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BenEricson

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  1. Like
    BenEricson reacted to ghostwind in OPEN AI VIDEO TECH ONE YEAR LATER...   
    There's a difference between ignoring it and obsessing about it like in this thread and in the news in general. Too much obsessing about the unknown is a waste of time. Be open about it, changes, educate yourself, but no need to panic and put things "on hold" because the "AI" monster is coming.
    As an example, I read some folks talking about leaving this field and going into IT, and I found that a bit ironic, as a lot of those jobs will be automated pretty fast. To me that's panic, not rational thinking.
  2. Like
    BenEricson reacted to Evgeniy85 in OPEN AI VIDEO TECH ONE YEAR LATER...   
    Jesus Christ these youtubers are insufferable! The thing hasn't even come out yet but it already destroyed stuff? Gets a click I guess. 
  3. Like
    BenEricson reacted to PPNS in OPEN AI VIDEO TECH ONE YEAR LATER...   
    theyre marketing themselves in a way that makes the tech seem special to try and gain infinite investor money just like any other tech company does
  4. Like
    BenEricson got a reaction from PannySVHS in Some really lovely cinematography   
    Fair. He does. I guess my point is that driving around all night capturing footage alone can be challenging. Most people love the safety and convenience of the daylight hours. 
  5. Like
    BenEricson got a reaction from Ty Harper in Getting things right in camera   
    Years ago, I used to work on these Walmart commercials. They were all shot on the Canon 5DMk3 set to Auto WB. Every market all over the country shot on the same camera, lens, and settings so the commercial spots would always look the same. It also sped up post product. EOS Standard I think? Or whatever was available on that camera. It's been a while. 
    You will get the most accurate skin tones if you do a proper manual WB off of white. I sometimes use auto WB to read the scene, then lock my WB to whatever it tells me is correct. 
    For studio stuff, I really like to shoot with baked in color, typically EOS Standard. I will often tweak the color matrix based on the setting but that profile on the Canon Cinema cameras is really really nice in my opinion. It gives you a very honest reading of the scene. Really nice for lighting fill ratios on set etc. 
    Shooting with baked in color doesn't mean you can't grade or tweak the image. You can still shoot plates to control a blown out window away from the subject, etc. You can also add vignettes or tweak colors. I just find this to incredibly accurate and better than most people can do without a proper color workflow.
  6. Like
    BenEricson got a reaction from kye in Getting things right in camera   
    Years ago, I used to work on these Walmart commercials. They were all shot on the Canon 5DMk3 set to Auto WB. Every market all over the country shot on the same camera, lens, and settings so the commercial spots would always look the same. It also sped up post product. EOS Standard I think? Or whatever was available on that camera. It's been a while. 
    You will get the most accurate skin tones if you do a proper manual WB off of white. I sometimes use auto WB to read the scene, then lock my WB to whatever it tells me is correct. 
    For studio stuff, I really like to shoot with baked in color, typically EOS Standard. I will often tweak the color matrix based on the setting but that profile on the Canon Cinema cameras is really really nice in my opinion. It gives you a very honest reading of the scene. Really nice for lighting fill ratios on set etc. 
    Shooting with baked in color doesn't mean you can't grade or tweak the image. You can still shoot plates to control a blown out window away from the subject, etc. You can also add vignettes or tweak colors. I just find this to incredibly accurate and better than most people can do without a proper color workflow.
  7. Like
    BenEricson got a reaction from John Matthews in Getting things right in camera   
    Years ago, I used to work on these Walmart commercials. They were all shot on the Canon 5DMk3 set to Auto WB. Every market all over the country shot on the same camera, lens, and settings so the commercial spots would always look the same. It also sped up post product. EOS Standard I think? Or whatever was available on that camera. It's been a while. 
    You will get the most accurate skin tones if you do a proper manual WB off of white. I sometimes use auto WB to read the scene, then lock my WB to whatever it tells me is correct. 
    For studio stuff, I really like to shoot with baked in color, typically EOS Standard. I will often tweak the color matrix based on the setting but that profile on the Canon Cinema cameras is really really nice in my opinion. It gives you a very honest reading of the scene. Really nice for lighting fill ratios on set etc. 
    Shooting with baked in color doesn't mean you can't grade or tweak the image. You can still shoot plates to control a blown out window away from the subject, etc. You can also add vignettes or tweak colors. I just find this to incredibly accurate and better than most people can do without a proper color workflow.
  8. Like
    BenEricson reacted to Jedi Master in Getting things right in camera   
    I use a Sekonic C-500 color meter. It reads directly in degrees Kelvin.
  9. Like
    BenEricson reacted to PannySVHS in Getting things right in camera   
    Coolest thing is a well lit set making many cameras look good. Some ooc looks are still lackluster. I found the G6 had to be graded, no matter what. But what 709 beauty it revealed. It was only after some grading tricks that I built into a powergrade and later into my first own worthwhile lut creation. We should or could do an 8bit ooc challenge. But noone has been liking a challenge for years now:(
  10. Like
    BenEricson got a reaction from PannySVHS in How does a C100 Mark II or C300 OG hold up against modern 10 bit codecs   
    OG C300. Looks amazing. A C300 and a proper colorist / subject will give you much better results than a C70 or C300 Mk3 without.
     
  11. Like
    BenEricson got a reaction from Django in How does a C100 Mark II or C300 OG hold up against modern 10 bit codecs   
    OG C300. Looks amazing. A C300 and a proper colorist / subject will give you much better results than a C70 or C300 Mk3 without.
     
  12. Like
    BenEricson got a reaction from Kisaha in How does a C100 Mark II or C300 OG hold up against modern 10 bit codecs   
    OG C300. Looks amazing. A C300 and a proper colorist / subject will give you much better results than a C70 or C300 Mk3 without.
     
  13. Like
    BenEricson reacted to Kisaha in How does a C100 Mark II or C300 OG hold up against modern 10 bit codecs   
    As I said before, it is a "fast turn around" camera, with a weak codec, but that's the beauty of it, the simplicity. Stick an 18-135 or an 24-105 and shoot all day..it was a workhorse camera of the "plain"  professional. Ready on its bag, ready to shoot in 7 seconds and for a full working day 
    If you take care of the basics, the camera does the rest of the magic mixing and produces an image that punches much above its weight.
    I am still waiting for a similar workhorse camera. Just put some modern internals on the same body Canon, that's so easy..
    I wish they C70 was that camera, but unfortunately it doesn't feel the same.
  14. Like
    BenEricson got a reaction from tupp in Deciding closest modern camera to Digital Bolex look   
    It really depends what people define the "film look" to be. The OG pocket gets close, but the Jello ain't it.
    The HPX and HVX will probably become more popular as the years go on. Especially for things like mixed medium etc. It has deep depth of field, but it has the caked on color look due to the CCD sensor. There's also nice look noise and really nice baked in looks.
    You can also just shoot film... There's more resources than there have been in the last 10 years. You can have processing and scans turned around in a few days.
  15. Like
    BenEricson got a reaction from mercer in Bitrates. Where do you draw the line?   
    There have certainly been advances in the last few years. The LONG GOP 4k @ 160mbps looks so damn good on the Canon C70s. It's pretty hard to tell the difference between the two.
  16. Like
    BenEricson reacted to TomTheDP in Bitrates. Where do you draw the line?   
    I think it has more to do with processing than the codec itself. Of course motion will generally look better with ALL-I vs Long GOP due to the nature of the compression. But everything else comes down to processing. 

    I would think aside from the manufactures choice in processing that H264 ALL-I at 200mbps in HD would match Prores 422 HQ at HD which is around 200mbps. 
  17. Like
    BenEricson reacted to kye in Tips for dealing with rotation when using OIS (OIS major flaw?)   
    I'm not being deliberately problematic, just stating why the answers provided don't really suit me and how I shoot.  That's fine - not all solutions have answers (if they do then I want the 100g Alexa Pocket for $100!), but you don't find out unless you ask - sometimes you ask the question and someone comes up with an answer you hadn't thought of or didn't know about, so it's worth a bit of a discussion.
    I'm perhaps putting more emphasis on this than what people might think is reasonable, but it's actually the tip of a large question for me.  Currently I shoot with IBIS cameras (GH5, GX85) in auto-modes but am actively considering moving to a more cinema-camera style of shooting without IBIS or auto-modes when it's time for my next upgrade as that can get me a bump in image quality, so there's many thousands of dollars in camera bodies / lenses / accessory purchases that depend on things like me being able to get acceptably stable shots in windy situations.
    In this sense my problem isn't "how do I get good stabilisation with an OIS only lens", it's really "does OIS give me stable enough shots, in the situations I encounter, with how I shoot".  
    Not so useful in conditions so windy I can't hold the camera steady with both hands! 🙂 🙂 
    I think you nailed it by talking about being self-conscious, which definitely applies to me.  If I could change how I feel then I would do it immediately, but that's not how it works!  Getting older is gradually making me give less shits, but I'm not there enough yet 🙂 
    In terms of running into Karen's, I've found they're everywhere in terms of giving you dirty looks and giving you the non-verbal equivalent of the viral videos you see, which just makes it not worth it for me.  That's why I like to do what I can to fly under the radar and not trigger it to begin with.  I also shoot a lot in places you're not allowed to be pro in, like museums and galleries and all the other types of private spaces that hold all the interesting things.  You never know when you're going to run into a power-hungry security guard who is going to teach you a lesson - unfortunately this seems to be the majority of security guards (although it probably isn't the case it certainly seems like it).
  18. Like
    BenEricson got a reaction from Juank in Alexa Classic vs RED Komodo   
    Agreed. I was skeptical of the Komodo until I used it. I really love the footage that camera produces. I also love the noise and the motion. The look with the Vazens is really nice.
    I also own the C70. I use it for a lot of corporate jobs. The face tracking, NDs, built in audio, 4K 120 are all really nice. I've used the RAW a little and it still is not close to the Komodo in terms of color depth and overall IQ. The motion is really bad. To be honest, I use it more, it makes a lot of money, but not really a fun camera. Means to an end.
  19. Like
    BenEricson got a reaction from kye in Tips for dealing with rotation when using OIS (OIS major flaw?)   
    I don't know what to tell you man! Acting like you're against shooting "eye level," when literally every still photograph, every piece of 16mm, Super 8 etc, is all shot from eye level. You seem to have issues with literally every practical solution!
    The "head on a swivel" type movements you can get with an EVF create much more interesting footage than swaying from the hip.
    I think you need to prioritize the stability of the camera over the exact camera height. The Bolex 16mm cameras ergonomically are far better than other cameras I use regularly. You can use your body to get lower for lower angles etc.
    To summarize, there's really only a few solutions that can solve your problem. The more you add, the smoother your footage will be.
    - More Weight
    - More Points of Contact (EVF / Pistol Grip.)
    - Wider Lens
  20. Like
    BenEricson got a reaction from Django in Alexa Classic vs RED Komodo   
    Agreed. I was skeptical of the Komodo until I used it. I really love the footage that camera produces. I also love the noise and the motion. The look with the Vazens is really nice.
    I also own the C70. I use it for a lot of corporate jobs. The face tracking, NDs, built in audio, 4K 120 are all really nice. I've used the RAW a little and it still is not close to the Komodo in terms of color depth and overall IQ. The motion is really bad. To be honest, I use it more, it makes a lot of money, but not really a fun camera. Means to an end.
  21. Like
    BenEricson got a reaction from webrunner5 in Tips for dealing with rotation when using OIS (OIS major flaw?)   
    I don't know what to tell you man! Acting like you're against shooting "eye level," when literally every still photograph, every piece of 16mm, Super 8 etc, is all shot from eye level. You seem to have issues with literally every practical solution!
    The "head on a swivel" type movements you can get with an EVF create much more interesting footage than swaying from the hip.
    I think you need to prioritize the stability of the camera over the exact camera height. The Bolex 16mm cameras ergonomically are far better than other cameras I use regularly. You can use your body to get lower for lower angles etc.
    To summarize, there's really only a few solutions that can solve your problem. The more you add, the smoother your footage will be.
    - More Weight
    - More Points of Contact (EVF / Pistol Grip.)
    - Wider Lens
  22. Like
    BenEricson got a reaction from webrunner5 in Alexa Classic vs RED Komodo   
    Agreed. I was skeptical of the Komodo until I used it. I really love the footage that camera produces. I also love the noise and the motion. The look with the Vazens is really nice.
    I also own the C70. I use it for a lot of corporate jobs. The face tracking, NDs, built in audio, 4K 120 are all really nice. I've used the RAW a little and it still is not close to the Komodo in terms of color depth and overall IQ. The motion is really bad. To be honest, I use it more, it makes a lot of money, but not really a fun camera. Means to an end.
  23. Like
    BenEricson reacted to Django in Alexa Classic vs RED Komodo   
    @TomTheDP Interesting video! I'm a bit late here sorry but after working with Komodo footage for the first time the other day I think I am seriously considering this camera for my high-end cine needs. I love the R3D raw options (skin contrast, highlight rolloff etc) and how ISO works in post, you can get really creative and overall the files have so much information yet the file sizes are so small. The noise is also really organic/filmic compared to let's say BMD or Canon RAW. The motion cadence is also beautiful. Really I'm just blown away by the IQ and how you can massage those files in Davinci. ARRI is still the golden standard, the benchmark, but this feels like its just right below it IQ wise and for resolution or high ISO probably better.
    The compact size of the camera, the traffic light exposure system, global shutter, RF mount, 6K resolution and even on-board PDAF makes it a really tempting A cam for me personally. I was all set on a C70 but after playing around with Komodo footage, well it just feels like a huge step forward in IQ. I think I will just upgrade my R6 to an R5 for hybrid all-around mid-level projects and go with the Komodo for anything higher. Now of course I gotta figure out how to finance it all!
  24. Like
    BenEricson reacted to IronFilm in Blackmagic dropping something big at NAB?   
    Any "schedules" companies have had, got thrown out the window when covid hit (and kept on hitting, and hitting, and hitting). 
  25. Like
    BenEricson reacted to herein2020 in Canon C70 User Experience   
    I guess I just don't understand why that would be. If you are using the same number of photosites on the sensor for a given resolution how could there be more noise since you are not increasing the gain when cropping in? It would make more sense to me if say the native ISO increased when switching to the S16 mode, but without an increase in gain how is there an increase in noise? Maybe the S1 line skips when in cropped mode or some maybe some kind of upscaling is occurring which decreases the image quality or maybe its circuits are just more noisy when handling the crop mode.
    But with the C70 in cropped mode and RAW there is no line skipping or upscaling, it is just using a smaller region of the sensor and the native ISO does not change. It would be very interesting to see someone perform a noise test for the C70 in the cropped vs S35 mode. 

     
    That is true, I do need to do more testing, my favorite test is a waterfall where nearly every pixel changes from one frame to the next.  I don't have the patience to do the whole computer monitor stills thing 🙂 I am not a very good tester in general, I'd much rather be out shooting than testing. I work through the basics then get out there and shoot.
     
    For the work that I do, what comes out of the C70 is good enough for me. I agree though, the back screen always looks perfect and I have yet to find a LUT that can reproduce that look in post. There is a great YT video that I posted earlier in the thread where he went through many of the available LUTs and showed the results. I ended up going with the Buttery LUT for my Rec709 workflow, it looks the most natural to me and gets me the closest to where I want to be.
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