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Posts posted by BenEricson

  1. Thousands of professional videos done with GoPro, GH4, Dji cameras, thousands of Professional videos...........


    *With all due respect, enthusiasts seem to do too much talking and have no idea how things work in the "real" world

    ​This really comes to mind when I think of the C100 vs A7S/5D raw etc. The canon c100 is a workhorse and looks beautiful with little to no post work. 

  2. Nice man! Looks really good. I own a 26mm f1.1 that I use with my bolex and the image is insanely sharp on my pocket camera… It beats the sigma 18-35 by a mile. I'm not sure what magic happens in that glass but it's amazing. It also goes for 1200 used on ebay, so there's definitely a price to quality ratio. 

    There is a lot of potential with that s16 glass.

  3. ​I have to disagree here. The pocket has a little bit more dynamic range, but that's it. There are so many problems with the V1 Pocket Camera. Moire and aliasing was awful. Black grids appearing when a light flare hits the side of the lens. Unpredictable. On top of that low light sucks, as well as battery life etc.

    I was denial for a few months but finally decided to get rid of my BMPCC and just buy another GH4.

    Now, the new Micro Cinema Camera might be different. I hope so. Waiting to see some footage.

    ​I agree that for an all around camera, the GH4 is better, but well shot pocket camera footage still blows away the GH4 footage. I was on the fence for a while, but glad I never sold that camera. I just can't get over how good well shot pocket footage looks.

    Did you own the speed booster, sigma 18-35? 

    Edit: I remember you saying you bought a c100mk2. I would prefer a mk1 or mk2 over the gh4 for reliable commercial use.

  4. The VAF-BMC-MFT is also $385 not $300.  Probably more like $400+ with shipping... Not cheap.

    Global shutter on the new Blackmagic Micro Cinema Camera is pretty awesome though.  I really can't wait to see footage from that thing.


    ​Yeah, but twixtor/the amount of time you will spend with processing will end up costing you a lot more than 400 bucks. 

    I can't agree with any of the comments saying twixtor is a great alternative to 60p. Believe me, I know what twixtor is and use it regularly. 60p is just a lot better.


    ​Let's wait if the biggest drawback - *moire* - has been taken care of in this camera. The rolling shutter is not that promin

    The biggest drawback for me was definitely the lack of 60p… Moire is only a problem in certain situations, like when using the metabones adapter in raw. They make a 300 dollar filter that supposedly works great.  

    Adding 60p makes this camera a lot more well rounded...


  6. It's not a conclusion, just an off-hand theory. Why spend money developing the DSLR line with features people have been clamoring for years for, when Magic Lantern will do it for you for free, with no need even to budget for liability and support for these features.

    That, and how aggressive they've been towards the ML community regarding the Cinema line. Makes me wonder what those cameras really might be capable of- if the technology to shoot 14-bit raw with 12/14 stops of dynamic range at any aspect ratio/resolution you please, up to HD, with full scopes, focus peaking, waveforms, etc- is available in a camera from 2008.

    ​You can do waveform monitoring on the 5D3 Raw?

  7. Awesome. I actually just got a C100 Mark II partly b/c of the Dual Pixel AF. I needed a camera that was "pick-up-and-go" with a good image for about half of the jobs that I do. The Dual Pixel AF is unbelievable! Good to see Magic Lantern working hand-in-hand with it.

    ​The c100mk2 is an unbelievably easy camera to work with. Image looks great right out of the box.


    Andrew, this is awesome. I love the articulating screens on these cameras. 

    Can the 70d raw do the 60p for bursts?

  8. I started creating a tutorial for good skin tones on the A7S- higher priority projects have taken my time. There a many ways to get good skin tones on the A7S- creating custom profiles can help, though stock PP6 can work very well as is. Slog2 gamma with Pro or Cinema also works well. It is possible to get good skin tones with the A7S using Resolve and no LUTs at all: everything from scratch (scopes are indeed helpful). Casey posted some test images shot in Slog2 on dvxuser. Here is the thread: http://www.dvxuser.com/V6/showthread.php?334239-a7s-skin-tones-slog2-vs-pp-off-(shogun-4k) (IIRC, account login required to view images). Here are the stock Slog2+Sgamut images:

    ​These look nice, but the model, amount of make-up, and the lighting make a huge difference… The amazing thing about the Canon 5d, etc, is the how the skin seems to always look, in just about any setting.

    Locking a nice WB and exposure obviously helps tremendously. 

    jcs, do you own the pocket camera? That colors that camera is capable of producing with proper grading is just amazing.

  9. I would just comment on the shirt, looks either clipped or very near. Maybe lower the gain and raise the gamma. 

    Honestly, I would shoot an interview with a 5D/proper white balance, low contrast and color, and try to match that. If you did a side by side, I feel like that would be a great reference. If you're anywhere close to that, then you know you're doing it right.

  10. So now it's been about 2 years since I started messing with Resolve and time after time, I find that Visioncolor Impulz luts are the best tools to get any footage - from DSLR to Alexa to look like film and in my eyes to look the best.

    Their webpage has an incredible manifesto about why using a LUT is good - is cool - is acceptable - and I couldn't agree more:


    The other luts I tried aren't - and I've tried them all - well the big ones and the new one but I don't want to mention their names because I don't want to say anything negative but the popular one has too much magneta in the highlights and has weird film pattern that looks artificial and the other one that just came out just has like 10 luts - not customized per each camera's view of what is acceptable for a film stock.

    ​It seems like these work well in the right setting, but people should really try to create their own looks as well. Half of the bmpcc pocket footage stuff looks terrible because of the LUTs applied. 

    The captain hook LUTs are free and actually provide a really nice base. 

    Just to clear it up, all of these LUTs still look like digital that is trying to look like film. I guess that creates a sub category. 

  11. Wow, they're killing it are BM. As thers have said a 4K version as well next year ... I know a few people who have been wanting monitors for 1080p recording and put off by the prices. This will sell like crazy, especially if it will downscale 4K from GH4s and NX1s.

    ​Grant said it will do 1080/60p, which is awesome for people who own the A7S and want that clean 1080p/60.

  12. ​I think he must've interpreted 'You can simultaneously record full 10-bit 4:2:2 HD files on the Video Assist and capture full resolution 4K RAW digital negatives on your camera!' as such. But I'd say nothing points in the direction of it actually taking 4K signals and downconverting it, so my guess would be that that particular statement is false and it in fact does not do this, it just takes monitoring signals that are conform the ones described under SDI/HDMI Video Standards.

    - Hum, well. It actually does say 'You can view any SD or HD format and, since it includes a 6G-SDI connection, you can even monitor Ultra HD!', although that seems to go against the specs saying '1 x SD/HD/3G-SDI'. But maybe after all? :P

    ​Grant Petty confirmed that it will convert down to 1080p in the monitor. This is in one of the No Film School converge pieces, regarding the Black Magic Micro Cinema Camera. 

    Mentioned in the video below.


  13. "The fact is when Shane Hurlbut recently tested a modern Kodak film stock he found digital more emotionally pleasing in every way. The fact is that the modern film stocks are more clinical than the older, discontinued ones. Yet most people don’t see it that way."

    First time posting here. This site is wonderful resource. I agree with a lot of you have to say, but I can't agree with this one.

    The film example looks like boyhood the C300 looks like a commercial spot. The film literally makes the talent look better. How could you or Shane find this to be a better image. I think you're fumbling here, because you focus on the specs on everything. You zoom in on 4k images and dissect every aspect of a camera. 

    If you're on the pro level, and you can get 95 percent of the quality with digital, you will probably still choose to shoot film. 

    What are your opinions on the different guages? 16mm and 8mm certainly capture a very unique look. This doc shot on 16mm looks beautiful in every way. It just seems more believable to me. I watch so much commercial stuff shot on the 5D, this is such a nice break. If you have the money it seems like the way to go. Obviously different tools for different jobs. 


    I still feel that video with a film effect, still looks like, video with a film effect... 




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