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jpleong

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Everything posted by jpleong

  1. This is also my experience with my limited use of F-LOG and my Atomos Ninja Inferno. The Prores files I got from the last time I used F-LOG (I'm impatient, so I don't use LOG often) worked instantly with the LUTs I had handy, including the official Fujifilm Eterna LUT and Colorizer.net's Fuji-based LUTs. When I have previously used the in-camera files, the official LUT was a mess (that is, it took a lot of work to get the exposure and color to look even remotely "right"). And on the Ninja Inferno, I don't think I was even using Prores 422 -might have been LT (!). JP
  2. This is veering a bit off-topic, so apologies OP. Experience is the best way to review something. I'm pretty done with YouTube/Influencer reviews unless they've got a body of work to show for it. I also don't trust the NKOTB: I got burned on investing in Oktava MC-012s when they first arrived in the West as the hot-new-thing twenty-some years ago (when I should have just bit the bullet and scoured for used KM84s) and it's taken me just as long to finally accept RODE as a legitimate contender in the pro audio world after they lost credibility in the broadcast space. As a result, I take peo
  3. ? (I've never used anything from Deity) what's the problem with the ME64 or 66?
  4. What happens when you flip the phase of one of the mics? Situations like this with omni lavs: 1) Position the mics as far apart as possible. Usually on the shoulders/lapels farthest from the other speaker. 2) In post, mute automate (or cut) the non-speaker's audio. Gating sometimes works. It's tricky because they're almost completely facing each other so the omni lavs are acting like boundary mics. Do you have the budget for some booms? Like, ME64/66? JP
  5. I have not experienced this. I recently shot some documentary A cam footage with it and the XF 50mm f/2, manual focus, internal and external recording simultaneously. JP
  6. Ugh. I believe it. Their business model doesn't strike me as disposable -which is what most of the tech industry has leaned into to make shareholders happy.
  7. I think WD owns SanDisk, too, right?
  8. Forgot to mention that I also use Seagate Backups Plus Hub drives to backup and archive work. The internals are worth more than what you can find them individually (the internal drives are some of Seagate's best enterprise-grade server drives) with a big cache and a built-in two-port USB hub. JP
  9. The tech industry moves fast so, please take my experience with a grain of salt: Fifteen years ago I used La Cie desktop drives without issue. I bought these despite a spotty reputation, at the time, for their bus-powered drives. Ten years ago I started using Glyph drives because they were rackmountable. I've had two issues with cooling-fans beginning to fail (same model, close serial numbers). The company sent me replacement fans with 48-hour shipping, free of charge. They also offer some basic data recovery as part of their 3-year warranty. I continue to use their platter drives as
  10. Thanks! That's helpful. Yeah, I was super thrilled to see that Canon finally made a 24-70mm f/2.8L IS but bummed it was RF-mount, only, as I've switched primarily to Fujifilm but still shoot EF bodies. It's unfortunate that each successive product only inches closer to what "we" wanted years ago (so many of us were asking Canon for stabilized f/2.8L standard zooms when the EF 24-70mm f/4L IS came out). It seems like each manufacturer making a top-quality, "fast", standard-range zoom with OIS would be a no-brainer for sales?
  11. Can you help me understand your experience a bit when you say "awkward focal lengths on Super35"? Like, under what conditions are you shooting? The filmmakers I studied under using Super 35, its equivalent sensor size, or a 4/3rds sensor always used focal lengths that were readily compatible with common "full frame" lenses. For doc interviews, I was taught 50mm/35mm (Super 35 and 4/3rds, respectively) for A Cam, 35mm/24mm for B Cam with wider-than ~50ยบ field of view kind-of a niche thing because of perspective distortion. Because of that experience, I've always been happy shooting APS-C w
  12. The recent stepping fix worked across my Fujifilm cameras (X-T2, X-T3, and X-H1). It DOES NOT solve the fixed-aperture stepping-artifact (I say artifact because it's not actually stepping) whilst zooming. I tested with both the XF 18-55mm and XF 55-200mm. And... having just recently re-watched several episodes of the Office, I will point out that Zooms are used a LOT in that show as a story-telling tool. I was in the "who the heck uses zoom moves in final footage?" camp until that point.
  13. A nice surprise -looks good!
  14. I'm not saying that I... ugh. What I mean is... hmm... lol. @kye knows what I mean. I'm an audio-engineer, first, by training. I have multiple DACs, interfaces, passive and active monitor switchers, three sets of mixing monitors, etc.... I used to use my old HP workstation laptop for referencing, then my 17" MBP, but don't on my 15" MBP. When I see Apple and Microsoft ads showcasing their hardware with someone doing critical recording or mixing work without all the accoutrements, I cry a little. Still like what I hear coming out of those MBP speakers -I just don't trust what's c
  15. Oh, I know: I have a DacMagic Plus and a Stratos for work. I mean that I can't trust the MBP for critical reference (what I used previous laptops and currently a TV for).
  16. Agreed! The previous Touch Bar 15" MBP blew me away -glad to see it may be even better on the 16". Now, the bad: As much as I have enjoyed the quality of sound for fun from the recent big MBPs, I don't know what Mac OS is doing to achieve it. If you play music or whatever through Bootcamp, you'll notice the sound is not as good in the Windows implementation on the same hardware so there's *something* that Apple is doing in software. And that means I can't trust it for critical mixing. Great for music, movie, and otherwise fun uses, though.
  17. Not to be disagreeable but, I'm actually looking forward to shooting creative pieces with different film sims. Something about committing to a look BEFORE rather than the post-processing hell that comes with AFTER that is appealing to me... I think the amount of things I've had to do recently to fix-it-in-post because we liked "options" or were "indecisive" (read: unprepared) might be influencing that. I also really liked Classic Negative when I applied it in Capture One Pro to some portrait studio work -a greener finish compared to Classic Chrome. I *hope* it comes to the X-T3...
  18. Just for video? I'd do the EOS-R as it has a more video-friendly user design and better output formats.
  19. Check out Attila's work: http://colorizer.net/
  20. Yeah, it happens a lot more than I'd like. Until there's another update from Fujifilm, it stays off on my camera.
  21. Sounds like face detect (the only tracking that the X-T3 is capable of in video) is activated and it had a false positive.
  22. Thanks for those additional insights! I have a love/hate relationship with BM products going back over a decade (some winners and some really bad clunkers). So far, it looks like a 2v2 toss-up... I think I can wait to drop a $1000 USD to be sure I make the "right" choice.
  23. Thanks thebrothersthre3 and EphraimP! Elsewhere on EOSHD there were observations about flaky connections to the Atomos Ninja -have either of you found that to be the case? JP
  24. What's the consensus on external recorder for the X-T3? Looking for most reliable capturing the full 10-bit 4:2:2 4K 60P output with monitor (other value-add features, great, but not necessary) Editing on a Mac in Premiere Pro. Atomos Ninja V? Blackmagic Video Assist?
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