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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. Guess The Camera!

    Love these games. Looks like Panasonic so I'm going to go with GH5 or EVA.
  2. 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?
  3. 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."
  4. 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.
  5. 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:
  6. The Canon C200 is here and its a bomb!

    Trick question everyone knows professionals don't use autofocus in the woods.
  7. Canon 5D mark iii RAW video 2018

    Had a go with the 3.5K: You basically have to shoot blind, and hitting focus is up to the camera gods... The only thing about using Resolve over ACR is there's no "remove chromatic aberration" button and you can see it would have been useful for this.
  8. DJI Mavic Air First Impressions

    That was at ISO 100? If so that's really not impressive. I'm sure some of it can be graded away but that severely limits the useable dynamic range. It's interesting how they're encoding. The GOP is HUGE. Definitely would worry about fast moving shots falling apart.
  9. DJI Mavic Air First Impressions

    Didn't realize you had one. Me too. So what made you get the Air? I don't think I can ever use a drone anymore without at least the 100Mbps h.265... It's game-changing.
  10. DJI Mavic Air First Impressions

    Thanks for the write-up. I'd be interested in seeing some footage if you have any. You've got a P3P, right? Which do you think you'll be flying more often? If anyone cares, my prediction, based on the Mavic Air: I think the Mavic Pro 2 is going to be everything the P4P is, maybe even with longer flight time (and of course it will fold), but they're going to leave out h.265 and variable aperture. Idk about P5P but I'd say 35 minute flight time and 4K60 will finally be h.265.
  11. Is FCPX still trash?

    Couple things: If you select a clip and press control+v you'll get a pop up menu, double click opacity, and drop the opacity by dragging the handle from the side. This will keep your clip length the same. (You can also do this in the inspector with keyframes but it's slower) Also, (because it sounds like you're placing the video clips in the magnetic part), place the audio in the main magnetic part of the timeline since that will stay constant. Then, it's up to where the video clips connect to the audio. You can change this by holding down CMD+option and clicking on a specific location on the clip you're connecting (by default, it's the beginning of the clip you're adding, but it can get moved when making cuts). Then, no matter what happens to that (audio) clip on the magnetic part, the video clip will move with it. There's also the whole other side of making compound clips but that's hard to explain in text. The above method is my general method of keeping audio in sync for live events or music videos. But if you've got one long video clip, you can use that as the anchor instead of the audio. EDIT: also forgot to mention I use the adjustment layer add-on made by RGB House constantly. Another glaring omission but this is free so it works out: http://rgbhouse.com/?p=74
  12. Is FCPX still trash?

    I highly recommend adding this audio crossfade: https://blog.alex4d.com/2011/07/11/fcpx-transition-sound-only/. I use it in every single project and it's one of the most glaring omissions on the part of Apple. I also highly recommend you DON'T try to make it work like premiere. I tried that for the first few months and got nothing but headaches. EDIT: @Mattias Burling beat me to it. Definitely don't fight against it you gotta go with the magnetic flow
  13. What was the first professional camera to shoot LOG gamma?

    I like you I just think you're wrong. JK ; ) - Seriously though I just disagree about benefits outweighing the costs. I believe you that there are certainly drawbacks to trying to cram so much info into a small container; as I mentioned I don't shoot SLog nearly as much now, after reading some of your posts. But I know, having compared the HDR and SDR masters of a huge-budget feature, that ultimately HDR is more pleasing to me. I do appreciate all your posts though! They're educational and make me think. And your posts back in June are actually the reason I even signed up for a forum account... I signed up to argue with you about S Log
  14. What was the first professional camera to shoot LOG gamma?

    Honestly, I was trying my best to give you an open mind and not disagree with you, but if this is what you think, without even experiencing it in person, then I disagree with everything you've been saying. It's frustrating that you've already come to a conclusion without actually experiencing it. HDR is more nuanced. It's more detailed. It's more pleasing in every single regard, including color. If you can't see that in the iPhone photos, fine, but take my word for it - in person, the kind of saturation in the 2K BD is gross. As is the contrast. I'm sorry again, but you're just not speaking from a credible position here. If by saturation you mean there are fewer variations in color (IE the computer technical definition), sure, but it makes the image look like it was shot on an iPhone 4. I could easily make the HDR look just as sh*tty as the SDR version if I cranked up the saturation and fake contrast controls on the TV. Maybe I'll do that later to show you. This is literally the statement where you lost me completely. This is absolutely 100% unequivocally incorrect. SDR colors look like Crayola colors in comparison to the HDR version. I guess I disagree with your definition of "rich colors," entirely. Please, PLEASE stop any further disbelief in HDR until you do this kind of true comparison in person. Until then, I don't think you have credibility speaking on this subject.
  15. What was the first professional camera to shoot LOG gamma?

    I've got a high end Sony HDR and I compared Dark Knight 2K BD and 4K HDR BD and there is absolutely a difference. The gradations are so subtle, the colors unlike anything I've seen on a TV before... It's glorious, and I highly recommend you experience it! So, I don't think I'd call it a scheme because it is a truly improved viewing experience for high-end productions. Here's why I think low compression 10bit HDR is 100% worth it: My TV has the exact same settings for both sources, with main contrast and brightness turned to 100% but all "special" contrast enhancements (IE dynamic range and color killers) turned off: Exhibit 1: Exposed for the highlights with my iPhone. It's very hard to see in these photos, but you've got to trust me that in person there are 1-2 extra stops of visible detail in the clouds on the HDR version. This is one of the highest contrast scenes imaginable 2K: 4K: Exhibit 2: 2K (shot with non-HDR iPhone camera setting) this is pretty much how my eye sees it: 4K HDR - without using the HDR iPhone setting, the dynamic range doesn't even fit in the image where the sky is too bright (I tried to get the rest of the image exposed the same, but I'd say there's still an extra stop visible in shadows) Please also note the subtle transition on the ground from shadow to highlight: And here's 4K HDR shot with HDR iPhone settings to better show how my eye sees it: Now, here are some comparisons, all shot with the iPhone in HDR mode, that speak for themselves: On the last one, it looks like the helicopter spotlight is blown out, but in person it's not. There's still plenty of detail there. So it seems like the dynamic range displayed might actually be higher than what my iPhone 8 can capture even in HDR... or maybe I didn't expose perfectly. I guess you could say the difference is... Knight and day. Ok, I'm done.
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