buggz reacted to kye in Lenses
@webrunner5 - I agree, there is something special about 16mm.
I think that you can make a great argument that there is something special about every focal length, because in the hands of the masters all are capable of beauty and wonder. I've chosen 16mm, 35mm, and 80mm lengths, but @mercer makes a very strong case for 28mm, and if @BTM_Pix wasn't trying to make every app and gadget not yet on the market I suspect he could make a strong case for basically every other length!
You've inspired me to have another look through some footage from our trip through Asia last year and post some stills. Not that I'm anything even in the same universe as a master, but I've managed to luck my way into some nice shots, proving that it's more about what you put in front of the lens than the operator. These are ungraded, apart from some quick WB and contrast, and GH5 10-bit HLG.
16mm equivalent (SLR Magic 8mm f4):
I love it because it's wide, but also because it distorts things so things look grander (like the first shot), but you have to be careful not to over-do it:
35mm equivalent (Voigtlander 17.5mm f0.95):
I especially like the 35mm for environmental portraits, and having a fast aperture allows great low light performance as well as subject isolation.
I also took a 116mm equivalent lens on that trip (58mm Helios) but have since changed my longest length to an 80mm equivalent (Konica Hexanon 40mm f1.8) because 116mm was a bit too far from the 35mm equivalent of the Voigt.
116mm equivalent (Helios 58mm f2):
I find the large aperture is useful for low-light, but also for getting shots through glass and defocusing the marks on the window sufficiently (the scooter shot was through a bus window).
I'd only contemplate going back if I could only have one lens... fortunately that isn't the case! 😎😎😎
buggz reacted to Attila Bakos in Interpretation issues of Fujifilm video files in Davinci Resolve, Premiere Pro and Final Cut Pro
The issue this video covers was already mentioned in several topics, but I promised a video explanation and fixes, so here it is.
Beware: long, boring, bad English.
buggz reacted to Anaconda_ in Davinci Resolve 16
Anyone looking to learn new software like this, I would advise you to just make yourself a sweet ass new showreel, and if possible do it from the original camera files so you also have to re-grade everything. That way have to learn how to use the tools to match a grade, or make it even better. There's no deadlines so you can take your time and get to know every inch of the software that's relevant to you, and since the showreel's job is to promote yourself, then you'll want to put the time in to get every little detail right.
It's always worked for me.
As for the organisation of projects, I just let DaVinci use it's database while I"m working on it, and then when it's finished, you can go to the little Home icon in bottom left, right click on a thumbnail and go 'Export Project' This gives you a .dpr file that you can save next to all your media for archiving.
buggz reacted to Adam Kuźniar in Huawei P30 Pro - Means business?
I find it kinda weird, that no amount of lenses, chips, processing and firmware make phone videos look less.. like phone videos. I mean that Parker's video is beautifully shot with some gorgeous landscapes but it still looks like a phone video. I don't even know why.. maybe it's the oversharpening but I feel like there's more to it.
buggz reacted to sanveer in G85 successor to be announced next month?!
I hope they charge $1200 and give us:
1. Unlimited recording time.
2. 10-bit 4-2-0 internal.
3. A few flavours of VLog and bitrate options.
5. Better autofocus in video.
6. A 20(/+) sensor with improved RAW.
7. EVF being slightly better.
8. Headphon jack. Though it's a hardware thing and if they haven't implemented it, it won't make it.
The XT3 is like $1500 (probably $1399 and below at few places now), and is a monster for video and stills. Panasonic can only beat or equal that camera in video performance, at a slightly lower price point. They should try and make the most of it.
I am bored with the 8-bit 4-2-0 regurgitated from every camera ever made.
buggz reacted to Jak234 in Shooting with the Panasonic S1 in Barcelona
@Andrew ReidDear Andrew, from the article it seems that you are in a good contact with Panasonic reps.
Could you please ask them to include a focus assist (magnification) during recording or at least ask why this so important feature is not included in the gh5(s) and also not in the S1? Sony with their A7x line has it included and you find this feature in all broadcast cameras (Sony fs5,fs7, Canon C100-500)
It is such an important feature for so many people who are shooting documentary, reports, television and so on. If you can't plan a scene focus wise you really need this feature to be sure you are in focus.
You can't really judge focus even in Full HD but especially not in 4k. Also the great viewfinder of the S1 will not help. Its not about the resolution of a EVF or LCD, its about the inability of the human eye to really be sure you are focused.
We really need a focus magnification during recording (even 2x would be great and enough, if more is not possible).
It would be so nice if you could come up with this issue if it happens that you talk with them again. If I write them an email it will not get to the right people. I think it is so easy to implement via firmware upgrade and processing power can't be an issue anymore (at least in the s1) to include it also during recording.
Thank you so much if you could do that. I love the GH5 and will love the S1. But this is such an important feature it nearly lets me switch back to cameras like the FS5/7, C300...
buggz reacted to heart0less in What do you think of these new single focusing solutions?
Reviving this thread, since I became an owner of one of these new single focus solutions.
A brief myFM (Евгений Мыреев's single focus) review.
I wasn't asked to write it, nor did I get any discount / money / ANYTHING for doing it.
Just my personal, unbiased opinion.
It's pretty robust, but light at the same time.
There is some really slight loosness when focusing. It's nothing dramatic, but it's there.
Otherwise, it's quite smooth, but no buttery smooth - just what you could expect from a Chineese helicoid.
I've owned a SLR Magic Rangefinder before and must admit that focusing with the Rangefinder was better than with myFM.
MyFM features M65 threads (both rear and front) which may prove to be quite difficult to mount.
I contacted Arkadiusz Kroma (who happens to live in my close vicinity, hahaha) and after providing him with some measurements, he managed to produce an amazing front clamp that fits myFM and golden Isco Ultra Star just perfectly.
Just to let you know: I realize it’s quite a controversial mod, but I had my Isco lathed in order to mount a diopter as close to the front glass as possible. Arkadiusz took into account and his clamp sits just above Isco’s barrel.
Now, this is where it shines.
Test setup: Panasonic G80 / G85 + Helios 44-4 (58mm f/2), both with and without Viltrox EF-M2 + Isco Ultra Star 1st gen; all photos took at f/2
I attach sample photos and a link to RAW files so you can judge it yourself, but I’m pretty amazed.
(They may be misaligned and I'm deeply sorry for it. Had to hold the anamorphic adapter in my hand, because I'm waiting for a proper lens collar.)
Order of photos attached to the post:
1 - no speedbooster, no anamorphic adapter,
2 - no speedbooster, anamorphic adapter, no single focus,
3 - no speedbooster, anamorphic adapter, single focus
4 - speedbooster, no anamorphic adapter,
5 - speedbooster, anamorphic adapter, no single focus,
6 - speedbooster, anamorphic adapter, single focus
Sharpness and contrast seem to be unaffected, even wide open.
It does introduce some tiny chromatic aberration on edges of the frame, but it’s almost unnoticeable, especially when compared SLR Magic RF, which in this field is just awful.
Coatings look gorgeous. They are mostly purplish, but sometimes show a bit of amber.
Flares: Fortunately, there is no blue blob or any other creature, haha.
I don't know why, but it seems to mute reflected flares just a little.
Take a look at the video:
It’s also worth noting, that myFM works as a delicate wide angle converter. It widens your field of view by 0.92x
And the biggest drawback: vignetting.
Since myFM is built with ~62 mm diameter glasses, it won’t allow you to go as wide as HCDNA or FVD-16A do.
With my setup, I get a noticeable hard vignette.
58 mm * 0.695 (Viltrox EF-M2) * 0.92 (myFM wide angle abilities) * 2 (G80 crop) = 74.17mm (35mm eqv.)
Just by removing Viltrox from the equation, I get a 106mm eqv. and no vignette.
Right now, I don’t own any lenses between 58 and 135 mm so I can’t perform more tests.
I hope I’ll be able to adapt my Schneider 75/2 soon.
Link to samples:
buggz reacted to noone in Lenses
Didn't say don't do it. Again, it IS fun and you can find lenses you like for sure, I am sure some will prefer the look they get but that isn't BECAUSE they are medium format lenses but rather because they like those particular lenses. My point is that if you want a fast lens for instance, you have MUCH greater choice using FF lenses than you do using MF lenses (and even with a focal reducer). Tilt shift adapters ARE a valid reason for some people and some uses with MF and LF lenses on FF (as they are using FF lenses on APSC and M43). Still, nothing compares to a real tilt shift lens (I guess I have been spoilt by my Canon 17 TS-E and previous 24 3.5 L TS-E ii). Those Mamiya lenses of yours are not going to give something that isn't readily available with FF lenses (with or without a focal reducer) other than some tilt/shift (when using the FF lenses on a FF camera) though there are plenty of different TS lenses available now. It is simply there are far more lenses available for FF than larger formats and larger format exotic lenses have even more exotic prices than anything. For what it is worth I am now too poor to experiment much further but I have tried adapting just about anything. IE, many different lenses even on a Pentax Q (like a Canon FD 85 1.2 on a Q or 300 2.8 on a Q), or mounting Nikon lenses bare on Pentax cameras (do that at your own risk but if careful it does work for older lenses).
buggz reacted to Mattias Burling in Lenses
These are HD frame grabs with the Mamiya 80mm and 55mm + Medium Format Speedbooster. My current favorite lens to use is the 150mm f3.5. The crop factor ends up at x0.7.
Still working out the shipping details but it looks like I will test it on the MAVO soon.
buggz reacted to kye in Panasonic GH5 - all is revealed!
Buy a camera that is "good enough" and learn to colour grade.
Seriously. I used to be like you, but then I worked out what I wanted in an image and bought the right camera and lenses, and now when I hear that there's a new 12K RAW 16-bit pocket camera with built-in gimbal and AI drone I don't even care. It happens that the camera I bought was a GH5, but if you have different needs then it will be a different camera.
The other part is learning to colour grade. I was "done" with other cameras when I pulled the GH5 files into Resolve and it looked and felt like when the pros grade cinema camera footage - they pull in a shot and it looks flat because it's log, and then they push and pull it around almost mercilessly and it just does it and looks great, and the GH5 files did that too. With all my previous cameras the file was fragile and would break given half a chance.
I'm not getting spectacular images out of the GH5 yet, but that's because I just need to learn to grade better. I know the GH5 is great and it's about my ability to grade, not its limitations. Specifically I think that's because it's 10-bit and the colour science doesn't have problems, so I know I can work with it. Your results and preferences might be different, but when you're wishing you had something else it's because you're not happy with what you have. There are always better cameras and we all wish we had an Alexa but many of us are satisfied even if the Alexa has a better image.
buggz reacted to kye in cinematic color?
The golden age of cinema was truly something to be admired. Here are the TOP SECRET insider settings that will MAGICALLY turn your camera into a CINEMA BEAST.
PROFESSIONAL CINEMATOGRAPHERS DO NOT WANT YOU TO KNOW THIS
We all know that you can't get cinematic video straight out of a camera, so most of these are in post.
Shoot in NATURAL or the default style (LOG profiles are a trick to fool the try-hards) Set your aperture to F8 (that's why the most famous photographers say "f8 and be there") Film had a wonderfully organic resolution, so It's important to get the highest resolution camera you can - shoot 8K RAW if you can, 10-bit is barely a minimum, but 12-bit or 14-bit is better Depending on the aesthetic you want you can film at 23.976 fps, or less. Ideally you would film at a rate that varies to simulate the camera operator turning a handle, but even the most expensive cinema cameras still lack this feature, even in 2019, it's madness but it's reality Post-production:
Set your Saturation to zero Lower your contrast until the whites aren't white, and the blacks aren't black, you want that soft look Highlight all your audio tracks and delete them, if you want you can add a single track back in and put in a single piano soundtrack, but silent is the most 'pure' Whatever frame rate you recorded at, you must play it back at 23.976 fps - this will give that classic "people walking as fast as ants" look Add noise, film grain plugins that have real digitised film grain are best - DO NOT GO CHEAP ON THIS When you output your footage it's important to get the settings right - the most important is to output in 1080 as a MAX (4K is totally out) Yes, I'm taking the piss, but actually if you want to replicate the silent film era then these are good instructions. My point is that there is no 'cinematic' look, so the only place that you can be sure of that won't help you is anyone using the word "cinematic". Seriously, cinema looks so great because it's a combination of every department doing their job really well. We've been making movies for long enough to work out what matters and what doesn't, and anything that doesn't matter has been cut from the budget of film-making since before any of us were born.
What you really want is to make great looking films, which is really a personal thing that only you can find out what it means to you, and the only way to do that is to learn every job in every department of a film production and do them all really well.
Film-making is art that uses enormous amounts of technology - that's why is SO DIFFICULT IT'S NEARLY IMPOSSIBLE.
Welcome to our pain, and our pleasure.
buggz reacted to BTM_Pix in Blackmagic Pocket Cinema Camera 4K
If you want a bit of an insight into how relatively rare this camera still is in the wild, I doubled the amount of Pocket 4K cameras that were being used at the BVE Expo in London today when I got mine out of my bag.
I plonked it down on a table that Zeiss had left brochures on but abandoned to setup my app and immediately drew a crowd who thought I was an exhibitor.
Of course I did not disabuse any of them of this belief and promptly started demoing the living daylights out of my app.
buggz got a reaction from BTM_Pix in 3C Cinema Camera Controller App for Pocket 4K - OFFICIAL LAUNCH
Nice, now, if only I could purchase the camera...
buggz reacted to BTM_Pix in I WILL be getting a Fuji X-T3!
I have one the XF100-400mm from my (mis)adventure in using the X-T2 for work.
I can only comment for using it for stills and I didn't have any complaints about its sharpness or its AF tracking (the Ronaldo goal is part of a 10 shot burst where it nailed all of them) or the OIS but for my use case the slow aperture was a bit of a killer, especially at the long end and especially on a crop sensor camera.
Not just low light performance (though that was a problem for floodlit games even in a Category 4 stadium like the Bernabeu here) but the subject separation just isn't there.
The TC works well enough optically on it but, again, making an already slow lens slower was a problem for what I was using it for.
buggz got a reaction from webrunner5 in 3C Cinema Camera Controller App for Pocket 4K - OFFICIAL LAUNCH
Nice, now, if only I could purchase the camera...
buggz reacted to BTM_Pix in 3C Cinema Camera Controller App for Pocket 4K - OFFICIAL LAUNCH
Well, here we are then.
The 3C app is now officially available from the Play store for Android devices.
3C enables you to remotely control and monitor the primary functions of your Blackmagic Design Pocket Cinema Camera 4K from an Android device using Bluetooth LE.
Using 3C, you have access to the following camera functionality.
Focus & Zoom (with compatible lenses)
With 3C you can also store your own custom setting sets for exposure, focus and zoom parameters for later recall as well as automate transitions between stored focus points*.
For ease of use, 3C uses a single screen touch interface to control all of this functionality and avoid the need for you to have to activate any sub-menus to change settings.
3C has a scalable user interface to enable you to remove focus and zoom controls from the screen should you not require them and wish to run the app on a small screen Android device.
In addition, 3C can also be used as an interface hub to enable control of the camera from compatible Bluetooth gamepads.
You can purchase 3C from the Play store here http://tinyurl.com/y5eyujeu
You can read the PDF user guide here User Guide For 3C v1.1 by CDA-TEK Ltd .pdf
You can use gamepads from iPega and 8Bitdo that support keyboard mode and examples of these are https://www.amazon.co.uk/dp/B00KA6OR7Q (iPega) and https://www.amazon.co.uk/dp/B017PAX036 (8Bitdo).
3C will also support wireless live viewing from the camera in a future update with additional hardware.