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Geoff CB

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Everything posted by Geoff CB

  1. Pretty much everything I need in a small package. Really has everything I could want. Unlimited 4K 10-bit Log recording. Also really appreciated them showing the rolling shutter. Just holding my breath for the cost.
  2. A lot of it does come down to expense and time. 1080p Prores is easy to process and has plenty of detail and especially color information for most people. Almost any computer can process it. Manual focus lenses are cheaper than AF lenses. And older ones are plenty sharp for most work. Super 16 zoom lenses are cheap and have a very wide range making it easy to get coverage without switching lenses. They are also easier to focus with a deeper depth of field. Shooting slower and more deliberately means you don't have to shoot as much. People gave me some s*** for buying a old Sony F3. I bought it to save me time on set. I don't have to rig it up like a DSLR. I don't have to worry about HDMI's breaking, the tripod plate coming loose, or the battery running out in the middle of a take meaning I have to take my rig apart. I put it on the tripod, put a battery in it, and I'm good to go. I think the reason a lot of people are going back to these cameras is because they know them, it's a pleasing image to their eye right out of camera, clients aren't demanding 4K, and it saves them time achieving the look they want which means it saves them money in the end.
  3. Only use 2020 if your grading for HDR. If you're delivering for YouTube or normal broadcast stick to rec709. For LUTs select the format that you captured in. For example if you recorded in HLG you can use a LUT for 2020 footage. IDTs are for colors space transforms. For example if you're going from as log format for Canon log format to rec709 or HDR.
  4. Unfortunately that is not possible unless you specifically design the sensor for it like the 12K
  5. The thing is if Nikon wants to make an impact they have to BEAT the specs of their competition, matching them is not enough to gain back market share.
  6. Your right. I should not have down-voted that comment. Did it because of hijodeibn's recent extremely negative posts in several threads on the 12K. I read his "forbidden word in this community (Ke** Ameri** Gre**)" as a way to start an argument in the thread. I'd much rather have a discussion, and my downvote was an inappropriate knee-jerk reaction. Hope to continue to see you in the forum.
  7. A big part of it was that in the early days of ARRI if it was being used it was being professionally color graded.
  8. It's always a balancing act between between being accurate / being pleasing to the eye / being "filmic". Even in the video above the guy critiques a neon green power tool not being true to life. Well, when would I ever want that color to be the focus of my footage? One of the aspects of digital sensors is that green from plants always seems to bright, and I usually use a qualifier to adjust that if it's part of my shot. Things shot on film usually have very dark greens. So I'm glad for the non-accurate change. But again, that's me personally. What I prefer for narrative and interviews, someone doing nature documentaries or travel videos might not like that change.
  9. Honestly they are the target audience. They are RED users that use the resolution heavily in their edits for cropping and zooming, also have been heavily critical of the RED ecosystem in the past. Big reasons they are switching: - In camera backup to 2 cards. - Ability to use common media instead of RED mags, which is HUGE for their storage costs. - Every editor in their office now has a fully featured copy of Resolve.
  10. The problem with doing that is it put them head to head with the FX9, which as excellent AF. They gave themselves a different category to avoid direct competition in the film space, additionally they put themselves as a leader in one specific area of the market that benefits their longstanding area of expertise, namely live television production.
  11. There is, a big part of the presentation was that they have RAW options that don't crop in. So 4K and 8K have no crop, that is a huge selling point on this camera I think.
  12. This would have been a mistake except for one thing: the ability to do 4K RAW on it makes it awesome and usable on most productions. 12K is there in case you need it.
  13. I think he's just nervous, the specs on this camera are a bit of a gamble.
  14. Ability to change resolution in RAW is huge. 110 FPS at 8K.
  15. 12K Holy shit! They've lost their mind. Huge problem with this for their workflow though, Resolve chews VRAM at 4K and up, so to process these files your gonna need a VERY expensive video card.
  16. The video assists are interesting but given how awful the 12G was for input delay I will not be trusting these unless the delay is fixed.
  17. What would be the point of it if you couldn't crop into the center for MTF lenses? Don't really see the point to use the mount when there are more AF adapters for E-mount and will be more future lens choices for L and Canon R. I would love a Z-mount but I know that doesn't have a shot in hell of happening.
  18. Hope it's full frame and that they say that they're going to be part of the L-Mount alliance
  19. Slog 2 is a very weird codec in my opinion, it's only advantage is that it does pretty well in 8-bit compared to Slog-3. S-log and S-log3 are easy to grade with just regular adjustments, S-log2 really needs a color transform to work with properly.
  20. An insanely good price for cine glass, especially for FF coverage. Far better than the cheaper options.
  21. The ability to match the color easily and swap the lenses is more important than the bit depth, and I'm someone who is obsessed with bit depth. Recently was shooting a short and needed a gimbal shot to match my Sony F3, I shot on a friends A7s instead of the Z6 because of the ease of matching the two, because I knew the editor wasn't going to do an intense grade in post.
  22. Make timeline and Timeline and output color space should be Rec. 709. Data levels for web delivery should be set to video. On the timeline make sure each clips data levels are set to FULL. Use sharpening instead of superscale, superscale internally raises the resolution, when you try to use x3 superscale it raises the internal resolution to 8K which is why your constantly running out of video memory. Use x2 max before sharpening.
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