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HockeyFan12

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  1. Like
    HockeyFan12 reacted to TomTheDP in Sony PMW-F3 with 2500 hours on it. Should I buy it?   
    No I think the F3 image is nicer, unless you need 4k.
  2. Like
    HockeyFan12 reacted to BrooklynDan in Whatever happened to the EVA1?   
    It's tied with the Sony FS5 mk. I as the worst built camcorder I have ever handled. Absolutely a wonderful image. Varicam 35 quality in a compact form factor. Plenty of warm color rendering and lively skintones. It eats the FS7's lunch in this department. But the thing was built like a fortune cookie and the EF mount was non-sensical.
    Panasonic has all the ingredients available for a top-tier modern cinema camera. 6K full frame sensor. Dual native ISO. 10-bit codecs. Refined RAW workflow. L-mount with an evolving lineup of lenses from quality manufacturers. Decades of broadcast camera experience and reasonable ergonomics. All it takes is the will to put it together in a compact modular package. $8K or less. Do it, Panasonic. Do it.

  3. Like
    HockeyFan12 reacted to tupp in Advice for background lighting   
    I have a fair bit of experience creating patterns and slashes on backgrounds, and unless the desired pattern is complex, you might be better off just cutting what you need out of foamcor and just casting a shadow.  Slashes are easy to make with zero spill using bardoors and/or blackwrap.  With foamcor patterns the spill is not that big of a problem, if you are careful with your doors/snoot and if you leave a big border around the pattern.
    If you really need to go with a projection fixture, consider a used Source 4 ellipsoidal.  They have a nice punch and go for as low as US$175 on Ebay (sometimes with the pattern holder included).  In addition, they take standard theatrical patterns -- there are zillions of them.  If you anticipate working mostly in close quarters, get the 36-degree lens (or the 50-degree lens).
     
     
  4. Like
    HockeyFan12 got a reaction from Mark Romero 2 in Most underrated cameras?   
    Rolling shutter. But it's actually probably about the same, I've been using the 3:2 mode which has more.
  5. Like
    HockeyFan12 reacted to odie in Most underrated cameras?   
    +1
    For me it's 
    any CAMERA that you can load or thread Kodak film in .. image combined with art..fantastic
  6. Like
    HockeyFan12 got a reaction from Juank in Arri Amira vs Pana S1   
    I own an S1 and an Alexa Plus and work with Alexa XT and Amira (and occasionally Alexa LF and Venice) footage for my day job work. Technically the gap is narrow. S1 footage reminds me of cleaner Venice footage... but with more skew.
    The Alexa is really grainy but has a nice texture. Some people denoise it some people add noise to it but for whatever reason I like the noise texture as is most of the time too.
    Venice has a nice texture, too. Great camera.
  7. Like
    HockeyFan12 reacted to TomTheDP in Most underrated cameras?   
    Yeah if shooting with vintage glass its a great budget option. There aren't many super wide lenses for 35mm film cameras as you don't need it, but with APSC 24mm doesn't quite cut it on the wide end. 

    For cinema lenses you have tons of options as S35 has been the standard for most of film history, not that any of us can afford a S35 cine lens haha. 
  8. Like
    HockeyFan12 reacted to stephen in Most underrated cameras?   
    True if you use ONLY Resolve color space transform from V-Log to Rec709. Magenta cast is easy to correct. You can do it once then save it and apply it on all clips. Or use corrective LUTs. Leeming Luts  is one good option. In his review of Panasonic S1, Gerald Undone showed that once corrective LUT is applied, colors on vector scope match. See at 12:59
    https://www.youtube.com/watch?v=CphwVNgX32s
    Here is another solution:
    https://www.youtube.com/watch?v=fWzJG-822Iw
    Having in mind you can shoot RAW with Panasonic S1 and adjust the colors as you wish, that's not a camera limitation but  your personal preference.
    Like Blackmagic cameras and own one. What Panasonic S1 have and  BMPCC 4K (and even 6K) doesn't is full frame sensor. Not because am full frame or bokeh fanatic, S35 is more than enough for me. But because of lenses. Most lenses in photography before digital era are  Leica 35mm format (full frame). It's nice to use the lens at it's focal length as it was designed to be used and not with a crop factor. For example Helios 44M is 58mm in full frame land at a focal length close to what we call normal. In S35 it is a telephoto lens. And so on. Full frame camera makes my life easier when shooting with vintage and modern FF lenses, specially at the wide end. With speed boosters you can close to FF on Blackmagic but not exactly match. Still a small  problem. Also with FF you build a lens collection once and never worry again when new cameras arrive.
  9. Like
    HockeyFan12 reacted to tupp in Advice for background lighting   
    Yes.  Fringing can sometimes be an issue with some ellipsoidal fixtures.  Instruments that use lenses made for slide/film projectors usually exhibit minimal fringing.
     
    Use an open-face tungsten or HMI source with a snoot.  Add a tube of blackwrap if the snoot is too short.  That should eliminate most of your spill, and the open-face filament/arc will give you sharp shadows if the fixture is set to full flood.
     
    Both open-face and Fresnel fixtures always give their sharpest shadows on full flood.
  10. Like
    HockeyFan12 got a reaction from tupp in Advice for background lighting   
    If you do use a cookie, try to move it as far from the light as possible (without it being in frame) and having it be as large as possible. The light is probably sharper at full flood than full spot (if you're using a fresnel lens) and you can use black wrap around the light instead of a flag.... maybe.... I'd just get the projector. 😕 
  11. Like
    HockeyFan12 got a reaction from tupp in Advice for background lighting   
    I suspect that even a Bowens mount COB LED is too soft a source for a modifier right in front of it to cut a sharp-edged shadow.
    Short of using a really big cookie just off frame, I suspect the shadow will always be too soft because it's unfocused. Unless you can back it way up. The projector kits let you focus the shadow so distance is less of an issue. Some of the projection kits have chromatic abberation but that's the only way to approach this without going totally crazy imo. The Joleko type light is also SUPER useful because you can cut out a 4x4 piece of foamcore/bead board, angle it however you want on a c-stand or just tape it to the ceiling, and bounce a light into it, cut the edges using the blades in the projector, and use it as a soft light source (assuming no fog in the room). Of course with thin LED flex lights this isn't quite as unique as it once was.
    Experiment with making a homemade cookie by cutting holes in an old cardboard box. Forget spill or whatever, just see how big it needs to be and at what distance to make shadows that are sharp enough. Maybe it's possible, not sure.
  12. Like
    HockeyFan12 reacted to TomTheDP in Arri Amira vs Pana S1   
    Brooo that is who I am getting the Alexa from. 
  13. Like
    HockeyFan12 got a reaction from Vintage Jimothy in Arri Amira vs Pana S1   
    In HEVC 6K I think the S1 has highlight dynamic range similar to the Venice, but is cleaner in the shadows because it's more compressed. I never got into the Red ecosystem but some people seem to love it. The Dragon image is nice but it has just okay highlight dynamic range and it's also really noisy, but nice texture to the noise and the color has improved.
    This guy's channel is pretty spot on I think:
    https://www.youtube.com/c/Jsfilmz/playlists
     
     
  14. Like
    HockeyFan12 got a reaction from TomTheDP in Arri Amira vs Pana S1   
    I own an S1 and an Alexa Plus and work with Alexa XT and Amira (and occasionally Alexa LF and Venice) footage for my day job work. Technically the gap is narrow. S1 footage reminds me of cleaner Venice footage... but with more skew.
    The Alexa is really grainy but has a nice texture. Some people denoise it some people add noise to it but for whatever reason I like the noise texture as is most of the time too.
    Venice has a nice texture, too. Great camera.
  15. Like
    HockeyFan12 reacted to Lux Shots in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    There is a shit ton of noise in ProRes RAW! I did a shoot in the daytime and I had to run it through Neat Video for a few fucking days because it was for a corporate client that had been spoiled by the S1H noise free image. That was the first, and maybe the last time I use ProRes RAW on corporate work.
  16. Like
    HockeyFan12 reacted to Grant Boehne in How Bad are Vormax Lens Diopters   
    I own the 0.5 and 1, and they do their job. I haven’t done a complete test of any image degradation but from seeing how they perform through a viewfinder they do just fine. I agree that their other products aren’t great but these filters seem to be good ones. It just stinks that they seem to be the only ones making 95mm diopters at less than +1 strength.
  17. Like
    HockeyFan12 got a reaction from Stab in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    I've only used the S1 and S1H (and EVA1), but I remember someone posted a comparison of the S1 and S5 and V Log was more green on the S5.
    Which is good, the EVA1 has better color than the S1 in part because it's lacking such a strong magenta tint:
    Of course, compared with Alexa footage, everything looks magenta!
  18. Like
    HockeyFan12 got a reaction from tupp in 30p to 24p pulldown removal tools?   
    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?
  19. Like
    HockeyFan12 got a reaction from tupp in 30p to 24p pulldown removal tools?   
    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?
  20. Like
    HockeyFan12 got a reaction from Dennis William in What is a Contax Carl Zeiss 50 1.7 planar worth?   
    $150-$220 USD.
  21. Like
    HockeyFan12 reacted to Parker in Software for transcoding S1 HEVC to ProRes   
    Quality is great, pretty fast too, I used to use it pretty extensively transcoding Samsung NX1 and NX500 h.265 files into Pro Res.
     LUTs can be baked in, it's a solid piece of software with regular updates, they keep it running smooth. 
  22. Like
    HockeyFan12 reacted to Parker in Software for transcoding S1 HEVC to ProRes   
    Edit ready is my go-to transcode software. 
  23. Like
    HockeyFan12 reacted to omega1978 in Firmware update turns Panasonic S1 into an S1H (albeit with record-time limit in demanding modes like 6K)   
    Test the 6K mode internal, with ACES color workflow. Resolve let me only render 4K, Gpu has not enough RAM 😏
     
  24. Like
    HockeyFan12 got a reaction from noone in What is a Contax Carl Zeiss 50 1.7 planar worth?   
    $150-$220 USD.
  25. Like
    HockeyFan12 got a reaction from BenEricson in Are Sony sensors ruining video with the 'Sony look'?   
    +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 to work with it. So we might be heading back in the right direction.
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