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Trek of Joy

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  1. So I took a drive with the Hero 7 suction cup mounted to the front edge of the hood of my Toyota Tacoma with some pretty aggressive tires and offroad suspension - so not exactly a smooth ride and it actually looks good. No vibrations and it does float around a bit like the video above, so its probably a GoPro or Osmo action with its built in stabilization. The one caveat - linear mode on this camera maxes out at 2.7k, its wide or superview in 4k. So I'd have to up-rez or defish to get 4k. Video is boring, but here's a screencap. This road has a bunch of roundabouts and I was hitting them prett
  2. @Hangs4Fun I'll get a suction mount for my gopro to test, but it still looks more gimbal like to me than stabilization. I do have the Hero7 with the first version of hypersmooth so that might help. Walmart has the gopro suction mount, guess I'll pop into one and get one to try. I'm fine with the quality and I'm sure the person in the video isn't using a larger setup, as long as the sun isn't in the frame, gopro/phone size sensors do fine. My gopro cant stay on more than 30-40 minutes before overheating and shutting down, but I'll still try. Thanks for the suggestions! @leslie there are no
  3. I have someone looking for a video like the driving one linked below. My first instinct is Osmo Pocket. Any thoughts as to what the guy is doing gear-wise? Its floaty like a gimbal, but it also looks like its on the front of a vehicle on the open road. A gopro would be too jittery for something like this. This and his other videos have the phone/gopro sensor look, just trying to figure out a setup that could mimic this and gather audio. Anyone have any insight or maybe you've seen or done something similar and can share a camera setup? I've asked in the comments and on his IG to no avail. So h
  4. That solves one of my issues with the Ronin system, since I'm not always shooting on a gimbal, or even carrying mine. I hate getting locked into closed systems like this. I'm mostly on a monopod or just handheld. Now if run-and-gun AF was possible with manual lenses and not on a Ronin... Chris
  5. I've always shot Cine2 as well using the Leeming LUT. The guy that does Phantom LUT's just color matched the a7s3 to his Arri and released a series of correction LUT's that bring them pretty darn close. Chris
  6. Bummer the TOF system its not compatible with the smaller one, I prefer the folding design, quick vertical mode and the adjustable handle to go from upright to low slung modes. I'm sure Youtubers will call it the greatest thing ever and hype the heck out of it. For now I'm fine with the smaller/lighter/cheaper Weebill S. Chris
  7. I'm going to upgrade from my 2-year-old XS max to the Pro. HDR image looks great without the sun in the frame - which is especially tough on the small phone sensor. The new processor and Lumafusion/FCPx will be nice for editing h265 from my drone and a7s3 on the go. Any camera/video improvements are welcome since I do use my phone a lot for social content creation. Stabilization could come in handy as I'm tired of carrying a phone gimbal. Raw without using a 3rd party app is nice. But the hardware means more to me, and this looks like a real upgrade compared to the 11. I do wish they move
  8. I'd check for how good the video AF is with the Batis, some are better than others. The Sony 20/1.8 G would be my choice over the Batis 18, its faster, has an aperture ring and AF is amazing. I've used the 16-35/4 extensively as my main travel lens for a couple years, I had a really sharp copy and it was great - plus is has OS so it should offer better stabilization over any other UWA option. I've since moved to the 12-24/4 to go wider, it was tough selling that lens since my copy was so good. Another to consider in that price bracket is the Tamron 17-35/2.8, from reviews its really great. I h
  9. Is it really obvious? I don't shoot astro so I've never really noticed the star eater problem - but I've seen the talk about it for years. I have a Ninja and I'm going to test this weekend if it doesn't rain - big if with another hurricane in the Gulf. I'd be happy to point it at the sky for a minute to check though. Chris
  10. Thanks, I'm still trying to get a handle on where to push the contrast, with stills I push it pretty hard but there so much more headroom to push the files around, but I'm always really conservative with video. Beer pouring is prefect for 120fps stuff, close shots of foam and bubbles swirling around, can't wait! I'll be shooting that at the same brewery tomorrow along with more interviews. Gotta remember my CPL to kill reflections on the glass LOL! Got rained out this weekend in Florida, was hoping to shoot some sunset skintone stress tests with various codecs and bitrates to get a
  11. The image is fantastic IMO. Looks really good on my MBP and my 65" TV. But as always YMMV. Chris
  12. Frame grab from today's interview. Just made basic adjustments to balance the RGB parade, nothing else. WB needs a little tweaking and I feel like I never add enough contrast... Shot at 4k24p roughly 50mm and f/4 or 5.6, can't remember which one as it was getting brighter and my ND only went to 5-stops, so I had to stop down to prevent hotspots on the boats in the BG. Chris
  13. Try 4:2:0 instead of 4:2:2, makes a big difference on my Mac. Chris
  14. First couple shoots, a delicious Czech Pilsner beer canning (unsealed cans are free samples LOL!), and an interview. Both shoots I used 10-bit 4:2:0 h265 to keep file sizes manageable, and since 4:2:2 slows things down a lot it’ll make my life easier with the edit. So far loving the a7s3, IQ is beautiful and the AF is better than anything I’ve ever used. It’s flat out amazing, well worth it to me so far. So glad I pivoted from the R5 preorder to this. All in all very happy. chris
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