Jump to content

Mark Romero 2

  • Content Count

  • Joined

  • Last visited

Reputation Activity

  1. Like
    Mark Romero 2 got a reaction from Vintage Jimothy in Best affordable camera as of 2021?   
    Funny story...
    At its release, the S5 was a MORE CAPABLE video camera than the S1. 
    But with recent firmware updates - if you get an S1 with the V-log upgrade pack - the S1 is more capable than the S5.
    My S5 is my everyday work camera (for stills and video).
    I am tempted to sell my S1 and get another S5, but the fact the S1 has unlimited 10-internal recording and how has 6k Internal means that I will probably keep it for at least a while. The 6K internal appeals for re-framing shots in post. I rarely "get things right in camera" so the leeway to re-frame in post is really tempting. 
  2. Thanks
    Mark Romero 2 got a reaction from Thpriest in Panasonic S5 User Experience   
    Back button focus works great on the S5 and S1. I set the AF switch to MF, and leave the AF switch ON for my Canon EF 16-35 f/4 L. Hitting the AF on button then focuses the lens. I have it set up so that rotating the focus ring on the lens then brings up picture-in-picture for fine tuning focus.
    No idea about sigma lenses and linear manual focus.
  3. Like
    Mark Romero 2 reacted to ade towell in Best affordable camera as of 2021?   
    Used Fuji X-t3, absolute bargain
  4. Haha
    Mark Romero 2 reacted to MrSMW in seamlessly work with photo and video   
    I debated for a long time whether I would get one or another S5.
    Zero regrets, even with all the firmware updates to the S1.
    Mostly it was the size (false reports everywhere about how massive it is) though the cost played a part but I bought used (like new) model and in the hands it is near perfect ergo-wise and not heavy at all.
    And as a non-fan of flippy screens, the tilt that it has is perfect for me.
    9/10 overall with just the single point removed as the AF is not on par with the likes of Fuji or Nikon, never mind Canon or Sony.
    It’s a proper pro piece of kit with the bonus that I can now sell my wedding videos to Netflix 🤑🤩🤔
  5. Like
    Mark Romero 2 got a reaction from TomTheDP in Panasonic S5 User Experience   
    You can??? For some reason I always thought it was hevc. Live and learn, I guess.
  6. Like
    Mark Romero 2 reacted to TomTheDP in Panasonic S5 User Experience   
    You can shoot in HLG at 10 bit H264 as well. 
  7. Like
    Mark Romero 2 reacted to Geoffrey in Panasonic S5 User Experience   
    New here and just purchased an S5 - very interesting discussion. Really liking the camera. I'm not a pro but have quite a bit of experience with HD video. Not got top end gear so shooting in 25p, UHD 4k, 8-bit. Though the 1080p looked pretty good too (was stunned by the comment earlier that 1080p and anything 8 bit, including 4K, is 'garbage' - what are people on?). 
    Was wondering about some more basic stuff from users who have had more time with it: what ISO range and aperture do you find most efficacious for 'normal outdoor shooting? This is the best quality camera I have owned personally and with other cameras I always avoided cranking up the ISO (grain) and closing down the aperture too much (defraction) and so always use an ND filter as much of what I shoot is outdoors. I bought a couple of nice NDs for the S5 - 3 and 6 stop (Breakthrough). If I use the 6 stop, even with the aperture wide open, I have up the ISO a bit (but not that much), whereas with the 3 stop I find I have to close the aperture to 6 or more and leave the ISO on 100. But then the aperture goes up to 20 I am not used to this range or high quality ISO.
    Thoughts / experiences?
  8. Like
    Mark Romero 2 reacted to MicahMahaffey in Getting started again.   
    I actually did not realize the S5 had a smaller battery.. my bad! 😅 
    The S5 wont last 3 hours, my S1 lasts 3 hours, but I imagine 2 hours on the s5 is still pretty good coming from sony. 
  9. Like
    Mark Romero 2 reacted to Video Hummus in Panasonic GH6 rumours   
    I think there is also the issue of "how" the RAW data is compressed not just the insanely broad "all RAW from camera compressed higher than 3:1" belongs to RED.
    Canon clearly has some kind of deal with RED when there is CRAW Light 8:1 in Hybrid DSLM R5. This, and the fact they fit internal NDs in RF mount flange, makes me incredible excited for future camera generations from Canon.
    So I find it doubtful we will see RAW in GH6. I would be really surprised. I think they should do what Sigma did and just offer uncompressed 10-bit and 12-bit RAW and develop that external storage grip solution you are proposing and have the huge file sizes countered with cheap M.2 SSD media recording.
    It has been forever since we heard even a whisper of a rumor about hybrid GH cameras. They are either entirely reworking the model line or they are going to kill it and focus on S series FF cameras.
  10. Like
    Mark Romero 2 reacted to MrSMW in Blind tests - Cameras, lenses, resolutions, codecs, crop factors, etc...   
    I’ve been ignoring it my entire career and no one has ever noticed. Or at least commented.
    Without an auto internal ND, it makes true hybrid coverage very difficult...which is what I mostly do.
    I’ve never chased the next ‘latest & greatest’ spec. Chased certain standards at times yes and for the last few years, that has been 4K 60P plus great SOOC picture quality (stills & video) that can easily be lightly graded. 
    8K? No thanks.
    Raw video? Yet to be convinced for my needs.
    Super shallow DOF. I do like a shallow DOF and have done my whole 20+ year career, but the main reason I personally prefer faster lenses is more because of the lesser need to crank up the ISO and introduce unwanted noise. Because sensors continually improve in that regard, f2 & f2.8 are now my go to’s whereas just a few years ago, it might have been f1.4 (for full frame).
    Great colour SOOC is not negotiable with me however. Anything that requires extensive work to look good isn’t for me.
    And in all of the above regards, I’m done camera spec-wise for at least 3.5 years unless something breaks in that time.
    As with all these things, it’s just finding that balance of the tools that will best do the job that you need them to do within a certain budget.
    Anyway, my tastes must be different to the masses as I took the blind test and Sony didn’t win for me 😜
  11. Haha
    Mark Romero 2 got a reaction from kye in Blind tests - Cameras, lenses, resolutions, codecs, crop factors, etc...   
    Well... I would do that... but I am too busy saving up for the new Sony 50mm f/1.2 so I can take some epic footage of my cat...
  12. Like
    Mark Romero 2 got a reaction from majoraxis in Blind tests - Cameras, lenses, resolutions, codecs, crop factors, etc...   
    You are correct, sir.
    In another test, another youtuber showed a lot of non-photographers lots of photos, some with a very  shallow depth of field, and some with "normal" depth of field, and overwhelmingly the people preferred the photos with MORE depth of field over the photos with shallow depth of field. 
    So there we have it.
    6K and 8K Resolution??? 
    Straight out of camera colors???
    Super shallow depth of field (aka, Cinematic Look)???
    Oh, and then there is the video by Jordan Drake where he says he has been "living in denial" or something like that because he shot a video and purposely didn't use the 180-degree shutter rule, and no one seemed to notice. (Everyone seemed to notice instead their use of gee-whiz transitions and jump cuts.)
  13. Like
    Mark Romero 2 got a reaction from kye in Blind tests - Cameras, lenses, resolutions, codecs, crop factors, etc...   
    You are right. I don't remember going to see a lot of movies shot on an Alexa and saying, "wow, those skin tones look green," unless there was a scene under fluorescent lighting where things are SUPPOSED to have a green tint.
    But your larger point that there is a BIG difference between what you get SOOC and what the footage looks like in the hands of a pro colorist is absolutely spot on. 
    I guess these kinds of tests have a point; if you are not going to be doing some serious color grading, then certain cameras are going to be better for your production than others. 
    Just don't compare SOOC with what can be done with the footage in the hands of a competent colorist.
  14. Like
    Mark Romero 2 reacted to MrSMW in Blind tests - Cameras, lenses, resolutions, codecs, crop factors, etc...   
    When Toneh Northrup did a blind test on all major manufacturers, didn't Sony come out on top there also?
    I seem to remember...
  15. Like
    Mark Romero 2 reacted to TomTheDP in Blind tests - Cameras, lenses, resolutions, codecs, crop factors, etc...   
    Arri does tend to have a green push. 
  16. Like
    Mark Romero 2 got a reaction from majoraxis in Blind tests - Cameras, lenses, resolutions, codecs, crop factors, etc...   
    For the Tom Antos tests, I had my prefered list as pretty similar to what everyone else had (except switch around alexa and Red)
    1) Ursa Mini Pro
    2) BMPCC 6K
    3) Red
    4) Arri
    Mind you, I was looking primarily at skin tones.
    Maybe I am losing my mind, but the Arri skin tones just looked so green in that test.
  17. Like
    Mark Romero 2 reacted to TomTheDP in Teaser shot on Zcam and S1   
    Thanks for the compliments everyone! Means a lot from people on this forum as I know we are all pretty picky when it comes to this stuff. 😂😄
    For the Z-cam I used a set of Rokinons 24, 34, 50, and 85 
    Everything on the Panasonic was shot on a Rokinon 35mm 1.8
    We also used a Sigma 14-24 2.8 for a few interior wide shots where we need that ultra wide FOV. 

    I have a set of Canon FD lenses which I would have used had I owned them last year. The Rokinons do the job though. I really love Minolta lenses though they can't be adapted to EF so only some cameras can use them. 

    I'll do a little breakdown for you if I can remember perfectly. 

    0:05 Rokinon 35mm 1.4
    0:12 Rokinon 85mm 1.4
    0:15 Rokinon 50mm 1.4

    0:18 Rokinon 50mm 1.4 (1.8 crop in post)

    0:19 Rokinon 50mm 1.4

    0:22 Rokinon 35mm 1.4

    0:31-0:47 Minolta 35mm 1.8 (shot mostly wide open) 

    0:50 Mavic 2 pro 

    0:53-1:03 Minolta 35mm 1.8

    0:52 Rokinon 24mm 1.4

    1:06-1:20 Rokinon 35mm 1.4

    well you get the idea at this point 
  18. Like
    Mark Romero 2 reacted to PannySVHS in Getting started again.   
    You have a better battery than I do.:) Mine lasts rather 2h. Nothing close to a GH4 or even GH5.
  19. Like
    Mark Romero 2 reacted to TomTheDP in Teaser shot on Zcam and S1   
    Shot mostly on the Zcam S6 with some Panasonic S1 in there too. I feel like the trailer was harder to make than the actual film. 😅
  20. Like
    Mark Romero 2 got a reaction from kye in V5 - Any ETA?   
    I am guessing that the original author @GURN is hoping for an ETA on version 5 of the EOSHD Pro Color for Sony a7S III.
    Although I agree with others that it would be difficult to make the OP's post more vague than it already is.
  21. Like
    Mark Romero 2 reacted to newfoundmass in YouTube question   
    Thanks for clarifying. My friend is going through a nightmare right now because Russian trolls have filed takedown notices on a documentary he self funded. They'll falsely claim a clip is being used illegally, which pulls down his video for the 30 or whatever days they have to file legal actions after he refutes it. Then when the video is finally restored another troll will do it all over again. It has happened 3 times so far, all because it documents Russian atrocities in Syria. It has made it pretty much impossible for him to recoup the tens of thousands of dollars he spent making it and he has no recourse other than going through YouTube's process since he's not an outlet like VICE that can reach out to YouTube easily and put an end to it. 
  22. Like
    Mark Romero 2 reacted to rdouthit in YouTube question   
    I should have included commentary/satire in my post, but that's not something that someone would pull my content for. My content is usually used when someone is talking about a specific vehicle and they don't have proper footage. So they grab mine. That use is absolutely not covered under Fair Use. 
    I've been in publishing and production for 20 years and my application of the copyright tool is completely within legal guidelines (and YouTube has always agreed with my claims.) Even if my forum posts are as comprehensive as they should be. 😉
  23. Like
    Mark Romero 2 reacted to IronFilm in Upgrading to an... older camera   
    If you're doing this commercially and making money from it (which is the only type of person who should buy an FX6, unless you're a rich playboy getting a toy, in which case price doesn't matter... just get the FX6!), then the price gap between an a7S mk2 + basic accessories vs an FX6 is under two grand. In the long run, seems like a slam dunk decision to go the extra cost for the FX6. 
  24. Thanks
    Mark Romero 2 reacted to kye in Camera resolutions by cinematographer Steve Yeldin   
    I'm familiar with those videos, although they were from a different time, when 2K was still a mainstream thing.  The one I watched was more recent, and in the context of newer 4K / 6K and even 8K cameras.  Obviously the ability to track things in 3D space accurately is pretty crucial if you're doing heavy VFX work like in Hollywood action blockbusters with a camera moving through a scene (say, on a boom) and then having to insert dozens/hundreds of 3D rendered objects into that scene, even extending to entire characters in the film.  I've seen tracking and how it works in small proportions of a single pixel, which may have considerable impact on the location of something if the object is far away from the reference points.  Obviously in cases like that having RAW 8K would be far nicer for the VFX team to reference rather than a blocky-by-comparison 2K image.
    This is, of course, talking about capture resolution, and not about final output resolution.
    I think there's a spectrum of shooters ranging from people who get everything right in-camera and almost won't even colour the footage, through to those who shoot for complete accuracy and want to do as much as possible in post.  It will depend on your preferences, your budget (to hire a VFX team), and your schedule.   
    He mentioned in the video that he applied a compression deliberately, in order to investigate what effects it would have on the image quality.  He said he chose something akin to what gets streamed to peoples houses, or is in DSLR cameras.  I'd guess something in the 25Mbps ballpark.  
    It probably goes without saying that it's more difficult to tell the differences between resolutions if they're both going through a cheese grater at the end (or beginning!) of the image pipeline!
    Downsampling is definitely advantageous to overall image quality, for multiple reasons:
    a 4K sensor gives you a <4K image after debayering, so downsampling means drawing from more pixels on the input than you're pushing out the output, which helps random noise gets partially eliminated due to the averaging that occurs in the downsampling process One thing that is noteworthy though is that if you're shooting with a compressed codec, for example h264/5, that the artefacts are often X pixels wide (for example, regardless of the resolution, the 'ripple' on a hard edge is likely to be the same number of pixels wide) so in that instance you may be better off recording your files in-camera in a higher resolution and then downscaling in post, where the downscaling process can average out more of those artefacts.  
    This is something that's likely to be situation and camera dependent, but is worth a test if you're able to.  For example, shoot something in 6K and in 4K and put them both on a 4K timeline and see which looks cleaner, or 4K and 1080 on a 1080 timeline.   
    The downside of this is that even if both resolutions had the same bitrate, and therefore file sizes, your computer will have to decode and then downscale more pixels from the higher resolution clip, increasing the computational load on your editing computer.
    Like with all things, do your own testing and see what you can see 🙂 
  25. Like
    Mark Romero 2 reacted to John Matthews in Camera resolutions by cinematographer Steve Yeldin   
    I can try to upwrap this portion of the video for you. Regardless of how much compression was used, his point was to show that, even with a 4k or 8k image, compression plays a significant role in the final image. Just increasing the megapixels isn't enough and would decrease the quality, not increase it. Concretely, a 4k image compressed to 10mbps will not produce a better image than a 1080p image at 10mbps. His point was to show resolution doesn't necessarily mean a quality image; there are many factors, compression being one of them.
    IMO, the issue of Long GOP and ALL-I is mute with modern encoders, but, if looking for a formula, 50mbps long-gop is equal to 100mbps ALL-I. You'll get significant space savings and 99% the quality in most situations. I cannot comment on working with Raw... I'd never do that for my purposes.
  • Create New...