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Everything posted by Anaconda_

  1. Blackmagic have just updated their Video Assist to record Braw from the Leica SL2-S - anyone here able to test it? I'm very curious. Update page: https://www.blackmagicdesign.com/support/readme/5939d7b7a4ab432598476c0bbefc8116
  2. 'Don't use color wheel adjustments(Lift, Gamma, Gain and Offset) - so curves only? or it's ok to use the LOG wheels - seems like a weird thing to rule out.
  3. @kye I just checked, with a VA I can record Braw 1080p 119.88fps. In Resolve, a clip I shot at UHD 25p is said to be 16bit... but I don't think that's right. This file is straight out of the Video Assist, recorded in Braw Q5. In an app called SCOOP! - which tells you metadata, it says the bitrate is Variable. I'm not sure exactly what the numbers are, but in real life, I love Braw out of the Sigma. It's my go-to camera at the moment. EDIT: Interestingly, a clip from my P4k also says 16bit in Resolve...
  4. Definitely good it doesn't go over when in record mode... That'd be an annoying button to press. Looking forward to testing it all out this weekend.
  5. Nice, thanks for the heads-up! That independent settings between cine and still is also a thing for me. Do you know if False Colour also goes through HDMI?
  6. I've just set the zebras on the VA to a lower % Expose so the highlights hit the zebras and then knock it down a touch. Seems to give me good results.
  7. There's a big Resolve update being announced in 9 hours. I wonder if there will be any hints or even a reveal today.
  8. I have exactly the setup you're talking about, and absolutely love it. It's so light weight and the footage is fantastic. I will say though, monitor on for external raw is well worth doing. Braw works pretty well in Premiere now, and you have the added benefit of changing the angle of the screen. I have my monitor mounted on the back, so to the person being filmed, it doesn't look much bigger or more intimidating than the actual camera without the monitor. Here's a couple images with a 28mm FD lens (also a very nice combo)
  9. @Andrew Reid - I've mostly been shooting Braw with my FP, and never really tested the internal recordings. Do you still recommend those settings, or have you found an alternative? (assuming shooting raw isn't a possibility for various reasons)
  10. Sigma recently released a statement about a three-layer image sensor that they want to get into a camera and onto the market as soon as possible. I hope they can get it ready soon. They first mentioned in in 2019 with loose plans to release in 2020, but they obviously had some hangups. Glad to see they've not given up on the idea though. https://www.sigma-imaging-uk.com/update-development-of-sigmas-three-layer-image-sensor/ https://www.sigma-global.com/en/news/2020/02/08/10874/
  11. According to this release about the focussing... https://www.sigma-global.com/en/news/2022/01/20/17062/ * SIGMA fp L will be supported by updating to firmware Ver.2.00 scheduled to be released on January 27, and SIGMA fp will be supported by updating to firmware which is scheduled to be released in April. No word on what else will come to the OGFP, but I would imagine most of the same updates.
  12. Nice, thanks. As an FP user, I also found this line quite interesting... * SIGMA fp will be supported by updating to firmware which is scheduled to be released in April. I wonder what else they'll be adding to that firmware.
  13. Where is the info from? The nominations are announced on 8th Feb.
  14. Have you checked out the Portkeys LEYE ? There's also a version with SDI. It's more expensive, but I think it'd be worth it instead of going through converters. They also have a bigger EVF, The OEYE which can control RED menus, but that's much more expensive.
  15. Why even write it down. Just double the frame rate as close as possible. 24? 1/48 (or 1/50 if you have to) 25fps? 1/50 30fps? 1/60 120fps? 1/240 As for gain/iso. It's the same as meters and miles as far as the end result goes. If your image is dark, turn it up, if it's bright turn it down and call it whatever you like on the process. Very minor 'problems' considering the rest of what the camera offers.
  16. Good point! Personally, I'm hoping BMD release a way to convert the DNG from the FP into Braw in post. They already know all the info to do it, and recording Braw with a VA is awesome. But yes, it means adding a screen that's bigger than the camera. That said, I don't think there's anything in it for BMD to actually do that, which is a shame.
  17. I really hope this happens, but I feel like it's against the point you made just above. If the direction is cameras having internal ProRes / PRraw - why would you need a Ninja Star?
  18. Would you consider cameras that record to external SSD as needing external recorders? If so, then they are small, no screen and no extra power necessary.
  19. I use this. It's M42, adapted to EF and then just use any digital camera to scan it. https://images.app.goo.gl/6NrDgntAbgbHg8dE8 as for snaps, here's a couple. Getting the stereo effect is easiest with some hardware, but you can do it with just your eyes if you practice a little. Plenty of how tos on YouTube. As you can see. My camera has a light leak on the right frame. But it does ant take away from the stereo effect.
  20. I went the other way, and started shooting stereo photos a couple years ago. So a 36 roll gets 18 stereo sets. I quickly learned I need to ask the developer not to cut the negatives, because they camera rolls the film at an odd length between shots. Unfortunately, they cut a few frames in half... but luckily, I had the other angle, so now those ones are just nice, stand-alone pictures. I then process the negative at home, with a slide scanner, a touch of colour adjustments and then pairing and aligning the correct images. Quite a bit of work, but it's also simple and becomes something of a routine after 2 or 3. I use a trusty use a Stereo Realist, it's a rangefinder camera, and surprisingly quick to use once you get used to it. It's also reasonably small, so when I first got it, I took it with me for many shoots for some lovely stereo behind the scenes snaps. Happy to share a couple, but you might need some equipment to get the stereo effect. either a stereo viewer, (those VR headsets you can put your phone in work very well) or try the ol' cross your eyes and stare through the frame - which can get a little exhausting after a while. EDIT: It's a shame stereo-photography never really took off with digital. There's only a handful of models that do it well enough to be worth the time, and they're few and far between on the second hand market. Recently I've been looking at beam splitters, but even those are hard to come by. They are available for phones, but I don't think there's enough usable resolution (on mine at least) to have a good image once you've cut it in half.
  21. I use the original UM4.6k (not the pro) fairly often, but honestly, it's a pain in the ass compared to the pocket cameras. given the choice, I ALWAYS take a Pocket 4k over the UM4.6k Unless you can find one with the EVF and shoulder mount kit, I don't think it's worth picking one up. The ONLY thing I like about it, over the pocket line, is physical audio dials to adjust the input levels. That said, when I shoot with the Pockets, I shoot Braw and enjoy playing in post. When I shoot with the UM4.6k, it's for in-camera results in ProRes, and the footage goes straight off to an editor. It's far from a bad camera, and the prices are very interesting. But I think you'll be better off waiting a little longer for the first generation of the Pro 4.6k to come down in price. At least then you also have NDs and a few other treats. Around here, they're going for about the same price as a brand new Pocket 6k pro.
  22. Thanks! I think your right, but then the question is... What is it for? It's not far away from EF mount, and since there's no electronics, maybe it will fit..
  23. I'm looking to buy a pretty obscure lens. The only one I've found is from a guy who inherited it from his father in law, and he doesn't know what camera system it's for. He sent me this picture, and I think it's for Canon EF. But want to double check... This lens is also made for Nikon, Pentax and a couple other mounts.
  24. Thanks all - Colour matching isn't really an issue. Both cameras will record in the same codec, and with the same colour science. Some tweaking will be necessary, but they will be pretty close to start with. My main concern was background compression and the softness / vignetting in the corners on the FF angle. But it seems like that won't be causing any big distractions.
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