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Everything posted by Kurtisso

  1. Hey spinkscapes, as the others are saying, your solution will lie in the interpretation of the raw footage. Don't know your experience with raw workflow so disregard if you know this all already but because you were shooting raw, the flat "look" that you were getting on your monitor is just that, monitoring output. If you were shooting prores, it would "bake-in" that flat look, but raw footage doesn't have any "baking-in", or any other processing done to it for that matter. With raw, it requires interpreting and grading as you will notice what looks like large amounts of contrast, a lack of sharpening and noise reduction etc... This is the flexibility that you are afforded with raw. You can recover all those highlights no problem, they aren't gone! Throw a dng into lightroom and just drop the highlights to -100 and you'll see exactly.
  2. Yeah, probably not worth much of your time as (like tweak is saying), that's a lens that works for 8mm sized image circle. Not trying to send you further down the rabbit hole, but you can use certain 1.5x or 2x tele-extenders to expand the image size ----at the loss of a couple stops of light and you get a very bloomed/glowy/soft image wide open. Think HEAVY soft diffusion filters. It could be what you're looking for stylistically, but it's pretty much the reverse of everything one would love about using the bmpcc speedbooster. It's the sacrifice for having a tiny rather portable zoom. ALSO, the lens might be out of alignment or your c-mount to m4/3 adapter might not set the necessary flange distance and may require back focus adjustment. MORE RABBIT HOLE. If you got it for $5 USD though, can't really go wrong. Can always flip it when you get bored of trying to coax an acceptable image out of it.
  3. I've seen on another forum that they are sold: http://www.cinematography.com/index.php?showtopic=70977
  4. It looks like a bad case of individuals trying too hard to be the star of the show. I can already hear the interviewer asking the camera man for "some cool like slowmo shots like following me up to this mansion all like dreamy and stuff, very epic you know?". Then the cameras during the interview are swaying around with arbitrary movements like the last two getting kicked out of the bar when the ugly lights come on. The motions aren't related to the content or the emotions of the interview, in fact they are so obnoxious that they actually distract the guys being interviewed (you can see them looking over at the cam wondering if he's going to fall over into a whiskey coma). IBIS can only do so much! Rig it up and stand the f*** still! Those silly zooms at 2:00. OH boy, didn't watch much past that but racked a little further and they just pop out again. Very good.
  5. With these Angie zooms, because they have the interchangeable rear optical elements, would the s35 lens version outperform the FF lens version + speedbooster combo? FOV would be the same and the amount of light coming in is essentially the same but the FF lens +speedbooster combo would be introducing an extra piece of glass in the speedbooster right? My thought is that this lens design with interchangeable rear optical blocks makes s35 to FF speedboosters unnecessary... or rather does a better job?
  6. Interesting! I didn't see that on the CVP site, in the B&H video or in the Canon introduction video. Found it on the B&H site though (if anyone hasn't seen that either). Apparently it's a 4.2k cmos sensor they use for it. Interested to see it in action! If it really can do GS at 14 stops DR and all that high speed, that might be one of it's stronger points!
  7. Of course the "global shutter" option has no details yet. My hunch (and I stress hunch) is that it isn't totally figured out yet or that it affects frame rates and DR quite a bit so they don't want to advertise a 12 stop DR, 30fps camera sensor Most camera companies are struggling with CMOS global shutter, wouldn't be surprised if Canon is the same... if you keep bashing maybe the candy comes out?
  8. Hahaha you might have accidentally misused the quote function there, not my words! But I do agree with them! Or maybe that was the younger Kurtisso Jr. that hopped onto my account and posted that.
  9. Have you tried full unscrewing the ring that is already attached? If it doesn't fully unscrew, it could likely then be a problem with the threads.
  10. Yeah, the AXS-R5 is $5,350.00, I imagine that the R7 will cost more. Add $3,600.00 for each TB of proprietary memory... yowza! With fun ways to make money like that, my guess is that we won't be seeing compressed raw in the mid-range/prosumer cams for aaaaaaawwwhile. Probably longer than it took for s-log to find its way into prosumer. I see that Sony is pushing that the R5 and R7 are weather-sealed, are the F55 and F5 weather-sealed too?
  11. That's why sometimes to the client/producer my KineMAX is like an Arri Alexa (can shoot 16 stops DR at 3K in raw with beautiful digital grain, colour and highlight rolloff) and sometimes it is like a RED Dragon (4K compressed raw high frame rates and 6k acquisition in a smaller, modular body). Camera choice for me starts with what do I want to achieve given the concept for the work, can I achieve this with the current tools I own (or do I have to hire) while considering budget generally, and then how do I communicate this to client/producer/director etc... for which if I have to I will put together a combination of test footage/previous work with a bit of a sample look.
  12. If you need to shoot fine details but don't want a dedicated macro lens, achromatic diopters(close up filters) are a good option too. I use Leica Elpros with a 52 - 55mm stepper for Nikkors. The 105mm F2.5 dances pretty well with those
  13. Has anyone tried putting the BMPCC speedbooster on the GX85 yet? It works beautifully on the Digital Bolex
  14. YEAP. KineMAX shoots a few different 4:3 modes as well. it can do 4:3 anamorphic at 4.3k and 4k at 14 stops DR and kineRAW (.krw), or "Golden" 4:3 anamorphic at 2.2k and 2k at 16 stops DR in either krw, CinemaDNG or Cineform.
  15. Good to know. It must be pretty difficult to troubleshoot too. Can't just hand it over at the "Genius Bar" Do you have any experience with running OSX in a virtual machine on PC? I've run Windows in a virtual machine on OSX a bit before but that was buggy as hell.
  16. Hackintosh anyone? http://lifehacker.com/the-always-up-to-date-guide-to-building-a-hackintosh-o-5841604 Cheap build like a PC, but osx and run all your fav mac stuff on there.
  17. MAN. No FPN on real global shutter, rich colour depth, 14.8 stops DR and ability to crank to 60fps? Seriously Eddie, how do we make this happen?!!!!
  18. Hi I'm interested in your Kiev's, but according to ebay, you aren't shipping to Canada. EH?
  19. I just took some calipers to the locking screw of my DS-1609-SB, looks like a 3mm diameter. I would say take it down to Pacific Fasteners on 1st near Boundary maybe. They have a warehouse full of fasteners. I took my Redstan down there a little while ago to get longer nylon screws.
  20. That "intra-scene switchable gain" sounds really kick-ass! From the ON Semiconductor site: "The KAE-02150 deploys an innovative output circuit design that enables high-dynamic range imaging by allowing either conventional CCD (low-gain) or EMCCD (high-gain) outputs to be utilized on a pixel-by-pixel basis within the same image. Charge from each individual pixel is measured and the signal level is compared to a user selectable threshold in the camera system to determine where each charge packet is routed. Pixels from very low-light regions of the scene can be selectively routed to the EMCCD output, while pixels from bright regions of the image – which would typically saturate an EMCCD register and distort the image – are routed to the conventional CCD output amplifier. With this intra-scene switchable gain feature, signals from both outputs can then be re-combined, allowing one camera to properly render bright regions in a dark field of view and enabling dynamic compensation under changing conditions such as headlights entering or leaving an extreme low light scene." Based off of this, and your previous part about identifying the optimal higher base ISO to get the best in DR vs Noise vs Sensitivity, would it be possible to dial in different "sensitivity range modes" for different lighting situations? For example, you're shooting a horizon and it's not the optimal time of day so your forested hills are very dark and the sky is blown, would it be possible to have say a larger range like ISO 200 for higher charge values and ISO 3200 or 6400 for lower values? But then later when the the sun comes down, be able to close that range off to get a cleaner signal to noise ratio? I hope that makes sense... Haha
  21. You sir are "earning the shot", well done!
  22. DUDE. WOW. Still trying to lure @Zach Goodwin out?
  23. Super cool! If more gain = less noise, would that mean a higher base ISO? This with some sort of built in or easily swappable (like the mythical kraft dinner camera) ND would be pretty unstoppable! Also, is it possible with the EMCCD to do something like "dual gain" to increase dynamic range? I get really jacked up about anything not CMOS. QuantumFilm looks pretty amazing too.
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