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Mark Romero 2

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Everything posted by Mark Romero 2

  1. No... I mean the OTHER camera company... you know... the one that EVERYONE hates. The one where if you say, "I don't know, my camera seems to take ok pictures," people call you a raging fanboy.
  2. Unfortunately, it doesn't look like the a6400 is going to have annimal eye af. It should have the real-time tracking improvement out of the box, and the a9 is supposed to get that in April, but unfortunately it doesn't appear like the a7 III nor the a7R III will have that real time tracking. The a6400 isn't a new version of the a6500 (which has IBIS). It is an update to the a6000 / a5100 / a6300 that is (not surprisingly) geared primarily to stills shooters. The launch price of the a6400 is LESS than that of the a6300 (which, again, didn't have IBIS). Despite some bozo in Sony marketing saying it is an ideal vlogging camera, it quite obviously is not. On the other hand, there are a suprisingly large number of people who use their a6300 to vlog. go figure. There are a LOT of diehard fans of the a5100 (with a similar flip up screen) who take still selfies. This is probably who they REALLY had in mind. How is it a bad sensor??? I've been using my a6300 / a6500 professionally for two years now (95% stills, 5% video) and the sensor is certainly very capable. For stills it was 90% of the quality of my D750, which has a sensor that people rave about. It was good enough that I was fine with selling my D750 and all my Nikon gear. And I have never had a client complain about the quality of an image I have taken with my a6300 / a6500 cameras, so either I am a BRILLIANT photographer or the sensor is not quite the heap of fecal matter you claim it to be. (I did have one client ask me to reshoot some video footage but that was due to operator error as opposed to a "shit sensor.") Sure, there are 714 other horrible things about the a6300 / a6500 camera lines which are well documented and have been discussed, but the sensor was hardly one of them (unless you are specifically focusing on something like Rolling Shutter, which is indeed quite bad).
  3. Hmmm... I guess I assumed it would at least have a lower-res internal proxy recording ability... I know this other brand of cameras that everyone hates has it...
  4. Getting back to bad AF when recording N-Log (externally, of course)... Has anyone tried recording both N-Log externally AND 8-bit internally at the same time and seen if that makes a difference at all in the AF performance of the Z6??? This might just be grasping at straws. However, I thought I heard somewhere that the a7 III had an issue where AF performance suffered when recording externally unless an internal capture was also made. And since it's a sony sensor in the Z6, maybe they have similar quirks??? But I don't remember where I read that, and it might have just come from some lucid dreaming on my part after a night of "all you can eat tacos" at our local Mexican restaurant...
  5. Glad you brought that up... https://www.history.com/topics/civil-rights-movement/black-panthers One of the reasons that California has such stringent gun laws is because that ultra-leftist pinko commie Ronald Reagan signed The Mumford Act in to law: https://en.wikipedia.org/wiki/Mulford_Act For those who are unfamiliar with Ronald Reagan, he was actually a conservative governor of California (and later president of the US) and was USUALLY supportive of gun ownership rights... for people who aren't black. As president, he took the War On Drugs (started by President Nixon in the 70s) to new heights and incarceration rates skyrocketed in the US, primarily due to incarceration of black Americans for drug crimes . While I would love to believe that the people of my country would stand up to the government to prevent it from attacking its own people, this sadly hasn't been the case. You unfortunately don't see gun owners in America standing up to injustices. Instead you see them making death threats against football players who kneel during the national anthem.
  6. I guess there are a couple of different RAW formats. I know there is Cinema DNG, which I am guessing is just sort of a "collection" of dng images strung together (Why, no, no one has ever confused me for an electrical engineer, why do you ask???) Black Magic has a Black Magic Raw (I think it might be called "BMRAW", although I might just be confusing that with the name of someone who plays hockey for the Rangers). And then there is the ProRes Raw which is - according to the pedia of wiki: ProRes RAW In April of 2018 Apple released ProRes RAW. It is built upon the same technology as other ProRes codecs, but is directly applied to the raw data coming from the sensor, thus delaying the debayering process to the post-production stage. ProRes RAW therefore aims at quality and better colour reproduction, rather than performance. Now, if you happen to have a curious mind - or just way to much time on your hands - you can read up on ProRes Raw from the White Paper that Apple Released (which is good, because black paper makes it much hard to see the ink...) https://www.apple.com/final-cut-pro/docs/Apple_ProRes_RAW_White_Paper.pdf
  7. I like this. Skin tones remind me of my D750.
  8. Thanks! So yeah, I guess that means the Z6 / Z7 will be the first to offer RAW over HDMI then...
  9. So is this the first camera to offer RAW over HDMI??? (I think most cameras that offer RAW either do it over SDI or USB C, don't they???) Or does the BMPCC4k have RAW over HDMI? Jeez... this is pretty tempting now. 4K 60p would be nice. And having N Log internally would be nice as well (but if I need to get a Ninja V for recording RAW then I guess it is a moot point, huh?) Darn... kind of wish I had held on to my Nikon glass...
  10. I think that this should answer your question on why Canadians are so inspired to be creative.
  11. Could you elaborate a bit on this? My thought is that 10-bit would certainly help those of us shooting LOG on Sony consumer cameras (a7 series and a6 series) and who have little control over lighting. I am guessing that F Log on the X-T3 benefits significantly from 10-bit, but maybe just the higher bitrate codec has the biggest benefit???
  12. Which is why I vote for owning BOTH!!!
  13. Merry Christmas to all, and Happy Holidays to those who don't celebrate Christmas. And of course, have a wonderful New Year. My Christmas wish is that Sony releases the new APS-C camera with video capabilities as good as / better than the X-T3.
  14. Thanks for the reminder. I sometimes forget to make sure that an item I want to buy is shipped and sold by Amazon.
  15. Ay, there's the rub! Isn't there an adapter for Canon glass to Fuji X Bodies (like the fringer or something like that???) Going Off Topic: Is there a reason you aren't interested in the EOS R?
  16. I am not going to try and tell you what to do, but one thing you should think about is that your Canon lenses - as good as they are - will still continue to go down in value. I don't expect them to go up in value (unless you have a very rare canon lens that is a true collectors item). Most likely Canon (and third-party manufacturers) will continue to make lenses for a long time in Canon mount, and some / many will improve upon the lenses you already have. Again, not telling you what to do. But if you ever decide which system you want to use, then do realize that whatever lenses you currently own will (most likely) continue to depreciate their value (although generally not as quickly as camera bodies).
  17. Thanks for the reply, and yes, a genuine question on my part. Didn't realize that PP was prone to this issue (but I don't use it so I am ignorant of a lot of things about PP). Thanks for sharing your workflow when delivering. I know quite a few people complain about the h.264 encoding in resolve. Didn't know that h.265 is chock full of artifacts, too. Hmmm.... looks like I am going to install ffmpeg soon. Seems so strange that the best way is to send it to an intermediate codec and then a final, but I guess that is the way it has to be.
  18. As most of you are aware by now, i am pretty much the king of stupid questions. I am sure that many on this forum will attest to the fact that the stupidity of my questions knows no bounds. So I have to ask as to why you would be transcoding your h.264 files to ProRes in the first place. I am sure you probably have a good reason to do so. Just, it escapes me at this time.
  19. I don't have an RX100 nor an a7 III, but autofocus works well when shooting in slog 2 on my a6500. I often shoot in bad lighting and the only time I have noticed it glitch out is when I am temporarily panning across something like a solid color wall, and it usually just loses focus momentarily. Otherwise, it seems to be fine. I have probably shot between about 500 to700 short (under 20 seconds long) clips in Slog 2 and I think I have only noticed it twice struggling in the conditions I mentioned above.
  20. https://neilvn.com/tangents/full-frame-vs-crop-sensor-cameras-comparison-depth-of-field/
  21. Well... yes, if you are interested only in exposure. it ain't the same if you are comparing depth of field at equivalent focal lengths. Also, if it means using the same ISO value among different sensors, then sensor performance is generally going to be better on the larger sensor.
  22. Personally, more interested in HDR / HLG / Rec 2020 4K than I am interested in anything 8K. And to be honest, anything 8K is going to require the wider color gamut most likely anyway.
  23. When doing slow motion in Resolve, you are going to want to go in to your project settings (the gear in the lower left) and look for the retming settings. make sure it is set to optical flow and I would select the better quality. Then when exporting, make sure that you are exporting at a high enough bitrate that you won't get artifacting. I often shoot 4K footage at 30p and slow it down to a 24p timeline for just a minor slow motion effect." It looked fine on the timeline, but when I was rendering it to youtube, I had the bitrate too low and it made it look quite weird. Goat's eye has some tutorials that are very thorough and easy to understand, although they are a little dated since they were created for resolve 12 and 12.5. However, still very relevant. I would suggest looking at Avery Peck's tutorial on using LOG footage with Resolve color Management if you regularly work with LOG footage (or RAW footage for that matter). The new Resolve Color Management in Resolve 15 has some fairly sophisticated tools in it so you aren't just just dropping random lLUTs on to your footage and hoping for the best.
  24. I thought you were going to pull a Charlton Heston with your a7s: "Pry it from my cold, dead hands!" Maybe @Andrew Reid can start working on a NEW camera profile called a7SHD where we can give new Fuji, Nikon and Canon cameras those lovely green skin tones from the original a7S???
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