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EthanAlexander

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EthanAlexander last won the day on July 18 2017

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About EthanAlexander

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  1. @Trek of Joy I'm ordering through Amazon since I'm using the store card so unfortunately I'm just waiting. I ordered back in June 😭 I need at least the 24MP since I'm planning to actually use this as a hybrid (still have my FS5 for the bulk of my work). Any indication whether the SIII will have a resolution bump from 12MP? This doesn't answer my question in any way and adds nothing to the discussion. I don't want this to end up being a debate about competing camera systems.
  2. Haven't found a clear and concise answer from a source I trust - Is the RIII lacking any features that are essential or very helpful for video? From what I can tell the FF is better detailed on the III and it has better autofocus - are either of these reasons to hold out? Anything else to consider?
  3. EthanAlexander

    Is 4k Any Better?

    Bitrate being equal, yes they are very hard to spot differences in, but if you're delivering to web the platform will only stream at the bitrate they've chosen for each resolution. For instance, YT plays UHD at about 35Mbps and 1080 at 8Mbps, so you'd definitely see the difference there.
  4. EthanAlexander

    Just a quick thank you for supporting EOSHD over the years

    Thanks Andrew for this great resource and community!
  5. Andrew, I think this has more to do with the P3 display on your iMac than the OS or camera. I've got one and it's been very frustrating because of the inconsistency: Sometimes even inside of FCPX itself, the footage will be displayed differently whether on a timeline or in the browser, even when the project and library are set the same. Your first example is definitely an instance where the video is not being properly remapped to the display gamut, but it could be because of the mismatch with rec709 which doesn't traditionally go with HLG. So I think what it's doing is treating it like 10 bit footage on a rec709 display with no remapping. (Just like an RGB JPEG displayed on an sRGB display looks washed out.) The second example I think is actually an instance where VLC is the one getting it wrong and preview is getting it right, since 10 bit footage should look really good on a P3 display. I don't think it's converting it to rec709 without telling you: I'm not sure though - that's just my take. I find the whole thing frustrating though, I'll tell you that. We've got this incredible 5K display that's capable of displaying insane color and contrast and we're left dealing with unreasonable inconsistency and headache!
  6. EthanAlexander

    Fast apertures on the GH5 = Full frame

    You're like 90% of the way there. See if this doesn't help: The following examples would provide the exact same image, and therefore are "equivalent" assuming the camera is always in the same spot. On a M34 sensor: A 25mm 1.4 lens (and it doesn't matter if the lens was made for FF, APSC, or M43 - this is important) On a M43 sensor: A 50mm 2.8 lens, speedboosted (pretend it's a 0.5X speedbooster). (This is because you're now actually putting a 25mm 1.4 lens on the M43 once you've added the speedbooster, just like #1) On a FF sensor: A 50mm 2.8 lens - - - For #3 the ISO will have to be multiplied by the crop factor squared to get the same exposure. - - - I ran out of likes for today but this is very important for new filmmakers to know I used to think this but focal length has nothing to do with perspective, only the location of the camera and the relation to the objects in frame. The easiest way to test this is to shoot a camera at a chosen focal length, say 50mm, and then shoot from the exact same place with a lens with 2X the focal length (a 100mm lens in this example). Go into an editor and compare the full shot at 100mm to a 2X crop of the shot at 50mm. They will be the exact same image. This is no different from shooting a FF camera at 100mm and a M43 camera at 50mm. This shows how the perspective never changes if you don't move the camera, no matter what lens you're using. Seriously, try it out.
  7. EthanAlexander

    B&H Flash Sale on the Sony UWP-D11 Wireless for US$399

    This is one of those deals where you don't need one but keep the mouse hovering over add to cart anyway... I agree these are great. Better than the Senny's in the price range for sure.
  8. EthanAlexander

    How would you grade this?

    I've had a bad headache tonight and messing around with this provided some nice distraction Glenn so thanks. In no particular order we have- The quarter pounder with cheese: Didley Scott: Let's kick some ice: My only attempt at subtle: Mr Anderson: Aaaaand finally, "Michael get-out-of-my-edit Bay"
  9. EthanAlexander

    NX1 dynamic range in 2018

    Pretty sure any camera can do SCROTography if you just point it in the right direction
  10. EthanAlexander

    Guess The Camera!

    So where do I claim my prize @Benjamin Hilton? Do I just send you my address or how does this work?
  11. EthanAlexander

    Guess The Camera!

    Love these games. Looks like Panasonic so I'm going to go with GH5 or EVA.
  12. EthanAlexander

    Cine 4 - The terror

    @Don Kotlos & @Geoff CB Why Cine 2 and not Cine 1? Isn't C1 nearly identical to C2 but it goes all the way to 109 IRE instead of 100?
  13. EthanAlexander

    Existential Career Horror

    I understand the fear, but luckily reliability, creativity, and being an easy-to-work-with person trump "free" in the long run. I've been slowly and steadily increasing my rate despite the barrier to entry getting lower and lower, and it's all because I focus on delivering more than just the video. Ever since the 5D2/7D/T2i got popular there have been clients unwilling to pay for videos, but those aren't the clients we want. Clients who are worth it will be looking for things like consistency and long track record, so as long as we keep working we'll always have that leg up on the new kids on the block. Having said that, we can't ever get complacent or sloppy or we'll get chewed up and spit out faster than you can say "vertical videos suck."
  14. EthanAlexander

    I lost my GH5! - Please help answer this!

    I'd definitely try to find an S that fits your budget. Over the A7, the A7S will have a bunch of extras like 50Mbps XAVC-S, 4K out over hdmi, 120fps @720p (1.5x crop), and of course the god-like ISO performance. It really is one of the cleanest images at base ISO anywhere. I may never sell mine.
  15. EthanAlexander

    Dynamic Range of ML RAW vs h.264 / h.265 Cameras?

    @Mark Romero 2 5D3 raw is best used for passion projects with long turn-arounds. The workflow is time consuming and the storage requirements are super high. You also won't get much more dynamic range over h.264. On a sensor level we're talking 11.7 stops max vs 14.5 on your D750. If you're shooting at ISO 1600 or more though they're all similar in dynamic range:
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