mercer
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Posts posted by mercer
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I noticed the price on the NX500 is starting to drop on eBay. Do any of the owners have any footage uploaded online since the firmware update? At the $500 range this camera is getting more and more tempting.
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Did a quick test with my $12 Zeiss. Haven't used it but might need it this weekend for a little project so I took it for a quick walk.
And yes, this is text book boring leaves, flowers and pet footage.
Nice lens. The bokeh on that 2.8 blows my mind. I have two of these, the same version you have and an older model that has a little silver on it with a nubby rubber grip. I think I paid 50 each and both of them have aperture problems. I think there's something wrong with the pin. I also have the 35mm f2.4, which I got for a steal. It was recently cleaned and declicked... Which is nice. I'm thinking about having the 50mm 2.8 declicked too, if I can find someone to do it for a reasonable price. I'd love to get the 20mm 2.8 or f4 but I can't justify the price right now.
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I would say that Sony is clearly the top dog in video at the moment, followed by Panasonic/Samsung. Nikon straggles behind them while Canon was left in the dust years ago and apparently has no clue how to catch up.
I thought I read somewhere that Canon doesn't believe 4K televisions are going to be as big a seller as a lot predict, so if they do believe that and they're right, then 4k videoe may not be as important a feature to your average, everyday consumer, where they dominate in that market share.
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There is IBIS during video, but for some curious reason (I am sure that it is somehow related to the GH4), it does not work during 4k video.
the headphone jack being 2.5mm instead odfmf 3.5 and some of the bitrates don't seem right. I am guessing the Complete Mirrorless Package will be the GH5 with IBIS in 4k and Log profiles, and maybe higher slomo.
Yeah, and the GH5 will cost well over 2 grand. That's the problem with the constant upgrading of new models. They continue to sell the older model at its original price point and then they bump up the price of the new model into a different price/level tier.
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It's exciting to see Panasonic implement 4K into their smallest, sensor compact cameras. I assume Canon's hand will be forced to include 4K in upcoming models, most likely in their Rebel line, but probably into their G series as well, and who knows... Maybe even their S series.
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I've been looking at the FZ1000, for it's 4K capabilities, for a specific project, but this may be all I need. Has there been any talk of the FZ1000's successor? If not, I wonder if the FZ300 will bring down the price point of the FZ1000.
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Actually, the best entry into 4K might just be the other fixed zoomlens Panasonic, the LX100. It shoots lovely footage... so it's great as long as you can live with the quirks (most obvious surely the limited focal range). Or if you could use that kind of extended range, maybe the NX500's crop is useful after all.
I was pleasantly surprised by the NX500. Like others, I was more impressed with the preproduction model, but I do believe it is an underrated camera. The LX100 is another possibility, but I think it will stay in it's price point longer than the FZ1000 will.
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Oh, I didn't know Fotasy made speedboosters... Cool, I'm a big fan of their dummy adapters. Do they have them for a lot of mounts to NEX?
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FWIW, I started experimenting with stuff. First try: I hooked up a Fotasy ($115) EOS-m43, put my old Nikkor 50mm f1.4 on it, and shot a low-rent PR vid with it.
I stopped down to f2. Not bad. As mentioned before, I'm not terribly discriminating about bokeh, just want shallow DOF to really knock away background. That said, bokeh's a bit busy, but I'm encouraged.
My next step involves a cheap Chinese speed-booster and the FD mount with a 55mm f1.2. We'll see how that goes. More than anything, I think I appreciate the idea of buying two cheap primes, a speed-booster, a dummy adapter, and then getting 4 focal lengths out of the deal.
Whenever I can do more with less, I like that.
The Fotasy dummy adapter was $115? Why so much?
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Thanks, I have an upcoming project the FZ1000 should be perfect for.
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Well, how many minutes, on average, will a 64gb card store?
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5 Axis Hybrid OIS is also used in the FZ1000. It is a combination of Optical IS and electronic stabilisation. No sensor movement is involved. So if it works the same in the GX8, that means no sensor stabilisation in video mode (like the GX7).
This is off topic, but do you have the FZ1000? If so, how do you like it. It may be my first foray into 4K when the price drops below $500. If you do have it and have a couple secs, can you give a basic pros and cons list? I have seen some videos and I love the downsampled 4K to 1080p. I am aware of the 4K crop factor, how is the stabilization? And anything else you can think of.
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I just got the email.
I downloaded Hitfilm 2 Express for free when they had the offer last year, but I never really tested it out.
Has anyone used it?
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Nice specs. I look forward to picking this up next year when the price drops.
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The headline feature of XV10 is that it's 4K. Yet, footage after footage that's been posted to date has been soft, like it's a HD DSLR. Still, we have have ardent supporters ignoring both the specs and the results and vigorously defending it. It's either an overpowering brand loyalty or a contrarian attitude that simply wants to go against the majority view. Reminds me of an evolution debate where the creationist hears a five minute listing of facts supporting evolution and responds with "I don't believe it." Touche. Seems pointless to engage in XC10 discussions till we have much more footage/results/experiences.
I defend it because it's 4K looks more filmic to me. Most 4K footage, I have seen, looks very "videoey," to me.
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In my opinion these are the main reasons against the a5100:-to small for my hands
-body is getting pretty hot after using it in video mode after only 3 minutes
-no function buttons, you have to configure everything over the menu
-no external mic jack
-no view finder
I'm still a beginner and do not have a lot of experience, but these features are pretty important and the a5100 dont have it.
- Are you recording long takes? Because, I have the a5100 and have used it in the hot, summer sun and have never had an issue with it overheating. Although, I have heard that it is a problem.
- You can go into the menu and set any of the external buttons to do any of the manual functions you want. For instance, I set the ? Button to work for zebras. I set the up button for white balance and the left button for creative styles, etc, etc...
- Yes, I wish it had an external microphone jack.
- And a viewfinder would be helpful, but since I use focus peaking, combined with magnification... a viewfinder isn't necessary.
Anyway, if you want 4K, then go for the G7. If not, either of the other two should work well, just remember you have a larger crop factor with the Panasonic cameras, not a big deal if you plan on using modern m4/3rds lenses, but if you intend on using vintage glass, without some version of a speedbooster, then your wide angle 28mm lens, becomes a 56mm lens. Your 50mm normal lens becomes a 100mm telephoto lens, etc, etc...
Good Luck with you choice.
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You can select individual clips and transcode them. I'll look again to see if there's an option to transcode the clips in the timeline automatically. You could be right though that it transcodes the entire original file, (not just the section in the timeline).
I'm not sure though that transcoding is even necessary. The only time I've ever seen it remove codec issues was with the mark 1 omd em-5 footage, which would become really macro-blocky sometimes if you edited it natively. With other cams I've occasionally tested this, transcoding one clip in the timeline but not the others, and I've never been able to see a difference. I guess if your media is fast enough to handle the increased amount of data, then editing transcoded footage should be lighter on the processor. But I'm always amazed at how well fcpx performs, even on lowend laptops. I was playing with someone else's 100 Mbit GH4 footage, and even that worked ok on the Air.
By no means am I an expert about these things, but I believe the point of transcoding is so you are not editing the heavily compressed, original file. I believe the native, compressed files are recorded in a manner where not all of the information, for every frame, is recorded. When the file is transcoded to prores or other intermediary codec, that information is expanded for every frame, giving you larger file sizes to work with but also making it less taxing on your system. I am new to FCPX but I believe if you have optimizing unchecked and proxy unchecked, then you are working on the native files and not until those files are rendered, or exported, will they be transcoded to whatever you delineate as your delivery codec.
At least that's how I understand it, but again, I am relatively new to post... So I may be wrong.
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About transcoding, if your NLE takes XAVC-S natively (which it probably does, it's a pretty supported codec by now) Nothing beats editing and grading the native file, only transcode when your computer is not powerful enough to edit the native footage so ProRes/DNxHD is much lighter for the machine. Transcoding is a cumbersome process that takes time and effort and is best avoided if you can edit the native files.
I guess it depends on how much post work you do and what you're doing it for. If you're just making a couple edits and uploading to a website, then yeah... No need to transcode. But if you're doing a heavy grade and adding extensive effects, then transcode.
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I've just checked my settings, I have transcoding turned off for import in FCPX. I think it's just the clips that I drop into the timeline that get transcoded (although.... when I look at video info for a clip in the timeline it says that only the original is available)
I think that means you are editing in the native format.
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I just emailed Divergent Media, the makers of EditReady, and they claim their program will work with the XAVS-C files from the a5100 and the firmware updated a6000. I am going to download the free trial tomorrow and test it out.
I'm interested in seeing how the metadata functions work in that program and the LUT applications
Sorry to the OP for hijacking the thread.
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Fcpx transcodes everything to prores on import anyway. I'm curious, why do you want to transcode before import? XAVCS in fcpx is seamless, even on the lowest spec MacBook Air.
Honestly, I don't have an answer for you. I know FCPX would do it, in fact I could only watch the files on my computer via iMovie or FCPX. I remember reading somewhere, a while ago, that it was better to convert before you bring it into FCX and then choose not to optimize in FC, and you would get a cleaner, quicker conversion. Since then I have read that you cannot set IN and OUT points while importing through FCPX? I don't ingest every second of every clip, I only transcode and import what I need.
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Like I said, I got mine in the mail the other day and I have filmed about 5 minutes of tests with it and so far I am really happy with it. My other camera is an eos-m, and I have duplicates of a Minolta MD 50mm f2, nice underrated lens btw, and I think I may do a side by side test between the two. I was always happy with the eos-m but now I am curious to see how the a5100 stacks up.
New Samsung NX500 Firmware Update up to 70Mb/s (HEVC/H.265) now
In: Cameras
Posted
So, I've read that due to the flange distance a c mount lens adapter won't work with the NX mount, but if you get a c mount to m42 and then stack that onto an m42 to NX adapter, how close can you get to infinity? If it's even possible to get slightly under infinity, I realize you would have a vignette issue, but i wonder how much of a center crop you would need to eliminate the vignette on a 12.5mm 1 inch c mount lens?