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bowielow

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  1. That's really nice to hear mate but I already got a guy. To accommodate you we'd probably have to give up the Alexa Mini but this is a once in a lifetime experience and I want to use that camera. I really hope you get to go on projects like mine too though, I was lucky.
  2. I'm doing a documentary in rural parts of South East Asia (i.e Thailand, Malaysia, Indonesia etc), it's going to be a two-man (max) film crew with a one host. We could've used a cheaper camera and gotten a sound guy but I wanted to use the Alexa Mini. I actually bought the Mini. I'm coming from the FS7 so I have pretty much very little idea what I'm getting myself into here. I will be using an external recorder that's for sure, but I need some form of scratch audio into the video footage so I can sync them afterwards. I thought about timecode using the Tentacle Syncs that I'm contemplating to
  3. I was just curious what do you guys usually do when recording audio to or with the Alexa Mini. Do you record it separately from the camera? How then do you sync it? If you are recording it directly to the camera, how do you do it? The way I do it is through an external timecode generator and I record audio separately, but one one-man shoots that is usually a huge pain in the butt. The Alexa Mini has a 5-pin lemo connector, which is so new I think I've only seen on this camera. There might already be some adaptor solutions out there but the fact that the camera only accepts line level audio mea
  4. I'm a wedding photographer/videographer who's looking to get new gear, for the fun of it mostly, but also to have an alternative to my current lineup of lenses and video cameras. I was feeling kind of bored and I was looking into buying one of the Canon Cinema cameras. I realised that unlike the FS7, the C300 Mark II doesn't have 60p in 4K and it can only shoot at frame rates higher than 60p in a severely cropped mode. That got me wondering whether the camera is physically capable of shooting at those requirements and if so, will Canon release a firmware update? Or will they just lump the whol
  5. I've had very mixed information about what the actual D810 video dynamic range is because many say that in video mode, the D810 isn't producing the 14 somewhat stops of dynamic range that we are promised in stills. The D810 has a monster of a sensor let's not take that away from it, but is the video actually good enough? The A7S II was released recently and SLOG3 promises around 14 stops of dynamic range, whether that is true or false will probably be revealed in the near future but Nikon has been relatively silent about the numbers. Through observation, it's evident that SLOG3 is way flatter
  6. Thanks for everyone's replies, I am genuinely surprised that the D810's flat profile is already that capable because the information I read online points the other way. I always thought the Nikon flat profile has only around 10 stops of dynamic range and the SLOG3 has close to 14, but I may be wrong on that front. 8-bit video is a bummer, the antiquated H.264 codec is even more of a bummer. I wonder why Nikon doesn't develop their own codec or at least use Sony's AVCHD or XAVC since they are more efficient. I know these are codecs built on the compatibility of H.264 but I still think that othe
  7. I'm sorry if I come off as a little naive, but I don't get it. The D810 beats the A7SII in dynamic range for video? I mean for stills the D810 has a dynamic range of more than 14 stops, that's all too familiar for me, but I'm assuming they have not been able to implement this into video as efficiently as Sony has done with the A7SII and SLOG3. Also the D810 shoots in H.264, which the last time I checked, was a pretty inefficient codec as compared to the XAVC/XAVC-S or AVCHD. The D810's video bitrate is also around 40 mbps? I don't know how much it matters in terms of video, but the Sony seems
  8. With the whole hype with Sony's A7S II, it is natural that many people would be starting to learn video, which is probably a good thing since the price of video equipment can only become more competitive from here. I was wondering if Nikon would ever venture into the video world aggressively. Panasonic introduced it's GH4 a couple years back and my did that shake the world of videography. The A7S came and once again, even pure photographers like me have found myself discussing video with other pure photographers, more specifically, about the awesome new A7S and more recently, the A7S II. Nikon
  9. I'm starting to learn videography on my D810 and my A7S II and I am wondering how all this work. I understand the theory of it all, i.e flat profiles are able to capture a wider dynamic range and can be worked on in post, applying specific LUTs, grading, correction, conversion from LOG to REC709 and vice versa, printing it to film etc. What I don't get, maybe because of the lack of concrete data on the internet, is the difference/relationship between 10-bit and 8-bit video and how it relates to picture profiles. Also, what is the difference between Sony's LOG profiles? Is this just nomenclatur
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