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Everything posted by Towd

  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
  16. Sounds good to me! I agree and totally get it. To be honest, I'm going to be really surprised if we discover any reasonable prosumer camera or higher that is recording frames at inconsistent rates. Yes, a cheapo camera or phone might be doing something like a 3:2 pulldown or some drop frame process while recording at a different frame rate. Who knows! I may be wrong, and I'd love to find out if some manufacturer has been sneaking that by us. But, if there is some kind of drop frame processing happening, I would imagine it would be in a very consistent pattern-- like 60 hz convert
  17. Thinking about it some more, I could see where these marked velocity changes in the middle of the pan could be possibly seen a motion cadence problems and they should correspond to what Kye was graphing in his plots-- that is the change in X on each frame. But to my eye they are fairly inconsistent in smoothness on each pan. Some pans were really smooth and some have a bit of random jumpiness which leads me to believe they are probably random noise introduced by the IBIS, or subtle irregularities in Kye's panning.
  18. Okay, so I looked at the video you posted and ran it through a 3D tracking/camera solving app I own called "SynthEyes". Here is the test object I tracked: And this is a graph of it's 2D motion. From what I'm seeing, the horizontal motion seems pretty smooth. The bright red is velocity changes in X and the dark red (brown) is the position changes. Even the velocity changes seem pretty smooth. You mention having the IBIS turned on. I think I'd definitely turn that off because who knows what it is adding to the test. I noticed specifically on the frame where
  19. I love this! Honestly, I thought you'd need a more controlled test, but you do seem to be picking up some random motion with these uncontrolled panning tests. It would be nice if you had some some kind of accurately repeatable motion that could be run consistently for each test. Maybe even a metronome, or spinning fan blade if you zoomed in enough to get a nice measurable motion sweep in each frame. I also think that a high speed shutter is great for tracking the inconsistent motion, but I think it may be helpful to repeat the test with a 180 degree shutter. I think one of the key com
  20. This was an interesting read. For Kye, watching on a good display is definitely going to affect your perception of whatever you are viewing. If you are testing 24 fps material, I think reviewing your work on a monitor set to 72hz or 120hz would be ideal. You may be able to go into your graphics card or display settings an make an adjustment there. As my 2 cents, I'd just suggest trying to get really granular with measuring individual issues that could affect the overall motion cadence. From the thread above they go into a lot of issues regarding motion blur and rolling shutter, b
  21. I'm really interested in seeing the results of your test, and I've thought about this myself. I think shooting something high speed that is repeatable would be interesting to see if there is any unusual timing-- like a recording frames at 60 hz, but then dropping frames and just writing 24. Maybe shooting an oscilloscope running a 240 or 120 hz sign wave or something so you could measure if the image is consistent from frame to frame. Another option for checking if frames are recorded at consistent intervals would be to use a 120hz or higher monitor and record the burned in time code fr
  22. Of course any information regarding Panasonic's thoughts regarding the future of Micro Four Thirds would be welcome. Maybe specifically, with Panasonic possibly becoming the sole standard bearer for the MFT format, have they considered extending the standard to cover an S35 image area? Like an MFT+ spec. Or possibly, have they considered releasing a GH series camera with a multi aspect sensor that scales from the standard MFT area up to S35? I believe JVC did something like this. For still photography a larger s35 sensor could also allow for a larger 1:1 aspect ratio image ar
  23. Whenever I read a long thread regarding the merits or shortcomings of the MFT format I'm reminded of a conversation I had with a DP quite a few years ago about Super 35 vs Academy ratio framing. For historical context every VFX heavy movie that was shot on film was typically shot Super 35 with spherical lenses even if its final projected format would be widescreen 2.39. Of the twenty or so films I've worked on that originated from scanned film, only one was shot with Anamorphic lenses even though the vast majority were slated for widescreen delivery. Anyway, the big concern back th
  24. They don't show how to setup Raw, but she does mention ProRes and ProRes Raw at the 45 second mark. Says something to the effect that it "preserves the camera's raw sensor data". So, it sounds to me like it's still on the table. Interesting times. ? Queued up here:
  25. Sony, Nikon, and Canon don't shoot 10 bit internally until you step up to their pro cinema line. The rest is irrelevant.
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