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Bkn Soc of Cinematography

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  1. Can you control the focus point to the left or right side of frame or is it center frame only?
  2. Shot this mini doc while on vacation in Mauritius. It's about those who work behind the scenes to uphold the illusion of paradise. Shot on GH5s, it was intended as a camera test as I wanted to see how 60p and V log play. So it's shot on either 4k 8bit or FHD 10bi at 60pt. In both cases, V log bands quite horribly even in 10 bit FHD. Unfortunately, being on vacation I didn't use an external monitor so I couldn't see the banding until I got it on my computer. I hope this is something Panasonic can fix, at least in 10bit (no excuse). I love Vlog in 10bit 4k non 60p. But I'll probably have to
  3. I think it's a play by RED to hedge against the eventual crash in the high end high priced pro camera market. In two years, every spec and ergonomic requirement for high end broadcast and cinema work will be had in a camera for 6000.00 USD or less from Sony, Canon, Panasonic and BMC. This is a race that considering RED has yet to master built in ND's, cannot win or even be competitive. A pivot to their "magic" phone is their last hand before the high end/high price camera market bubble bursts. If they can figure out how to make the glass unbreakable, they'll crush the phone market, with or wit
  4. Until it shoots 10 bit log, it's a non starter for me. I agree with Andrew in that RAW can be hassle even in a pro environment. I work on a lot TV shows in the US. Episodic, dramatic stuff for networks and such. Virtually all the shows (except Netflix), despite their multimillion dollar budgets, shoot pro rez on Alexa in Log C. They could shoot RAW but don't want to lose the time and endure the hassle of RAW. The bigger the show, the more money that time costs.
  5. Just did a search on Vimeo. Thanks. Found some great footage by James Miller. Anyone who say this camera is "unusable" needs to shoot something other than tests. The IQ IMO stomps on my A7s II in terms of color space. In fact, it gets a depth I don't see on the FS5/7. I'm torn. I plan on selling my A7s II in the coming weeks to help finance either a BMC UMP or GH5. Both have their up and downsides. But lately, I've been going smaller and more discreet so I'm leaning towards the GH5. With a speed booster - outstanding.
  6. So far in all of this lively discussion the link below has been the best information on the GH5's potential. All these "lab" tests mean little to me compared to seeing footage used in a edited film. While I do conduct tests all the time to find a camera's limits and give me direction to its potential, nothing beats a shoot. Despite liking what I see in the link, I do wish I'd see more tests or sample footage would involve flesh and bone humans in front of the camera and a little camera movement rather than the usual Phillip Bloom style "moving stills" approach. I've nothing against that style
  7. The Ursa Pro is really tempting. But I'm going to hold off until I see some real world reports. The last Mini was fraught with numerous QC issues. I'm not ready to be a beta testing guinea pig. All that said, when BMD gets it together, their cameras produce much richer images than the competition. In this case, their direct competition will be the FS7, FS5 and Canon C300 II. While I've used Sony's F series for numerable productions, aside from the F55/5, their color science has always been lacking especially for narrative work - thin flesh tones, green undertone, etc. C 300 II is an excellent
  8. I've always been skeptical about DXO ratings. They lost me with rating the A7s II lower than the A7s I for noise. Someone's out to lunch. Thanks for the heads up.
  9. Check this out. Short film entirely shot in NYC's Blizzard of 2016. All on A7s II. Loved it.
  10. Price is right. 4k and LXR's - Great. But what I'd really love is a 4k recorder that is either a smaller monitor (5" like the pix E5) as well as a recorder with no monitor at all. It'd be great to use whatever monitor you want or go completely stripped down like an Atomos Blade. For aerial work, run n gun, or anytime you want to go super small this would be awesome. When it comes to 7" monitors, Small HD and Atomos have them beat. I find it difficult to have to downgrade to BMC's monitor just to shoot pro rez. So now I'd end up attaching another, better more accurate monitor, and before you kn
  11. How is the Scarlet sensor better? It's not all about specs. I prefer the image of 2k from an Alexa over 6k Red. Better colors, fleshiness, range, etc. If this camera owes anything to Panasonic's history, it's color science should be amazing. The old 2/3" three chip Varicams from ten years ago had better more accurate color than the latest Red of today. I can't see Panasonic going backwards in terms of color science. The only misgiving I have about this camera is that I wish the body were even smaller (under 4 lbs). I'd be curious to see how it'll stack up to Kinefinity offerings.
  12. Absolutely love it! It's about two stops less noisy than the A7s I. Better user button assignability. Still I'd recommend getting a fotodiox start/stop switch. Real cheap. Works. I so wanted the FS5 to deliver better images. It can shoot great stuff but as I do loads of night and low light work, the A7s II better suited my needs. Also, I'm a real sucker for Full Frame. If you're going to go small and cheap, better to have something special in the cards. Also, if 120 FPS is enough for you, the A7s II doesn't require a write wait. This is important if you're shooting unscripted moments, moments
  13. Andrew, thanks for the tip on Edit Ready for XAVC. Before I got rid of my FS5, the XAVC-L was POA on my MBP 2015. Clogged up the system. Even now with the A7s II in 4k, it's easier on the CPU than FS5 codec but still stutters along. Just got Edit Ready. Unbelievable how much faster it is at transcodes than the competition. The time saved is worth 50.00, especially the time saved working in pro rez. Keep em coming.
  14. Thanks for keeping us posted. Unfortunately, I bought the FS5 the week it came out. After extensive testing, I found the image quality especially in low light too blocky and noisy, even in 10 bit. I then bought a A7s II and compared the two. Aside from the rolling shutter, IMO, I felt the A7SII delivered a much better image: Full Frame, none of the noise and artifact issues. But what sealed it for me was the monitoring problems the fs5 had in 4k and the long write wait for slo mo. Also, the codec is far more computer processor intensive than the A7s II's. So I returned the FS5 and kept the A7
  15. I agree with Mozim, the FS5 footage doesn't look properly focused. That aside, I still doubt it would shoot as good an image as the NX1. I bought an FS5 and returned it after doing a series of tests. Aside from global shutter, its IQ is below that of my old A7s (that I sold to finance it) and even further below that of the A7s 2 I just picked up (at almost half the price of the fs5). It's slo-mo while fun in bright daylight, requires a playback write time buffer before you can reload and shoot. 8 seconds in 240 fps, takes at least a couple minutes to write before you can shoot again. The same
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