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Slothorp

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About Slothorp

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  1. I have shot a plenty blue sky in CDNG and Braw and didn't find any macro blocking. So, before jumping to the conclusion that it's a camera issue, everyone one should do it's own test. (As I was the first to raise the red clipping issue, months ago, and felt the sweet anger of many BM fanboys who couldn't believe that the camera could have its flaws, I know what I'm talking about...)
  2. As a owner of an Iscorama 36, I would like to know on which glass element the multi coating was applied. Is it only the front element, or on another one ? Love my Isco but miss the flares.
  3. New S35 or full frame camera coming from Z cam (ef mount most probably). Pre-order soon and delivery in september / october.
  4. No, they haven't. (this is grabbed from a braw file)
  5. Good luck with the noise with the old BMPCC, once graded.
  6. You can find them here : https://www.dropbox.com/sh/d6p9k043vnvv08s/AABvFpaqB6zHsj8ah43D4Aw-a?dl=0
  7. This is straight from the dng, without touching shadows, exposure or highlights recovery, and ungraded.
  8. That's not what I have seen from my tests. Pictures shot with same lens, at same aperture, at native iso (800 for the BMPCC, 400 for the BP4K) :
  9. I have just purchased the PDmovie remote live air. It's incredibly light, easy to use, and is free from any cable. The automatic calibration does not always work, but the manual calibration is very easy to make. For a one man shooting style, that's the best thing I have ever used as a follow focus, and even cheaper than most mechanical ones. I use it with an iscorama 36, which can be a pain in the -bip- to focus, and it has completely solved the problem. https://www.youtube.com/watch?v=rxmKcXbjz-M
  10. From the zoom in the pictures, it seems that the BMPCC4K has actually more resolution than the GH5S. The perceptible difference that leads us to think the opposite is due to the sharpening process in the GH5S that is not applied in the BMPCC4K.
  11. I agree with you that it's better to shoot in film log. But it's also a fact that the red clipping takes away the possibility of shooting in prores with a baked lut in certain situations, which should not be. And the only way to avoid the problem in prores, even if you shoot in film log, is to use resolve. You can't simply ingest your file in your favorite Nle, such as FCPX.
  12. the saturation mapping works well for the RAW files. But with a prores file, it tends to slightly desaturate other parts of the image, including colors that are part of the skin tones.
  13. Attached you can find some dng files taken from the test. And in the link below, you can download the same test but shot in prores. A002_10130258_C022_000225.dng Blue 400 iso.dng blue 3200 iso.dng red 400 iso.dng red 3200 iso.dng
  14. You can lose information in the highlights, prores or RAW, once it is overexposed. But with the red channel, it clips without white creamy halo. The RAW post-processing allows you to bring down the saturation and give a highlight roll off. But if you do the same in prores, other parts of your image are going to be desaturated.
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