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Mark Romero 2

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Everything posted by Mark Romero 2

  1. G9 should be good for most of your RE photography. There will be times when you wish you had the dynamic range, but if you are good with doing window pulls with flash or HDR (yuch) then you should be ok. As for RE video, I know there are several people who shoot with a GH5. I don't know if the the G9 has 10-bit or not. If it does, it can be helpful because you can do better at removing color casts with 10-bit files than you can with 8-bit files. Also if you are in a rush (most RE video shoots are in a rush), and you don't nail white balance, the 10-bit files will certainly help out with
  2. I have a Crane 1 and a Weebill s. Whenever you have a problem, you should definitely try to calibrate the gimbal. Now, i've never had a Crane V2, but I would certainly imagine that it has the ability to be calibrated. On the Weebill S (and I think on the crane one) you use your phone to connect to the gimbal and start the calibration process. It is best to be near a computer with a video about calibration on the computer since the images on your phone will most likely be too small. Hope this helps.
  3. Late to the conversation here and haven't read all the replies. I moved from my crop-sensor a6500 to a full frame Panasonic S1 for the better low light ability / increased dynamic range, and for the 10-bit 4:2:2 codec. But that is because I shoot real estate and have to deal with ambient lighting. When shooting real estate videos, there often isn't time (or a budget) to set up lighting. So I often have a COUPLE of shots per video which are at the ISO 1600 to 3200 range. Other times I am dealing with extreme levels of dynamic range. The S1 does pretty well in these situation
  4. It's not particularly good in terms of picking out what exactly to focus on. (Although I only have the kit 24-105 lens as a native L Mount lens. My other lenses are either Canon with the MC-21 or some Minolta MD manual focus lenses). but it is REALLY SMOOTH when it does figure out what you want. Meaning, that it seems to me to have an ease-in / ease-out effect when you are switching between subjects using AF. And the Panasonic lenses have minimal focus breathing and are pretty much parfocal unless you are going for extreme focal length change, like going from 24 to 105mm focal l
  5. I agree with your points (not that you need MY validation or anything... just saying your are spot on).
  6. Well... if they release this lower-end camera, then they better start releasing their less expensive (f/1.8) lenses to go along with it. I don't know which market they are going to target with it though. Primarily a stills camera? A true hybrid? A vlogging camera?
  7. I don't know how much a used Panasonic S1 goes for in your neck of the woods, but it would be ideal for that kind of a situation. (I am assuming you wouldn't need AF-C in those situations but I could be wrong.)
  8. I haven't watched a lot of videos about the R5 / R6 cameras, but in the ones that I HAVE seen, I noticed the great AF performance is often demonstrated with lenses that focus breathe... a lot!!! (I confess I watched Tony Northrop's review of the a7S III and I think he siad it was shot on an a6, and the focus breathing was really distracting to me.) As wonky as AF is on the S1 series (and believe me, it is pretty wonky), Panasonic lenses have minimal focus breathing (and their zooms are pretty darn parfocal to boot). (Doesn't the S1H have a focus pull feature where you set up two
  9. You are correct in that you don't NEED a green screen. You just want something that is appropriate as a background. You will probably want to light your background though, too, either with a dedicated light (or lights) on a stand, or using practical lighting (shelf lamps, table lamps, floor lamps, ceiling lights), or a combination of both. In your instance, I would probably either go for the shelf background, or just a nice paper background. In either instance, you will still want to have enough room that the camera is moved back a bit and zoomed in, and you aren't casting shad
  10. So is the sensor in the Z5 pretty much the same sensor in the D750???
  11. Regarding lighting, the main factors are going to be: 1) How much of your body you want to show on screen 2) How much room do you have 3) Your budget @Trek of Joy mentioned searching for a tutorial on how to light a green screen and I would agree that's a good place to start. In a very simple setup, you would probably need one key light for your face and front, then a reflector, and then one (or possibly two) lights for the green backdrop. To use a reflector though you will probably need to get it pretty close to you, so you might not be able to shoot as wide as y
  12. Hi there, @SRV1981 Yes, you are in the right forum. You should be able to create videos similar to the ones that you linked to using FCP, Keynote, and your Sony a7 III and the Tamron 28-75 lens. I don't think you need a wider lens unless the room you are going to film in is very small. Ideally, you would move the camera further away from you and zoom in instead. If you are close and zoom out to wide angle, then you can often see wider than the background. Also you would want to be far enough away from the backdrop that your shadow doesn't fall on the backdrop. Unfortunately, whi
  13. One of the tests I remember was Maarten Heilbron and I thought Gerald Undone had done a test, but could be wrong. But I am pretty sure I did see another test where NLOG was about 11 stops max. Could you share with me where you saw that NLog is rated at 12 stops? I am hardly an engineer, but I thought that there would be a difference between the RAW that is captured by stills in the .NEF format internally and the RAW that is captured in the ProRes codecs.
  14. I am not trying to be a snob, but I just can't watch the Tony and Chelsea videos anymore. Here are a couple of people suggesting cameras - often based on video features of a camera - and their videos are (technically) horrible. I mean, overly sharpened and contrasty (and both of them are at that age when having less sharpening would be a good idea). I hate the 60fps motion blur (or lack thereof). Tony's audio, in particular, is so crunchy it hurts. And I blame @IronFilm for making me care about audio quality. Life was so much easier when I had no clue what good audio sounds lik
  15. Technically, it's not cyberbullying if it is true...
  16. Thanks for the report. If that is truly the case (not doubting you), I would have looked harder at the Z6 + Ninja V combo. Most of the early tests I saw showed that it was about a stop and a half lower (just at 11 stops of DR). Are you using N-Log to text the Z6? Or RAW???
  17. Huh??? I quite like the image out of my S1. Much better than out of my Sony cameras. People who are far more talented than I have said that the image out of the S1 / S1H is basically equivalent to that out of the BMPCC6K and it seems that the image has more latitude than the 6K. Yeah, the AF is disappointing. On the other hand, if you go with Panasonic lenses, then you get minimal focus breathing, and they are VERY close to being parfocal. Also, if you are using AF to do focus pulls, they are VERY smooth. Maybe that was one of the reasons they decided to use contrast detect / d
  18. Yeah, a new Z6 would require AT LEAST 10-bit internal LOG, and I would need to see some confirmation that the dynamic range matches that of the S1 V-LOG since what few tests I saw online seemed to say that it had a good stop-and-a-half LESS than the S1 did. (If someone has a link to tests showing dynamic range of N-LOG where it compares equally or favorably to the S1, please let me know.) And 4K 60 full frame. But then there is the lens situation... Nikon lenses are plentiful and affordable. S1 lenses.... that's a a no. But S1 lenses have minimal focus breathing and the zo
  19. Is there an additional crop for 4K UHD 60fps? (Beyond the 1.1X crop at 4K 30fps) Wondering how the low light and DR of 4K 30 will be compared to the S1. I am guessing that just on math alone S1 would hold an advantage as it is 6K downsampled to 4K, as opposed to the 5.1K downsampled to 4K on the R6. But don't know if that is going to make any sort of real world noticeable difference.
  20. What is the interest level of OTHER lens manufacturers in producing L Mount lenses / joining the L Mount alliance?
  21. That's weird... I would have expected it to be out of focus then... (Yes, I own an S1)
  22. @MrSMW Thanks again for the information and your thoughts. Much appreciated. BTW: I hope you are staying healthy out there. Your line of work necessarily puts you in close proximity to a lot of people.
  23. @MrSMWThanks so much for the insights. I really appreciate your thoughts. I didn't know about the Tamron 45mm f/1.8. . Seems like a good lens, but pretty darn expensive. I guess I still associate "Tarmon" with "Inexpensive," although I would probably have an equally hard time justifying US $600 even if it were a Panasonic or Nikon / Canon lens. Out of curiosity, you mentioned that Can you elaborate on why you wouldn't use it in the future? As for using a G9 / G85 / GX?, yeah, that does seem like a possibility. I guess the only problem with that is I would probably end u
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