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Mark Romero 2

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Everything posted by Mark Romero 2

  1. OK, how do you like the monopod? I assume during the ceremonies you just stand it up somewhere that it won't get kicked over by a guest and let it roll.
  2. Yes, as of this writing, it is still cropped. Don't know if further on down the road, with any more firmware updates, it will offer full frame readout or not. I know a few other S1 owners and they have said that they find there is a bit too much noise in VLOG to use 4K 60p so they tend to use HLG instead if shooting 4K 60p. I would assume that is due to the crop instead of using 6K downsampled in camera to 4K, which is what a full frame readout would give. I don't want to swear by it since I don't own one, but I believe the 4K 60p in the S1H is cropped as well.
  3. Is it easy to mix V LOG L (from a GH5) with V LOG from an S1 in Resolve? I noticed that for Resolve, out of the box, there is an ACES input transformation for VLOG, but don't know if that works the same for VLOG-L or not. Also, the color space transform node has a VLOG input, but no input for VLOG-L. I gotta assume that people shooting in VLOG-L on a GH5 are able to use ACES and CST in Resolve though, right?
  4. Darn... I might need to get a GH5 now as a B cam to my S1.
  5. Just to clarify, the S1 (with the film makers upgrade) shoots at 23.976 fps, as opposed to "true 24.0 fps." I would assume that before the upgrade it still shot at 23.976 fps. Resolution is 3840 X 2160, so it is UHD and not DCI 4K. At least, that is as far as I can tell. The S1 is VERY complex (for me) and some of the settings seem to affect / interact with other settings. So maybe there is a way to get DCI 4K and true 24.0fps that I am not familiar with yet. This is for the S1. I don't know what the S1H does.
  6. Yes, the S1 can output 4K 60p (in aps-c crop) 10-bit 4:2:2 to an HDMI recorder. The S1 has some nice features when paired with the native Lumix 24-105 lens, but it has some drawbacks too, particularly on a gimbal. The native lenses are pretty expensive and pretty big and heavy. I use the S1 and 24-105 f/4 on my Weebill S and it is a bit hard for me to keep under control. The 24-105 is so big that you have to slide the whole rig back real far on the weebill s and that can limit how far up you can tilt the screen (I tend to shoot close to waist level on a gimbal, so it might be less of a bother to others who hold the camera closer to eye level). Oh, and that is with the 24-105 at the 24mm end. If you zoom in, then the barrel extends a LOT and you will have to rebalance and move the camera further back on the gimbal, if that is even possible. The S1 has two zebra memory positions, but unlike the S1H, you can't show BOTH zebras at the same time. On the other hand, some good things are that: The 25-105 is about as parfocal as can be, as far as I can tell and have seen on the internets The 24-105 has minimal focus breathing. While we all know about Panasonic DFD autofcus, doing a focus pull using the touch screen is REALLY smooth. It isn't fast, but it very gently eases in to the new focus point. It probably eases out from the first focus point, too. Yes, it is far slower than my Sony cameras, but it is much, much smoother and is pretty similar to a really good manual focus pull. (Much better than I can do manually.) And speaking of manual focus pulls, the S1 allows you to set the 24-105 to a linear focus response when turning the focus ring (so much better than the typical focus by wire response), and... You can adjust the amount of degrees of rotation in the focus ring from minimum focus distance to infinity. I think you can have a minimum of 90-degrees and a max of at least 360-degrees. There is a setting that says "Maximum" but got no clue what that means. The other good news is that the Sigma MC-21 seems to work pretty well with a lot of Canon glass (at least for AF-S, there is no AF-C at this time with the SA-21 adapter and ANY lens, either sigma or canon), and your typical manual vintage FF lenses work well on the S1. That's a good thing because there isn't a whole lot of L Mount glass available now. For example, the only native 50mm lens is an f/1.4 costs around $2,300 and there isn't anything on any lens roadmap for a native 50mm f/1.8 for a couple hundred dollars. There is an 85mm f/1.8 on Panasonic's lens roadmap, but I wouldn't be surprised if it is big, heavy and expensive.
  7. Just out of curiosity, you do use SOME form of stabilization with your current X-T3s, right? (Or are you using X-H1's???)
  8. Thanks. Does that hold true if the final codec is h.265 (as opposed to h.264)? Also, does the "preset" being used (fast, slow, very slow) not affect the final file size?
  9. Well... with the X-T4 release, maybe pick up another X-T3 body at a good price used and get a gimbal??? As you can probably tell, I have no idea of what your workflow is like on site, so I my suggestion is probably as useless as can be. That hasn't ever stopped me in the past
  10. Yeah, exactly. The X-T3 is the "better" camera for most situations when compared to the a7 III. Just in those cases that I personally find myself in, where dynamic range is paramount, then the a7 III would have been better. So I figured just get the S1 (which is, BTW, a really cool camera, but man is it HEAVY!!! Makes my old D750 and DSLR lenses seem light.)
  11. While I really liked my D750, I think they should have just spent the effort making an F Mount to Z Mount adapter with a built in AF screw drive motor so that people could adapter their older Nikon AF-D lenses on the Z6 / Z7 . Otherwise, they should have just made the D780 as a mirrorless F Mount body so that the user would get access to all the AF points while using the viewfinder., and still use all their old lenses natively. As it is with the D780, one only gets the more narrow spread of AF points when using the viewfinder. And since the sensor in the D780 has all those PDAF points on it already for live view (LCD shooting), seems like a wasted opportunity.
  12. Not trying to take anything away from the dynamic range of the X-T3 (and even the X-T2), but doesn't the chart you posted reference the a7S II and not the a7 III? Do you have a chart that features the DR of the a7 III? And while I trust the lab results of the Cinema 5D, they should also be pointed out that they are still lab results. One of the factors that affect dynamic range performance in the lab results is the amount of noise in the shadows. In the real world, SLOG 2 and SLOG 3 are almost always over-exposed by 1.5 stops or so, and because of the way those codecs handle highlights, they can be brought down in post and still retain detail (yes, there is potential banding). I don't know if that is the same for F-LOG or not. When I was thinking of buying an X-T3 a while back, people generally advised NOT to overexpose F Log by more than half a stop. I've searched around and haven't ever seen a "real world" comparison of DR between F Log on the X-T3 with S LOG 2 of the Sony a7 III where different over- / under-exposure values are used to try and squeeze as much DR as possible out of their codecs. I've had a play with some F Log footage from an X-T3 that was sent to me by various owners and to be honest, the DR looked to be slightly less than what I could get out of my a6500 shooting in S Log 2. Could be operator error though so hardly scientific. And for anyone who cares, I bought a Panasonic S1 for the dynamic range in 10-bit 4:2:2 30fps, so I am not just trying to "defend" Sony. Also, I hope - and expect - that the X-T4 will be an amazing camera.
  13. Yeah! Absolutely can't argue with that.
  14. Thanks so much for the response and the information. Thanks so much for the elaboration. I have one client that NEEDS the final video file to be under 500MB (as in, 499MB is fine, but 500MB is too big). It can be either h.264 or h.265 codec, and off the top of my head, the wrapper doesn't matter so much, so I think either .mov or .mp4 is fine. The problem is, I can't "predict" how big the final video file is going to be before rendering it. So using the slow encoding presets means I have to spend an hour or so to render a three minute video file, only to find out it is over 500MB and too big for the client. So is there a way either with ffmpeg or with one of the GUI for ffmpeg to "preview" what the final size is before rendering? Or to even limit the file by size? Ideally, I would love for the software to just figure out what the best quality settings should be automatically while still keeping it at under 500MB final file size. Don't know if that exists in the command line ffmpeg options or in a particular GUI.
  15. Thanks for the insight. Out of curiosity, ffmpeg is multiplatform, right? And if so, is there any benefit to running it on a linux box over running it on a windows box? I know Linux generally has less codex / libraries than windows but maybe there is something I am overlooking??? I've heard that - at least in resolve - that using hardware acceleration might degrade quality in terms of exporting to an h.264 codec. I don't know if this is true or not. Is there any consensus that for ffmpeg whether hardware acceleration degrades quality (or results in a larger finished file to get the same quality as using software rendering)?
  16. While Sony had been aggressive in their marketing, I don't really think it is accurate to say "upgrading and selling every 6-12 months." If so, we would be on the a7S V by now. Yes, there was a case when the a6500 was released about 8 months after the a6300, but that was - as far as I understand - due to the release of the a6300 release being pushed back because of flooding at the factories in Thailand. Also in that instance, the a6500 was not an update or a replacement, but viewed by Sony as a higher end model than the a6300. So unlike how the a7 II was and update of the a7, and the a7 III was an update of the a7 II, the a6500 was meant to sell at a higher price point than the a6300 and for both lines to sell continuously at different price tiers. I think a lot of the confusion comes from Sony keeping their older cameras around for a long time. For instance, a6000, a6300, and a6500 are all still for sale, despite the release of the a6100, a6400 and a6600. But yes, it was the plan of Sony to be a "disruptor" because Canon and Nikon were so entrenched as the market leaders - and because Sony A Mount sales were so bad - that they had to be innovative and productive in their camera releases. BTW: In case ANYONE is wondering, no, I am not advocating Sony cameras (or ANY brand of camera) to anyone. I have a hard enough time trying to figure out which camera is right for ME, let alone someone else
  17. yeah... looking at the trailer... certainly not my cup of tequila.
  18. A couple of people on the Resolve forums suggest staxrip. I haven't used it myself. But they swear by it for encoding to h.264. I don't even know if it is available for Mac.
  19. What's the show? Does it have English subtitles? Or do I need to brush up on my Cantonese first?
  20. So who else besides me has a Panasonic S1??? And not a whole lot of love for Sony round these parts, apparently...
  21. I haven't tested myself personally,. but I think that 1080p is supposed to have significantly less rolling shutter than 4K. (But I always shoot 4K on a gimbal with my Sony cameras, so I am not an authority on this.) I don't think that adding sheer weight is the solution, to be honest. Maybe a small rig cage might help, but I think it would help by adding various grips to the cage so that ergonomically it is easier to hold. And the other thing is to move at the waist or at the legs, instead of moving with your hands / arms, unless you have to. But as @mercer and @IronFilm mentioned, the Sony a6500 is not a good camera if you want to minimize RS.
  22. Actually, no one should watch that Tony Northrup video unless they ARE drunk...
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