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Linus N

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About Linus N

  • Rank
    Member
  • Birthday 01/15/1989

Profile Information

  • Gender
    Male
  • Location
    Östersund, Sweden
  • My cameras and kit
    GH5 atm

Contact Methods

  • Website URL
    www.pingvinmedia.se
  • Instagram
    linus_nygren

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  1. Got links for the "true working sound men"? No sass, just curious
  2. Yeah, both the GH5 and GH5S (and GH4 for that matter) have a very apparent and distracting delay over HDMI which I've come to terms with in pairing with my older monitors. The added delay of the Atomos, however, is just too much. I'll have to wait and see what Atomos final word will be, but it puts me in a situation of either ditching the GH5 or ditching the Ninja V either way. Ugh! Do you have any source(s) for these numbers? I'm curious to learn more
  3. Hey shooters! I received my Ninja V about a week ago or so and set it up for testing. To my eye the delay is way too much to be usable in a shooting scenario involving anything but static shots or very slow movements. I compared it to an Aputure monitor and a SmallHD monitor we had laying around and the delay to those monitors are about 1/10th of the delay I get into the Ninja V. To give more context of the tests (I don't have the camera infront of me right now so some phrases might be off): I've tried all system frequency modes and a variety of framerates, concluding that the higher the framerate the lower the delay. I.e. 24fps has more lag than 50fps and so on Delay is the same in 1080p and 4K Tested a variety of output scaling options from the GH5; 4K, 1080p, auto - same delay in all of them Tested different HDMI bit mode settings (8bit 4:2:0 and 10bit 4:2:2) with no difference in lag I've fiddled with all HDMI settings in the GH5 to A/B test different combinations and the lag remains the same no matter what I've tested with two different GH5's and one GH5S, all displaying the same amount of lag Tried different cables (and yes, made sure that the one I have is 4K 60p compatible) Turning on or off different monitor tools being sent from the GH5 to the Ninja V made no difference One thing I haven't tried yet is testing the Ninja V on a different type of HDMI output. A cinematographer friend in another city tested it with the Panasonic EVA-1 and experienced no issues I e-mailed Atomos support and got a one line response: "Yes, the delay is caused by the GH5.". If this was the entire truth the delay would be the same to other monitors with equal settings. I can't imagine anyone else on this forum not having experienced the same thing with the GH5+Ninja V combo, but searching the forum gave me no hits (or I'm a bad forum detective). So, have you experienced this? Did you solve it? How? Do you not have the same delay issue? I'm really liking the image and interface in terms of usability of the Ninja V, but the delay just makes it unusable for my specific use-case. Thanks in advance! Here are two videos comparing the Ninja V and Aputure VS-3 (or 2, not entirely sure) Ninja V Aputure VS-3 (or VS-2)
  4. The Swedish price is... higher 😅 As for scrubbing it depends on codec and what you're throwing on the footage, as you know. Just some sort of reference is that my current MSI GS63VR (4C/8T, 16GB RAM, GTX 1060) can handle 4K 25p XAVC-I from the FS7 and 4K 25p ALL-I from the GH5 without exploding. I almost never shoot Long-GOP codecs so idk how it would feel about that. I'm looking to replace my MSI as it's going to someone else in the company. Both the Blade and MSI:s GS-series of laptops are slim and light for the power they pack. Performance-wise I can find similar specs for same/lower price, but Blade for me ticks portability, small charger and big+good trackpad for those pesky flights and train rides. On a train right now doing some storyboarding on the GS63VR (with the Wacom Intuos Small BT if anyone cares :)) EDIT: Personally I've skipped eGPU's for now as I move about a lot. 3 different offices (not my own ones, of course) and a lot of time traveling means I don't wanna haul it around. If you're more static than I am, having a nicely specced 13" laptop with eGPU at your main workstation is a cool and portable option imo
  5. I'm looking at the Razer Blade 2018. Costs a pretty penny when maxed out, but makes sense for editing on the go. Things that make me look at it: better cooling than previous models, the tests I've seen show little to no throttling, small power adapter, best windows touchpad (and big) available, decent panel, 6core/12thread, easily upgraded to 32GB RAM, GTX 1070, 512GB SSD
  6. I agree with you, especially considering FS RAW which I'm not very fond of myself (Alister Chapmans write-up http://www.xdcam-user.com/tag/fs7-12-bit/). However, I was surprised when they mentioned XAVC-I (and a7SII XAVC-S) was used instead of some high end flavor of DNxHD or ProRes - or raw in such a VFX and grade heavy production point being that Crazy P really curated the cinematography to fit within their technical limitations. and I believe this is the indie doc you're referring to https://www.cinema5d.com/sea-gypsies-a-feature-documentary-shot-on-the-canon-5d3-and-magic-lantern-raw/
  7. Well hello there! Have to say again, great work I remember Hannes sending out some numbers during the SSC day which were kind of mind-boggling. Amount of shooting days, VFX shots and days with rain - I forgot the numbers but as I recall it's very much a third forum-friendly "WHAT?!"-factor. Do you have those top of mind? And now that this marvelous opportunity has presented itself, I have three questions for you: 1. One thing I found very intriguing was the non-Swedish-movie factor of your film. With this I'm referring to script, compositions, audio, sfx, vfx, camera movements, blocking, dialogue etc.. I very much enjoyed the "non-Dramaten-feeling" of the script/delivery from the actors. Was the whole step-away-from-the-Beck-vibe a conscious direction you took, and how did you go about it? 2. In terms of the vintage lenses, how on earth did you fit all the accessories on there? Seems like a tight fit! 3. Without spoling anything for anyone, I believe I spotted a few hommages to a variety of classic films embedded in The Unthinkable. if my observation is correct, do I win a cookie? Preferably a dammsugare, I love those.
  8. (No spoilers ahead) I went to see this as it premiered last Wednesday and was blown awat by what they're pulling off compared to typical Swedish feature film productions. I also went to an event the week before with FSF (SSC - Swedish Society of Cinematographers) and heard the DP Hannes <insert last name> talk about the movie together with the colorist Ola Bäccman about the process of making the film. An additional "WHAT?!" factor, on top of the lens choices, is that they shot the entire thing in FS7:s internal XAVC-I codec except for some green/blue screen work where they went with raw. I've followed their work for years, and seeing their first feature on the big screen was truly a humbling and epic experience. Given the budget, time, experience and all that they managed to pull off an amazing film which easily lands in the top 3 Swedish films ever made in my book. My girlfriend, who didn't know about Crazy Pictures before going to the movies with me shares my enthusiasm. On top of her reaction, there was a woman in the seat next to me who was literally at the edge of her seat from 5 minutes into the movie until the very end. TL;DR: Go see it!!!!!!
  9. Lil spot for a FIFA tournament we have at work every year. Shot in 4hrs, edit/grade/audio in about 8hrs. Since everyone here loves tech, it was shot with FS7, 35mm+100mm Lomo anamorphics, Easyrig. And a longer commercial for a modular house construction company that went along with a less-corporate look'n'feel with poetry as VO (in Swedish, though. Sorry non-Scandinavians) rather than corporate mumbojumbo Shot on FS7 in FS-RAW, Cooke S2/S3 Panchros, combination of dolly moves and Easyrig stuff. Gaffer mostly used M18 and accented with smth like an Aladdin Flexlite on a boompole with a pancake for diffusion. https://vimeo.com/247948695 (embed turned off apparently and I'm on my private phone so not logged in to fix it) Cheerios!
  10. Hey! I bought these and just briefly popped them on some footage I'm working with atm, liking the results in most cases. I plan on taking some time to test this out in a controlled environment, what are people interested in seeing? Taking requests with no guarantee they will be fulfilled @Sage a tiny feedback; in the e-mail I received two days ago with the updated versions, the names of the .cube's were different than those files they are meant to replace. Got me confused there for a bit and had me looking through each folder four times like "where dem files at?!"
  11. Curious about workflow as well, does one need a HDR capable monitor or is this some sort of HLG to SDR wizardry without the need for 10bit 1000nits+ while still getting the benefits of HLG?
  12. Just tried this on some random GH5 footage I had laying around, color charts, drunk people in my couch, a client interview. All I can say from this extensive 3 minute test is that I really like this, thank you so much! Cleaned up skintones, made the rendition of clothing, furnitures, walls, wall art more realistic. I haven't shot on Canon for a long time as we use Sonys (FS7, a7SII) at work and I own a GH5 privately and this is yummy. Hat off for you, my good sir! Will make this a must have addition in my GH5 post workflow and test it more than these intense 3 minutes so far.
  13. Thanks, works like a charm!
  14. Hey! I prefer to post framegrabs and other filmmaking stuff in 2.35:1 on my insta for consistency and that cool "look at me I'm anamorphic!"© image. For iPhone there's Enlight and CineCrop, but my iPhone died the other day. Now only using my work phone which is Android and I can't find a single app that allows 2.35:1 crop on my photos, any app tips? I don't wanna guess by hand (or finger) with free crop for those times I can't be bothered to framegrab on my PC and send to my phone
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