mkabi

This thread is in stark contrast in comparison to this thread:

For a split second, I thought this thread was about how the sperm met the egg…

Jeez... like... there isn't a thing that me or anyone else can say to make you or your sister feel better.

Take your time after everything is said and done.... this is not going to be an easy trek. Hang in there...

We will talk later - much later.

15 hours ago, Andrew Reid said:

Proof that 10bit is almost pointless 🙂

Or Motion JPEG was under appreciated????

32 minutes ago, gt3rs said:

But then you have the candid moment only in photo or video…. 

True, but then why would they ever need to switch between photo and video during an event???

At which point, we are back to the argument - why even have a hybrid camera??? You can have a dedicated one for photo and a dedicated one for video.

2 hours ago, MrSMW said:

Maybe so, but even 8 seconds is too long for my needs!

But not a concern as I have no current plans to switch to any other system, - great tracking AF (or lack thereof) is the current (and only real cross) I have to bear…but even that is also a case of over-hyping YouTube drama queens 😜

I'm telling you... people that don't know are completely oblivious... people look at 8 seconds and think thats nothing. But if you are at a wedding or any other event... where candid moments are happening on the micro-second level... those 8 seconds feel like an eternity. 

Those that don't know - I challenge you... you don't need to be a photographer/videographer at the event... but the next time you attend one... just pay attention... find those candid moments and just count... 1 mississippi... 2 mississippi.... all the way to 8 mississippi... then tell us that 8 seconds is nothing.

15 hours ago, kye said:

@mercer and I have had many discussions that revolved around a two-lens setup - normally something like (on FF) a 50mm for the majority of shots where everything is 'normal' in the plot, and a 24mm wide for location/establishing/emphasis shots and those wide close-ups where the shit has hit the fan for a character.

It seems a lot more flexible stylistically to have a couple of lenses so that you have some dynamic capability to change the perspective during moments of emphasis or when you want to change the mood in some way.  It's also more practical being able to do wide shots with a wide lens, otherwise you have to shoot them from far far away - something that a low budget might struggle with, so it's a practical choice too.

In todays crazy market for vintage primes it's not too much of an ask to get a 24 and 50mm from a set, even the most sought-after sets are affordable if you're not chasing the fastest primes.  For example just getting a 2.8 of each focal length should be enough for the DoF but shouldn't break the bank for most.

Ron Howard does that - I know he shoots a 50mm (on Super35 though - and he does it to get that tight, portrait type shot) and 24 to 35mm for most other shots.

1 hour ago, M_Williams said:

The only situation where it really matters is within the same scene…

Yeah… everyone has different requirements… 

As an example there are a ton of examples where the whole movie was shot on a 35mm lens… the one lens gangs…

My guess is that every scene doesn't need to be color matched... the story, the look, the mood, the emotions... different colors invokes different moods and emotions... I think they discuss this and story board it - color and style should be discussed here, the colorist has to give his input here too and the cinematographer needs to choose wisely to match that...

On 6/23/2022 at 5:34 AM, Django said:

So what you're basically shooting from the optical viewfinder or guesstimating focus? metering exposure etc?

I don't own a Canon DSLR anymore.... and may be someone can verify/confirm what I'm about to say...

I vaguely remember the optical viewfinder becomes disabled with live-view enabled??? I'm assuming that in video mode because it depends on live-view in a DSLR... optical viewfinder becomes disabled there too... so... they are really blind in video mode if the live-view goes black... can someone verify what I'm saying is true/false???

3 minutes ago, mercer said:

Those build are literally listed under "Experimental Builds" I don't know if you can judge the entire Magic Lantern Raw firmware based on a build that is titled experimental.

Exactly my point... I'm not trying to insult you or the community... but all the "hype" is around these experimental builds. Everyone is excited to share the positives without sharing the negatives.

All I'm doing is pointing towards the negatives.... if you can look past them, you're golden.

1 hour ago, mercer said:

As far as I know, 1080p Raw runs continuous on the 5D Mark III. I've gotten as much as 10 minutes.

If you need 30 minutes... buy a camcorder.

What about 3.5K Raw??? How many minutes can you record there?

Some builds have the live-view go black... so you are basically shooting blind... may be not yours as you are happy with it???

 

11 minutes ago, SandKa said:

I am afraid of that. Sometimes footage which can be found on youtube shows disturbing "artifacts" (flickering red dots in darker parts of the picture looking like a noise). Maybe problems mostly occur in the newest experimental builds? There have to be some tested "safe modes" in ML for sure... Anyway, thank you for your input.

Its more than just "artifacts"... do your research before going down that route...

If you are bothered by a 30 min. record limit... yeah well... you know what... do your research.

24 minutes ago, webrunner5 said:

Magic Lantern has to be the most Unreliable thing ever invented. You would have better luck guessing the Lotto numbers than using Magic Lantern often. If you don't cuss you will.

In the early days when they kept it simple (focusing on monitoring tools, etc.) and had stable releases - it was dependable. When they started focusing on Dual ISO output and RAW.... pushing the limits.... thats when it all started falling apart.

There is no stable release anymore... not for a long time now... even the gateway into getting ML isn't as simple as it was back then.

Also... I find it funny... that everyone based Canon's inability to max out their own tech off of Magic Lantern's efforts.... yeah well... it was all over inflated... ask a real user.... how long is the record limit with Magic Lantern on the 5D Mark 3... and the real truth starts coming out. Thats when you start to realize that R5's 8K over heating and record limit issues wasn't so bad.

22 minutes ago, TomTheDP said:

…as long as you aren't printing huge stuff…

I have a strong feeling that most people have been tricked to think that way by the pixel peepers who need to zoom in 400 to 800%
1080p was good enough on my old 60 incher… and you have to remember 1080p is only 2MP.

Even if you’re talking billboard size… nobody is walking up to a billboard on the regular. Most of the billboards I see are off of highways… I see one moving at the speed of 60 to 80 miles per hour 1 mile away and that’s if I’m not concentrating on the road/traffic ahead of me. Where is the logic here??? “Oh… I see jagged edges on that Billboard… did he take picture on the first iPhone or something???” All that while driving too???

10 hours ago, webrunner5 said:

I think that looks like a Smartphone case to me??

Weren't you talking about buying $1000 phone and video quality coming out of that phone in some other thread????

Now imagine adding a Panavision housing behind it 😄
 

What is that Panavision monitor???

I can’t seem to find any information online.

12 hours ago, kye said:

Yeah, I know there are but it seems to be the exception.  I frequently find that discussions with "pros" assume you'll be able to operate fully manually, that you can have a rig the size of a fridge (or truck) if you need it, that light can be provided / modified to suit the composition, and that normal camera accessories will all be fine (up to the point where it makes the operator resemble a Borg drone).  Any mention of situations where the speed of working is a factor or there are any limitations that might impact what you can do seem to be considered an exception.  Those situations do seem to be handled pretty well when they come up, so I'm not suggesting a limitation on their behalf, merely assumptions around what is considered normal.

 

The problem with so called "pros" is that they have been tricked into thinking that way... you need that kind of $100K setup to be a big shot. The main problem are the producers... they come from old school methods of film making where you need those kind of huge cameras, rigs and setups.

I remember someone telling me or reading it somewhere, that once the guy brought DSLR to a gig and the producer turned around and said something as cocky as, "I have a camera like that at home, so if I can just bring that to set... may be I wouldn't need you."

I would've said, "Fine, then go to your local dollar store, buy yourself a hammer and build yourself a fucken house while you are at it... or better yet, go to your local pharmacy - they literally give away needles... use that to perform brain surgery on yourself." 

8 minutes ago, webrunner5 said:

True but if you are shooting 8K they would not last long sad to say.

True... but thats reality. Cost of CF Express Type B.... isn't exactly bargain basement - even with other brands.

You know what man... just give it 10 years. Everyone wants now... now now now....

You know I recently bagged a Blackmagic 2.5K Cinema Camera... yeah... I know its old, but the images that come out of that is undeniable. Moreover, people used to complain about storage if you filmed 2.5K RAW... this is 10 years ago (actually, people were even complaining 5 years ago) anyway.... now... you can get a 1TB SSD from ebay for $100 and that will hold about 4 hours of 2.5K RAW. Grab 3 SSDs and you are good for an event. Even the EF mount now has a magic booster... give it time... shit happens....

8 minutes ago, webrunner5 said:

Gee only....

 

https://www.bhphotovideo.com/c/product/1630649-REG/delkin_devices_dcfxblk512_512gb_black_cfexpress_type.html/?ap=y&ap=y&smp=y&smp=y&lsft=BI%3A6879&gclid=CjwKCAjwjtOTBhAvEiwASG4bCMN6iMkNtXJ54MG768MuGv6Z_JfRpcx0MFqUuGnjsi9_8QtGYnDzzxoCUr0QAvD_BwE

128Gb and 256Gb isn't too bad.

3 hours ago, gt3rs said:

...R5... mostly overheats...

Speaking of which... Apparently the "Delkin Black" CF Express Type B cards are capable of recording 8K for 30 min. without overheating??? 

https://www.canonrumors.com/new-delkin-cfexpress-card-to-launch-thursday-it-will-be-the-fastest-card-for-the-canon-eos-r5-yet/

I don't know how 4K/120p performs... but any volunteers on this forum that is willing to do so... let us know.

1 hour ago, MrSMW said:

The ‘problem’ with Fuji…for me anyway, was they brought out the XH1 which at the time (and still is in several regards) was a great camera.

It was intended as their slightly video-centric but also more robust ‘pro’ platform. And then immediately trumped it for video spec, with the XT3. But no IBIS.

Pissed off a lot of Fujistas at the time, many of whom (like me) wanted the XT3 spec in the XH1 body.

They then brought out an XT4 and went flippy screen which delighted the YooToobers, but didn’t please so much others. Like me.

And other than their cinema lenses and a couple of more recent primes, not much for the videographer.

Much as I love them, I don’t think they really have a ‘pro’ line but are more ‘serious amateur’?

The bottom line for me is yes, they kind of stagnated for a bit but I think they are probably going to pop something out a bit more ‘pro’ with the XH2. Perhaps not ‘fully pro’ like say an SH1 or Canon R5c, but close the gap between ‘serious amateur’ and ‘pro’.

I don’t really like the labels/terms I have used, but I think you’ll know what I mean.

Purely my personal opinion of course!

I hear you... in fact... might as well wait for the XT5 - cause it will probably outshine the XH2 and/or XH2-S.

Get another screw or baseplate (should be a few on ebay).

4 hours ago, Davide DB said:

Best quote of the year!

You know that thats been said over and over again for several years now.

But, you know whats funny... eventually... for as long as I've been on these forums... on an individual level (I don't know about the rest of you all)... the need to argue about tech dies down, and for me atleast the tech outpaces my initial arguments and I want to go out and shoot more often... You got to be humbled by the advancements... think about what you are coming from... I'm coming from the 7D and 5D Mark 2 era... and all I wanted was 4K/24p and 1080/120p - look where it is now. I never asked for IBIS or Video AF.... I never asked for DR over 12. <- These are just bonuses. I know people would be surprised when I say this... but I've never used IBIS and none of my cameras have IBIS (I still use a tripod, a 4ft slider and for special cases a 4ft crane - I borrow an 8 ft crane from a friend).

Personally, its too much camera for me, but if someone gifted this to me.... I wouldn't say no....

If you check out Kai's video where he tests O.I.S + E.I.S... it isn't half bad.... in my opinion.

The only thing is that Video. Off. Picture. switch.... what were they thinking.... again Kai shows that there is a lag too.... this is that thing where if you want to shoot candid moments that 8 second lag between that switch over.... you're just going to miss everything.🤦‍♂️