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Matt James Smith ?

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Everything posted by Matt James Smith ?

  1. Not sure why autocorrect put “strongwomen” into my post above. It should’ve just said “strong” 😂
  2. Here's the footage I shot (and threw a load of film emulation effects on top of). It's not edited into anything interesting it's just 20min of stuff ... so skim through and find the bits you like. Some other nice stuff posted here folks - nice to see! The main tips I'd give are: 1. Be aware of the horrific aliasing - tree branches against a bright sky look just horrific. I've added a strongwomen Tiffen Digital Diffusion or HDTVFX filter to the front of the already soft 6mm lens, which suits the consumer 8mm look I'm going for and deals with most of the aliasing. Adding grain in post helps diffuse it too. 2. Rolling shutter. It's awful. Put the strap on the camera and pull it taught around your neck (or use a loupe) to avoid jitters. A pistol grip handle helps too as the EOSM is not an easy camera to hold steady. Then stabilise the footage and correct the rolling shutter in post as best you can (I use Lock & Load). Here's the vid. I'm pretty pleased with it as a Super 8 simulation. Pw: S8mm
  3. Sorry, didn't get a notification for this and forgot I'd posted here I made some more EOSM S8 "film" I'll post later.
  4. Tiffen Digital Diffusion or HDTVFX filters function pretty well as a poor-man’s anti aliasing filter. They also contribute to a more old school film look. You have to hack a filter adapter on to some c mount lenses (I cut a hole in the lens cap and superglued a 37mm to 52mm thread adapter to it!)? I’ve shot some more Super 8 footage - I’ll try to make a short edit and post it later if I get a chance.
  5. I’ve been messing once again with using my EOSM as a Digital Super 8 camera and I’m pretty happy with the results. For the video below I used the following setup. 6mm f/1.2 Pentax TV lens (paper shim between lens and C mount-EOSM adapter, for infinity focus) Tiffen Digital Diffusion 5 filter (reduces moire artefacts) EOSM with latest ML build 18fps override (exact) 5x zoom 12bit lossless RAW 4:3 aspect 1440 x 1080 i just used the aperture ring for exposure, rather than ND, as it seemed more authentically consumer Super 8. This video has effects applied - FilmConvert’s Super 8 grain; FCPX native “aged film” effect applied very sparingly for jitter and a little dust; a telecine’d Super 8 black frame (keyed over footage). If there is interest, I can post the ungraded footage.
  6. The XC10 spits out real 10-bit 422 via HDMI
  7. That link is at the top of page one if you search Canon C200 RAW FCPX. Install that plugin and you’re away. Maybe gratitude rather than taking issue? By the way “RAW” is not a codec in itself - every RAW is different. If you’re talking about the new support for Prores RAW in FCPX, that’s not the RAW the C200 uses.
  8. https://www.canon.co.uk/support/consumer_products/products/digital_cinema/digital_cinema_camera/eos_c200.aspx?type=download&softwaredetailid=tcm:14-1665830 Google is your friend, friend.
  9. Is anyone else getting pink in blown highlights when shooting RAW on EOSM? I use MlRAWviewer to open and convert to DNG but hilight rolloff is awful and all blown areas get filled with bright, flat pink colour.
  10. The sensor is likely to be similar to the GH5S though. Like the XC10, the camera may shoot stills but will be highly video oriented, not a true hybrid like the GH5 - therefore it won't be a high megapixel sensor. If it's 12mp like the XC10, but on a M43 sensor, then it'll be very similar. The image out of the XC10 in good light is fantastic so an improvement on that is to be welcomed.
  11. Yes. This ties into the idea that this lens using this "mount" will be a one-off. Essentially it'll be a Bridge camera like the XC10 with it attached.
  12. There was also this image in the camera/mount patent document:
  13. I remember when the XC10 was launched Canon was talking about it as "the successor to the camcorder." Perhaps they've decided to invest in the format as a fully-fledged professional ENG alternative/competitor?
  14. Yeah it's just occurred to me since my last comment quite how insane the zoom range is. I've also just realised the physical size of the lens - 25cm long unextended! That's like putting a lens significantly longer than a 70-200mm on an XC10! I'm now doubting whether it will be the only lens. They would surely have to also offer a more compact lens. Or maybe I'm wrong and it's not for the XC camera. I can't track down the original patent document. Is an image height of 9.74 -10.82mm consistent with an M43 sensor?
  15. Here we go - this has to be it. It’s a 4/3 sensor. The “native” lens is just an evolution of the super-zoom on the XC10 - a bit faster, built for a slightly larger sensor and detachable only so EF lenses can be used with the camera. http://thenewcamera.com/canon-working-on-43-format-sensor-and-12-385mm-f1-8-4-0-lens/?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+NewCamera+(New+Camera) My guess is this will be the only lens using this mount and with it attached the XC20 (or whatever it gets called) will function much the same as the XC10. It’ll be a big lens though right?! Also not sure how they’ll integrate an ND filter - will it be built into the lens itself? One last musing: nutty as a bundled speed booster may seem, it’s actually consistent with Canon’s road map for the XC series. From the start it was Canon’s answer to the BMPCC and GH series (small size, affordable, small sensor, professional image quality) but friendlier to video journalists. The loupe for the LCD screen of the XC10 was their bundled Z-Finder. The only thing it lacked was an interchangeable mount. This camera will be a direct rival to the new Pocket camera. I doubt it’ll have RAW, but it’ll be the one you can just pick up and shoot with confidence.
  16. I agree the body could be a red herring. But it would be nice if it wasn't ... There's a hell of a lot going on in that mount though. It seems like it could be adaptable to EF, EF-S and EF-M. The patent appears to talk about inserting glass in the adapter too. Canon Rumours interpreted this as a teleconverter, but could it be a built-in focal reducer? What if it's a 1-inch sensor like the XC10 and Canon are building just one or two zooms for that sensor in EF-M mount ... but if you switch to the focal reducer and EF mount you get an effective APSC size sensor. Sounds outlandish I know but the mount is pretty far out already ...
  17. Canon Rumors just reported a patent filing by Canon for a pretty fancy looking swappable lens mount. Also interesting is the camera body the image shows the mount on. Looks a hell of a lot like an XC camera to me (note the fan on the side and the grip style. I’m an XC-10 and M5 owner (my “daypack” cameras) and love both but always wish they were combined so I could use more interesting lenses on the XC-10. If we’re looking at an APSC sensor in this camera - and it’s hard to imagine Canon coming out with an ILC built around a smaller sensor - this could be quite a formidable camera. If it’s 4K with dual pixel AF, I don’t see how they’d square it with the Cinema lineup though. The mount may also be significant in terms of Canon’s mirrorless stills camera direction, but to me this camera looks very much like a video camera. http://www.canonrumors.com/patent-lens-mount-adaptor-for-different-flange-distances/
  18. Yeah I would look k at the Tokina 11-16 2.8. Personally I like the lens and found mine very sharp (it was V1 - i seem to recall V2 is softer). Also they now offer an 11-20mm 2.8. They also do a 14-20mm f/2.0 but it’s pricey. All well built, fast lenses.
  19. @Andrew Reid if you want to fade to black, you need some black to fade to. Snap the cursor to the beginning/end of your clip and hit Alt-W. That drops in a slug. Now you can Cmd-T (or drag any transition) onto your clip and it will transition to black. Simples. You have to stop thinking of the timeline as a static, empty canvas. It's more like a sculpture in space. The magnetic timeline is made up only of the elements you add and their interrelationships.
  20. It's nice to have the EOSM to play with if I find myself missing my old BMPCC but mainly it's the Super-8 features that excite me. I can't find any noticeable advantage to the EOSM in 24/25p or 16:9 mode over my XC10 (which has C-Log and spits out 10bit 422 to a recorder) so it'll get used in 18fps 4:3 12bit mode with the Pentax 6mm f/1.2 c-mount that just arrived (haven't got an adapter yet though). CHDK doesnt seem to have been figured out for the M5's processor yet
  21. BTW I now use an EOS-M5 as my main still's camera - I bought it only for stills but to my surprise love it as a video camera too. AF and digital stabilisation is fantastic, EVF and tilt screen are great, body is tiny, resolution is "good enough" (much better than EOSM1). 22mm f2 stays on it 80% of time but being able to adapt my EF glass perfectly is a big bonus for shoot days - I can pack the camera without it taking up any room but use it with my Sigma 50-100 1.8 if a quality still is needed. Also use it for timelapse quite a bit (with external remote thingy only though unfortunately).
  22. Yes C100II plus XC10 for the interview B-camera (wide). External shots are a mixture of older footage from other cameras
  23. @cantsin yes fps override and set it to "exact fps". Re chroma smoothing, I understood that defeated the point of RAW but I'm not technical enough to understand TBH. @mercer problem with sticking a loupe on the EOSM is you need the touchscreen to navigate ML menus. I am using it with a pistol grip on the base though @Alpicat thanks all good info, will try crop mode with lossless rec. Terminology is very confusing though!
  24. All else being equal, if I shoot at 50p with a 360-degree shutter (1/50th), edit that footage on a 50p timeline, output to a 50p file and upload it to be played back at 50p on YouTube ... will it look any different to 25p footage shot at 180-degrees (1/50th) and delivered via standard 25p workflow?
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