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HockeyFan12

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  1. For instance the most saturated slide films are also the slowest and I believe Phase One's trichromatic back is about a half stop slower than the normal 100MP back and of course the black and white back is fastest.
  2. Question about these low light sensors (specifically S1's sensor but I've seen similar things I think in A7S maybe): compared with less light-sensitive cinema cameras, the image seems to wash out to one color quickly. If I shoot a very green foliage scene with an S1 or in very late day blue overcast light the image seems to wash out to green or blue more quickly than it would with an Alexa or EVA1 or C300, cameras where I feel more comfortable just leaving it at one of the WB presents. Is this something to do with thinner dye layers on the sensor? And if fp and S1 have the sa
  3. Thanks, that's encouraging. And yeah it is frustrating. I have a set of 95mm Vivitar diopters that are +1 and strong and that set was $20 I think... but they're not even coated and seem pretty primitive. Are the Vormax lens diopters coated? Schneider will cut fractional diopters custom to 95mm but you're paying about $400 per diopter in that case. Digidiopters are 95mm and optically excellent from what I understand. But they're also large and very very expensive.
  4. Even though you'd expect it to be, it's not interlaced, it's 24p footage someone put into a 1080/30p timeline from what I can tell. Is there any fast way to do this with After Effects or Premiere or Compressor?
  5. I have a 30p stock footage clip that looks like it was shot at 24p and then encoded at 30p with repeating frames. Is there any software I can run this through to detect the repeated frames and remove them?
  6. Even the Alexa is this way, if not quite as bad. I think it's just a trade-off with digital.
  7. Do you have any comparisons between 6K HEVC and ProRes raw shot at the same time or side by side? Would be curious to see.
  8. This makes more sense, but old habits die hard. How is the image quality with HEVC? How is the scaling quality? Can you bake in a LUT during transcode?
  9. Been shooting with the S1's new 6K mode. Very good image. I'd like to transcode to either 6k ProRes or 4K UHD ProRes for an entirely online edit (my computer doesn't do so great with 6k, especially HEVC). I notice Adobe and Apple seem to have (I am on a Mac) different ways of interpreting HEVC? Or maybe that has improved? What is the best way to get the best transcoded image without a gamma shift or artifacting? I will be using Creative Suite but considering both Media Encoder and Compressor. Thanks.
  10. +1 for C100, S1, and 5D Mark III raw.... ....depending on your needs and what you want to use it for... I like the C100. P4K/P6K are also excellent.
  11. Some of the other picture profiles have different dual ISOs. I think 50 ISO for stills and 640 ISO for V LOG are exposing the sensor the same, but the curve that's applied in camera or when developing is very different. I think Red is always exposing at the same ISO (except Gemini), and the ISO you rate it at is how the picture is developed. I wasn't a fan of Red's color but the newer development software looks great to me. I think this is about right. A lot of it must be in-camera processing. The Alexa Plus draws >100 watts and Apple's latest iPhone is nearly as fast as my lap
  12. I like what I've seen from the C70 a lot so that is discouraging to read. I had a C200 for a minute but the Canon Log 2 image was too flat and the h264 image looked worse than my C100's so I never really warmed up to it. I like reading interviews with Roger Deakins and he has no idea how digital cameras work... but I get it. It's literally just iPhones and Alexas where the workflow is this simple. Log C has pretty good dynamic range to say the least but the default LUT adds a lot of contrast and clipping. So you can just go with that and it looks fine, or you can grade by eye and get som
  13. +1 I don't trust everything DXOMark publishes, their measurements indicate better color depth over time... Whereas to my eye the color from my Digital Rebel XT is better than the color from my S1. Anyway it doesn't matter if they're right if I can't see it or make it work. But there are thinner bayer filter dyes apparently and I think it is leading to a "change" in color. Oddly though I felt C300 Mk II was a step down for color from C300 Mk 1, F5 was a step down from F3, etc. but C300 Mk III looks like an improvement and Venice color is excellent, FX6 looks promising too but yet
  14. Yeah, I don't have more than the slightest clue what's going on, but I think V Log 640 ISO is a lower ISO with a big digital push. Anyway the S1 dynamic range (not sure if you own one or not) is excellent. +1 Also worth noting that the default Alexa LUTs Arri and Adobe distribute throw out about as much extra highlight detail as the Alexa has over other cameras. On a standard display you're going to struggle to have a 14 stop image that looks good. I miss t2i neutral more and more. But it is weird, one knock against the S1 is the GHX series has better skin tones for some rea
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