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austinchimp

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  1. Like
    austinchimp reacted to Super8 in Blackmagic Design > RED   
    I agree about the body of the BM12K.   They need to stop messing around with the weird design looks and innovate the body so it appeals to RED users or anyone else.  If you spend 10K on a camera body in 2020 it should at least look as good what RED produces.  
  2. Like
    austinchimp got a reaction from Super8 in Panasonic S1 V-LOG -- New image quality king of the hill   
    I know Andrew isn't always a fan of people just posting Youtube links, but after a while it's nice to see some (what I would consider) cinematic samples of the camera coming out these days. Good to remember with the new Canon announcements that the ceiling for this cam remains incredibly high.
     
     
     
  3. Like
    austinchimp reacted to crevice in Canon EOS R5 has serious overheating issues – in both 4K and 8K   
    I keep getting more and impressed by the actual image this camera is producing. I was kind of preparing to be "meh'd" by the footage, but the video quality looks fantastic in the few videos I have seen. The color science seems great and it seems to have a slight sharpness reduction which to me is fantastic - I hate overly sharp digital footage - i'm guessing this is due to the aa filter, similar to the S1H. It just slightly takes the edge off. I have said it before and I will say it again, it looks very similar to my C200 footage.
  4. Downvote
    austinchimp reacted to hijodeibn in New Blackmagic Announcement Soon?   
    as I said before, is the perfect camera for Stock Footage Shooters like you, this a great day indeed!!!!!
  5. Downvote
    austinchimp reacted to hijodeibn in New Blackmagic Announcement Soon?   
    the only Clown I see is the one shooting stock footage, and happy about it!!!
  6. Like
    austinchimp reacted to Neumann Films in New Blackmagic Announcement Soon?   
    Last comment, I’m not mad I just want to make a point:
    Criticizing fellow creatives is rude, no matter what. I don’t care what you do for a living, it puts food on your table and provides for you and those you care about. 
     
    Weddings? Great, pay them bills. It’s better than most 9 to 5s and requires a lot of skill.
    YouTube shill? Fine, pay them bills. It’s on us, the consumer, to do our own research and make the right buying decisions. 
     
    What I don’t like is when someone mocks someone else for the work they do. It shows a lack of big picture awareness. Especially in 2020 man, everyone is scrambling. 
  7. Like
    austinchimp got a reaction from ade towell in Panasonic S1 V-LOG -- New image quality king of the hill   
    I know Andrew isn't always a fan of people just posting Youtube links, but after a while it's nice to see some (what I would consider) cinematic samples of the camera coming out these days. Good to remember with the new Canon announcements that the ceiling for this cam remains incredibly high.
     
     
     
  8. Like
    austinchimp reacted to PannySVHS in Panasonic S1 V-LOG -- New image quality king of the hill   
    After plenty of testing and even more after filming half of a shortfilm with it last week, S1 is here to stay. Here is a sample of lighing test and giving my beautiful 35 to 70mm zoom a good testrun wide open. Awesome lens and fantastic image quality on the S1. Filmed in 2.5 to 3.5 at 800iso, all lit with tungsten and two tungsten flavour leds plus one kinoflo. Filmed in both, full width and apsc mode.
     
  9. Like
    austinchimp reacted to markr041 in Sigma Fp first shots - how does internal 8bit RAW compare to external 12bit RAW?   
    My test of 8bit DNG RAW straight to an sd card. I also conclude that having the full dynamic range of the sensor, no color subsampling, and no compression that DNG RAW provides may be a lot more important than 8 versus 10bits.
     
  10. Like
    austinchimp reacted to Andrew Reid in Andrew Reid AMA   
    @Neumann Films a Reddit style AMA is a great idea for the forum. I'll do my best to answer what you guys asked above. We should do this with you Neumann some time too, and some camera companies. I have some interviews coming up on the blog. Sigma's CEO Kazuto Yamaki and the Sigma Fp product manager got a book-length of questions from me and are very kindly working on some answers! Fujifilm also in Japan. I think the camera companies are always shrouded in mystery so the more they talk to their users, the better. We can send our suggestions their way!
    @Neumann Films
    What art form interests you the most outside of film? Also...what is your favorite CURRENT local restaurant (no chains)?
    Music. I like how you can choose to be a solo artist or be in a group. Filmmakers don't quite have the same luxury if we want to make really good stuff 🙂 We need actors, writers, at the very least an interesting model or subject to shoot. Musicians just pick up an instrument, and write music.
    Also writing, I think that's fascinating as well. Whether it be fiction or writing down ideas, I think filmmakers who can do this well have a real advantage over the pack.
    Favourite restaurant in Berlin is the Japanese BBQ "Ushido" and back home in the UK there's a great one in Manchester with a cocktail bar, called "Room".
    @Itu
    did you attend any film school? Which one?
    Not really but went to university and made artistic video pieces, music videos and some short films (in the Mini DV era)!
    @Video Hummus
    having run EOSHD solo for so many years where you have routinely written about your frustrations over and over again about the same persistence and repeated short comings of every brands cameras, would you consider yourself a masochist? If not, what kind of mental health problem would you say you have?
    Addicted to buying new cameras. It is interesting to follow the flow of technology and innovation but with the camera industry being so dominated by the Japanese, I feel it could benefit from more multi-cultural ideas and designers. It's becoming a bit like the Japanese car industry where all the different models are homogeneous.
    Well done to Sigma for trying something different with the Fp!
    @Mr. Freeze
    1. What moment/film was your motivation to pick up a Camera to create films?
    Koyaanisqatsi.
    Never seen reality in such poetic form, and the synthesis with the Philip Glass score, just amazing. But what's inspiring is it's basically one cinematographer and a camera, long, long takes. Each one hypnotic. No actors, no big crew, no writers, just the music and images.
    Hitchcock, now there is an inspiration too.
    2. Being able to travel back in time, let´s say 1920-2000, what decade/year would you like to visit and film in?
    I think late 70's, early 80's. The auteur era in the US. And 60's France.
    I've heard many of the younger pros say Jurassic Park is the "classic" that inspired them to be a filmmaker. It's great fun, but popcorn fluff... How times, and people are changing.
  11. Like
  12. Like
    austinchimp reacted to heart0less in Fuji H.265 vs Blackmagic Pocket 4K ProRes 422   
    Many people here praise the footage coming out from Panasonic S1, especially the 10 bit h265 422 LongGOP @150mbps
    Is there any chance you could include it in the comparison, as well, @Andrew Reid?
  13. Like
    austinchimp reacted to rawshooter in Fuji H.265 vs Blackmagic Pocket 4K ProRes 422   
    ProRes is factually a derivative of MPEG-2, that's why it's so light on CPUs. It compensates its old codec technology through high bitrates, thus the generally good quality.

    h264 and h265 will always be better than ProRes at the same bitrates, provided that a decent codec implementation (with high profile and 10bit color depth) is being used.
    So the question is whether 400 Mbit/s h265 (in the case of the Fuji XT-4) for 4K/25p video is visually as good as ProRes HQ at 737 Mbit/s for the same resolution and frame rate... 
     
    EDIT: The real issue with h264 and h265 are not the codecs themselves, but that manufacturers - treating them as consumer codecs - bake all kinds of overdone image processing (aggressive denoising, artificial sharpening, pushed contrasts) into material recorded with them. ProRes, being conversely treated as a "pro" codec, doesn't get those over-processed images. This is why we think that ProRes is better...
  14. Downvote
    austinchimp reacted to Andrew Reid in Sony PMW-F3 with 2500 hours on it. Should I buy it?   
    I think you're a consumerist idiot.
    Genuinely - if you don't want hyped prices... why cut and paste a YouTube hype piece about it all over Internet forums.
    And then say "NOOOOOOOO"
    What are you? a 12 years old?
    This shill likely trawls this forum for content ideas - This thread being one. Which is why you see his F3 hype piece and smirky expression.
    Where do you think he genuinely got the idea for buying an F3 from?
    Do you really think he has a single original idea of his own?
    Youtube - the gold standard for scientific research 😂
    And his stuff is that boring too, I can't get past the first 15 seconds
  15. Like
    austinchimp got a reaction from heart0less in Fuji GFX 100 ProRes RAW?   
    That's exactly what I did. I kept the X-T3 as it's a lovely camera to use and compact, but the S1 beats it in photo and video quality in every way (except autofocus...)
  16. Thanks
    austinchimp reacted to BenEricson in My love/hate relationship with the XC10 and grading the C-Log files that I shot   
    Exactly. The exposure needs to be motivated. It is difficult to force shots that don't exist, especially if you're trying to match contrast through out an entire piece. This is why shooting log footage without a LUT gets confusing.
    Different colors will appear differently depending on how they are exposed, obviously. The Canon, Red, and Arri all make sure green hold saturation even at the top of the image. All the LUTS you will use are probably balanced for a more standard exposure. If you're doing things like pushing highlights and extreme ETTR, you'll run into problems with saturation on certain colors.
    Looking at your frames makes me want one of these cameras again. I really love how the footage looks. I owned one 3 years ago. I remember I messed with some of the baked in profiles, those looked really nice as well. Maybe Production Standard? I can't remember. I use the C300 Mk2 now so I get them mixed up. The color seemed a bit thicker than if I shot C-LOG and tried to match what a baked in profile was giving me.
    You can do a lot in post with those files but you need to know what you want to do when you get into the edit. With the violinist,  I would assume you'd want to compensate for the under exposure and then maybe throw some sort of "power windows" or gradient exposure on the clouds to keep some of that beautiful blue sky and green trees.
    With the portrait test shot / you're essentially exposing for the shadows because of how the light is hitting you. If you opened up to your left slightly and had a bit of diffusion, you could drop the whole image down by a few stops and get a more rich / darker background. As is, the light is kind of a back light / side light.
    Here is what I came up with on the two frames. I don't have resolve, this is just Magic Bullet Looks in Premiere Pro. I don't have a color checker, but your WB is great so it's not that difficult to just level it out and tweak a few color with the HSL sliders. I did my best to try to match the two frame just for fun.
     


  17. Like
    austinchimp got a reaction from funkyou86 in Check our music video shot with the Lumix S1 and BMPCC4K   
    This is great!
  18. Like
    austinchimp reacted to funkyou86 in Check our music video shot with the Lumix S1 and BMPCC4K   
    Hey, so I had the Lumix S1 and the P4K for a while and this project was great to test it. I love the image coming out from the S1 (shot everything to V-Log, 10bit), but the BMDraw held up so much better in the grading process. I believe we shot everything to 8:1 RAW, 60fps than conformed it to 24.
    All the band performances and non-slowmo stuff was shot with the S1 + Samyang VDSLR lenses, mostly 50mm, wide open at T1.5. All speedramped stuff was shot with the P4K.
    The ligting setup was fairly simple:
    Band performance: 2x Photo-R COB lights with softboxes + backlight
    Jury: Aputuer 300D + Lightdome + backlights
    Stage performances: 300D + fresnel (which I regret now a bit, maybe a softer light would be much better) + 2800K rimlights.
    We also used prisms to add some sweetness and surreal feel to the image. 
    The whole video was shot in one place, in maybe 14 hours with a crew of 4 people (dir, dp, 1st ac, grip).
    I edited everything in Premiere Pro than spent weeks and months to grade it with lumetri. By the time I got familiar with resolve, so I exported everything to Resolve and graded it in maybe 2 days. Still not perfect, but still better than what I've got from premiere. 
    Anyways, let me know what you think  Don't get confused with the multilingual intro, turn on the subtitles please (we did everything to do a proper translation 😄 ). Cheers!
     
  19. Like
    austinchimp reacted to jgharding in ARRI Alexa cheap enough to own now?   
    Still such a beautiful  skintone and the dual-gain sensor is lovely.

    But ya know, the associated grip and batteries and so on... it'l all massive. 

    TBH if I have a production hwere i can have crew i just hire it. If I don't I'll use the S1H, and turn up with nearly everything in a Peli 1510,  it's pretty close in footage looks.
  20. Like
    austinchimp got a reaction from deezid in Panasonic S1H review / hands-on - a true 6K full frame cinema camera   
    Looks great! Love the colours - how did you grade it? Looks Arri-ish
  21. Like
    austinchimp reacted to deezid in Panasonic S1H review / hands-on - a true 6K full frame cinema camera   
    After firmware 2.0 I see less reasons to do so. Would love some more less cropped high frame rate options.
    Overall 2.0 is quite impressive for V-Log.

    Magenta tint seems gone
    Orange/yellow lights won't burst into noise anymore
    Sharpening seems to be turned off
    Noise reduction -1 fixes the motion related issues, also much nicer grain pattern which matches the framerate (temporal NR seems to be gone entirely)
     
    Here's a small test I did for an upcoming music video
    https://drive.google.com/file/d/1pUW5itKQn2Jjz1pqkqh4sPxB-IgnOWgE/view?usp=sharing
  22. Like
    austinchimp reacted to Andrew Reid in Canon EOS R5 8K monster official topic   
    There is a lot of unmotivated 'convinience' camera work out there today.
    I am making a 3 legged stand
    Tarkovsky would not use IBIS for a static shot
    Kubrick would not dump his Steadicam operator for a gimbal and drone.
    Some of the gimbal stuff is even worse than IBIS. Movement for the sake of it. No purpose. Tacky. Lazy.
  23. Like
    austinchimp reacted to noone in Video is difficult   
    But but but Video IS easy!     So is stills photography.
    FILM making on the other hand is very difficult.
    I am not now and never will be a film maker.     
    Every time I tried, my mind would just be blank (permanent writers block??).
     
      I am (I think) a reasonable photographer and my videos  pretty much consist of bands playing songs live and that is as simple as finding a spot, putting the camera on a tripod with mic facing the band, set camera to suit and hit record and turn off after the song.    From time to time a few very short videos experimenting with stuff as well.      The new little Sony vlogging RX1## camera would be great for me (not that i will get it) I would not use it for vlogging but to do the same as i do with my A7s for recording songs but in a tiny package that would make it even easier.
  24. Like
    austinchimp reacted to fuzzynormal in Video is difficult   
    I can confirm the 1990's and well into the 2000's.  The type of cameraman making a decent living in my corner of the world never required any particularly creative skills.  In many ways, it still doesn't, but if you were a shooter with even a semblance of knowledge and some kind of refinement, you'd be at an advantage because you knew how to run the beast camera systems.  Film cameras, an Ikagami NTSC tube cam, "portable" 3/4" tape deck...that sort of thing.   
    However, because you can point a camera obviously doesn't mean squat now that everyone's got 'em.
    Yeah, back in the day just getting access to the gear and learning the basics of the craft could get you through.  I could push a GrassValley switcher to it's analog limits and edit quickly and cleanly on any linear tape deck system, so that skill set had value for a time.  But that's the other side of the coin for being enamored with technology and putting your focus on that side of things.  It's always going to change and advance.  Tiger by the tail stuff.
    OTOH, the practice of composition, storytelling, lighting. etc.  That's pretty solid.  I don't think the "passive viewer" aspect of story telling is going away anytime soon.  We all still want to gather around the fire and be told stories. 
  25. Like
    austinchimp reacted to BTM_Pix in Video is difficult   
    I completely agree with all of this and echo that same experience.
    The worst shot that I took in a Champions League final was always ten times better subjectively to a viewer (and to me too) than the best shot I ever took in a lower league match.
    A man jogging along on some grass with a ball at his feet and no one within ten metres of him is a pretty dull shot unless that man was Lionel Messi and that grass was the pitch at the Camp Nou and the people that were ten metres away were part of a sell out crowd of 100,000 people.
    I'd also 100% agree about finding interesting subject matter away from that environment and back in the "real" world particularly for someone like me who was into self isolation way before it became mainstream.
    I'm partly "all the gear and no idea" when it comes to video but thanks to my somewhat, erm, challenging personality I'm mainly "plenty of lens but not many friends" so lack collaborative partners or subjects.
    Its unfortunate but, as you say, best to make peace with it.
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