Geoff CB

3 hours ago, bjohn said:

The main caveat with subclips is that you have to remember to set the in and out points a little wider than what you actually need, otherwise you'll have no handles. If you forget to do this, no worries: just right-click on the subclip in the media pool and choose "edit subclip" and you can add handles that way. That's going to be time-consuming for thousands of clips though.

 

This is probably my absolute #1 issue with Resolve that needs to be fixed. 

Working on a long documentary in Resolve and previously did a 25 minute doc in Resolve. Really all about organizing the footage and tagging as you shoot in the media page. I've gone all in on resolve at this point for projects. Just got the editor keyboard and it is awesome.

18 minutes ago, Andrew Reid said:

Maybe Brian can chime in here, but I can't see such glass would fit FE-mount! Even for a micro four thirds sensor the 0.58x BMPCC Speed Booster glass extends a long way into the camera and almost touches the sensor.

This was the first thought that went through my mind when Bo-Ming mentioned it.

There are none on eBay apart from in Japan at the moment. And they're not cheap

Will have a look in my Berlin haunts and see if one turns up. Contax N glass is generally quite rare.

KEH has one for a grand. 

Anyway excellent interview Andrew, great to get insight into their process. Excited to see the results of this new booster for FUJI and the sigma CINE info was fascinating. 

Great I hadn't even heard of that 17-35 Zeiss and now I want one BAD. Also given it's performance and lack of vinyette maybe it would work mounted on the GFX100 andrew?

2 hours ago, PannySVHS said:

Some more awesome footage from our friend Ben Ericson. Too bad he sold it a few days ago. Great for the buyer though, I can say on the other side. Happy that I bought that camera. With the 1080p 5inch version of the Blackmagic video assist it is a beautiful looking and practical setup with even 60p. Took that inspiration from Bens setup.

Now I will wait for a video assist for little money, so I dont have to lugg around my big Atomos Shogun.

 

 

 

Make sure to consider the PiX-E5 to get 12-bit 4:4:4

Couple more with the Nikon 24-70 2.8G and Sony F3 Combo

Nikon 16-35 F4, 24-70 2.8, 70-200 2.8G (First Version)

These lenses offer a great range and color with a matched look. For used prices they are a great way to cover a huge zoom range with full frame coverage.

Do NOT go for the 17-35 2.8, overpriced with ugly distortion and bokeh.

Nikon 24-70 2.8G  on Sony F3

11 hours ago, deezid said:

Some pretty nice looking new footage

 

I thought the comparing to Sony bodies was an exaggeration, but WOW does that look like something shot on a Sony A7III that wasn't graded.  

2 minutes ago, Elagabalus said:

More footage. Nothing special so far.

Yeah that looks really meh. Don't understand why Jim doesn't hand one of these units to someone who knows what they are doing and create interesting visuals. 

Tamron 45mm with Formatt Supermist Black 1/8 Filter on Sony F3. 

What are your export settings in handbrake?

Use H265 at a much higher setting, if you export properly a H265 file compared to a similar size H264 file will always have higher quality. UNLESS you are using hardware encoding on AMD GPU's or older Nvidia cards, which give awful quality. 
 

1 hour ago, FranciscoB said:

disincentivize people to watch it on phones and smaller screens. 

 

This may be your intent, but in reality it will just annoy those who want to watch it on a phone.
I would export without black bars because your video will fit to the largest axis of the screen it's being viewed on. 

Get the Tokina 11-20. It's pretty close color wise and gets the wide angle you want.

I'm assuming you've already tried to export his timeline as an final cut XML?

16 hours ago, Super8 said:

 

I don't buy the "I'm such a perfectionist so I don't direct".  That's a cop out because the director couldn't do it well. 

I've directed 3 times, and each time I cannot let the project go. I cannot give myself a deadline. I need a producer or someone above me to tell me to STOP. I will tweak something until I hate it. Hating myself the whole time. I am hyper critical of myself when I'm in charge of everything.

I work far better, and have a much better level of mental health, when I'm working on someone else's project.

Does this mean I'm a bad director? Yes. Yes it does, which is why I don't enjoy it. It is why I'm not a director, and why not everyone should be a director.

Yeah the complete lack of 4:4:4 is frustrating. Even if it was just in 1080p. I adore the 4:4:4 from the Ursa.

1 hour ago, Kisaha said:

 

4) the last, a lot, years, I have met a lot 22-25 year old kids introducing themselves as "DoP" or "director". I have never heard, "I am trying to do camera", or "I would like to be part of a production".

 

This is a huge aspect for a lot of people around me. I've also constantly been asked why I don't want to direct myself. The answer is that I hold people around me and myself to a standard that I can never reach, and never ever enjoy the process of properly directing.

I wished I had realized that sooner. 

I'm trying right now to probably do more color grading and being a cinematographer. But honestly, I love doing color work more than anything, and there are very few aspiring colorists compared to the huge volume of aspiring directors and DOPs.

I think far more people would find success if they follow a niche.

Another huge common occurrence are DOP's that are just trying to be directors, and step on the directors toes on set.

3 hours ago, Stab said:

Hey guys,

I want to build a affordable set of 'cine lenses'. I don't mind if they are not actual cine lenses, but I would like it if they are at least of similar size and have similar color reproduction. They do have to cover a full frame sensor though as I am using a Panasonic S1.

I have a few old nikkor AI lenses, which actually fit the bill. The individual lenses are going for between € 150 and €350 on ebay and they have a similar look to them. Also, they all have a filter thread of 52mm and a fairly long focus throw. And they are optically pretty good!

The only thing I don't like about them is that they are very small and fiddly. I like larger lenses. It's not comfortable to focus with your hands just 5-10 cm from the camera's mount.

At the moment I have the 28mm f2.8 / 35mm f2 / 50mm f1.8 / 105mm f2.5. I'm contemplating adding the 20mm f2.8 and the 85mm f2 to make the set 'complete'. But I would like to know if there are any alternatives

What other options are there or what can you recommend? I would like to keep the total sum under € 2000,-  to 2500,- for 5-6 lenses.

Thanks!

 

Only thing I can think of is a set of Rokinons if you want larger glass. 

3 minutes ago, Video Hummus said:

 

What’s the performance like? I wonder if resolve’s implementation is GPU accelerated?

It is GPU accelerated, I get Realtime playback in 4K on my GTX 2080. Just did this quick test to show how effective it is. 

It's not perfect, but it's so close that 99.9% of people wouldn't be able to tell the difference. Titles go faster than I expected but you get the gist. 
 

The one in resolve is  close enough that I'm not going to use ND's for shots on my Z6 anymore.

Also for VFX work results are far better when you pull a key off a high shutter speed and then add the motion blur in post. Makes cleaning up hair work far easier.

Anyone see that the anamorphot 65 is $600 off right now? I'm assuming it's gigantic elements would cover most small lenses. Wish someone was renting the thing so I could try it out. 

1 minute ago, Andrew Reid said:

Nope

Nope

Nope!

Nope

I'll give you a clue...

8bit codec.

 Nikon Z6

2 hours ago, Django said:

SOOC or graded?

This + It's a low dynamic range image with no skin tones/sky/plant life in the shot. We don't even have the motion of the image to aid in telling what camera it is. It could be shot with anything.

1 hour ago, BTM_Pix said:

Well, inspired by your post, I thought I might sort out a setup today.

Nowhere on the same level as your ones but here is my very compact L mount full frame RAW anamorphic setup.

Taking lens is the Sigma 45mm and the (currently) less than ideal anamorphic element is provided courtesy of a pretty fucked SLR Magic Anamorphot-40 1.33x Compact.

I got the Anamorphot-40 very cheap used about 18 months ago and it literally fell apart like a clown car the second time I tried to use it and as you can see it hasn't fully been re-constructed as yet !

Obviously, when picking up the separate parts of it I managed to get barrel grease all over the elements (front and back of both of them no less) so it needs a proper clean as well as a few more screws.

I think I might persevere with that though as I think it will be worth the effort as even in its current smeary condition its got some promise from the couple of quick tests I did.

 

That is the best images I've seen from that adapter, everything else I've seen has been hot garbage.

Well this stopped me buying something. So mission accomplished sir. I thank you. 

2 hours ago, Video Hummus said:

They most likely share a sensor or sensor tech from Canon.

 

I would take any DR numbers from manufactures with a large pinch of salt as they always seem overly optimistic.

Maybe technically there is 16 stops but they aren’t “real” perceived stops. Most are just hovering an ass hair width above the noise floor.

The C300 Mk3 is probably going to come in around 13 stops like the C500, which is quite good (S1H is 12.7; very impressive showing from Panasonic for its form factor!)

It has been said the Komodo is using a Canon sensor, which is probably using a larger variant of the sensor in the C300. It’s also rumored to have PDAF.

So now we have a RED Camera with:

REDCODE RAW, PDAF Canon sensor.

Very attractive combo if RED can keep their price down below $8,000 dollars. I am not optimistic as the price seems to rise with every tease and with every “feature” they add.

We’ve all heard it but if Panasonic would have added Phase Detect AF to their S1H it would have been a mega hit for $4,000! All of it in a modern mirrorless form factor with a versatile screen and IBIS and weather sealing.

I much prefer S1H size over Canon C100 or the Komodo which needs a butt load of expensive accessories to work. No thanks!

No Canon cripples. No RED accessory-money-pit-of-hell.

They missed an opportunity there.

The sensor in the C300 Mark 3 is explicitly stated to be a dual gain sensor similar to the one found in the Arri Alexa, which creates a much cleaner image compared to even the C500. I highly doubt the komodo will come anywhere close to it's performance, as that would significantly undermine RED's higher end cameras.