Phil A
-
Posts
632 -
Joined
Content Type
Profiles
Forums
Articles
Posts posted by Phil A
-
-
53 minutes ago, DBounce said:
All your huffing and a puffing will not stop the winds of change. Mark my words. The idea of emulating the traditional film look are numbered. It will soon only be used for nostalgic purposes. The iPhone and GoPro generation has no warm and fussies for film. They do not feel the need to add grainy distortion to otherwise clean footage.
Nearly everyone of these whom I know films everything in portrait orientation. I pray to gawd the iPhone and GoPro generation isn't the benchmark for future filmmaking
-
22 hours ago, anax276 said:
Hi,
I noticed significant differences in colors/contrast when viewing my videos on computer monitor(s) and on TV sets.
People use various equipment for viewing videos (online or not): mobile phones, (Smart) TVs, computers... How do I avoid such (sometimes annoying) differences? Using a TV set as a reference monitor for grading? Calibrating the computer monitor to match TVs (but how)? Any suggestions?
Thanks!
Answer for bold part: You can't.
Computer monitors, laptop displays and mobile phone displays are all over the place so you have no idea what it will look like for your viewers.
Best thing would be a calibratable grading monitor but those are $$$. If this is your actual job, get those. If it's a hobby, you probably can do with a calibratable screen with a wide color gamut (at least 100% Rec709/sRGB) and even brightness.
I'm just doing stuff for the internet as a hobby so I use a Panasonic Viera Plasma TV that is configured as close as possible to the colors & contrast of the iPad Pro. After rendering I check how it looks on my calibrated Dell U2711 at home and my horrific Dell P2210 at work. That gives me a rough idea of the ballpark of how it will look.
-
10 minutes ago, The Chris said:
What's the shoulder pad you're using?
That's from Kamerar. It comes alone for a bit over 60$ or as part of their Socom shoulder rig.
-
28 minutes ago, Jonesy Jones said:
I trust your judgement, but I have to ask, why would it vignette? If the lens is designed for F mount, and the speedbooster has a tendency to minimize vignetting, what would be the source of the vignette? Btw the E mount I'd be looking at would be the FS7. So S35.
Because the lens only covers S35 to begin with (F mount only describes the mount, not the image circle. There are many APS-C lenses in F mount, too), not "Full Frame". If you want to speed boost it, you have to go to a format smaller than APS-C, i.e. M43 or S16.
- Geoff CB and Jonesy Jones
-
2
-
Seeing how some of you shoot with the BMMCC since a while I'd like to bring this thread up again.
Curious how the sensor which had slight improvements over the BMPCC fares with moire and aliasing? I've seen on FB that Zak got the OLPF installed to eliminate it but I wondered how the thing fares without it. A lot of moire? Identical between RAW and ProRes? I guess when using a field monitor with real 1080p resolution I would already see the moire while shooting to change angle/distance/focus?
I just can't get the BMMCC out of my head. While I actually like my a6300 I always thirst for RAW/10Bit ProRes and the low rolling shutter, on the other hand I'm afraid of the resolution (but I've seen some quite sharp & "commercial" looking videos with it) and moire (that might be a deal breaker). The BMPC4k and BMCC would actually be exactly what I like, but some of their specifications would make a rig necessary that's bigger than what I'd want to use (SDI to HDMI converter for my monitor, V mount battery, doesn't go on an one-hand-gimbal, etc.)
-
It's nowhere near some of the great short movies and docu stuff you guys post here but I thought I might as well share what we're currently working on.
We started Instagram-ing food photography themed stuff in 2015 with the focus that it's actually edible food (not "styled" food), a lot of booze and some traveling in between. At some point we got the idea that we also might start making clips for Instagram, especially now that you're not bound to the 15 second limit anymore. We've just now started to fill a back log of articles with he recipes for the stuff into an own website and will also create more and more moving stuff which we put on YT, also longer and more informative.
Actually I would really appreciate constructive feedback.
I know there's jello on some of the handheld shots (NX1 + A6300), I'm looking for better camera stabilization for the future to fix that.
Also still working on better text overlays/lower thirds but I'm only using Resolve at the moment and it seems that you need AfterEffects/Fusion for that or some expensive plugin like BCC. -
3 minutes ago, johnnymossville said:
I'm not sure jpg has a 10bit mode, but what I do is grab sills from video, if the video is 10bit than the stills can be 10 bit.
JPEG can even be 12 bit if you have a look at the standard. But seeing how most displays are blah, I see why we're stuck with the 8bit implementations.
-
I think what BMD does is amazing. There's a huge gap between the segment of 8bit 4:2:0 cams (Sony, Samsung, DSLRs, etc.) und then the high end with RED, ARRI, Sony FS7/F5, etc. There are workarounds like F3 with external recorder, C500 with external recorder, etc. but they are the only ones making affordable cameras with high end images/codecs that are actually somewhat integrated and don't need to rig them together with x different devices.
I think the UM4.6k is great piece of technic but I'm wondering if BMD aren't spreading their R&D too thin with the amount of product lines. You get the BMCC with 3 mounts (EF, PL & MFT, S16), the BMPCC (MFT, S16), the BMPC4k with 2 mounts (EF & PL, APSC), the BMMCC (MFT, S16), the Ursa witht he 4k turrent (Only EF?, APSC), the Ursa Mini in 4k (EF & PL, APSC) and 4.6k (EF & PL, APSC) and the studio stuff. I can see how it gives customers choice but wonder if it would make sense from an economic point to trim it down a bit, after all there's economies of scale at work when it comes to quality vs price vs production numbers.
I'd love to see an update to their middel segment in the future, i.e. the BMCC and BMPC4k. The image out of these is great and they still have the size that DSLR-shooters feel home at when upgrading (the Ursa Mini isn't that Mini in my opinion). If the BMCC would come with exchangeable batteries (Sony L?) and a 60p framerate, who would say no? I'd love that sensor, like many people I don't actually need 4k but most 1080p recording cameras fall short because of lower than 1080p resolution with moire and aliasing.
I'm still on the fence if I want to buy a BMMCC or not. If it had the 2.5k sensor it would be a no brainer. But with the 1080p sensor I'm afraid of moire because I really want to shoot raw.
-
16 minutes ago, BasiliskFilm said:
I am liking the apparent ease of swinging this thing from low to high; a monitor attached to the handle might cause problems.
That's true, but how do you frame from the camera monitor with the motor directly in front of it?
-
I'm curious if there's any way to mount a field monitor (SmallHD 502, BMD VA, etc.) to the stabilizer. Obviously you wouldn't want it on the camera itself but is there any way to mount it somehwere on the grip (without going for magic clamp, etc.). My impression was the only possibility with the Crane is to mount it somehow via the tripod mount on the bottom?
Seen a bunch of vids and it seems to currently be one of the best choices for a A6300/A7 setup.
-
The Dynamic Range of the Canons is usually good enough. Most of my favorite pics I've shot with the 1DsIII and 5DIII and when I had the D750 I only had a few rare occassions where I really was able to utilize more DR at the low ISO. The worse thing with the Canon is the fixed pattern noise you get when pushing the shadows. But then if you know it, you work around it.
-
-
On 22.8.2016 at 2:09 PM, Kangaroo said:
I know that the latest fuji is good for video too but I can't afford it, anyone has tried the xt10?
Just quickly giving feedback on this specific part of the question as I've tried the X-T1 which has the same sensor.
You don't want to shoot video with the X-E1/X-E2/X-T1/X-T10. It's so full of moire and aliasing that you won't get happy.
-
-
7 hours ago, damoke said:
This would seem like a good option for the upcoming Fuji XT2, as it only records F-LOG via HDMI, or is it?
It's still only 8bit 4:2:2 which I think isn't worth the effort with the external recorder.
-
Regarding the firmware update, I didn't get any more overheating since I loaded it. Seems quite stable since then even though I kept shooting in the same conditions.
I use the 16-50 kit (wish it had the same filter thread as the others), the 35 1.8 and the 50 1.8 so all my lenses have native image stabilization. Seems to do its job reasonably well but I'm super shaky.
-
-
We're currently on vacation in Thailand and I got the A6300 to overheat for the first time. 29°C and cloudy, shot maybe 10 clips with 15-30 sec each in addition to ~ 50 pictures and it went into cool down warning. Was quite surprised as it wasn't that warm outside.
I would agree that the camera is a bad choice if reliability is of any importance. I didn't install the latest firmware yet but it only mentions overheating during picture shooting so who knows if it'd even help.
-
5 minutes ago, squig said:
I'm really interested in this thing. The A7s isn't up to scratch for my film work, but it's not too bad for stills. The X-T2 sounds like a good replacement choice that can do both. Love the retro film vibe, and the Fuji 23mm f/1.4 looks great. Metabones don't make a Fuji X to EF speedbooster; what's with that?
There are no smart adapters for Fuji X, therefore the lack of aperture control with Canon EF probably makes the market unattractive.
-
So a month has passed and I'm curious what you came up with. I used to work with my 2012 Windows machine with i5 CPU but upgraded my whole setup last week.
i7 5930k at 4.5 Ghz (liquid cooled)
AMD R9 390 8GB
32GB DDR4-2400 RAM
Bunch of Samsung 850 Pro SSDsI also took the jump and got a Blackmagic Intensity Pro 4k so I can finally monitor full screen in Davinci Resolve. GUI is on a calibrated Dell u2711 and an iPad Pro 9.7" via Duet Display, grading output on a Panasonic Viera 42" FullHD Plasma.
I know that BMD say you can't/shouldn't rely on the GUI for grading but even now with the external screen (I know, it's not a reference monitor) I struggle a bit with the workflow. I only create content for the web (YouTube, Instagram) but it's annoying with all the color and gamma shifts you get at the different points, especially when using Quicktime based codecs on a windows platform so I'm looking to change my export format.
I've now configured my TV to look as close to the iPad screen as I could as I guess most watching is on some Apple device or a generic computer screen (which could mean anything). It's easier with pictures, you just develop on a calibrated monitor which has 100% sRGB and then pray that who ever looks at them online uses a browser that considers color profiles.
-
I get occassional lag running the native files from a Sony a6300 in Davinci Resolve on my system, too.
i7 5930k @ 4.5 Ghz, 32GB Ram, AMD R9 390 and all files on a bunch of Samsung 850 Pro SSDs
I think the best way is to either use the proxy function of your editor or first sort out the shots you want to use and then transcode them to ProRes or DNxHD.
-
Zach is spot on. You didn't say what kind of product it is (I pray it's not a car, then you're probably way over your head) but usually what really counts for product photos is the lighting, you'll probably want to shoot with manually set strobes (at least 1 + reflector but probably more). Focus on that, camera isn't really important, you'll manually focus anyway so all the technical bells & whistles are pretty much useless.
I'd shoot with the SIGMA 50-100mm on APS-C from a tripod with whatever has a nice flippy screen or you can also tether to a tablet or computer. Shoot RAW and edit in Lightroom. Done.
-
44 minutes ago, Geoff CB said:
I'm going against what kidsrevil said, if you shake the camera for added "intensity" like you did here the A6300 image will look horrendous.
Wouldn't it be easier anyway to shoot a bit wider in 4k and do the jigglies in post? At least it would give an easier to control result.
So far liking the A6300 a lot. It's my favorite cookie cutter solution at the moment after what I tried out. Battery life is absymal and it jellies but besides that I think it's a lot of fun and because it's so small I take it with me a lot more (obviously no concern when using planned/professional).
-
I think the main problem is what a system hog the software is. If your computer isn't top notch it will slow down noticeably.
Regarding the bugs, it seems everyone has different ones. I only use Resolve as a hobbyists and not for work but so far mine worked flawlessly (12.5 beta 2)... it just gives me the urge for a faster CPU.
What's better for performance in the program (not for the rendering of the output), a good hexacore or a faster quadcore (e.g. i7 5820 vs i7 4790)? I guess the hexacore wins due to the way better bus in combination with a better mainboard when using multiple harddrives, a decklink card and maybe even multiple GPU?
Sony a6300 4k
In: Cameras
Posted
The Sony FS5 is worlds better. So is the Panasonic GH4 (didn't check the newer ones). Obviously the BMD Production Camera 4k has global shutter which eliminates the problem completely.
Currently evaluating one hand gimbal vs monopod vs shoulder/chest rig (like the one posted for the BMD Micro Cinema Camera) to make it more stable and usable. It would be easier to manage if the 1080p mode wasn't so so bad.