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Towd

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  1. Your essentially correct on the VFX side for capture, though the 2K for visual effects has less to do with masking flaws than it takes 4 times as long to render a 4K frame than a 2K frame. It's a cost saving measure. Yeah, VFX houses will charge more for 4k shots, so some project with wall to wall VFX will probably look to save some costs by mastering at 2k even today. To Kye's point, recording in a higher resolution than your delivery format is a good way to deal with all the stuff that may be happening depending on your camera and recording format. (Lossy compression, debayer
  2. Meh, even Avengers: Endgame was mastered in wait for it......... Digital Intermediate (2K) (master format). At least according to IMDB. Granted, it was captured in ArriRaw 6.5k... go figure.
  3. Towd

    Panasonic GH6 rumours

    Yeah, and this is exactly my point. If you are Christopher Nolan and have as many shoot days as necessary to block and frame your shots for an I-Max camera, more power to you. But with shrinking budgets and shoot days, I don't understand why anyone would want to complicate their life by going for a "full frame look" when what they should probably be really concentrating on is just getting their project "in the can" as efficiently as possible. But I know I'm not changing any minds here ranting on the GH6 rumors thread. You guys already get it! I just hope Panasonic does.
  4. Towd

    Panasonic GH6 rumours

    There's a solution to that - it's called Manual Focus. Yeah, AF pulsing is terrible. I've never worked on a project that used autofocus... EVER! Maybe some day AF will be there, but I'm talking about doing a small racking manual focus pulls between people in a group shot because one person is positioned a foot or two off the focus point. To me that is as annoying as having one person in a group shot out of focus. Unless you are really trying to draw attention to a rack focus, I feel you want your focusing to be invisible to the audience because nobody cares how blurry your back
  5. Towd

    Panasonic GH6 rumours

    Thanks! I came to M43 due to the GH5, and have grown to love the format due to its versatility and lens options. It is just so tiresome to see doom and gloom day in and day out mostly due to some groupthink consensus that full frame is the future, or necessary to achieve a professional look. Anecdotally, I worked on a long form project that was shot mostly in full frame and it was a nightmare in post. So many good shots had to be scrapped because the subjects were not all in focus or drifted in and out of focus. This wasn't just a missed focus problem that could be corrected by perfec
  6. In regards to Raw vs Log formats, while its nice to have a the ability to change color temp and ISO in RedRaw, etc. The Kodak Cineon system, a 10 bit RGB 4:4:4 Log format was the gold standard for over 20 years when scanning film for digital processing in VFX and later for Digital Intermediates. https://en.wikipedia.org/wiki/Cineon Every post house on the planet worth its salt should be comfortable delivering professional results using a 10 bit log "digital negative". It wasn't until the rise of HD video acquisition over the last 10 years that raw became a thing. And the early rea
  7. Towd

    Panasonic GH6 rumours

    It is interesting that the top three spots on Andrew's list of the most popular cameras on EOSHD are all M43 cameras. Yet every day we have new posts bemoaning the impending death of the format. And here we are posting on a GH6 "rumors" thread that is 27 pages long and has been active for over a year. It really feels like the death of M43 if it comes, will be due to a self fulfilling prophecy in the minds of its users and not based in any rational assessment of its adoption or the interest of its userbase. If Panasonic does decide to abandon a market that they lead and tr
  8. Touche'. It seems that Meike has tweaked the formulas a bit to reduce chromatic aberration, lens breathing, and contrast at least on the 35mm, so there may be other small tweaks they have made. I think however it is safe to assume based on the original post that the Meike lenses are derived from the original Veydras. I could have been more exact in my language. That aside though, all the resolution tests I've seen between between the Meike and Veydras show their performance to be very similar, so the MTF tests of the Veydras should be on par with what one can expect from a Meike.
  9. That was a great lens comparison. Now that we know the Meike lenses use the same formula as the Veydras, it's worth taking a second look at just how well the Veydra lenses performed in the LensRentals MTF optical bench tests. https://www.lensrentals.com/blog/2018/03/veydra-cine-mini-prime-mtf-optical-bench-tests/ The comparisons to Zeiss CP.2 lenses is particularly interesting as seen in the attached sample.
  10. Towd

    Panasonic GH6 rumours

    The more I think about it the more I really like the idea of the GH6 going to some kind of multi-aspect sensor format like the JVC LS300 . It would silence the haters who think m43 is going to die, and would open up opportunities to shoot super 35 with adapted lenses. They could also expand the m43 spec to cover the s35 sensor area with a tweak to the name like "Micro Four Thirds Plus" or "Cinema", etc. So some lenses are m43 and some are labelled m43+. In regards to Kye's concern about a reduced resolution for people who just want to shoot m43, I ran some numbers using a 3.33 ┬Ám pi
  11. Yeah, my point was just that while technically 23.976 is not 24.0 fps... for 99.9% of projects its all the same thing. And only the technicians such as DP and Editor care. I can't speak for every production in NTSC land but unless you are specifically targeting a DCP delivery, I don't know of anyone who shoots or edits at 24.0. It is interesting what you bring up regarding Youtube and other streaming platforms being mostly frame rate agnostic and just delivering whatever frame rate. I know I've watched PAL stuff on Youtube at 25fps. However, I'll still argue that NTSC 30fps and PAL 25f
  12. Ah yeah... I remember trying the 24.0hz cinema mode on my GH5 for a while, but found it didn't offer as many frame rates as the NTSC mode and swapped back. So it looks like the FHD 10 bit 60fps is one of those missing modes. I know this doesn't help you, and would be incredibly annoyed to be shooting all the time in NTSC while living in PAL land. The whole drop frame timing thing in NTSC itself is very annoying, but in the US at least, 23.976 is just the "cinema" standard for most digital delivery except for a strict 24.0 fps DCP file. Swapping between the two I believe just involves add
  13. I've thought about using that mode, but still just prefer to typically capture in a max quality 5k open gate or c4k in 10 bit. But, I typically don't do super fast turnarounds and just run proxies out overnight on all my footage using Premiere. But I can totally see the appeal for home movies and such, and 3k seems like a nice sweet spot for a 1080p product. One thing I have evolved into for slow motion is the 1080p 10 bit at 60fps over one of the 4k 60fps modes in 8 bit. I really much prefer all the 10 bit modes to the 8 bit ones on the GH5, and as your test shows, the 1080p is quite
  14. Nice tests! Well worth downloading the Prores file as the Youtube compression really plays hell with all the stress tests. To my eye they all looked pretty solid. Maybe someone can pixel peep some motion blur variations, or I'm totally missing something. The only thing that popped out to me was some exposure variation on the trees blowing when using the open gate modes. But since everything else looked perfectly matched up, I'm guess that was just some shoot variation on that test. As a total gut check, I probably liked the 1080p All-I and C4k All-I the best, but if it was a blin
  15. Really nice to hear that the Veydra guys seem to have worked things out and are endorsing the Meike lenses. I picked up a 25mm T2.2 version of the Meike design when I first heard they were available and my curiosity got the best of me. I absolutely love that lens, but had held off on getting more until I knew what the story was with Meike. I may need to add a 12mm and a 50mm to complete a small set for my GH5 soon. With the Extra Tele converter mode that punches in 1.4x, I'd have a very compact 3 lens set that covers 12mm, 17mm, 25mm, 35mm, 50mm, and 70mm for about the cost of one
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