DayRaven
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Posts posted by DayRaven
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12 hours ago, CMB said:
This is 'The Painter of Jalouzi'. You may at first glance think it's a heart warming short documentary with worldwide acclaim. But in fact, enjoying it on any level would be wrong. Because it was shot in an iPhone. I think that's the message Andrew is trying to get across?
Intentional or natural? That's the question that I have to ask about your lack of comprehension. Yes you can produce a film on an iphone, but you are limited by the technology, and you may have to change your film to take the tools into account. The more you have to change it, the less of you is in there and the more of the tool.
Some people thrive on limitations, in which case, go take Sundance by storm with your Denver action cam, £12.50 with free p&p. Otherwise, when you have your piece you want to create, choose the tool that enables you to do that, and this forum is invaluable in making your decision.
Have loads of scenes in a nightclub - members of this forum may have discovered that the bmmcc may not be the tool for you. Long fast action takes with loads of handheld, members of this forum discovered a6300 is not for you, obsessed with apple recognising your prores cameras licence on their website, Kinefinity are probably low on your list, and so on and so on. But please, show us your work.
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Here's my effort - I treated them all the same, as the editing had been done. I tried to dither out the banding, but honestly I would have reshot the indoor shots - on not included them so didn't go crazy and spend hours on them. Also didn't straighten the horizon, on the building exterior, as it is pre-edited, I assume the slight dutch is intentional. If it wasn't, again, I would reshoot or leave out. Also I would dial back on the stabilization, if I were to do it again.
GH4?
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What "look" did you have in mind while you were shooting? As they are all one clip, are we supposed to treat them as one clip, or is cutting them back up again acceptable?
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Just now, Oliver Daniel said:
Maps are the fundamental part to a working camera. I hope RED got their map right or we're all doomed!
Not sure why there is a lot of animosity against Kinefinity. They are offering excellent cameras to the market and people are in a huff puff about it.
I think people are being tongue in cheek about the map thing - I certainly am, and it was only one guy who seems to have a bit of a chip on his shoulder taking the prores thing seriously!
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Just now, TomasSunyer said:
The Russian Federation fronteers have gone back to the Soviet Union's good old days! Including the Associated Soviet state of Mongolia and Alaska. Also Algeria still belongs to France
Don't you mean the Russian Frederation, named after the mighty conquerer Tzar Fred the first, I presume
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Don't forget a custom Heatsink and Fan, if you're going to get the most out of that motherboard, something like a Phanteks PH-TC14PE or Noctua NH-D15 would be suitable.
Also you don't mention a power supply, this can cause difficulties that are hard to track down on windows, so go overkill, something like a EVGA Supernova 1000W P2 or Seasonic P1050 1050W 80+ or Corsair AX1200i
Did you budget for a box to put this all in? Something like a Silverstone Fortress FT02 is a really good case for a decent price, or the Coolermaster Cosmos 2 if you want it to look like a cylon basestar.
What you've chosen looks solid to me, can't advise on whether it will be smooth with 4k, but my lower spec system is usable in 4k.
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7 hours ago, Emanuel said:
And what about this funny world map...
http://www.kinefinity.com/kineteam/kine-linked/?lang=en
...?!
: - D
That map is amazing - the more you look, the more you find, from Japan taking a chunk of mainland China, to the various invasions of the US, passing through the re-emergence of the Persian empire. Amusingly, google reverse image search shows this was sourced from an alt-history wiki, where people invent their own histories of the world if certain events turned out differently. This one appears to be from a history where Mary Stewart did not suffer a miscarriage http://althistory.wikia.com/wiki/Anglo-Dutch_Union_%28Dutch_Superpower%29
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22 hours ago, Nikkor said:
So why not post that in the frist place. Anyway, I don't think it's true.
I'm not Mattias, I wasn't involved and had no interest in getting involved, but you are throwing out big words about a camera you've never even touched. Now, if someone is researching it, your judgement is immediately put into a correct context. That is what I care about. You believing me, not so much
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22 hours ago, Nikkor said:
So you think the BMPCC likes rain dust and humidty?
Mine, and because I've done more than look at it, I know, survived 4 months in the Australian outback, so dust... yeah, it's fine. Humidity - I shot a shower scene once, three takes, half an hour, loads of steam - it's not as conclusive as the outback test but, it coped fine. It was mounted directly above the showerhead and in the most humid zone, according to light manufacturers bathroom fittings information.
Obviously, in both situations, I took care!
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22 hours ago, Nikkor said:
The BMPCC looks like it's made out of paper.
Because judging cameras on their looks is always helpful
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Just now, CMB said:
Quite a sweeping statement to make. So not for anyone wanting to use a gimbal solo with no focus puller then? Only soccer moms have Movi's right?
There are many ways of film making, but traditionally, a shot will be planned to an extent where a gimbal is a hinderance compared to solutions that you can use when you have that much control over the scene. Why use a gimbal and have to rely on autofocus when you can build a track for your camera and retain control? I say traditionally, because things like Canon's autofocus, affordable gimbals and the modern revolution of film making has led to tiny crews shooting gorilla movies in locations where they have no control, and then such tools become useful. There comes a point however where you can't just roll up to a location and shoot.
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7 hours ago, wolf33d said:
I don't understand, a video A6300 vs 80D has been posted in the first page. Myself and at least 3 other people asked if the thing is legit since the 80D looks clearly better (which is a huge statetement when you know a6300 quality and how andrew speaks about 80D) Was this because A6300 was in 1080p? But in any case the image of the 80D is fine in the video.
If you know me on EOSHD you know I criticise a LOT canon especially for DR and video. But then I bought an A7R II, hated it and now honestly if I had to choose between 80D and A6300 I would choose the former. I would rather have amazing AF an colours agains absolutely hideous ergonomics and unreliability of Sony.
So I am sorry Andrew but aliasing is not everything. I feel more creative with 80D than A6300 that is a piece of spec but nothing else.
I am surprise you dont agree since I remember an old time ago you liked the EM1 even though the quality was horrible but for the creativity allowed by the 5 axis stab....Oh and look at the T2i video above and tell me it looks bad. At the end of the day what counts is the guy behind it..... But it does not mean I do not want a 5 axis stab mirrorless canon 5Dx with 15 stops DR / 4K Prores 10 bit / Dual P AF
I think that clip is real - he shows the cameras, and why would he fake the test if he has them both - there is I suppose a question as to whether the a6300 is really an a6000, but I would say it is real. As to which looks better, well, the clips marked as coming from the 80d have something off about the edges to my eye, it may appear as sharp as downsampled 4k, but it looks very artificially sharpened. That's to my eye and I am in no way dismissing the opinions of people who can see past that/ can't see it/ see it and prefer it - after all, we all use cameras for different jobs and in different ways and all have different preferences.
These sorts of tests are just too limited anyway, what was the sharpness setting on both cameras, what was the gamut used, it would be no wonder the canon looked better if he was using one of the wider colour spaces avaliable on the sony, we don't have the information we ned to judge these cameras based on the videos this type of youtuber tends to produce. What we need is exact tests to get the best out of both cameras at differing effort levels, treated with someone who knows the ins and outs of post process to demonstrate the limitations of the footage captures.
That being said, it's cool you like the Canon footage, and colours and if you feel more creative with your 80d, then I'm happy for you
It would be a particularly dull world if we all liked the exact same camera.
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11 hours ago, BenEricson said:
Below is what I see so often. The entire scene looks sickly. A C300 in that scenario would look beautiful, right out of the camera...
C300 vs FS7, by looking at the color of the images alone, which is which? Please show your working
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On 01/04/2016 at 1:27 PM, Jimmy said:
Oh, you've found a setting that disables the WB being completely screwed? Please share
It's the same setting you use on canons so you can shoot their famous fleshtones in front of the goldengate bridge and not have it turn orange.
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As an a6300 user, I could not reccomend it to anyone using it in a profesional capacity, from the overheating issues alone. It may be worth it IF you were interested in 4k, as it's 1080p is nothing special AND you had a solution to the overheating - I'm experimenting with Ram heatsinks AND you didn't mind the rolling shutter, but that's a tough sell - I see it more as a camera to learn on
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On 31/03/2016 at 5:09 PM, Jimmy said:
I'd rather deal with soft footage and aliasing then have leaves, plants and limes look like they have been grown in a radioactive wasteland!
That's a REALLY wierd species of Canna if the Canon has the best colour here - it look's like it was the one grown in the radioactive wasteland!
- Nikkor, Shield3 and BrorSvensson
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None of us know the in's and outs of the negotiations between Apple and Kinefinity. The facts we know are: Kinefinity has been reported to have been negotiating with Apple for two years, Kinefinity put out a press statement that they have official backing from Apple for Prores, Apple haven't updated their website. Apple haven't started any court action against Kinefinity in the 7 months the announcement has been made, or ever, nor made any official statement debunking the press release.
This isn't the pattern of a copyright infringer, for starters, the bogus implementation of Prores has been in the wild for many years, they could have slotted it into their cameras in a very short amount of time, the fact they have taken this long seems to infer that they are following Apple's process. Secondly, Apple have had 7 months to put a stop to this, and yet have chosen not to. This is not the pattern Apple follows with it's legal action, they make public statements very quickly after media coverage, and always aggressively protect their IP.
Occams Razor suggests that Kinefinity are in the process of getting official approval, have not yet got it but have reached the stage where they feel confident in putting it in their marketing material. Apple not disagreeing with their press release suggests that at a minimum, there is a bridge in place that Apple do not wish to burn. (Actually, if this were any company but Apple, OR would suggest that the update to the webpage is sat in some developers TODO list, but I daren't invite the Macocalypse on myself by suggesting that there is nothing special about the company)
Either way, thank-you for keeping nationality out of it after I asked.
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Just now, DBounce said:
Well yes, you seem to be making the extraordinary claim that Kinefinity are trying to pass their products off as Reds with that link there, so do eloborate to your hearts content.
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Just now, DBounce said:
China does not need permission do they?
Take a trip down to your local shops, you'll find ripoffs from every country in the world. Including yours. Lego ripped off Kiddicraft, Oreos ripped off Hydrox (and then launched an ad campaign claiming they were the ripoffs), Sketchers ripped off Toms, Disney Pixar ripped off Pierrot Le Poisson Clown, Angry Birds ripped off Crush the Castle, Farmville ripped off Farm Town, Pong Ripped off Table Tennis (the 1972 computer game), Guitar Hero ripped off Guitar Freaks, A fist full of Dollars - Yojimbo, Lincoln Continental - Bently Continental, Chrysler 300 - Bently Continental, Focus/Mondeo - Astin Martin, Astin Martin - Everything Fisker does, Marvel Wasp - DC Bumblebee, Psych - The Mentalist, Benson - Squidward, Secret of the Incas - Raiders of the Lost Ark, Monsters Inc - Little Monsters, Facebook - Friendster, Twitter - TechRadium, Paypal - Billpoint, Burberry - Vivienne Westwood.
Need I go on, or shall we keep nationality out of it?
- jase, Marco Bentz, SR and 1 other
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Regarding Luts, they were designed for you to take properly graded footage and adjust it so you could print it to film. Say you had shot a scene and put it on your computer to grade it, but you were delivering on film. As we know, film can be wildly different and what you see on your monitor is not what you will see on the film once printed. So you would get it looking right on your monitor then before delivery, apply the lut, which would make it look horrible on your monitor, but right in the final delivered product.
Of course, that doesn't mean you can't use them creatively, but as with using anything for a purpose it wasn't designed for, proceed with understanding and caution.
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2 hours ago, Hanriverprod said:
Is it the grading on Sony that's popular these days, but why does everybody look like zombies on Sony footage? As someone who shoots people primarily I just can't get over how lifeless people look on some of sony's prosumer cameras.
It's a combination of things -
1. Sony cameras don't handle difficult white balance situations with any grace
2. Sony offer a huge degree of options that control the sensor
3. Sony give you profiles that require grading - and I mean, proper, years of experience as a colourist grading, not just drop on a lut or tweak sat and curves
Combine this with low prices and any tom, dick or harry can grab one, stick it in pp9, wave it around a baby with leds, sunlight and an incandescent bulb and wonder what happened to the skin
They aren't cameras for everyone, thats for sure, you can mitigate many of the issues, but they are cameras that demand, in certain modes, a very high degree of cameramanship and skill.
1. Desaturating the higher luminence can work wonders to help take the green and yellow gills away.
2. Stick to pp0, and your fave creative style, if that's too limiting, stick to cine 4, s.gamut.cine. If that's ever too limiting, then you are going to have to start reading technical documentation to understand what the options do and how they do it.
3. Just look at the size of s.gamut 3, and think what is going to happen when you cram all of that into the comparitively tiny space of 709 and understand why colourists can charge what they do. Then never, ever use it.
Or just grab a camera you can get decent results with because clever engineers did all that for you and plenty more besides
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Just now, Geoff CB said:
Are you a shill for them? Because your post is nothing but dismissing and downplaying issues other people have with the camera. The overheating issue is a huge one, I'm not telling the talent "sorry we have to wait a couple minutes while the camera cools down to do the next take/ask the next question/start your song" or "sorry can you do that take again the camera shut off in the middle of it". The NX1 (which came out two years ago) has the same size sensor, never overheats, has better RS, a better 1080p mode, and a headphone out for monitoring audio, and can be had for about the same price. Operationally it is a far superior camera.
Don't make excuses, the only reason this is a 4K camera is because someone in marketing demanded it.
To be fair, he did say that it's not a professional tool and if you're employing talent, I don't think the two of you disagree that you would be correct to use something else.
I don't think that one of the best 4k's the world has yet seen was a marketing accident, there are very few accidents when it comes to Sony - doubtlessly, accountants had their hand in keeping the small form factor - it's so close to the NEX 7 and a6000, even down to minute details that its probably down to cost of retooling and getting the most out of the tooling they created for the NEX line, long before they knew they were making video cameras and it's that form factor which has a major hand in the overheating. I expect, somewhere in Japan, there is a prototype in a bigger box with a bigger processor with that same image, no overheating and acceptable rolling shutter
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Just now, Snowfun said:
Have you thought about equipping your wheelchair with quick release plates (+/ Manfrotto 143 magic arm kits?) and using it as a mobile platform for your shots? There is no need to suffer excessive pain if mobility is best served by using your chair - so why not optimise that? You could wire it up for external batteries. I recently broke a metatarsal and had to use a wheelchair at airports - I was impressed by how smooth a ride they give (think steadicam). I also used a walking frame (neither foot was load bearing) for a couple of weeks - no tripod required! The event is NEC not Excel London isn't it?
It is NEC.
Yes, I have indeed thought about it - I've loaned my electric wheelchair to a friend in more need while I was bedbound, but when I get it back, it will be my steadycam! The chair I'm using at the moment is a manual and as it's an amazon cheapy, it's not worth the conversion and it's no smoother than walking if I have to wheel myself!
I am wondering if there is value in taking my chair - people definately react very differently to wheelchair users, and that can be a good thing, but can also be a bad thing. Crowds often, for me make taking it more of a burden than it relieves - you'd be shocked how many people lean on it, push it around without my permission (yes, while I'm sat in it!!), forget that it has a bigger footprint than a person standing and snag on it walking past etc. which is why I was considering not using it, but it may open doors for me that could be useful. I'll certainly have it nearby, there's no reason not to leave it in the car
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48 minutes ago, Calum MacPhail said:
The only real issue I have now is a reluctance to invest in NX lenses, due to the complete impossibility of remounting the lenses. As a matter of fact, the NX mount itself isn't that great, it's inability to take focal length reducers due to its distance from the sensor being one of the largest.
Feels like it should be the other way around - the large flange distance would (and has been a factor) prevent me from buying the camera, because I couldn't use a lot of glass on it but should I already own one then buying the NX lenses would be fine for me because of the flange distance as they could be adapted for a great many other cameras
Filters NX1
In: Cameras
Posted
A bit of stocking over the rear element or Pro Mist - say about 1/2