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martinmcgreal

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About martinmcgreal

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  • My cameras and kit
    Black Magic Pocket Cinema Camera

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  1. Cheers! Another question - I'm hooking it up to SmallHD 501, however once I do, the A7S screen turns off, and on the 501 I get a squeezed/smaller viewing screen, as apposed to the image filling the full 1920x1080p .. How do I firstly, have both screens visible, and secondly, have the viewing signal fill the fill 1920x1080p on the 501?
  2. Hi guys, I’ll keep this short and sweet. Shooting a run and gun type piece on a A7Sii tomorrow - far from familiar with the camera, so I have a few quick fire questions .. What’s the native ISO, or recommended ISO for this given shoot; I’ll be inside a school, moving through the corridors from room to room, as such, experiencing different lighting scenarios - though nothing blown out, as the majority of the rooms will be either dimly lit, or the blinds will be closed. What’s recommended, SLog2, or SLog3? Any recommended SLog to Rec709 LUT’s I can feed into my SmallHD501?
  3. I did say subconsciously .. It's not something they'd distinguish consciously until it was suddenly changed - i.e The Hobbit, which even laymen flagged up immediately. Yes, this was more down to the drastic shift in frame rate, but it stills ties into the whole concept of motion, and viewers noticing the motion feeling different to what their subconsciously accustomed too within cinema. I feel the importance of motion candence only ever comes to the forefront once you shoot with a system that delivers it cinematically. If you never shoot with such systems, you'll likely never miss it, as it ca
  4. It's a valid point, but as I've re-iterated throughout the thread, I'm looking for a cinema camera, and more on the high-end, which rules out both the GH4/GH5, given neither system is built specifically for cinema. If I wasn't so picky about motion candence, such systems would come under consideration, but the fact I am so picky about it, limits me to a handful of cameras in this price-range, if that. It's frustrating - I wish I could look past it, but I've shot with so many CMOS cameras down the years that it's just become too big of a spec to continually skip on. I really would argue it
  5. Hate to bump this thread this again, but - couple of questions .. Is there any free resources online where I can download uncompressed footage from both RED systems (ideally the One/Scarlet MX), and also the D16? Besides shooting with the systems, this is probably the second best route for conclusive judgement. I've tried the Bolex website but the download links keep re-directing me to an ad page .. As for RED, I assume there's a ton on reduser, but I've yet to search that deeply - will do in the coming weeks .. Just asking here in the meantime .. Second question - does the D16 sho
  6. Following another viewing session of footage from both the D16 and Scarlet X this past week or so, I'm now definitely leaning more towards the latter. I've actually not been overly impressed with what I've seen from the Scarlet X, or more so for a system in such a price-range, though this probably hasn't been helped by mistaking it for Scarlet W footage at first, which is in another league entirely. It's difficult not to fall in love with the D16 image, the more footage you view, and the longer you ponder on it. That CCD sensor .. Yes, it's not 4K, and yes, it's not a low-light camera eit
  7. In my part of the world, the Mini 4.6K isn't available at any rental houses (as far as I can see), which I find interesting, considering how big the media industry is in the North of England now. I can only speak for commercials, since that's the area I work in, but it's as if it's not even made any sort of noise amongst professional's this side of town. Of course, Arri/RED systems will always be favoured for the bigger budget stuff, but even the more smaller stuff we (the production company I work for) shoot, FS7's w/ A7Sii as C cam's is usually the port of call, with Blackmagic's higher end
  8. and, if I haven't said it enough already - motion candence, motion candence, motion candence .. Just because systems appear superior on paper to say the F35 in usability, size, resolution, codecs, dynamic range etc., it doesn't mean for one second it's a superior system. Ultimate judgement should always rest with the image, in which case the F35 wins hands down. This isn't to say I'll be purchasing the F35 however; simply too pricey, and too large.
  9. Does the Bolex come with either PL/MTF mounts, or? Would be ideal if I could continue using my pocket's speedbooster and sigma glass ..
  10. If the F35 was doing the rounds in this price-range, this thread wouldn't exist.
  11. I actually haven't, come to think of it. I can't say I've ever heard nor seen evidence to suggest RAW influences motion candence, as such, I've never drawn comparisons myself. The D16 is definitely creeping into my final considerations, alongside the MX and Scarlet. Of course, the RED's are far more versatile systems, which should be my main consideration when spending such money, but it's hard to ignore the image the D16 delivers; it has that magical filmic feel to it that nothing else in this price-range can quite deliver so organically. I still prefer the clean, smooth, digital loo
  12. Thanks for the kind words! LUT's are great, if you treat them as just a small part of the grading process, and not expect drag and drop results, which most do. Of course, it helps massively if you're shooting with an external monitor that can import 3D LUT's, so you can then finesse your look all the way from principal photography to post - a process I myself followed for the stills on the previous page. I appreciate such monitors are viewed as both a luxury, and incredibly expensive, but I can't emphasise enough just how useful they become, even more so on cameras like the pocket whi
  13. I did both roles for that particular piece, but I'm a dp mainly. It was all shot in ProResHQ. It's daylight robbery how cheap the camera retails for, given it's superior to systems five or six times the price. I'd always encourage even amateur shooters to make the pocket camera their first ever camera purchase. Yes, shooting/grading LOG images can be tricky/daunting at first, but you'd rather learn the hard way early on, than later. The menu system is perhaps the easiest/cleanest interface I've ever seen too, compared to say an A7S. I agree, and this exactly why it's perhaps wort
  14. The pocket's candence, and blackmagic cameras in general, is far better than other systems within their price-range, but still not to the degree in which it feels truly cinematic, to my eye at least - though for the price, you can't really expect this either. I was on a shoot the other week in which shot w/ 2 x Amira's and a pocket as a C cam. I actually pulled the footage into post to compare candence between the two, amongst other characteristics. The pocket holds up really, really well to the Amira, as we've come to expect, but the difference in motion was there, and noticeable. 8-bit
  15. Whilst the 35mm look isn't really my taste anymore, it's hard not to fall in love with the D16's image. It's the type of camera that your more than happy to make comprises for, in terms of say low-light and resolution, for that colour and motion. It's definitely under my consideration, that's for sure. Just a shame it's so difficult to come across in the current market (?) What's the issue with these things crashing etc. too? I've never looked deeply into the D16's flaws, but you see people flag it up every-time these are topics of discussion. Cheers. I can't access the link however u
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