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funkyou86

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Posts posted by funkyou86

  1. 46 minutes ago, heart0less said:

    You mentioned using Resolve, so I can wholeheartedly recommend adding a node at the end with 'Gamut Limiter' Effect (it's a built-in effect). It should fix it.

    Oh! What a great idea! Thank you :) TBH, i was so focused on shotmatching, i did not realised these mistakes. 

    Quote

    Another thing that didn't quite match my taste was overall sharpness. The footage looks like you added a tiny bit too much digital sharpening to it. It's especially visible during the opening shot in the plastic wrap you used to secure the mic boom.

    We shot everything on the native ISOs, yet still a huge amount of noise were present which was very noticeable after the heavy grading, so I had to denoise it, than the image become mushy and very soft. I added some 35mm filmgrain to highlights and midtones but maybe I should add even more. The s1 footage really hates the denoiser and sharpening, the p4k was kind of okay with it. 

    Thanks for y'all comments :) I'm grateful for your feedback. 

  2. Hey, so I had the Lumix S1 and the P4K for a while and this project was great to test it. I love the image coming out from the S1 (shot everything to V-Log, 10bit), but the BMDraw held up so much better in the grading process. I believe we shot everything to 8:1 RAW, 60fps than conformed it to 24.

    All the band performances and non-slowmo stuff was shot with the S1 + Samyang VDSLR lenses, mostly 50mm, wide open at T1.5. All speedramped stuff was shot with the P4K.

    The ligting setup was fairly simple:
    Band performance: 2x Photo-R COB lights with softboxes + backlight
    Jury: Aputuer 300D + Lightdome + backlights
    Stage performances: 300D + fresnel (which I regret now a bit, maybe a softer light would be much better) + 2800K rimlights.

    We also used prisms to add some sweetness and surreal feel to the image. 

    The whole video was shot in one place, in maybe 14 hours with a crew of 4 people (dir, dp, 1st ac, grip).

    I edited everything in Premiere Pro than spent weeks and months to grade it with lumetri. By the time I got familiar with resolve, so I exported everything to Resolve and graded it in maybe 2 days. Still not perfect, but still better than what I've got from premiere. 

    Anyways, let me know what you think :)¬†Don't get confused with the multilingual intro, turn on the subtitles please (we did everything to do a proper translation ūüėĄ ).¬†Cheers!

     

  3. Hi, my adapter is for sale. Only tried it once to discover that I like the native fuji lenses more.

    Condition: Brand new, only unboxed.

    Price: 160 eur + cca. 7 eur shipping to EU countries. Payment through PayPal (you're covering the fee) or Transferwise.

     

     

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  4. 8 hours ago, Brother said:

    This would be my recommendation as well. Fake shipping confirmations to keep your order, slow return procedures and not very helpful overall.

    Exactly. After 4 weeks I reported the transaction to paypal. Nothing happend, when the dispute was about to end (another two or three weeks) they qucikly posted the true tracking and somehow managed to ship my lens. No communication, very disturbing 2 month long wait. Buy a used one on ebay, still better choice than eglobal.

  5. 2 hours ago, Devon said:

    thanks for the info! Is this what you’re referring to? https://www.eglobalcentral.com

    Looks like e-infinity has better prices still. I assume the price fluctuates between the two?

    Be careful with grey market, sometimes they're great, sometimes they're pain in the ass.

    I ordered a fujinon lens in the end of january from eglobal, but after ofew weeks the lens was still "on it's way", so I reported it to paypal. 1 day before my paypal case got closed (and got my money back) they actually shipped the lens. By that time I have bought another one, so now I'm stuck with two 23mm lenses. 

    Not sure about einfinity, but definately avoid eglobal.

  6. 1 hour ago, Ki Rin said:

    I'm having a bit of trouble color correcting HLG footage from the GH5 in Davinci Resolve. Especially getting skin tones looking natural, and matching other footage. 

    I'm not sure what my project color settings should be... I've tried experimenting by changing input gamma to HLG, which does seem to provide more pleasing color results, but puts the exposure way off.  
    However, changing the input color space isn't really an option for me, since I am also editing footage from the sony a7rii, which does not support HLG. 

     

    Can anyone give me some advice on how I can get the HLG footage looking more neutral and match it with the sony footage? 

     

    Please upload a framegrab so we try.

  7. My Nyrius Aries Pro wireless HDMI transmitter and reciever is for sale.

    I also made a parital upgrade of the reciever, I added a Fatshark antenna for better signal stability. I'm including also another one and two narrow antennas if you wish to push the upgrade to next level, there are tutorials on the net, I do nat have all the cables needed. 

    No original package, comes with: Transmitter, Reciever, 2x Fatshark Antennas, 2x narrow antennas, 2x USB power cables, 1x UK AC adapter, Nyrius HDMI cable

    Optical condition: signs of wear
    Technical condition: excellent, works great 

    Shipping from Slovakia, EU. Price: 190 EUR + aprox 7 eur shipping.

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  8. 3 hours ago, FreshGiant said:

    I am actually unhappy with my S1. I've had issues with various (expensive) SD cards. about 1 in every few hundred clips will not write to the card forcing me to pull the battery.

    This happens because of different file systems, if you format your sd cards in the camera it won't happen. At least I'm good since last june.

    Anyways, I'm getting a fuji as a company for my S1 & BMPCC :) 

  9. 7 hours ago, omega1978 said:

    here is the file https://we.tl/t-TpQWa1GjSw

    There are several problems. You should light your green screen to 40 IRE, this is too bright. Also there is a big spill on your glasses which requires some time to play with to get the desired results.

    Anyways, I applied a conversion LUT from V-log to Rec709, added contrast, crushed the blacks, so there is no noise when your hair moves, also added some warmth by pushing the WB. To enhance the greenscreen I just pulled the greens up at the HUE vs SAT curve.

    The ultrakey did the work with the default settings :) 

    Adobe Premiere Pro 2019 - D__Video_100_ev_2019_Project_Chromateszt _ 2019. 12. 23. 18_01_12.png

    Adobe Premiere Pro 2019 - D__Video_100_ev_2019_Project_Chromateszt _ 2019. 12. 23. 18_00_53.png

  10. On 12/20/2019 at 11:35 AM, omega1978 said:

    I have made a test with V-Log vs HLG vs Natural.

    V-log is the best, with a light green tint in face ( maybe a reflection ?!)

    You can adjust the skin tone with adjustments after your chroma key is applied. 

    Your key is not perfect, the key sometimes catches your glasses, than your hair. Share a few seconds with us and let's see if we can make a better key or not :) Cheers!

  11. 1 hour ago, omega1978 said:

    Saturday i have to shoot some clips on a greenscreen from hockey players to make some gifs and pre game intros.

    Is V-log a good option or is it better to shoot in a normal profil(natural o flat ) on a Panasonic S1 ?

    V-log is great. I shot around 30 greenscreen videos with my GH5, here are some. Just make sure that the chroma is evenly lit.

  12. 3 hours ago, Mark Romero 2 said:

    Hi everyone:

    Anyone have extensive experience shooting in VLOG on the S1 (not the S1 H)???

    In particular, how much of a real world dynamic range advantage does it have over Sony's 8-bit SLOG? (Or the VLOG found in the GH5 or GH5S, or FLOG in the X-T3).

    There don't seem to be too many examples of it posted online, and the few comparisons I've seen between VLOG on the S1 and SLOG2 on the Sony a7 III seem to contradict one another.

    Also, does it need to be overexposed to avoid excessive noise/ color shifts in the shadows? If so, how many stops are optimum?

    The fact that it uses an h.264 codec at 150Mbs has me concerned. (Am I misunderstanding??? Does it have a higher bitrate when shooting VLOG???)

    Thanks in advance. Don't understand what is taking so long for Sony to get 10-bit with a better codec in to a camera.

    P.S. As video is still just about 15% of my work compared to stills photography being 85% of my work, I probably won't buy an S1H.

    Download the v-log footage from my blog and try it out for yourself: https://blog.presstige.sk/post/187207698230/bmpcc-4k-raw-vs-panasonic-s1-v-log-i-just-did-a

    (it was shot with the old FW)

  13. See for yourself, download the samples from my blog: https://blog.presstige.sk/post/187207698230/bmpcc-4k-raw-vs-panasonic-s1-v-log-i-just-did-a

    After three months of shooting with the BMPCC and the S1 I would pick the S1 over the pocket any day. I'm not saying that the pocket is a worse camera, but the S1 really got the edge with the slightly better dynamic range and usability. I don't own an S1H but I suppose it's almost the same when it comes to 4K 10bit. Bottom line: no bashing here, i love both cameras :)

  14. Hi, 

    this Portkeys wireless video transmitter is now up for a sale. If you have Portkeys HH7 or HH7T monitor, you can attach the reciever via dedicated port.

    Condition: Used on two-three shoots, no scratches, no visible signs of wear, like brand new. Also comes with a(n ABS) hard case. Also comes with 3 canon LP-E6 batteries.

    Reason: upgrading to Teradek.

     

    Features:
    *SDI and HDMI input/out
    *Support to refract signal from wall when use indoor
    *Built-in aerial,small size,light weight,low power consumption

    Specification:
    (TX)
    *Frequency Band:60G
    *Transmitting Angle:160¬į
    *Transmitting Range: Gimbal,Stabilizer.Better to downwards to the groud (Empty Area-30M)
    *Signal Type:3G-SDI/HDMI Cross Conversion,Through-out
    *Interface:3G-SDI,HDMI
    *System Power Supply:Canon E6 Battery/7-24V mini XLR Power Interface
    *Weight:155g
    *Dimension:90√ó80√ó23mm
    *Power Consumption:7.5W
    *Material:PC Plastic,Aluminium Alloy,Carbon Fiber

    (RX)
    *Frequency Band:60G
    *Transmitting Angle:160¬į
    *Signal Type:HDMI
    *Interface:HDMI
    *System Power Supply:USB 5V Power Interface
    *Weight:90g
    *Dimension:80√ó68√ó21mm
    *Power Consumption:3W
    *Material:Aluminium Alloy,Tempered Glass,Carbon Fiber

    Package Included:
    1√óClaymore TX
    1√óClaymore RX
    2√ó1/4 Screws
    1√ó50cm SDI Cable
    1√ó30cm USB Cable
    1√óMini XLR to D-tap Cable
    1√ó300cm SDI Cable
    1√óSafety Box

     

    Here's a review (not mine)

     

    Price: 580 euros (+PP fees). Price on Amazon is 709 GBP.

    Shipping from Slovakia to the countires of the European Union for 14 euros with DHL Parcel. 

     

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  15. 7 hours ago, Kisaha said:

    The Portkeys HS7T, which is the SDI version is 399euros. Considering that every SDI version is 50-100euros more expensive anyway, do you consider it a good option?

     

    Damn, that SDI almost doubles it's price. I've got mine (HDMI only) for 220euros from Aliexpress. I also shot with the SDI version and it's pretty solid. The image is bright even in sunlight, you can load luts and the IQ is very nice. But do not buy the claymore wireless, for 600 euros it's a bummer. Works very badly and you have to walk next to the camera to get the image from the transmitter. 

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