now, you may disagree with that fundamental assertion of what the USA should be regarding evidential facts, and think my rationality is wrong from the start.  One of my friends in particular has realized we're somewhat at odds with this attitude, given his religious devotion, so we know our perspectives --we've learned to cope as best we can.
    Nevertheless, hewing to some sort of ideals and reality is a thing that is important, especially in a person unable to hold onto evidential facts being the POTUS.  Petty lies matter or nothing does.  I'd also say, the whole "not a big deal, you shouldn't be so angry" shtick is an argumentative retreat I've hashed out with my friends too.  It's a dismissal and avoidance of criticism; ultimately a sort of "shoot the messenger."  
    Maybe tolerating criticism is just something that's not as easily shared if you're a right-leaning personality?  It often seems that way in my experience. I mean, we had some fun arguments when Obama was POTUS, but I personally really never cared too much about allowing such criticisms.  To be fair, I also hang with some hard-core liberals that are annoyingly intolerable with their skewed attitudes about stuff.  Like nails on a chalkboard.  
    So, yeah, the "angry" thing as a broad brush?  Not sure about that nor the fairness of the attitude.  Never mind that I'm...as my mom would often say... not angry (with my country or POTUS) I'm disappointed.
    So, here's a good example of what I wrote.  The plain and simple fact is that the plant was initiated under the previous administration.  By your reasoning, Barrak Obama should be the one to take the credit. (and to be clear, I don't really believe the POTUS should take economic credit for everything)  Yet, DT did.  
    His assertion is a lie, the extrapolation you've drawn from it is questionable ("some companies have changed direction" would like to see your notated examples on that, as I'm aware of companies that are doing more of the same they'd be doing otherwise, but now with stock buy backs, which can be easily argued that hurt the economy overall), but here you are offering him praise rather than skepticism.  Like I'm saying, either the facts matter or nothing does.
    It's how DT can get away with "No Quid Pro Quo!" with his supporters even though that assertion is in direct conflict by openly admitted fact from those that run his administration.
    This is what manipulation and propaganda looks like and it's not a small thing.
  19. Haha
    ade towell reacted to The ghost of squig in Introducing the EOSHD Tim Apple LUT for that washed out nationalist propaganda look   
    This was so needed. Teal and orange has been giving colorists nightmares throughout this presidency.
  20. Confused
    ade towell reacted to sanveer in Introducing the EOSHD Tim Apple LUT for that washed out nationalist propaganda look   
    I am not American, and I think Trump says the strangest things. But, he is arguably the most successful US president of all time. I may not be a Trump fan, but I prefer him over both the Clintons, Obama and many others. Obama getting the Nobel for farting in his dreams was way more shady than anything else. EVER. 
    The US has been heading for a financial collapse for the last few years (since the Dollar Store and Wallmark rise). Now China is literally taking away millions of US jobs and Fortune 500 is inundated with Chinese Companies. Apple would have been relegated to 4th or 5th position in smartphone sales, if the US wasnt doing all the shady stuff it is (to be fair, US Trade and IP Laws have been anything but fair since they were created). Also TikTok and other chinese tech startups are going to be displacing Twitter and Facebook (even though it doesn't do similar things to either) very soon. That's why Google is planning a TikTok ban soon (if it hadn't already). 
    Europe and the US are heading for both economic and cultural collapse. The only question, I guess, is how quickly. 
  21. Haha
    ade towell reacted to Jimmy Goodwood in Introducing the EOSHD Tim Apple LUT for that washed out nationalist propaganda look   
    Wading into politics in this heavily polarized & heated environment is a good way to lose half of your readership.
  22. Downvote
    ade towell reacted to BlueBomberTurbo in Introducing the EOSHD Tim Apple LUT for that washed out nationalist propaganda look   
    More like the silent majority. The ones that don't look like idiots when posting on forums/social media like the average Liberal does.  
  23. Like
    ade towell reacted to CaptainHook in Sigma Fp review (part 1) and interview - Cinema DNG RAW internal recording!   
    Ah gotcha.

    I'm not really directing this at you but just to anyone in general who isn't aware or wants to learn more, and I'm probably being a 'stickler for accuracy' here but obviously a sensor/camera has no inherent highlight rolloff as the sensor is linear (as close as practically possible with calibration) so highlight rolloff is mostly down to the dynamic range of the sensor, how the image is exposed and how the colourist chooses to roll off the highlights. All typical CMOS sensors will have "hard clipping" though, being linear capture devices.
    I only say this because I see a few people mention 'highlight rolloff' as part of a log curve or colour science or something when in that respect it is just a by-product of the log curve optimising the dynamic range of the sensor in the container its being stored in. It's still assumed the user will create their own highlight rolloff in grading (I'm speaking just of RAW and log captures, not "profiles" or looks applied in camera intended for display on Rec.709 devices).

    ARRI for example have a lot of stops above where they recommend middle grey be exposed for - due partly to their very large pixels and the large dynamic range they have - and when a log curve is calculated for mapping that dynamic range from middle grey to 940 (video white in 10bit where they map sensor saturation to in their log curves) you get a very flat curve at the top as it maps that range. When you flatten contrast that much it also appears to desaturate. I've seen some mention they believe ARRI purposely desaturate their highlights, but if they did that in processing before creating RAW files or LogC ProRes clips you wouldn't be able to inverse it correctly into linear for ACES workflows etc because processing like that is non-linear. They possibly do something like that for their LogC to Rec709 LUTs etc but people seem to attribute it to their LogC/RAW files too.

    For our cameras we map sensor saturation at our "native ISO" to 940 also, but for ISO curve's above we go into "super whites" to make better use of the bit depth available especially since we deal so much with SDI output (10bit) and ProRes 422HQ is common for our customers (10bit also). ARRI says ProRes 444 (12bit) is the minimum for LogC because they don't use the full range available. We may change that in the future but the caveat would also be you would need to use 12bit for best results.
    In theory you could expose a 10 stop camera/sensor so that you place middle grey at the second bottom stop, giving you 8 stops to create a very gentle highlight rolloff. You would just have VERY little range for the shadows. ?

    So long story short, the question I would suggest people ask is 'what is the dynamic range like compared to other cameras' as that will really tell you what kind of highlight roll off YOU (the user) can create for your preference with how you like to expose given the amount of shadow information you like to retain, tolerance for noise, etc.
  24. Like
    ade towell reacted to Wild Ranger in My film on Amazon Prime video, shot with dslr and film.   
    I finally released my last feature in streaming. It's now on Amazon's Prime Video here: https://www.amazon.com/dp/B07ZHRZ782
    It's a Drama/vengance/thiller type
    I little bit of history with this.
    I started to shot this film in the end of 2013 (yes almost 7 years). It took almost 3 years in production. It was shot with a couple of Nikons DSLRs and Super 16mm film. Since it's first screening in the Mar Del Plata International Film Festival in 2016, the film was going around thru some festivals and other screenings. It finally got a theatrical release locally (Argentina) in march this year. It's preaty hard to get distribution to some "kind" of movies.
    As you can see, this is a very looong process when you are a "newcomer" in the business, but you just to keep pushing.
    I still have in plan try to reach some other platforms. Only time will tell. 
  25. Like
    ade towell reacted to Dirk Gently in Canon 1DX III, FF 4k60p with 422 10bit internal   
    Main positives re S1H:
    1. Near-bullet-proof AF (Canon and Sony's video AF are coalescing in being as good as each other, only in slightly different ways)
    2. Internal Raw (S1H raw will be external to Atomos)
    Negatives re S1H:
    1. No IBIS [though Canon are said to be working on IBIS for an EOSR (X) version - who knows when this will come - in combination with lens OIS and 'digital' stabilisation].  1DXIII will have no IBIS; I only make this footnote in respect of the likely EOS R equivalent of this DSLR.
    2. Canon's Cinema raw lite (as per C200) is not a NLE-friendly codec; the ProRes Raw that will come from an S1H feeding a Ninja V (post the planned S1H ProRes raw upgrade) is likely to be much more pleasant to work with.
    A couple of posters have asked about the crop in 4k.  Given that the 4k crop of the 1DX Mk.II is 1.3, we can be certain that the 1DX Mk.IV will have a crop of 1.3 or less - it would be so wantonly alien to Canon's modus operandi to do something so disruptive on their 'most pro' body like causing pros to have to buy a whole new set of lenses by switching from 1.3x in an existing model to (say the crazy) 1.74x of the EOS R/5DIV in the next version of that same model.
    For me, the fascinating comparison - in terms of positioning - is with Sony.  The Panasonic S1H is a video-centric beast of wonder - very much the one-off space alien at the current time (and plaudits to Panasonic for producing such a model).  But where is Sony, the disruptor-in-chief or yore?  In the last 6 months they have produced new versions of their A9 and A7RIV cameras, both of which could have featured 10 bit (at least to a Ninja V) and more in terms of upgrades to the video specs.  Even if the compact dimensions of the A7 bodies meant that heat dissipation precluded internal 10 bit 4:2:2 at a decent bitrate, they could have provided this externally.  At the same time, the previously PR-savvy Sony let rumors run wild about the new cameras, such that the (real) improvements in other areas were overshadowed by the failure to provide even half of the expected video bit-depth, sub-sampling and bitrate improvements.
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