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austinchimp

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  1. Like
    austinchimp got a reaction from Gregormannschaft in Shining a light - Sony A7S II first impressions & 4K S-LOG 3 clips for download / grading   
    Yes I think that's a nice example of the teal and orange look, but it's still - to my eyes - a very definite stylised look. I do like the way it deals with the highlights in that footage but the skin is a strange and unnatural shade if you're looking for naturalism. Looks like one of those Osiris LUTs which makes this difficult to judge. Sickly skin is the one thing I want fixed in the A7Sii. If that's fixed over the A7s then I'm onboard. 
  2. Like
    austinchimp got a reaction from MattH in Shining a light - Sony A7S II first impressions & 4K S-LOG 3 clips for download / grading   
    I'm still waiting for the first example of a truly natural grade from the A7sii s-log3. All the graded footage so far looks like the instagram-filter s-log footage I really dislike (ymmv).
    For me the natural look is the acid test of a camera's capabilities. Washed out artistic grades hide a multitude of sins.
  3. Like
    austinchimp reacted to Gregormannschaft in Sony A7sii review by TCSTV   
    My comment before was probably a little harsh, I really liked the A7RII review you guys put together and look forward to seeing what you guys think after spending some more time with it. I've been to some of these press nights before in other industries and they leave you tired and exhausted so appreciate you guys managing to put together a review.
  4. Like
    austinchimp reacted to Ian Edward Weir in CinemaScope Summer   
  5. Like
    austinchimp reacted to kaylee in FS: (Maybe) 1DC w/ 3 batteries + charger + cards   
    if either of you guys want to trade for an rx10ii let me know  it comes with questionable batteries and memory cards 
    and i will bake u cookies 

     
  6. Like
    austinchimp got a reaction from kaylee in FS: (Maybe) 1DC w/ 3 batteries + charger + cards   
    I'm sadly thinking about selling my Canon 1DC with two Canon batteries and 1 after-market battery and 2 memory cards for offers over £4300 in the UK, maybe to Europe. I f*cking love it but it was a big expenditure for me and some of the projects I was planning to use it on aren't going to happen now due to changing circumstances. As it's a crime to sit on this camera without using it I thought I'd see if anyone else can take it who'd use it the way it deserves.
    If anyone's interested get in touch. I can take pictures and answer any questions. I only had time to snap off a quick photo of the shutter actuations page this morning before work - only decided to put it up here today.
    Serious enquiries only please, and I can't really drop the price without going into a loss from what I paid for it recently.
    <28,000 actuations on the camera. It was purchased second hand and shows signs of wear but the thing is built like an absolute tank so it's in good condition. Colour in 4k C-Log mode absolutely destroys pretty much any other camera I've ever used, including Red Dragon and my Sony A7s. It's absolutely the best 4k and still combo there is, there's something really special about this camera and even though I haven't had it that long I have a real emotional attachment to it.
    I don't have the original box so it's just camera, 3 batteries (which are very expensive) with original Canon charger. And 2 fast CF cards - 128gb and 64gb Komputer Bay cards which I've tested and are very reliable with this camera. Add a lens and you're ready to shoot.
    If I don't sell it I won't mind keeping it, don't really want to put it on Ebay so trying here to see if there's any interest. Paypal preferred method of payment for all-round safety and peace of mind.

  7. Like
    austinchimp reacted to anax276 in Adobe CC and El Capitan   
    Had the same problem and it was also solved by going to Project Preferences and switching to CUDA.
  8. Like
    austinchimp got a reaction from kaylee in Adobe CC and El Capitan   
    I made the mistake of upgrading to El Capitan too hastily today and experienced the same corruption when using OpenCL acceleration. What saved me was installing the latest CUDA driver from Nvidia and then switching to CUDA acceleration in Premiere project settings. That seemed to work, which is strange as before OpenCL was the stable one while CUDA gave me all kinds of problems.
  9. Like
    austinchimp reacted to Axel in Ursa mini 4k footage   
    I did a lot of weddings. You may detest them, but you hardly find better occasions to test your equipment and your skills - as well as videographer as as storyteller. A wedding is as good a proof of a camera's strengths and shortcomings as any image video or fictional short, imo.
  10. Like
    austinchimp got a reaction from CTRT in CHICAGO - VLog L   
    Loving the colours - seems like V-Log has an inherently cinematic look. Very impressed, already I much prefer this to Sony's S-Log2.
  11. Like
    austinchimp got a reaction from AaronChicago in CHICAGO - VLog L   
    Loving the colours - seems like V-Log has an inherently cinematic look. Very impressed, already I much prefer this to Sony's S-Log2.
  12. Like
    austinchimp got a reaction from Zak Forsman in How I would describe 1dc video quality   
    As an A7s and 1DC owner there really is something about the 1DC colour - particularly for me in C-Log - that just feels right. Without talking about magic and starting an argument about what exactly that is, the colour just feels right on an intuitive level - almost as if I'm looking through the optical viewfinder and not a recording on a screen. I can totally understand the importance of capturing a real feeling image when shooting your loved ones.
    While the Sony image is much cleaner and can therefore be pushed more to higher ISOs and to an extent pushed around more in post without worrying about noise, I could never quite get the colour to the sweetspot of looking natural.
     
    On the other hand the 1DC is physically a bit of a brute, has huge heavy batteries, requires an external monitor to expose and focus corectly, uses expensive CF cards, has no decent high frame rate mode and isn't exactly inconspicuous.
     
    On balance I'd say they're both great in different ways. I was meaning to sell my A7s when I bought the 1DC but I've found I can't yet bring myself to do it.
  13. Like
    austinchimp reacted to Oliver Daniel in Sneak peek at my new showreel & website!   
    Well that took a bloody long time! But I've just this minute completed my new reel and site. It's not "announced" until Monday.... social media campaigns etc blah blah. But it's live! Check them here: 
    View my new showreel and website!
    Some info
    Each and every image -  I shot, lit, edited, graded. A little directing. Very involved in creative ideas.  Core crew was mostly 4-5 regular people in these productions (Director, DOP, Production Manager, Spark, Make Up Artist).  For the geeks - cameras used are Sony F55, FS7, FS700, RED Epic, GH3, BM Pocket.  All images are music videos, but going for commercial/corporate work aggressively into the next year. (and still many music videos).  The aim is to have 100% new material for Showreel 2016. Max creativity required.  Anyway, if you like it or don't like it, whatever. Just thought I'd share.
     
  14. Like
    austinchimp reacted to TheRenaissanceMan in Canon XC10 4K camcorder   
    I didn't say that, and I think you're taking the comment that did a little hard. It's interesting to deconstruct whether Canon color looks good to us because it's actually accurate (no) or pleasing (definitely), or because we got accustomed to it during the years where they were the only good option. You could make a similar argument for 24p and long focal lengths on close-ups. 

    Maybe it's because I started off as a critic, but personally, I put a lot of importance in understanding why I like something, not just whether I do or not. Art Adams' articles on Canon color helped sort a lot of it out, but I still find the very emotional responses to critiquing Canon color fascinating. I wonder sometimes if we'd feel the same way about Nikon's color science if they'd kicked off the HDSLR market first. I wonder sometimes how much of this is cultural. We in the west tend to prefer tanned women and warm skintones, whereas in Japan, white is beautiful. They prefer cool tones and pale faces (this was the Kodak vs. Fuji dichotomy back in the day). I wonder whether Canon's lack of accuracy in reds and greens (in C-LOG and WDR) ever bother the average Canon user, whether they don't notice, or whether they've just learned to embrace it. And sometimes, I wonder why, even though I notice the creative hue shifts and somewhat Crayola rendering, Canon color gives me this feeling like slipping into an old comfortable glove whenever I see it done well. 

    There are no right or wrong answers here. At least, not yet. So it's important to come at these issues with a sense of academia, passionate as we may be about our position. Savvy? 

    (For your perusal, links to those Art Adams articles: 

    http://www.provideocoalition.com/color-matching-a-canon-c300-to-an-arri-alexa
    http://www.provideocoalition.com/cameras_more_thoughts_on_canons_color_science_this_time_with_pictures
    http://www.provideocoalition.com/canon_c300_trimming_white_balance_plus_a_look_at_daylight_vs-_tungsten_colo
    http://www.dvinfo.net/article/optical-science/a-short-history-of-camera-color.html
    That last one is one of my favorite camera articles. Art has forgotten more about color science than I'll ever know.)
  15. Like
    austinchimp got a reaction from agolex in My experience moving from A7s to 1DC   
    Thought I'd write down a few thoughts about having bought a 1DC as a A7s user. Before that I started off working on SVHS, PD150s, Canon DSLRs and then a GH2, a Blackmagic Pocket and a GX7 as my personal cameras. I've worked in TV, sports and events and now do mostly corporate stuff largely as a one-man-band.
    I love my A7s, I really do. And I still haven't gotten the nerve to sell it as I was planning to when I bought the 1DC second hand. The reason I was looking to move on was that I was had experienced difficulty on jobs getting the colour of skin right. I do a lot of work indoors, and in mixed lighting. I also do a lot of work outside in bright sunlight. In both conditions I had difficulties, although in natural light I also had times when the A7s just nailed it.
    However the times when it didn't quite work because of artificial light, or a wonky white balance or just some strange bad voodoo just got to me in the end and I decided I wanted a camera that could give me colours that just felt right - that felt real. Hence the 1DC.
    First of all, it's a bit of a shock going back to a DSLR form after the tiny, light, inconspicuous and technologically packed A7s. Even the feel of the mirror flipping up just to see a live preview is quite jarring, also not having an EVF, peaking, zebras or any other modern conveniences. On the other hand the 1DC feels like a solid professional piece of high end kit, which is a nice feeling and I like to think causes me to be a little more deliberate in my use of it and even in my framing.
    The picture, despite what I've been reading lately, isn't perfect. I haven't used an external monitor with it yet so I've been exposing by eye and by judgement, and when you get it wrong and underexpose it can be noisy. Likewise if you're not shooting in C-Log then the highlights are alarmingly easy to blow compared ot the A7s cine profiles. If you're shooting in 1080p modes too it has that slightly brittle quality to the colour and to the noise that I'd forgotten with the Sony. Whatever you say about the Sony colour, the picture is silky smooth even if you push it. I've rarely had the A7s image break up on me, even if I'm correcting exposure up or down a bit. With the Canon I feel I have to be a little careful again. It's a beautiful image in 4k, but just doesn't feel as elastic and silky as the Sony in 1080p.
    However that silky smooth quality was also something that bugged me in the Sony sometimes. It can have a slightly unreal plasticy feel to it, as if you're watching waxworks instead of real living people. That's where the 1DC comes in.
    Shooting Log and scrading with a lut and some simple curves - or even without the LUT - I can get beautiful natural looking tones from the Canon if it's lit and exposed well. It almost looks like Red Dragon raw in some cases. The highlight retention is also beautiful.
    I'm still working out how I feel about it, but the 1DC has given me a renewed appreciation for just how easy to use the Sony is. I hear a lot of people bashing it for it's ergonomics but really we're spoiled, the camera is a little marvel. I'm still not sure which camera I'd choose to take out with me on a trip or a long job yet. I've been using the Canon to get used to it and in some ways I'm amazed and impressed by it, and in others I pine for the A7s. Sometimes it's a good thing to appreciate the strengths of what you have rather than expecting more expensive kit to be better in every way.
    At the moment I feel like the Sony will give you good results in about 80% of situations, and only fall down in certain situations. I feel like the 1DC will give me breathtaking results in about 40% of situations, good results in about 30 pecent of situations, and disappointing results in 30% of situations. That's not based on evidence yet, just on a feeling. I hope that changes as I get used to it more. Initially I had a sinking feeling when I saw the reviews coming in from the A7RII, and regret that I hadn't used the 1DC money to buy one  of those. But now I'm starting to appreciate the magic this camera is capable of, and looking forward to digging out it's secrets.
    Conclusion of the story - yes the 1DC is a beautiful beast, but the A7s is still a very capable and loveable little thing. I just wish I could have cracked how to make it sing in more cases.
     
    If anyone's interested, here'a a little test film I shot on an afternoon out. Shallow DOP shots of grass, sun through tree leaves - you know the sort of thing. Also there's a girl in it too.
     
      
  16. Like
    austinchimp got a reaction from Don Kotlos in My experience moving from A7s to 1DC   
    Thought I'd write down a few thoughts about having bought a 1DC as a A7s user. Before that I started off working on SVHS, PD150s, Canon DSLRs and then a GH2, a Blackmagic Pocket and a GX7 as my personal cameras. I've worked in TV, sports and events and now do mostly corporate stuff largely as a one-man-band.
    I love my A7s, I really do. And I still haven't gotten the nerve to sell it as I was planning to when I bought the 1DC second hand. The reason I was looking to move on was that I was had experienced difficulty on jobs getting the colour of skin right. I do a lot of work indoors, and in mixed lighting. I also do a lot of work outside in bright sunlight. In both conditions I had difficulties, although in natural light I also had times when the A7s just nailed it.
    However the times when it didn't quite work because of artificial light, or a wonky white balance or just some strange bad voodoo just got to me in the end and I decided I wanted a camera that could give me colours that just felt right - that felt real. Hence the 1DC.
    First of all, it's a bit of a shock going back to a DSLR form after the tiny, light, inconspicuous and technologically packed A7s. Even the feel of the mirror flipping up just to see a live preview is quite jarring, also not having an EVF, peaking, zebras or any other modern conveniences. On the other hand the 1DC feels like a solid professional piece of high end kit, which is a nice feeling and I like to think causes me to be a little more deliberate in my use of it and even in my framing.
    The picture, despite what I've been reading lately, isn't perfect. I haven't used an external monitor with it yet so I've been exposing by eye and by judgement, and when you get it wrong and underexpose it can be noisy. Likewise if you're not shooting in C-Log then the highlights are alarmingly easy to blow compared ot the A7s cine profiles. If you're shooting in 1080p modes too it has that slightly brittle quality to the colour and to the noise that I'd forgotten with the Sony. Whatever you say about the Sony colour, the picture is silky smooth even if you push it. I've rarely had the A7s image break up on me, even if I'm correcting exposure up or down a bit. With the Canon I feel I have to be a little careful again. It's a beautiful image in 4k, but just doesn't feel as elastic and silky as the Sony in 1080p.
    However that silky smooth quality was also something that bugged me in the Sony sometimes. It can have a slightly unreal plasticy feel to it, as if you're watching waxworks instead of real living people. That's where the 1DC comes in.
    Shooting Log and scrading with a lut and some simple curves - or even without the LUT - I can get beautiful natural looking tones from the Canon if it's lit and exposed well. It almost looks like Red Dragon raw in some cases. The highlight retention is also beautiful.
    I'm still working out how I feel about it, but the 1DC has given me a renewed appreciation for just how easy to use the Sony is. I hear a lot of people bashing it for it's ergonomics but really we're spoiled, the camera is a little marvel. I'm still not sure which camera I'd choose to take out with me on a trip or a long job yet. I've been using the Canon to get used to it and in some ways I'm amazed and impressed by it, and in others I pine for the A7s. Sometimes it's a good thing to appreciate the strengths of what you have rather than expecting more expensive kit to be better in every way.
    At the moment I feel like the Sony will give you good results in about 80% of situations, and only fall down in certain situations. I feel like the 1DC will give me breathtaking results in about 40% of situations, good results in about 30 pecent of situations, and disappointing results in 30% of situations. That's not based on evidence yet, just on a feeling. I hope that changes as I get used to it more. Initially I had a sinking feeling when I saw the reviews coming in from the A7RII, and regret that I hadn't used the 1DC money to buy one  of those. But now I'm starting to appreciate the magic this camera is capable of, and looking forward to digging out it's secrets.
    Conclusion of the story - yes the 1DC is a beautiful beast, but the A7s is still a very capable and loveable little thing. I just wish I could have cracked how to make it sing in more cases.
     
    If anyone's interested, here'a a little test film I shot on an afternoon out. Shallow DOP shots of grass, sun through tree leaves - you know the sort of thing. Also there's a girl in it too.
     
      
  17. Like
    austinchimp reacted to Nicholas Natteau in Sony A7R II Review - Part 1 - Summoning the devil   
    Thanks very much for this great review Andrew. I made the biggest mistake of my life when I sold my 1DC last year and I've been regretting it ever since. I never had overheating issues with it and the color it produced was stellar right out of the gate. I'll wait a month or two to see what Canon has to offer in terms of 4K in the DSLR range and may well end up going back to the 1DC. I was hoping for an improved codec that would give the same wonderful skin tones but at less than 500 Mbps. But if that's what it takes, I'll just have to buy more CF cards. 
    Ever since, I've had terrible trouble getting good skin tones out of my A7s (even with LUTs). If I had the choice now to shoot a talking head interview, I would always choose with the 1DC over the A7s just for the skin tone aspect alone, for all the reasons you mentioned. 
  18. Like
    austinchimp reacted to xzoticskillz in Sony RX100IV + DJI Ronin -m = Dolly Slow Motion Test   
    This is my first official test with the Sony RX100IV. I wanted to create a project that tests 3 things: 1) Slow motion quality 2) Dynamic Range 3) Slow motion with Dolly (using the ronin-m).
     
    I decided to use my energized furry friend Simba as my talent. The dynamic range is incredible in 120p due to the high bitrate and I found myself having the best grades in post using this mode. Using the Dji Ronin-m made this setup extremely light and I was able to move extremely quick. I shot this video using only 120p, 240fps, and 480fps. Decided to get creative with the editing. Watch in HD and enjoy!
     
  19. Like
    austinchimp got a reaction from IronFilm in The Effect Of Owning A Very Expensive Camera (for business)   
    Ah well as with all lucrative markets my opinion is that the corporate world is both difficult to crack and yet if you get your foot in the door it can be surprisingly easy to become a company's agency of choice just because in big business people often like to have a safe option. Once they know you can do a decent job it'll take a lot to dislodge you.
    Which brings us back to the discussion about gear. I don't think for one second that most of the people with the power to hire you know much about camera specs or the latest and greatest technology. However they do care about results. There's actually a lot of pressure on people in the corporate world to 'do things'. Whether those 'things' actually make an impact or not is often not the point. The point is to be seen in the company to be a do-er, and to have something you can put on your list of 'achievements' when bonus time comes around. Which in marketing can translate to making/commissioning a cool looking and expensive video. And yes, it often is important that it's expensive.
    When a marketing team commission a video they want it to be impressive, and to look better and sexier and bigger than the previous ones. Hiring a crew with a big and sexy looking camera is part of that, but another aspect (that's debated on this forum at times) is that there is such a thing in my opinion as an expensive look, which expensive cameras tend to give you. Sure you can make the greatest and most creative work of genius ever on a GH2, but something shot on a Red Epic carries a kind of weight in it's imaging that affects people even if they don't know what it is or why it has that effect.
    If you're a marketing person you're more likely than not a little obsessed with image and look and feel. So it makes sense that an expensive crew with an expensive camera producing an expensive looking 'hollywood' type image is going to seem very attractive. Just my opinion.
  20. Like
    austinchimp got a reaction from Cinegain in The Effect Of Owning A Very Expensive Camera (for business)   
    As someone who works in corporate marketing and also does what I can in terms of production, this is exactly right in my experience. It doesn't have to be Red cameras necessarily - could be Arri, Blackmagic, Sony, whatever -  but knowing that you're hiring someone with a track record and high level kit makes me very confident in giving them money.
  21. Like
    austinchimp reacted to M Carter in The Effect Of Owning A Very Expensive Camera (for business)   
    There's a whole world of clients out there that don't know the first thing about cameras. On rare occasions, there will be someone involved who's played with DSLRs for video and asks tons of questions. Maybe people shooting national TV spots get into these issues, but for small corporations, startups, entrepreneurs doing web marketing, email blasts, Facebook video campaigns and internal communications/training - they pretty much want to see your reel or examples of stuff that is in line with what I'm proposing or what they envision. If an agency I work with gets the gig, I don't even show a thing - the end client trusts the agency.
    That said - if I shoot with a kitted-out DSLR - matte box, follow focus, rails, monitor, loupe, a big geared prime or zoom and an audio recorder - it does look pretty cool on the tripod. Now the total costs of all that may be well under $2k, but I've had clients squeeze through a tight set in terror of bumping the camera and, literally, they've said "I bet that cost more than my house!" It doesn't hurt for a client to perceive that you're using very high-end gear. 
    But you could be shooting a national TV spot for Revlon and tests showed the BMC pocket with a super-16 lens from the 70's gives the exact look, and the director wouldn't blink an eye - whereas one of my clients would be "hey, you just stuck a lens on a iPhone, right??" For the size of clients I mention above (and in a big city, you can make a good living at that level) setting up an $800 Kessler crane makes them feel like they're getting a lot of bang for their buck. Don't disregard this sort of perception from people without knowledge of the tech side, who are writing the checks.
  22. Like
    austinchimp reacted to Cinegain in The Effect Of Owning A Very Expensive Camera (for business)   
    You're talking about wedding videos here. That's meant for a very select audience and hardly a grand production you would whip out a RED for or something. I have no idea why you bring that up in this topic. How about we don't stray from the matter at hand here? Just to set straight what it is we're discussing here:
    He's talking about music video production and corporate stuff (advertising). Now, someone wants a music video or ad shot... guess what? Chances are it's not their first. What ever happened to the last guys? Maybe those are too busy or something. Could be. But might well be that the client wants to up their game by selecting a production company to up it for them. And having some previous experience, they will tell the difference between a camcorder and a rigged up cinema camera, especially when the name 'RED' is involved. They probably have their own ideas in mind, with a creative marketing team. They just need someone to get their thoughts and run with it and turn it into an actual quality production. Knowing that you're good is one thing. Knowing you shoot on a RED is a dealsealer.
  23. Like
    austinchimp got a reaction from Jonesy Jones in The Canon fight back begins - with a box   
    I have to admit I too am confused by what this article is saying. Are you making fun of the kind of people who would buy this, or aren't you?
    If you are, then I do think that's unfair. Most of us started with little knowledge and some less than top level kit, just what we could afford, or indeed what we received as gifts from well meaning relatives who didn't know what the latest cool kit was.
    If the article isn't making fun of those people, then I have no idea what it's trying to say.
    Edit: Having said that, it is indeed a ridiculous box design.
  24. Like
    austinchimp reacted to Hannah Lisa Richmond in Possibly giving up my Sony a7s for Samsung NX1   
    I'd probably think most of the "internet camera nerds" don't bother using lighting, or very little. Whether this comes down to shooting style/hobby/lack of interest... Don't know.
    I can be a camera nerd who surfs the net on a daily basis to feed my latest craving. But I also see cameras/footage being critised where proper, good lighting was NOT utilised. How many actually realise that a camera produces superior images with a good set of lights, or a knowledge in how to mould natural light? 
    A lot of the "skin tone" footage on the net with the A7s sucks because the operator raised the ISO to 20,000 in locations with weird colours/no colours, and didn't bother to consider light at all. 
    Lighting is far more important than cameras. You start to realise that your tool has much better colour, dynamic range, resolution and motion than you thought. Even if you use a flat piece of foil to reflect the light on your subject, every little helps. 
    My order of importance for every shoot: 
    1. Idea 
    2. Subject (actor, location etc)
    3. Lighting
    4. Lenses
    5. Camera
    So onto your subject, whatever camera you use, start with lighting first. You will get much much further with your filmmaking and produce much better images this way  
    My honest opinion is - those who are serious but don't consider lighting, you might as well not bother! 
  25. Like
    austinchimp reacted to j.f.r. in Capturing the best A7s skin tones   
    ​A7s produces beautiful log images which you can basically color/grade how you choose too. The first step is taking that log image and converting to REC 709, then you color to taste...... From my experience Sony A7s produces amazing colors and grades wonderfully, you just really have to spend some time with it and understand how it works. Here's a before/after picture of an unreleased Music Video (Artist: Gyptian) I worked on. Graded in RESOLVE and Tweaked in FINAL CUT
     




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