Hope to make some time to play with this bad boy we just added to the collection.
Also picked a second body and another Ninja V. I think these cams play nice as B-cams to the C200. Moreso than the 1DXMK2... if that makes sense.
Let's call it a Tarantino mode then - every camera needs one - something that's fun, addictive, imperfect, stylish and to be honest slightly ridiculous. If a camera is too well educated and too much in a straight jacket it fails at being fun to shoot with. That is a Sony. I have only really ever enjoyed the RX1R II, and the rest stays in the bag.
Whenever I talk about that elusive "camera-personality" I always seem to bring up imperfections a lot, so maybe Sony is just too good. I always seem to talk about grain or the Digital Bolex, but it's really more about how high image quality expresses itself - emotionally, rather than the numbers, and it is the same with ergonomics and functionality - less about specs - more about personality.
The X-H1 I have as well, and I like it a lot. There is however a very slightly clinical soul to it because of how damn sharp the 4K is and how utilitarian the body is. It could actually be too perfect? IBIS too stable. Image too detailed. Just too...... good?
Whereas the EOS R has serious limitations and deserves a lot of criticism for what it "could have been", it feels in-hand the closest to a full frame GH5 I've yet known, and when you put your palm out under the articulated screen offset to the side of the body, it's almost as if a C200 or 1D C image is unfolding in the palm of your hand like magic, and everything feels in the right place, and you know it "just works" and is in focus... And you know it can transform into a mirrorless 5D Mark IV at any moment for stills shooting.
Then you remember the specs - slow 30ms sensor readout with rolling shutter skew, no 10bit internal, 1.8x crop, so on... And it doesn't make a damn difference to the shoot which is unfolding on that screen or in the EVF. Reality is almost divorced from the specs sheets. It's very weird.
The colour. Canon have it very close to Kodak film, or a Leica M9 with the Kodak CCD. The way it handles two extremes of light temperature in the same frame is uncannily like film. There is no tricky wire-act between green and magenta. Warm tones and wood don't have a magenta cast, as if the camera is trying to avoid a green cast. It seems to have a wider bandwidth of colour temperature, in which it sits almost perfectly in the middle - neither too far one way or the other - just beautiful. Same with the 1D C, yet now we have the choice to drop to 120Mbit instead of 500Mbit MJPEG, but the colour magic is still there.
Also in handling the blacks, they never seem to completely crush. There is always a creamy, milky look to a dark window at night on the EOS R and 1D C, whereas on other cameras with superior specs, you might see sharp edges or noise or too much detail or too much absolute black.
Talking about defying the specs sheet - the Leica M9. Now it's 10 years old yet still has a more filmic nature and addictive shooting quality than most top of the range 2018 cameras. It does not have the perfect plastic still-life feel of a CMOS camera, it has a silk-like grittiness... a contradiction but it's true.
Now we have the Nikon Z7 which I am getting on with quite well, but again something is lacking. The outright paper specs are the best on this camera of all that I own (full frame mirrorless wise). But it feels a bit like a consumer gadget, with again a clinically perfect modern image. I can't wait to rough it up with some older lenses via an adapter. The 35mm F1.8 Z is amazing but it's so cut-glass posh. It's like a perfect blonde super model, when you know you'd have more fun with Emma Watson. I need to add some things to my Z7, to get it to show some personality. Maybe a cage, a lens adapter, and turn the IBIS off... Add some imperfections into the shooting process. Otherwise it's just too seamless. Where's the challenge?
Special focal reducer for Black Magic Production Cinema Camera.
New life to our old Blackmagic cinema production camera!
The new Magicbooster manages to increase the light by more than 1 stop, giving the 4k camera a true full frame look!
Perfect for those who do not need 60fps but want a 35mm movie look!
***Warning: this video contains violent imagery***
DIRECT LINK > https://vimeo.com/294887322
As the cinematographer and editor, I was lucky enough to have a big hand in crafting this music video. It was shot in 12 hours, with every facet donated by friends and fans of the band, to coincide with the release of OLD BLOOD's new single "Enjoy. The Devil". Director was thrilled with what he saw from the camera on set. I used my Contax-Zeiss lenses modded with fixed 2x oval apertures, and with a Tiffen Black Pro Mist filter. This was also a great way to break-in two new Aputure 120D Mark II lights I'd just received.
I’ve been messing once again with using my EOSM as a Digital Super 8 camera and I’m pretty happy with the results.
For the video below I used the following setup.
6mm f/1.2 Pentax TV lens (paper shim between lens and C mount-EOSM adapter, for infinity focus)
Tiffen Digital Diffusion 5 filter (reduces moire artefacts)
EOSM with latest ML build
18fps override (exact)
12bit lossless RAW
1440 x 1080
i just used the aperture ring for exposure, rather than ND, as it seemed more authentically consumer Super 8.
This video has effects applied - FilmConvert’s Super 8 grain; FCPX native “aged film” effect applied very sparingly for jitter and a little dust; a telecine’d Super 8 black frame (keyed over footage). If there is interest, I can post the ungraded footage.