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j_one

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Everything posted by j_one

  1. I'm surprised to read you state that about the 1DC. Was the image just not doing it for you? Did you enjoy 5D3 RAW more? I believe Canon works for those that just want an image "that just works" without thinking of the 8bit limitations. I guess you could argue the same for Nikon video since D810/D750. I see it like this: Panny/Oly/Fuji/Sony mirrorless video can def render images that are staggering for the money. It's fun times for the enthusiast avoiding the cost of entry for cinema realm equipment and workflow. But unless you are consistently nailing your exposure and color, making sure your scene elements fit the limited DR and codec constraints of these cameras, you'll probably get stunning results 30-50% of the time and need stupid hours of post work fixing the rest of the 8bit mess, while Canon (and perhaps Nikon) dslrs/mirrorless are quite foolproof in operation to produce a result that viewers care about. Operate a 5D4 or EOSR , I'd bet you'd get more usable shots on average in run-gun situations than the other superior spec 4k mirrorless offerings. I just think Canon/Nikon images are more forgiving about screw-ups in white balance and exposure errors in 8bit h264 realm than the others, though the gap is now closing (Sony/Panny color/WB has improved, Fuji/Oly take video more seriously, etc).
  2. If you aren't shooting for autofocus settings, or need 10bit or 4k24/60, both newer cameras can't warrant the upgrade until after you've made investments in other areas you mentioned. I'd imagine light and glass will go a long way with the D750. It's too bulletproof of a camera even for full HD. Expose and record externally though FHD recorders are cheap.. Nail that exposure for now and dress your set, then buy a beefy cinema camera later even better than the options named here! Or even Panasonics full frame offerings coming up! I vote light, audio, and set first. Again, it's only if you don't need autofocus or super detailed 4k renderings of your work. If you don't need technology "pop". Maybe it could depend on your genre. My philosophy is this: few prosumer full frame 4k cameras are as bulletproof as the D750 or 5D RAW for image. But if you truly want that digital pop, 5D/D750 will start to feel like a bottleneck at the same time. XT3 for post push and HFR, Z6 to stay with Nikon, but 4K IBIS upgrade. Your call man! D750 is plenty camera for 2k delivery if you can control your sets, think about it
  3. I think it will turn more heads once it gets raytracing and bug fixes. It has great potential, the developer has tons of cool content showcasing previs work on his IG
  4. Those stops y'all are debating over are going to fall apart fast in any real attempt to recover highlights/shadows, let alone gamut remapping and color pushing. The science is there to make it possible (Canon does well enough to with 8 bit in C series, d750 was nice enough) but as long as they're dropped in these heavily compressed mirrorless codecs...you might as well keep that noise floor crushed to blacks imo. Trade color for stretched thin DR? On you
  5. Are you sure they were taking stills? Not video?
  6. I actually have both of those issues, exactly as described. I'm assuming you're using nx lenses as well? Have you tried with any manual or adapted lenses? Why does color tint drift when white balance is set to Kelvin values? Why exposure drift on manual? The camera wants to do it's own thing lol This is a dead system, I don't blame you for immediately moving to a more reliable, supported system for professional work you can't afford to screw up. But it would be nice to fix, nx1 and it's S lenses are still pretty unique and relevant today. You know there's a nx subforum right?
  7. I got the 4/3 panaleica 14-50mm f2.8-3.5 OIS with adapter on my bmpcc, for $300. Not quite LX100 spec but the lens peaked my interest, I was curious when I heard about the "leica rendering" and great IQ for a zoom. No speed booster glass in the way, super sharp, and OIS for my pocket via 4/3 adapter electronics, at least no more micro jitters Cons: it's big and heavy for m43 system, autofocus is useless, and the OIS is pretty dated in performance especially for video use. Otherwise...yeah. leica rendering indeed. Just good glass. Cheers
  8. This is awesome work BTM, seriously nice job. It makes using the gx85 and lx100 more attractive to shoot with, being my choice for compact size cams with the bmpcc. Pocket-sized latitude for the grade! Can someone confirm if CineV settings also aren't working properly on lx100?
  9. Oh yeah, if you're cool with hacks, the best option IQ wise, imo 5d mkiii RAW 10bit 60p Wedding example
  10. My recommendations, as others have already stated: d750 - the body is dropping in price, keep an eye out for a deal. Full frame, super DR and color edge over a7s, but soft 1080p. nx1 - jack up the bitrate with the hack, invest in Luca's speed booster, and keep that ISO as low as possible...you have a excellent 120p performer. Best 120p full frame for the price (maybe the only). Great color and sharpness, lackluster DR and strange highlight/black levels when grading if you ever miss your mark on exposure. a7s - keep it in crop mode and speedboost. Best low light, great sharpness, DR and highlight roll off but, imo, terrible white balance and strange colors. Compression isn't the best either a5100 - super cheap, speed boost it and it's quite comparable to the a7s, a tad bit softer, a bit less dr and a bit more macroblocking/artifacts but for the price... And hear me out Bmmcc - if you can live with near apsc crop instead of full frame, bmmcc speedboosted would probably yield the most beautiful results. But that's subjective, as I value color information a bit more than compressed 60p. buy an rx100 iv as b cam for superior slow mo of any of the cams. Excellent sensor readout and result for a compressed image. 1 inch sensor though.
  11. To be honest, my sights are currently on the XT-2 and fuji ecosystem, so I'm curious to know the same as OP
  12. Wondering what that third one is. Seems soft and even, like I'd use for film projects. Is that second one the panny?
  13. 60p would go to the A7S mk1 cropped, then nikon d3300/d5500/d750 and 5D RAW ...I'll throw in that 120p would go to fs700 4k and rx100 iv/rx10 ii I'm sure I'd love the BMMCC 60p more than anything for the price, but I haven't tried the camera yet.
  14. I'd recommend the a5100 or g7x if you want to keep it cheap. Selfie articulating screen and good 1080p. A bit of aliasing out of the a5100 but you have fast AF and choice of lenses.
  15. I used to think noise reduction was the key and holy grail to professional standard delivery when I first started handling footage in post. It helps sometimes, but now I'm so used to making sure I'm exposing with base ISO and adequate light to avoid the need altogether. I can't stand the plastic look that sometimes comes from it, and it really bogs down post-time for all the system resources it eats up. I hate 'color noise' or the digital blotches that come from compressed video. Guess that's why I hate seeing rainbow moire but can live with simple aliasing. Desaturating shadows helps. And as you said, a little noise never hurt anyone.
  16. Do you take many stills on a professional level? Do you not mind the h.265 codec, along with it's macroblocking artifacts and slightly limited ability to push in grade? Then the NX1 will perform will excellence. It has better rec709 colors popping right out the cam moreso than the G7. 'S' lenses are great to use. S35 sensor off the bat. Currently it's resolution is king. Use some kind of filter that can diffuse the image and cut down on the in-camera sharpening. OTHERWISE I'd say get the G7 and speedbooster. Options for lenses are overwhelming, considering the m43 native mount alongside all the speedbooster mounts. Codec holds up well when pushing the grade if you expose right and get white balance spot on! Getting rid of this 'plastic' yellow/green cast and skintone look I keep hearing about can be dealt with in seconds. Also mostly avoidable with proper white balance. But it's hard to save h.265 footage with strange milky blacks and limited color info coming from the NX1. TBH same goes for most cameras talked about on this forum even Sony. But again, as mentioned earlier, which one is a breeze to shoot with and get you the results you need? This is subjective. I'd say both cams are excellent in handle and usability. But in post, I'd feel more comfortable working with the h.264 panny files.
  17. I do believe this is the only current workaround. Use presets for scenes where you know the camera's field of view will change, in an environment with mixed light, so that the NX1 won't guess green or magenta tint. Can someone confirm?
  18. Solid review Andrew, thanks. I'll personally use this camera for creative shooting that requires wide-angle gimbal shots of short length (music videos, fashion films, etc)
  19. Thanks for that perspective. I can relate in experience. I wanted to like the camera with all my heart, and shooting on it was a joy, but any time it came to grading footage I just could never stand how black levels specifically responded to any kind of push in luma. I'm willing to go through a larger workflow to handle larger bit rate files if it means a cleaner, more flexible image if it's coming from the nx1. The codec is the only thing holding it back (like a lot of prosumer cameras).
  20. It isn't a MUST if you are experienced with shooting with gimbals, electronic or not (though know the difference!). It helps to have IS in most cases, but I've even found myself turning off lens/sensor IS for certain steadicam motions due to jitters or complete jumps in motion. Something to consider. A well balanced camera+lens with moderate weight within the steadicam system (and a tiny bit of digital stabilization if needed for some troublesome clips) can go a long way, so don't be afraid of lenses without IS if you're finding yourself in a corner with options!
  21. I don't believe it can replace. I do believe many will settle with the format as sensor technology advances, though, for the sake of convenience. And we all know that. The same way some professionals put down REDs to shoot on these smaller mirrorless 4k cams. I know some who mount their iphone 6+ on pistol grip gimbals, and in the hands of someone who can deal with the sensor/lens/codec shortcomings, it and look and feel like great portable super16 shooting (not exactly, but you catch my drift). And it cuts very well with other cams for professional work. Just saying. Not a replacement yet (by any means), but as the technology becomes more versatile, people will probably settle with what they're already paying for monthly to talk on. Who knows what's yet to come though. I never thought I'd see specs like the nx1 or a6300 here already in their form factor. But they're here, yes?
  22. j_one

    GH4 sky banding

    Can I recommend you try editing in Edius if you experience major banding issues? Their pseudo 10-bit conversion actually helps smooth gradients in all my 8 bit footage, especially from my LX100.
  23. Just popping in to say thanks and cheers to all the time and effort you all are putting towards these two cameras. Kudos to you all and whatever you guys come up with and decide to share.
  24. In relation to motion cadence, I've found that it's pretty pointless to shoot any scenes that pan or track in any kind of way at 24p @ 1/50 if there are noticeable artifacts like RS. What I've been experimenting with lately is exposing using my shutter @ 30p. Keeping the base or lowest ISO and adding light where desired or needed. Then, regrettably 'in post', I apply digital motion blur to my liking or taste. But the final image is better to my eye than if shot 24p @ 1/50. As long as there's not a huge disadvantage in how your camera renders 30p vs 24p (moire or even worse RS from higher fps read at equivalent compression as 24p), you should see a much clearer image IMO. Not as good as less RS from faster sensor readout, and it's not global shutter, but it's my own budget method of combating it in consumer video cameras. Why would you go and shoot with a slightly blurry shutter like 180 or 1/50th when the digital artifacts are already doing it too? This is especially true for those who shoot 4k on consumer cams with only 4k 30p, and can use twixtor to control a bit of time remapping as well with fluid motion if desired. Again, more post work though. Not real alternatives.
  25. That's good to hear. I was always compelled to invest in a chart but thought they were suited for material with room with push color around, like raw stills and professional video codecs. However most of the cameras I use record 8-bit h.264. I was afraid of artifacts, banding, breaking footage etc, even if I get my white balance near perfect. So with using the chart with a7sii footage (internal codec), you see no real downside? The tonality of colors usually holds up?
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