OliKMIA
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Posts posted by OliKMIA
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On 3/29/2019 at 2:58 PM, newfoundmass said:
That's really weird. Makes you think Leica doesn't want non Leica lenses on their cameras, and have asked their "partner" not to allow it. Perhaps it's how they intend to keep the Leica brand "premium?"
On one hand I can assume that a normal person would never buy any SL lens as soon as Sigma propose its optic in L-mount. I mean seriously, $5000 for cheap variable aperture zoom?!
But then I remember we are talking about Leica and I don't see Leica fanboys buying "vulgar" Sigma lenses...
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I don't understand the decision to go with the L-mount... What does Leica brings to the table aside from a name and the marketing argument? Their optics are nothing special for the price, their cameras are designed by Panasonic already. Obviously Leica is not ready to open its system.
Sigma is great but already has a foot in every system and they keep developing their own camera. Essentially Sigma, seems to be the default partner, they said yes to the alliance without committing much.
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When?
When Canon will put all those specs in the Cxxx line plus two or three generations of Cxxx cameras after that so I would say a good 10 years... And by this time, these specs will be completely outdated in front of the competition.
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Nice, +1 for the written articles versus videos. Looking forward to see all this content. Thanks.
- Andrew Reid, Kisaha, Stathman and 1 other
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21 hours ago, kye said:
Wow.. great stuff!
Can you share your workflow with us, or any tips?
Thanks. Basically
1. Shoot raw
2. Import the raw in AE, do some basic color correction there
3. Export in intermediate codec in 10 or 12 bits. Usually I like Cineform or ProRes
4. Throw the videos in my regular NLE (premiere or DaVinci) for final editing with the full resolution 10/12bits timelapse videos.
This is very intensive for the computer (raw + high resolution) so I usually stack my rendering and launch it at night before going to bed. But you can speed up the process by changing step #2. Instead of doing the raw import in AE, do a raw to TIFF conversion in LR which is much more efficient than AE, then import the TIFF in AE and it will render much faster without degrading the quality (16bits TIFF).22 hours ago, thebrothersthre3 said:Some pretty amazing stuff there. I was a bit floored on how you accomplished some of those shots than it occurred to me maybe a lot of it was shot with a drone maybe?
kye- nice timelapse, that's a nice viewTks, it's a mix of drone and timelapse/hyperlapse
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On 2/15/2019 at 8:36 AM, @yan_berthemy_photography said:
I am going to Island on May 2019 from ORLY airport in France,
I was wondering if putting my GH5 in the X-ray detector could affect its system, especially the 3 axis stabilization system and the GH5 sensor...
do you think this can create hot pixels or damage video recording system?
No. I fly 100k+ miles a year all over the world with my GH5 and other cameras and I never had that type of issue or heard about this from other travelers. This is a non issue.
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10 minutes ago, Andrew Reid said:
Well the 5D Mark III with Magic Lantern was the first to output 14bit video and nooooone of you are using it!!
We do
But the workflow is kind of horrible. This is a great news from Nikon and hopefully Panasonic will follow. I can't wait to see the powerpoint presentation from Tony, he's going to bust to many myths about it! Finally, I can film in RAW like a real pro. Fro would be so proud of me. ? -
Who gives a damn about canon here? The R was just a bad joke, this RiP will be a reheated 6DII with late 2000 sensor tech. It just becomes entertaining at this point to see how they continue screw up. But why would they change? They propose outdated products at premium price and they fly of the shelves. They make good margins and sales with minimal efforts so there is no reasons to stop. Good for them.
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9 hours ago, newfoundmass said:
YouTube
Puerto Rico has very lovely places, but the Puerto Rico you describe is very different than the Puerto Rico most Puerto Ricans live in. Things are still very bad after the hurricane, but it wasn't paradise before the hurricane either. Most of my friends there live very difficult lives right now on the island, which shouldn't be the case given they're American citizens living in an American territory.
True, I'm talking in the context of Fstoppers, when you already have a good business that you can manage remotely. In this case PR is a good choice but it's true that most locals struggles, the economy, public debt, and local government suck. On top of that, hurricane Maria was very bad.
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Kind of disappointed to be honest. The S1 seems to be a fine camera but it's the most expensive camera in this range with limited and expensive lens selection. There are no legacy lenses and nothing special on the specs sheet. The huge crop in 4k60 is a deal breaker for me.
I was expecting a FF GH5 and I just discovered a Z6/A7III +Looking forward for the review.
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Looking good. The S1 at $2,500 plus an extra for 10bits. Very similar to the GH5 and GH5s introduction prices but this is FF this time!
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Seriously this is great for them. I love Puerto Rico, a beautiful underrated island. Unlike many Caribbean places, the island is quite big with a lot of diversity. Not much tourism beyond San Juan and a few stupid places. You can totally find beautiful pristine beaches with 3 people standing there. There are jungle, coast, mountain, lakes, surf spots, rivers, etc. The food is delicious and the criminality is not bad for the region.
As a US territory, it has the best of both world: the relative good infrastructure and service of a developed country (highway, stores, emergency services) and the exoticism of a tropical island. No need to deal with customs, immigration and shipping tax. The island is very well connected by airlines with plenty of cheap flights that deserved many cities in the east coast (Atlanta, Charlotte, Miami, NYC, etc.).
Hell, I would go there to if could. They got plenty of tax incentive for their business and they probably got this mansion on the beach for the price of a 2 bedrooms in a major US city.
I did this short video showing the island lat time I visited, super cool place -
This is such a defeatist approach. Instead of looking at the market with a passive attitude and maintain profitability by recycling old tech as much as possible, they could create new trends. There is a huge market ready to be tapped for Vloggers and instagramers. These guys just need something practical and easy to use, that connects to their smartphones without roaming through menus for 10 minutes.
Yes Canon is behind in some areas most people don't need 16 stops of DR and 8k. Imagine a Canon Osmo with Canon colors and DPAF. Or some type of M50 with decent battery, 4k, and full smartphone App implementation to pair it with Instagram...No, Canon just extrapolates CIPA figures to forecast the number of 5Dmk4/T7i variants they can sell in this market... So yeah, it's not going to be pretty.
- iamoui and webrunner5
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23 hours ago, kye said:
Thanks.
I also got the impression that the 5K mode are h265 and the 4K modes are h264. This is a big deal for me, from what I read h265 gets similar image quality at about heal the bitrate of h264, so going from 150Mbps h264 to 200Mbps h265 is more like the quality of 400Mbps h264. In terms of the 422 vs 420 it's definitely a down-side, but it's offset by the extra bitrate, codec efficiency, and slightly extra resolution, so it should result in a net gain overall.
I'll have to do some trials with it.
30p limit doesn't phase me, I'm shooting mostly in 25p now unless something is obvious slow-motion material. Apart from the benefit of HLG, it also helps in low-light.
Once you've cropped and downscaled the image, is the overall "look" the same as the 4K modes?
It's true that h.265 at 200mbps should give better results than h.264 at 150mbps (IPB) and 400mbps (All-I) BUT you should compare that to 5k resolution.
- C4K is 8.8mpx (4096x2160 pixels)
- 5K is 18.8mpx (4992 x 3774 pixels)
Basically, a factor 2 between 4k and 5k. Therefore, even though the h.265 codec is said to be 50 to 100% more efficient that h.264, the 5k mode also has twice the amount of data (and the reasoning could go further, saying that C4k is only available in 24p whereas 5k has 30p).
That's the theory at least but no one knows exactly how Panasonic uses the codecs and compression between the two modes.
In the end, I really think that we are splitting hair here. Both modes are good, the GH5 is an amazing camera whether you use it in 4k or 5k. I haven't noticed any difference personally with grading, sharpness and noise.As for downscale keep in mind that 4k comes from full sensor readout anyway so there shouldn't be a major difference. One downscale is made by the camera, the other one by your NLE.
12 hours ago, Towd said:For my needs GH5 is just a great little workhorse to get footage to support a larger production or to generate high quality footage for any quick small budget or personal project. I love that I can just throw the camera in a bag without external monitors, gimbals, or other crap and shoot high quality footage from such a tiny form factor. There really is nothing else like it.
+1, that the main point. The GH5 is a fantastic camera for the price.
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Yeah, it's nice. I use it sometime, useful to reframe during interview. Gives you a lot of extra room but you must attach a very sharp lens otherwise you gonna loose resolution (something like the Sigma ART 18-35mm f1.8 will do)
If my memory serves me well, the 5k mode is h265 whereas all the 4k modes are only in h264.
The 5k is 10 bits 420 instead of 10 bits 422 in 4k so it might not be the best option for keying on green screen.5k is limited to 30p max.
I haven't found much downside except the codec that will put most computers under stress. But I use proxy so it doesn't matter much for me.
- webrunner5 and kye
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+1 for the Turkey but this isn't completely absurd neither. The launch price is below what it was with the a6300 ($1,000). The a6500 started at $1400 if I remember correctly.
So this new a6300 is the "cheap no IBIS" entry level segment while the next a7000 will come with all the fancy specs. That said, I doubt that Sony will fix the ergonomics and usability on this one... -
8 hours ago, jpfilmz said:
The part about not holding back on features might be believable but.....Magic Lantern RAW.
Plus, it doesn't explain why there's never been any Zebra, Peaking, or Log on 1DxII while it's been added on the 5D4, etc.
The C200 doesn't have an intermediate codec option and external recording is limited to 2K. This is pure crippling and has nothing to do with hardware.
As for the Tech versus video, of course you can't create a descent video camera if you design it with a shitty processor. Plus Canon cameras are always under-equipped but overpriced like the EOS-R.Most likely this 8K thing means Canon will come up at some point with a C300 or C500 R that will cost $10-$15k+
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I built my own monster PC a few years ago. My setup is still modern but I use proxies nonetheless because the PC can't keep up with complex 4k/6k project with a lot of effects and grading. I can't tell you for sure 100% if working with proxy files is as good as original file in terms of color correction but in my experience, I haven't noticed anything wrong in my workflow. I use proxy all the time for project with 4k resolution or higher.
The only limitation is that it may take time to render the proxies if you have a lot of files. Usually I launch the proxy rendering at night before going to bed and everything is ready in the morning. -
Internal HDD are kind of slow, especially for 4k raw footage. They are ok for archive but in this case you would need at least a Raid 1 (mirror) solution. For editing, they will be too slow. There is no ideal size and model brand. It all comes down to your need in terms of speed/capacity and budget. As for the brand, the two main players are WD and Seagate.
Check this link for more information, I explain the current offering and HDD options
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+1
Merry Christmas
GO Taiwan
In: Cameras
Posted
Excellent, I thought it was the latest Brandon Li video at the beginning