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Phil A

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Everything posted by Phil A

  1. Phil A

    Nikon DL

    I think Mattias and Ebrahim are right on the money. I've now shot (stills photography) with Canon (5D II, 5D III, 1Ds III), Fuji (X-E1, X100s, X-T1), Nikon (D800, D750) and Samsung (NX1)... and the Canons were probably the technically worst cameras (comparably low dynamic range, shadow banding, marketing cut down features, ...) but the best usability. They just work. Everything is in the right spot, the menus are easy (and you barely need use them), everything is quick and snappy. They sell no matter what and to be honest, as much as I like to bash them for their reluctance/incapability to progress, their products are solid. Plus, hybrid market is such a niche, I'm sure 95% of people buy these cams just for stills. On the weekend I was seeing an exhibition of the "Wildlife photographer of the year" pictures and it was basically like a Canon exhibition, every second picture was a 5D II or 5D III. In the end, they're still great cameras (the one digit bodies) and forums just focus way too much on the technical feature side (I love gear and features, guilty as charged).
  2. Thanks to the announced Sigma SA to Sony E adapter, you suddenly even have a viable solution to use the Sigma SA lenses on a not still life / landscape camera.
  3. But won't that decrease the dynamic range quite a bit? I mean they're blaring about 14 stops in S-Log3 which is probably less actually usable stops (11-12?), so using PP Off will probably give you the same lattitude as the regular profiles on a Canon EOS or a Nikon. At least that was my understanding so far.
  4. No it's not... I'm not sure which 16-35mm he means but the Sony FE 16-35mm f/4, Sony ZA 16-35mm f/2.8, the Canon 16-35 2.8 L, Canon 16-35mm f/4, etc. are all Fullframe lenses. I don't think there exist any 16-35mm APS-C lenses.
  5. Well, he's capable to do that in a laboratory probably... with god knows what system connection and active cooling.
  6. But the question is, once the GS issue is solved, will they actually ship out directly or send out to beta testers to make sure it works? That's then at least another one to two months I guess. I'd be amused if they would actually announce new cameras at NAB, that would be hilarious.
  7. It looks great! But @DPStewart asked him if he could show global shutter footage on bmcuser and apparently the function is still not activated. I think we're in for a bunch of months more delay or that feature will be completely scrapped (which I could kinda live with, the rolling shutter isn't that bad it seems).
  8. Phil A

    EOS 80D - HDR Video?

    I wonder what the real street price will be. Its MSRP is 1199$ while the 7DII is easily had for 1499$ (MSRP 1799$) coming with a bunch of freebies.
  9. The auto focus module sounds underwhelming. I wonder how far into the corners the auto focus points spread, they're probably quite centered judged by the image next to that text snippet. Fullframe DSLRs seem to be kinda sucky when it comes to that issue, I think that's a lot more enjoyable on mirrorless cameras. I still remember "focus & recompose" with the 5D II. Clearly don't want to go back.
  10. Phil A

    EOS 80D - HDR Video?

    I'm sure it's really safe to say that that won't happen. There's a 99% chance it's the same lowish resolution full HD image as always since the 5D II and there's 0 usability feature for video except for the (grantedly great) video autofocus. Canon still is the biggest player so even if they do nothing they seem to win, but I wonder when/if they'll bring another surprise. The comments on the Canon related pages are full of the fanboys defending the 80D from people who question the speed of progress. The 1DxII is clearly better than most expected, it's just not the execution people are looking for, combined with the usual withholding of features for reasons of product portfolio segmentation. Looking forward what the C100 III will bring .
  11. I've shot the NX1 with a 85mm lens yesterday morning. In combination with only 4h sleep, 3°C and no gloves, it jitters way more than I hoped. Does anyone know how effective IBIS (e.g. in the A7 II cameras) is in comparison to IS/VR/OSS?
  12. I'm curious, does anyone know how this is handled when not on a computer but a mobile device? Everything on VIMEO looks decidedly awful on iPhone and iPad and I seem not to be capable to change the resolution as a viewer on these platforms. Is it always ausing the Auto function? Add in that their Amazon Fire TV app doesn't even have a search function but only your stream and WatchLater, I think somehow VIMEO is falling behind when it comes to usability.
  13. I've used the qDslrDashboard application which basically does what you want over a direct USB connection. You connect via WiFi or USB with the OTG cable to your Android device and then you can monitor and control the camera from the device (works for Canon DSLRs, Nikon DSLRs, etc.). I've used it on a Samsung Galaxy Note 3. It's a perfect solution for landscape photography, timelapse, etc where functions aren't time critical or then can work automated (e.g. bulb ramping). That said, it's completely unusable for video work. I'd estimate you get like 15fps, colors are bad, resolution is not good enough for quick, critical focus and it sucks your battery empty like nothing. As others have said, there's a reaosn field monitors are that big and have big, exchangeable batteries. I don't see potential to buy a super expensive adapter to get a lackluster low-end monitoring solution.
  14. Phil A

    Film Grain

    What format exactly did you use? DNxHR is supposed for resolutions above FullHD apparently and always has 4:2:2 color (which you probably don't need). I think we should make some tests which bitrate is the best DNxHD for VIMEO upload. There's a huge table on wikipedia that shows which version is for which fps, bitrate and color depth. Makes probably no sense to use the high end one with 10bit color to deliver 8bit material. I think DNxHR might be overkill and one of these middle of the line DNxHD the best tradeoff. I think it's a bit annoying that there's no ProRes on Windows and no DNxHD on Mac. I heard the non native (reverse engineered?) implementation of the Quicktime codecs is why you can get gamma shifts.
  15. Funny. I showed her 16 clips on VIMEO for a blind test. 8 with the BMPCC, 8 with the Sony. Including landscapes, people, low light. She said all were nicely done but with some of the BMPCC clips she commented on soft image and after giving comments on the movies she was surprised when I told her that her three least favorite looking ones were all with the Blackmagic and her 3 most favorite looking ones all with the Sony. I was quite surprised myself. Gives me a certain drift to go for the "compromise system".
  16. I love the 5DIII RAW video image but I've read some people have still trouble with stability, there's conflicting info about the HDMI out capabilities (and HDMI out while recording RAW leading to aborting, pink frames, etc.) as well as the humongous storage needs compared to the other options. And for photography I'm happier with everything that I've owned after I had the 5D III because of better dynamic range which helps tremendously with landscape photography and pushing low light shots (even thought he 5D III was already less hideous than the 5D II when it came to banding in shadows). I'd take the BMPCC + Speedbooster over the ML 5DIII. But it's still a really valid argument that you make. I've even written Gunther Machu on Vimeo to ask him about his feelings about his change from BMPCC to A7s II and he gave me a really interesting answer with food for thought. I think you might be on to something with the "IQ equalizer" comment. What good is amazing 14bit RAW if the movie compressed on VIMEO / YouTube will have banding in any case when it's back to 8bit glory? I have made my pro & con list but I think I really have to think about weighing them and not just counting. Slider shot is a slider shot, no matter if viewed on iPhone or 75" UHD TV but sharpness, colors, banding, etc. suffer so much. Same with aliasing, if people watch the video in a window mode, you will always get bad artifacts no matter how good your material is. Everything I watch on VIMEO looks 10 levels better on my native FullHD Panasonic Plasma than on my work screen (1680x1050) were it has to be downscaled or my home computer screens (2560x1440) where it has to be upscaled. Makes me think directly of the other thread that's ongoing about how you color calibrate your system just so people watch it on their competely random system where it might look totally different. Well, I used to travel with Canon 1DsIII or 5D III with the combination of 17-40 4L, 24-70 2.8L, 35 1.4L and 85 1.2L (later only the two primes) so that was what I considered the maximum of gear that's easily movable without taking a toll on the actual trip (that fits into my camera backpack easily plus accessories), even though I usually left 2 of the 4 lenses in the hotel, depending on what was on the plan (that then did fit into my smaller sling bag). That's the kind of weight/volume I'd like to gravitate around. With a BMPCC + Speedbooster and then 24 + 50 I would have covered every focal length I need... or respectively A7r II + 35 and 85. I totally agree on your versatility perspective. The Sonys do a lot of things (even if people say only to 80%) while other systems do les things to a better degree so it's about balancing it. If you split photography and videography into two cameras (e.g. BMPCC + Fuji X-E2) you'd need to make sure you can use the same lenses on both systems or your kit will explode out of proportions. I've sent a whole list of clips to my finance minister for her to review and judge. If she prefers one cameras results to the others, we will probably have a winner.
  17. Phil A

    Camera Suggestion

    That makes no sense with the D750. The 18-35mm f/1.8 is an APS-C lens and you'd be limited to the APS-C crop mode of the D750 which is quite a bit worse than the fullframe mode.
  18. I've bought the cheapest datacolor Spyder5 on the Amazon BlackFriday sales and use it with dispcalGUI because it's more powerful than the lowest tier datacolor option's software. I'm really happy with it. Typically when I edit pictures or grade movies I give it cross checks over the computer, my plasma TV and the iPad. If it's in the ballpark on all three, it's good to go.
  19. There's a reason people try to emulate film look with their digital stills work. I loved shooting 645-format Kodak Portra.Those colors are incredible and the smooth highlights, dayum! Also it's really hard to edit a digital shot to authentically make it look like shot on b&w silver halide film, the grain works just so totally different than digital noise. A few years ago there was an impressive description of how Sebastião Salgado changed from analog medium format to a DSLR (Canon 1Ds III if I remember correctly when he shot Genesis), got the images developed in RAW, but then exposed to negative film and printed like before. Crazy (and crazy expensive).
  20. Phil A

    Instagram?

    Go away! https://www.instagram.com/drunkadventurers I also have a personal one but that's just suits and shoes
  21. I'd rather have the Micro than the Pocket too, but then I'd like to have it before summer. The BMPCC could stay as a B-cam if the Micro comes out, except for the body and cage everything else would be fully compatible (I anyway have LP-E6 batteries for my monitor). The batteries for the BMPCC are luckily not only small but also dirt cheap. I've seen an offer for a BMPCC, 5 batteries, speedbooster and cage for 1650 €. So I could add a BMMCC and a Fuji stills camera and would hit the cost of a A7r II with cage and additional battery. Not easy, working on the pro & con list as we speak... also considering just sticking it out with the D750 until the BMMCC is available.
  22. Phil A

    Camera Suggestion

    The A7 II is not good for video (moire & aliasing), the A7s II and A7r II are where it's at and those exceed your camera budget by 50%.
  23. First I'd like to thank you all a lot for your input. I really value the different ideas and think it's not even surprising to see how many different perspectives there are, we have access to a lot of good tools that can work. I have read up about GoPros a whole while ago but an action camera doesn't really fit my needs. I might actually pick something up for snorkeling instead of an underwater housing, seeing as how typically want wides for that, but I wouldn't want to use it as my only system as I don't want the fisheye "all in focus" look for my complete stuff but would use quite some tele. Thank you for the idea with the LX100. I've never had that on my radar but I think then I'd directly go for the GH4. I think I might have some unreasonable grudge against that camera and I can't even really put my finger on the why. People complain about the uncinematic, videoish, digital look... which I think is totally fine for what I would do. It's the weakest system when it comes to low light though because even the BMPCC when using the dedicated MB Speedbooster seems to have more lattitude there. In photography I have 3 clear needs which I cover which is the 35-50mm and 75-100mm area with f/1.4 or f/1.8 lenses, that's why a compact won't be able to replace all my gear. I think I shouldn't have put the "fun" into the subject because I didn't want to imply that I'm looking for as small as possible, I don't mind lugging a backpack with camera, a few lenses, tripod and filters, it's just that I can't justify a Ursa Mini or Red One level system where camera + 1 lens + 1 battery is already like 5kg (with the related bigger tripod, bigger fluidhead/ballhead, etc.). I clearly do, I'd say it's 50/50. I'm also willing to work around the gear if the result is worth it but I hate when I feel like the gear actually works against me. I enjoy shooting landscape stuff with graduated NDs while on sticks, long exposure photography, etc. so I'm not always on the run. Even the editing is part of the enjoyable process for me, I have no deadlines so I can spend hours tinkering with my material until it's finalized. I mainly shoot to satisfy my own expectations, which is also why I'm surely considering higher end gear than I would necessarily need. I've seen your polar light video that you've posted in the "Shooting" section. Incredible what today's consumer gear can achieve, isn't it? I can see why you would say the BMPCC is more enjoyable than the A7s... there's just less to fiddle and configure. It's more limited but has what is necessary. What is your perception regarding the footage when you have to grade it? I had the impression that the EM5 II really struggles with blowing highlights, even more so than the GH4 and NX1. The IBIS of the Olympus' is obviously next level, even better than the one in the A7 IIs, but I don't want to sacrifice too much image quality for ease of use. I guess low light would be roughly on par with the GH4? You're right, in the end every camera has typically roughly 1 outstanding strength and 1 weakness. So it's about chosing the best compromise. I guess I'm searching the forum's blessing that my train of thought is correct and I'm not making some fundamentally flawed plan. Everyone I know here only shoot photography and not video/movies so it's hard to spar the thoughts against them. Of course I've seen his clips before, too. I really like them. What I think is interesting is that he switched to the A7s II for the newest videos and it's really obvious in the look of his movies. It's more modern and clean but I think also his BMPCC footage is really good and more "analytic" than most of it. His "Paintings of Umbria" video ( https://vimeo.com/103172085 ) is one of the main reasons why I ever considered the BMPCC. The dynamic range of that clip with the foreground and the clouds is what I love in landscape photography and I (wrongly?) attributed that to the combination of BMPCC dynamic range and the grade-ability of the high bit depth recorded material. On the other hand I could replicate that with graduated ND filtration and any camera, but yes, I'm deeply impressed by that video. Thanks for the input. I guess I'd really gravitate towards the RX100 iv over the LX100 but as I said, I don't actually want to replace my whole system with a compact. On the other hand the RX100 iv could be a good B-cam to a possible A7r II as they somewhat share the image characteristics (if you ignore the part coming from the lenses) and it could replace the NX100 for the slow motion. There's also cheap underwater housings so I guess a A7r II + 2 lenses + RX100 iv (+ UW housing) could also make sense. I'll think some more about all the valuable input you guys gave me and also make some pro & con list. I'll also do short playlists of my favorite content of each system and show it to my significant other and see how she feels about it without all the techy sentiments in head.
  24. The Samyang has a "real" manual focus, I don't know the MFT lenses in question but they might be focus-by-wire which many find less desireable.
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