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Tim Sewell got a reaction from iamoui in Actually you can make the GH5 look very cinematic!
I've always been a little unsure about this never-ending desire to see detail in shadows. I mean - sometimes, if there's something in those shadows that you particularly want or need to see then - yeah - I get it. On those occasions you need to expose (or light if you're able) to reveal it. But most of the time I just can't se the point. Film, video, photography - even used journalistically they're not reality, where you can see into shadows with your human eyes; they're a stylised representation of reality where you, as the artist, get to use light and dark to convey a 3d scene into 2d, to model and sculpt, to draw attention and imply emotion. Seeing into a shadow is important for a sensor demo but for art - especially narrative art - it seems a particularly silly aspect of the whole to get uptight about.
FWIW I think the OP's teaser is a compelling and beautiful piece of art. His placement of black tones on the response curve is immaterial to that.
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Tim Sewell got a reaction from graphicnatured in Actually you can make the GH5 look very cinematic!
I've always been a little unsure about this never-ending desire to see detail in shadows. I mean - sometimes, if there's something in those shadows that you particularly want or need to see then - yeah - I get it. On those occasions you need to expose (or light if you're able) to reveal it. But most of the time I just can't se the point. Film, video, photography - even used journalistically they're not reality, where you can see into shadows with your human eyes; they're a stylised representation of reality where you, as the artist, get to use light and dark to convey a 3d scene into 2d, to model and sculpt, to draw attention and imply emotion. Seeing into a shadow is important for a sensor demo but for art - especially narrative art - it seems a particularly silly aspect of the whole to get uptight about.
FWIW I think the OP's teaser is a compelling and beautiful piece of art. His placement of black tones on the response curve is immaterial to that.
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Tim Sewell got a reaction from TheRenaissanceMan in Things I've Learned of Recent for the Camera
11. The long term benefits of sunscreen have been proved by scientists
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Tim Sewell reacted to Cinegain in Things I've Learned of Recent for the Camera
I'm so white, on certain shoots I've used myself as a reflector.
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Tim Sewell got a reaction from BTM_Pix in Things I've Learned of Recent for the Camera
11. The long term benefits of sunscreen have been proved by scientists
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Tim Sewell got a reaction from hansel in Things I've Learned of Recent for the Camera
11. The long term benefits of sunscreen have been proved by scientists
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Tim Sewell got a reaction from ntblowz in Actually you can make the GH5 look very cinematic!
I've always been a little unsure about this never-ending desire to see detail in shadows. I mean - sometimes, if there's something in those shadows that you particularly want or need to see then - yeah - I get it. On those occasions you need to expose (or light if you're able) to reveal it. But most of the time I just can't se the point. Film, video, photography - even used journalistically they're not reality, where you can see into shadows with your human eyes; they're a stylised representation of reality where you, as the artist, get to use light and dark to convey a 3d scene into 2d, to model and sculpt, to draw attention and imply emotion. Seeing into a shadow is important for a sensor demo but for art - especially narrative art - it seems a particularly silly aspect of the whole to get uptight about.
FWIW I think the OP's teaser is a compelling and beautiful piece of art. His placement of black tones on the response curve is immaterial to that.
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Tim Sewell got a reaction from kidzrevil in Actually you can make the GH5 look very cinematic!
I've always been a little unsure about this never-ending desire to see detail in shadows. I mean - sometimes, if there's something in those shadows that you particularly want or need to see then - yeah - I get it. On those occasions you need to expose (or light if you're able) to reveal it. But most of the time I just can't se the point. Film, video, photography - even used journalistically they're not reality, where you can see into shadows with your human eyes; they're a stylised representation of reality where you, as the artist, get to use light and dark to convey a 3d scene into 2d, to model and sculpt, to draw attention and imply emotion. Seeing into a shadow is important for a sensor demo but for art - especially narrative art - it seems a particularly silly aspect of the whole to get uptight about.
FWIW I think the OP's teaser is a compelling and beautiful piece of art. His placement of black tones on the response curve is immaterial to that.
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Tim Sewell got a reaction from Bioskop.Inc in Actually you can make the GH5 look very cinematic!
I've always been a little unsure about this never-ending desire to see detail in shadows. I mean - sometimes, if there's something in those shadows that you particularly want or need to see then - yeah - I get it. On those occasions you need to expose (or light if you're able) to reveal it. But most of the time I just can't se the point. Film, video, photography - even used journalistically they're not reality, where you can see into shadows with your human eyes; they're a stylised representation of reality where you, as the artist, get to use light and dark to convey a 3d scene into 2d, to model and sculpt, to draw attention and imply emotion. Seeing into a shadow is important for a sensor demo but for art - especially narrative art - it seems a particularly silly aspect of the whole to get uptight about.
FWIW I think the OP's teaser is a compelling and beautiful piece of art. His placement of black tones on the response curve is immaterial to that.
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Tim Sewell got a reaction from Bizz in Actually you can make the GH5 look very cinematic!
I've always been a little unsure about this never-ending desire to see detail in shadows. I mean - sometimes, if there's something in those shadows that you particularly want or need to see then - yeah - I get it. On those occasions you need to expose (or light if you're able) to reveal it. But most of the time I just can't se the point. Film, video, photography - even used journalistically they're not reality, where you can see into shadows with your human eyes; they're a stylised representation of reality where you, as the artist, get to use light and dark to convey a 3d scene into 2d, to model and sculpt, to draw attention and imply emotion. Seeing into a shadow is important for a sensor demo but for art - especially narrative art - it seems a particularly silly aspect of the whole to get uptight about.
FWIW I think the OP's teaser is a compelling and beautiful piece of art. His placement of black tones on the response curve is immaterial to that.
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Tim Sewell got a reaction from hyalinejim in Actually you can make the GH5 look very cinematic!
I've always been a little unsure about this never-ending desire to see detail in shadows. I mean - sometimes, if there's something in those shadows that you particularly want or need to see then - yeah - I get it. On those occasions you need to expose (or light if you're able) to reveal it. But most of the time I just can't se the point. Film, video, photography - even used journalistically they're not reality, where you can see into shadows with your human eyes; they're a stylised representation of reality where you, as the artist, get to use light and dark to convey a 3d scene into 2d, to model and sculpt, to draw attention and imply emotion. Seeing into a shadow is important for a sensor demo but for art - especially narrative art - it seems a particularly silly aspect of the whole to get uptight about.
FWIW I think the OP's teaser is a compelling and beautiful piece of art. His placement of black tones on the response curve is immaterial to that.
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Tim Sewell reacted to Mattias Burling in Fujifilm X-E2S
I guess, sensor doesn't really effect the images as much as other features in a camera for me.
I rather have a 5mp picture of Elvis than a 50mp of the door he went into.
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Tim Sewell reacted to Mattias Burling in Fujifilm X-E2S
Nice set. Fuji handles lowlights very well. Even if pushed the noise is pleasing imo.
Im getting the Xpro2 today.. cant wait
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Tim Sewell reacted to Mattias Burling in Fujifilm X-E2S
Cool, Fuji images definitely have some mojo in them.
I hope (know) you will enjoy it.
And so far I like the old 16mp sensor more than the new 20-something that sits in my XT2.
The even older 12mp is cool as well.
But the 56mm I unboxed yesterday gave it new look
Hopefully I will get an email today from a fellow interested in swapping his X-Pro2 for my X-T2.
Would be a deadly combo with the 56mm.
Fingers crossed
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Tim Sewell got a reaction from Mattias Burling in Fujifilm X-E2S
So any farmers in drought-stricken parts of the world - all you have to do is have me come to stay for a week and ensure that I have a new camera arriving.
However - the couple of test shots I took in my kitchen this evening have been enough to convince me that I'm going to like this little camera!
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Tim Sewell got a reaction from webrunner5 in On Hove beach
Actually I've just watched this on my bigger monitor for the first time and I can definitely see some nasty jaggies that I guess must come from the poor way in which the BMDVA handles the output from the C100MK2, which is (crappily) interlaced. I'll have to redo this with the files from the card that was in the camera.
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Tim Sewell got a reaction from Juxx989 in On Hove beach
So I've been back down to Philip Bloom's beach again (hah!) - this time with a tripod, BMDVA and Samyang primes at golden hour. Bloody windy, but a nice light. Hope you like it.
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Tim Sewell got a reaction from webrunner5 in On Hove beach
So I've been back down to Philip Bloom's beach again (hah!) - this time with a tripod, BMDVA and Samyang primes at golden hour. Bloody windy, but a nice light. Hope you like it.
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Tim Sewell reacted to Ed_David in Two Things I've Learned - Shooting 16mm Glass on the Blackmagic MIcro
Thank you guys! Kisses from me and Ebrahim!
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Tim Sewell got a reaction from Ed_David in Two Things I've Learned - Shooting 16mm Glass on the Blackmagic MIcro
Love it. And got caught up and watched Chatterhead and the Reese's thing. All great. What's that, the camera? Forgot about that about 3 seconds in - will go back and watch again. My boss hates you and I think I may get fired.
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Tim Sewell got a reaction from pablogrollan in Canon C200 and Panasonic rival camera to fight it out at CineGear Expo
I'm not in the industry, but I'd hazard a guess that if you're a TV station or an educational institution or any of many other types of organisation looking to buy 50 or 100 cams you'd always go Canon, Sony or Panasonic and avoid BMD like the plague (what? You buy 50 cams and have to send 25 back for replacement?). Likewise, if you're doing anything where serious money is involved at the kind of level at which this new camera is aimed you would (if you have any sense) go for the platform that offers robust, quality products for which replacements are available within 12 hours tops. BMD seem to make great cameras, with lovely imagery - but they're just nowhere near the QC and ubiquity of supply necessary when deadlines have to be met and crews standing around waiting for stuff can't be afforded.
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Tim Sewell got a reaction from Fritz Pierre in Canon C200 and Panasonic rival camera to fight it out at CineGear Expo
I'm not in the industry, but I'd hazard a guess that if you're a TV station or an educational institution or any of many other types of organisation looking to buy 50 or 100 cams you'd always go Canon, Sony or Panasonic and avoid BMD like the plague (what? You buy 50 cams and have to send 25 back for replacement?). Likewise, if you're doing anything where serious money is involved at the kind of level at which this new camera is aimed you would (if you have any sense) go for the platform that offers robust, quality products for which replacements are available within 12 hours tops. BMD seem to make great cameras, with lovely imagery - but they're just nowhere near the QC and ubiquity of supply necessary when deadlines have to be met and crews standing around waiting for stuff can't be afforded.
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Tim Sewell got a reaction from ntblowz in Canon C200 and Panasonic rival camera to fight it out at CineGear Expo
I'm not in the industry, but I'd hazard a guess that if you're a TV station or an educational institution or any of many other types of organisation looking to buy 50 or 100 cams you'd always go Canon, Sony or Panasonic and avoid BMD like the plague (what? You buy 50 cams and have to send 25 back for replacement?). Likewise, if you're doing anything where serious money is involved at the kind of level at which this new camera is aimed you would (if you have any sense) go for the platform that offers robust, quality products for which replacements are available within 12 hours tops. BMD seem to make great cameras, with lovely imagery - but they're just nowhere near the QC and ubiquity of supply necessary when deadlines have to be met and crews standing around waiting for stuff can't be afforded.
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Tim Sewell got a reaction from Tim Fraser in Canon C200 and Panasonic rival camera to fight it out at CineGear Expo
I'm not in the industry, but I'd hazard a guess that if you're a TV station or an educational institution or any of many other types of organisation looking to buy 50 or 100 cams you'd always go Canon, Sony or Panasonic and avoid BMD like the plague (what? You buy 50 cams and have to send 25 back for replacement?). Likewise, if you're doing anything where serious money is involved at the kind of level at which this new camera is aimed you would (if you have any sense) go for the platform that offers robust, quality products for which replacements are available within 12 hours tops. BMD seem to make great cameras, with lovely imagery - but they're just nowhere near the QC and ubiquity of supply necessary when deadlines have to be met and crews standing around waiting for stuff can't be afforded.
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Tim Sewell got a reaction from anonim in Comet Color for V Log L
This is nice, but will be inferior to my new LUT, on which I am working - the Western Union LUT, which will make all footage look like the majestic 70mm footage from David Lean's classic Lawrence of Arabia. Payment will be accepted by my uncle, Karim, behind his cafe in Luxor.