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Parker last won the day on August 21 2016

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About Parker

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  1. Per Ted Sims on the 300Dii, via Facebook: "Release date in the next two months! Yes, that is an all-in-one controller box. No more noisy ballast. The new design is all built together with zero fans, all passive cooling. 20% brighter. DMX added. Powerable from a single battery. Quick release super clamp mounting point on the controller box. 360 degree reinforced yoke. Built-in Effects and Wireless Control via APP."
  2. I'm excited about this one, I saw the original 300D's price got slashed on B&H by like $400 last week so I assumed a new one was probably on the way. Some more pics leaked to the Aputure Facebook group:
  3. Parker


    @BTM_Pix Thanks for the test! I'm kind of shocked the difference isn't more obvious either, especially since in recent months I have switched from Rokinon cine primes to exclusively contax zeiss glass 😅
  4. @kyeyeah I was worried about the slower aperture at first too, especially since, prior to switching completely over to contax, I had a rokinon set of lenses that opened up to t1.5... But surprisingly it has not bothered me at all, I always use it on a speedbooster as well for those extra stops of light. The range is pretty sweet on the gh5, especially combined with the extra tele conversion when needed. @JordanWrightI have had to file down the backs of all of my CZ lenses. There's a tiny little latch for the aperture that sticks out just a tiny bit too far, and was preventing the lens from properly attaching, but it's literally 30 seconds with a dremel tool to file it down just a hair or too, very easy.
  5. I can second the contax zeiss love, they are absolutely fantastic. I started with the 50mm planar f1.7 and was so in love with the look I had to get more. I have since snagged minty copies of the 85mm 1.4 as well as the more compact 85mm 2.8, along with the 60mm macro f2.8, which is a joy to use. But my favorite of all the contax zeiss lenses, by far, which basically lives on my camera, is the 35-70mm f3.4. Gorgeous lens, great range, the push/pull and smooth, long focus throw is very handy for run and gun, and I am just in love with the look. I keep going back and forth on picking up the 35mm 1.4. It's the most expensive of the CZ's and costs a pretty penny, but I'm very, very tempted.
  6. I will primarily be using the pocket without the phone, just pulling it out for a quick shot or two. But I haven't had any problems with the tiny screen, it is fine for framing, and the shots I have looked at so far have not had any focus issues. I have just been using the continuous autofocus, but if you prefer to use single AF I think you can just single-tap the function button to refocus the camera as often as you want, I haven't tried this with my phone attached yet (I use a Galaxy S8) With the phone attached it is obviously much easier to use, and it is annoying that the settings cannot be changed at all unless the phone is attached, but having ND's mitigates this issue at least a little bit.
  7. I have had my osmo pocket for a few days now, I bought it for an upcoming vacation to Greece as a fun, easy little pocket camera to film a family vacation video with. I took it with me on several shoots last week just to mess around with it — shot a motion timelapse setting up an interview, BTS b-roll, etc. — and I actually used it for some B-roll shots in a couple small community theater promos I'm working on (black and white, 2.35:1, adding film grain anyway) so the osmo shots actually cut right in without a problem. I really can't overstate the convenience of reaching into my jacket pocket and obtaining a little 4k 60p stabilized camera movement in just a second or two when I feel like it. I can already tell that this is going to be a super useful tool for me — yes, obviously the IQ is not up to stuff compared to a larger camera and gimbal setup, but for quick social media projects it is more than adequate in my opinion, and pretty fun to use.
  8. Parker

    MonoPod usage

    I have been using a Benro monopod for years, very rugged, smooth pan and tilt, a no-brainer, really https://www.amazon.com/Benro-Aluminum-Flip-Lock-Articulating-A48FDS4/dp/B00LLFPJEK/ref=sr_1_3?ie=UTF8&qid=1543958529&sr=8-3&keywords=benro+monopod
  9. Pre-order and pricing details: http://www.8sinn.com/index.php/supported-cameras/blackmagic-pocket-cinema-camera-4k.html
  10. I used to have a similar set up (looks like we've all taken old Andy Lee's EOSHD lens advice to heart!) That 80-200 is one hell of a lens, sharp wide open, built like a tank. Just be aware that it is indeed a push-pull lens as well, if you're going after the one frequently recommended on this forum. The actual one used on the Bourne movies was the same lens, just re-housed for cine use. I liked mine, but eventually sold it because it was just too big and bulky for the type of shooting I do, as I don't really like to go all out with a rigged-up heavy cage/rails and lens-support setup, which I felt like I had to with the 80-200. Plus I rarely feel the need to go beyond 135 so it was kind of unnecessary zoom range for me. Eventually I had gotten rid of enough of my other Nikkor Ai and AiS primes that I started getting annoyed only having one lens that "focused backwards". Wreaks havoc on my muscle memory haha.
  11. Because I primarily shoot on Samsung NX cameras with dumb adapters, so no electronic control of the aperture is possible. Originally I was hoping to get a Nikon version of the Tokina, which has the physical aperture wheel present on the lens, unlike the EF version, which is electronic only. The 35-70 is absolutely my favorite lens at the moment. It's absurdly sharp and certainly has that special Zeiss "je ne sais quoi." I've been meaning to post a bunch of samples of all my new CZ lenses over in the lens thread, because I've been so thrilled with the quality and character (right now I have the 50 1.7, the 60 2.8, the 85 2.8, and the 35-70, which is on my camera the majority of the time.) The push-pull nature of the lens is actually a huge plus for the type of shooting that I do, which is primarily run and gun corporate, university and wedding stuff. It's really convenient to be able to both zoom and focus with the same hand at the same time, rather than switching between two different rings like a more modern zoom. It is also parfocal, assuming you can zoom without moving the focus ring, which just takes a bit of practice. The focus ring on my copy is buttery smooth, and still has a very long throw which makes nailing focus easy. That's where the 3.4 aperture is also kind of nice (effective 2.4 w/speedbooster) because I have the tendency to always shoot wide-open, I can't help it, so the little bit slower lens means I'm not fighting with crazy shallow depth of field as much as I would with something faster.
  12. I sold my Tokina/baby Angénieux 28-70 f/2.6-2.8 just a few months ago, I wasn't ever using it after I moved to a pretty much all Zeiss Contax lineup (the 35-70mm f3.4 on a speedbooster is an incredible lens, just amazing, I can't wait to see what it looks like on the new BMPCC). But the Tokina does have very beautiful, filmic rendering. Basically I sold it because I had an EF version (so no way to change the aperture) and that drove me crazy since it is quite soft wide open. Little did I know, if I had just held onto it for a few months... anyway, here's a pic that shows off the Tokina's bokeh and special look for those that are curious:
  13. The T5 has a small, blue, blinking LED indicator on the port-end that flashes when reading or writing.
  14. I have had those corrupted green frames maybe once or twice over the last four years or so (in one case it did indeed ruin a shot). I attribute it to a random, very rare encoding glitch of some kind, since if you look at that green frame carefully you'll probably see the codec itself start to break apart slightly before and slightly after. The problem I've been running into more and more (which has me a little alarmed) is a different kind of codec glitch, where the video basically just tears itself apart for just a single frame or two, almost a deinterlacing-looking artifact of some kind (most of the time it seems to occur at 120p, although on my current project I've noticed it happening a few times at 60p as well) it happens really fast but is very noticeable once the clip is slowed down. I'm not sure if it's just an issue of pushing the bitrate so high, or something inside my NX1 is starting to wear out, but it's rather troubling.
  15. I always export to h.265 now, since Vimeo accepts it for upload. Basically as a rule I just push the bitrate as high as it can go to whatever gets me the closest to that 5 GB upload limit. It is usually quite a bit slower than exporting to h.264 of course, but theoretically the hevc codec offers far higher quality at the same bitrate than h.264, so for me it's perfect as a delivery/upload codec for the highest possible quality without astronomically large file sizes.
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