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independent

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Everything posted by independent

  1. At the same camera position and the same framing, of course the 6K will have more detail than the 4K. That's the obvious advantage of having more pixels. If you have the 4K and want more detail in your subject, get a tighter shot! On the other hand, the 4K w/ speedbooster has remarkable advantages (until the aforementioned 6K adapter becomes viable). The 1.22x crop offers a field of view that exceeds nearly every raw camera except the top end large format Arris and Reds (and canon c700). That offers much more flexibility, and in some cases the wider FOV is very handy in tight interiors such as cars and bathrooms. And the extra stop can be critical. Especially while maintaining the deeper depth of field, thanks to the smaller image sensor. That offers a very good combination; it can help get shots in challenging situations, i.e., keeping focus in low light. Also, the ability to take sips of bootleg CinemaDNG in the 4K...mmm.
  2. I can see BM offering a 4K Micro. That would help penetrate the gimbal market, since the pocket 4k doesn't balance well or easily.
  3. So far this looks like more of a wireless focus system, without need for a external focus unit. Kudos! However, for continuous autofocus, I seemed to have missed it. This looks like a straightforward rack focus between two set points. If you’ve in fact developed continuous autofocus, is it happening within the center frame or is tracking a particular focus point (presumably through touchscreen)? Great work either way.
  4. https://www.bhphotovideo.com/c/product/1472974-REG/portkeys_oeye_3g_evf_oeye_3g_electronic_viewfinder.html 1080p OLED, accepts DCI 4K, $1200
  5. independent

    Compact Tripod?

    Looks great for photographers. I like the leveling ball-head, but I wonder how stable it would be with a fluid head and camera setup. I had a similar combination with the gitzo cf traveler and arca Swiss P0 ball head, but I didn't feel confident putting a fluid head on top of all that. But weights on hook and legs should help. No experience w/ the Millers, but I used Sachtler aluminum tripods before. They were OK, but a little fiddly with a bit of play due to the mediocre locking mechanisms for the legs. Ronford Baker makes rock solid alum tripods, but they are heavy. CF itself is much more rigid for the size/weight. Gitzo has very reliable locks, but they're not fast (like sachtler flow tech) and they're expensive. I just carry my Gitzo as a monopod though, it's that light.
  6. independent

    Compact Tripod?

    A decade ago when I shot on RED, Mark Toia extensively (exclusively?) shot on a monopod. Those Red Epic setups were fairly hefty, yet he got great results. He shot outdoors in exotic locations with rough terrain, and I think he was a major proponent of the monopod's suitability. I myself used a Monostat monopod with a manfrotto 701 head. I upgraded to the Gizto CF traveler tripod because it was nearly as light (2 pounds?) and maneuverable but obviously much more stable and flexible in use, and I've used that tripod more than any one camera, lens, etc.
  7. Google glass or augmented reality glasses.
  8. independent

    Compact Tripod?

    Consider a monopod
  9. independent

    Compact Tripod?

    Gitzo CF traveler w/ hook for added stability when moving the flat-base fluid head.
  10. Can you develop an app to bring the same functionality to an Apple Watch or smartwatch?
  11. That cinema dng footage looks great.
  12. True IMAX is the only way to see it. Lincoln center here in NY. Of course the cinematography was superb. Deakins did a great job of keeping the overall look consistent with the original while introducing some interesting stuff as he always does. Not too much groundbreaking stuff, but Deakins is the utmost pro and storyteller - he does whatever fits the story. Except he was let down. The story had some promising plots and subplots, but it seems as if they condensed a trilogy into one. Harrison Ford showing up at the third act? That was a mistake, undermining K/Joe's character arc by replacing it with the daughter subplot. Too fast, too cheap. The Sean Young resurrection was fast and cheap. In the end, it felt like a mashup of themes from the original, Star Wars, Alien Covenant, etc., all on a Christopher Nolan soundtrack. It never broke through. Never had that moment. I doubt it becomes a masterpiece - they didn't break new ground nor effectively till old ones. They should have just focused on one major plot, K/Joe's character study, and settle for beautiful and elegiac, like Assassination of Jesse James. So no, not transcendent. In the end, a DP can be better than the story, but it won't be enough. This movie was already done, but better, in Metropolis, the 2001 animated film. Deakins would have murdered that remake.
  13. Again, reading comprehension: I said “Will be.” I don’t need to repeat all the reasons why I think it will; just read these posts a couple times before responding. Also, how is it that you have a medium format camera? Damn, what a waste.
  14. Keep your panties on. The question was video not film. Reading comprehension is tough, I know. Third grade was tough, but I made it. I don’t ask my focus puller shit. We both know how to work within technical constraints. The issue in question is whether full frame digital will be a standard. I’m saying yes. It doesn’t even matter if I get to be right...because it’s happening. The argument is over. Also nobody cares about m43. If you work with it, great. But no, it’s not a standard right now. Get over it.
  15. Shallow DOF doesn’t have any drawbacks in of itself. It depends on the intended effect and the technical contingencies. Also, you might find your aperture control affects your depth of field more than sensor size. Try it. And, yes, historically, video camera sensors have been increasing in size. Right now it’s at super 35mm, which wasn’t a standard a decade ago (Red One came out 10 years ago). Alexa 65 and Red 8k are already full frame. It’s definitely going to happen in less than 10 years, and on the horizon are medium format sensors.
  16. Zeiss Otus 55mm 1.4. Full frame, full readout sensors will become a video standard.
  17. Anybody know how the c200's low light compares with the 1dxii? My 1dx ii seemed pretty clean at hi isos with organic noise pattern, all at 8 bit 422 mjpeg
  18. Low light? Can somebody post a high ISO / low light still or video? Aside from the resolution penalty (who cares), I'd like to see what the noise patterns are like.
  19. I guess I'm trying to see the upside of it, since one could get raw from blackmagic without so much hassle, for not so more money (especially the 2.5K). If one already has a 5D III, completely makes sense.
  20. How does the quality compare to Blackmagic's raw, 12-bit CinemaDNG RAW (4000x2160) ?
  21. The lowlight is very good? I heard the opposite. I'm curious how it compares to the 1DX II if you still have both models. The high iso/low light on my 1DX II looked remarkably film-like and organic; the noise structure looks more analog than digital. I imagine the Sony A7S II to have the clearest image in the low light, but even then it doesn't quite shed its digital look.
  22. Preference for either the Sony or Canon's color science is subjective. The A7SII's advantages in low light and the 1DX II's autofocus are not. Each has its pros and cons, leaving it up to the project to determine either's suitability. Both are great cameras. I'd be leery of putting too much of an emphasis on the out-of-box image for either camera. Too many factors play a role in the final image. Neither camera is going to make your movie for you.
  23. Curious to see how functional the touch bar on the new macs will be with final cut.
  24. I'd say it depends on your needs and style of shooting. If you're in a sound-controlled room, yes you can get away with a quality mic into a quality recorder. But when you increase the number of subjects/actors, or need better isolation because of the shooting environment, or meet the expectations of the client or studio, then you need more tools. in many situations a mixer would be essential - regardless of how good a cameras preamps are. In the end, that's why you really do need a person for location /production sound, for the majority of shoots. You need experience and the tools to capture sound in the most appropriate way. Can you shoot without one? Sure. But it would have to be very limited to a specific situation, or your results will be compromised. Maybe that's ok - I know eng guys often use a mic with a wider pattern and just shoot close with a wide lens. Depends on your needs and limitations. But for a more dynamic single operator you should have a mic with decent reach and rejection, and two sets of wireless mics. And a mixer with quality preamps. Even for a single subject interview in a treated environment, I would send a lav into one channel and the mounted/boomed mic into the other, for safety. Again, clipping, self-noise, batteries, too many potential problems, avoided with not much more effort. It depends on the project, but sometimes getting out of the way and letting the story come through means doing things right, which can mean hiring a sound guy. Even if that sound guy is your buddy you roped into holding a mic for eight hours.
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