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kye

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  1. Like
    kye reacted to MrSMW in Smallest MFT camera with usable AF-S, decent DR, and dual-ISO?   
    Well secretly…
    I had a pair of EM5 ii’s for a year for my ‘pro’ video work and used for some ‘pro’ photo, looking at going even smaller and lighter than Fuji X APSC.
    But in the end decided that using that P word, although the output was good and loved the size, weight and build, it was not quite ‘P’ enough for my needs.
    When the OM-1 came out, I trialed that and once again, loved everything about it except for that final X amount of P’ness. (Do not read that out loud).
    If however, I wanted a hybrid system and not a working P, I’d invest in a small system based around the OM-1. Probably with the 12-40mm f2.8 as my main lens and something longer if I went on safari or was interested in birds. The feathered type. I am very much interested in the featherless variety, but from within legal parameters. I do not wish to ever become a person of interest to the feds.
    There is also the current OM-5 which is kind of like a smaller, lesser OM-1, but then may as well go for a dirt cheap used EM5 ii.
    And then there is also the super stylish Pen F, but not sure what video capabilities it had…
  2. Like
    kye got a reaction from KnightsFan in 8bit? 420? If you record with a LUT baked in   
    10-bit is always better than 8-bit, and 4:2:2 is always better than 4:2:0, but the question is if that difference is actually visible / meaningful.  If you're doing very little grading in post then 8-bit vs 10-bit and 4:2:0 vs 4:2:2 probably doesn't have any visible or meaningful difference.
    But I suggest doing a test.  Just find a bunch of scenes around the house (or not out of the way) and shoot the same composition in each mode and then just load them up side-by-side and look at them.  If the 8-bit 4:2:0 shot doesn't make your stomach turn then just go with it.
    In the end, if you can lessen the impact or eliminate overheating, that you can lessen or eliminate the impact of running out of SD card space, then that means you can relax more while recording, you could shoot more, you can have extra time and energy and headspace that was previously devoted to worrying about or managing these things.  If you can have more headspace and be more relaxed while shooting then the way you use the camera, and the way that you behave while recording will be better.  If you behave better then what is in front of the camera might also be better.
    So, realistically, the option is potentially of having a very slightly worse recording of potentially much better material.
  3. Like
    kye got a reaction from John Matthews in Smallest MFT camera with usable AF-S, decent DR, and dual-ISO?   
    It's in that camp with the GH5 as being on the large side..  Realistically, I like the GX85 but just want some upgrades in DR and low-light, and in the absence of that existing I've worked out that I could have two setups, one for running around and one for slower situations where I don't have exactly the same requirements.  
    So the GH5S is better than the GX85, but is larger and has worse DR than the P2K, so it's sort of wins and losses in comparison.  Considering I already own a GH5 and a P2K, it's a tough sell to buy a whole new camera for essentially no net benefit.
    I know very little about Olympus lineup and was secretly hoping that someone would go "there's always the Olympus XYZ - it's perfect!"....  what models might suit?
  4. Like
    kye got a reaction from John Matthews in 8bit? 420? If you record with a LUT baked in   
    10-bit is always better than 8-bit, and 4:2:2 is always better than 4:2:0, but the question is if that difference is actually visible / meaningful.  If you're doing very little grading in post then 8-bit vs 10-bit and 4:2:0 vs 4:2:2 probably doesn't have any visible or meaningful difference.
    But I suggest doing a test.  Just find a bunch of scenes around the house (or not out of the way) and shoot the same composition in each mode and then just load them up side-by-side and look at them.  If the 8-bit 4:2:0 shot doesn't make your stomach turn then just go with it.
    In the end, if you can lessen the impact or eliminate overheating, that you can lessen or eliminate the impact of running out of SD card space, then that means you can relax more while recording, you could shoot more, you can have extra time and energy and headspace that was previously devoted to worrying about or managing these things.  If you can have more headspace and be more relaxed while shooting then the way you use the camera, and the way that you behave while recording will be better.  If you behave better then what is in front of the camera might also be better.
    So, realistically, the option is potentially of having a very slightly worse recording of potentially much better material.
  5. Thanks
    kye got a reaction from SRV1981 in 8bit? 420? If you record with a LUT baked in   
    10-bit is always better than 8-bit, and 4:2:2 is always better than 4:2:0, but the question is if that difference is actually visible / meaningful.  If you're doing very little grading in post then 8-bit vs 10-bit and 4:2:0 vs 4:2:2 probably doesn't have any visible or meaningful difference.
    But I suggest doing a test.  Just find a bunch of scenes around the house (or not out of the way) and shoot the same composition in each mode and then just load them up side-by-side and look at them.  If the 8-bit 4:2:0 shot doesn't make your stomach turn then just go with it.
    In the end, if you can lessen the impact or eliminate overheating, that you can lessen or eliminate the impact of running out of SD card space, then that means you can relax more while recording, you could shoot more, you can have extra time and energy and headspace that was previously devoted to worrying about or managing these things.  If you can have more headspace and be more relaxed while shooting then the way you use the camera, and the way that you behave while recording will be better.  If you behave better then what is in front of the camera might also be better.
    So, realistically, the option is potentially of having a very slightly worse recording of potentially much better material.
  6. Like
    kye reacted to Al Dolega in Panasonic S5 II (What does Panasonic have up their sleeve?)   
    I would say I vacillate between #2 and #3. Maybe an occasional brief flash of #1 when I'm lucky.
    Oh no, not at all. We shot this over the summers of 2015, 2016, and 2017- that's where the title comes from. Probably 40-50 shooting days of anywhere from 2-6 hours each day. The curved rail at 2:48, for example, we were there for about three hours, in 90+F July heat. I shot 176 tries, with the landed clip you see in the video being around hour 2 and try 100. But Chy and I are both a bit of compulsive perfectionists and we wanted a following fisheye angle too, so we kept going and only stopped because some guy selling fireworks in the parking lot next to us wandered over and lit an industrial smoke bomb in the middle of the spot because he thought it would give a cool music video vibe 😄 Was kind of a blessing actually as you couldn't even see your hands after that and it forced us to stop.
  7. Like
    kye got a reaction from PannySVHS in Panasonic S5 II (What does Panasonic have up their sleeve?)   
    That's a cool edit too @Al Dolega.  Nice pacing, good rhythms, nice use of the non-trick shots to break things up, etc.
    These more 'percussive' styles of editing remind me of programming break-beats in music production.  You need the right amount of things happening on the rhythm to keep it going, but enough things that are off to keep it interesting and fresh, and enough variety in the whole thing to separate it from everyone else's work.
  8. Like
    kye got a reaction from PannySVHS in Panasonic S5 II (What does Panasonic have up their sleeve?)   
    Well, you fooled me into thinking you didn't struggle.
    In my travels I've found there are only a few types of editors:
    People that love it and push themselves and put in the hours to create great work People that don't love it, but have somehow found a way (or get pushed by someone else) to grind through the process to get great edits People that don't put in the work and create edits that are good enough / functional / uninspired / plain / blah People that create shit edits People that don't edit and either do 25 minute rambling time wasters, livestreams, or simply don't finish projects at all Cool to hear that you're editing women skaters like men, and especially with someone as skilled as Chynna.  I skated for many years in my youth, both skateboarding and later roller-blading, and I have just enough skill to know how crazy the tricks in that video are.  Especially considering they were all shot in one day, I assume from the title?
    If you're someone who likes analysing the work of others and can take tricks from one genre to another, this episode of Parts Unknown is the best editing I've ever seen:
    It has every effect I've ever seen in those trendy 'transition-fest' travel videos from the hey-day of Vimeo, but done way better, has transitions I've never seen elsewhere, has editing styles from across the board, and makes all other non-narrative editing look plain and pedestrian, and makes the best of YT creators look like amateur hour at the local craft fair.  Anthony Bourdain was famous for giving editing notes worse than anything the YT comments section contains, and doing it for version after version after version, and I think this might have been the high-water-mark for this type of highly-stylised editing.
  9. Like
    kye reacted to PannySVHS in Panasonic S5 II (What does Panasonic have up their sleeve?)   
    Browsing vintage cameras and some not so vintage cameras like the S1H I searched the comments section to reassure myself of my S1H purchase. 🙂 I recognised a member of our forum and browsed his content finding a variety of awesome lumix material and beautifully filmed skating action. I came around this 8bit masterpiece, filmed with a GH4 and a G85. Awesome stuff! @Al Dolega  So how do you like your S5II so far?:)
    Congrats on your awesome content, and the image you got out of the GH4 and G85! What profile did you use, lenes?:) Silly me asking, despite owning great other cameras with modern codecs. But these little cameras are so much fun to play around with and talk about. Still loving my GX85. I like the resolution but lack of oversharpness in this video, also the natural and beautiful color palette. Anyway, some 8bit Mft greatness:
     
  10. Like
    kye reacted to gt3rs in Action! (or how to capture it...)   
    I was in Lapland 2 weeks ago and I'm now in Alaska.
    If you don't have them yet buy a great pair of glows with inner glows so you can take out the first layer without exposing your bare skin to the helmets.
    Filming yourself -> Insta360 One X3
    Filming others -> Gopro Hero 12 or Insta360 Ace Pro
     


     
  11. Like
    kye reacted to ac6000cw in Motion Cadencemo   
    I bought a used OM-1 a while ago, and it's slowly turned into my favoured camera for video since then (despite some of its annoyances).
    I think part of the reason for that is because it has a very fast readout stacked sensor, with rolling shutter time around 5-7 ms in FHD & UHD, which seems to give a 'solidity' to the video combined with fluid motion handling (I normally shoot at 50p), compared to my G9 with about 12-15 ms rolling shutter.
    If my liking of the OM-1 video is due to low rolling shutter then maybe I'm subconsciously sensitive to the picture  distortions created by rolling shutter (including interactions with the IBIS behaviour). But then I'm often filming subjects like trains which readily show up rolling shutter distortions, so maybe that's sensitised me to it?
  12. Like
    kye got a reaction from KnightsFan in Motion Cadencemo   
    Since that 24p argument discussion I've been thinking about frame rates and motion a lot and shot a few tests etc, and eventually got around to thinking about how to view content on the computer properly.  I finally realised that the solution is to set your display to 48Hz (or 120Hz / 240Hz if you can do it) and that will give you proper 24p playback.  
    I do all my streaming and YT viewing on my computer via a display that the OS controls, so currently with a 60Hz refresh rate I'm perfectly recreating the 30p (yuk) and 60p videos (double yuk!) but the 24p is jittery.  My current MBP can't do 48Hz but the newest ones from Apple can do 48Hz and 120Hz / 240Hz, so it's on my radar.
    I currently edit in Resolve through a UltraStudio 3G box that drives the display directly with whatever the timeline resolution and frame rate is, but that's only for my videos, not for watching anything else unfortunately.
  13. Like
    kye reacted to Tim Sewell in Motion Cadencemo   
    Interesting. The BenQ 4K monitor I generally use (on MBPro M1 Ultra) will give me 24Hz but not 48. Resolve playback at 24 seems smoother, however.
  14. Like
    kye got a reaction from John Matthews in Let's bring back the good, old-fashioned camcorder of the 1990-2000s, but with modern specs.   
    With all the digital standards out there it's unfortunate that no consumer camera manufacturer developed the hot shoe as a modular communication standard.  We could have had add-on EVFs, microphones and audio adapters, monitors, timecode boxes, etc.  
    The argument that they wouldn't have sold becomes quite different if you think of the potential sales of accessories over 10 or 20 years of cameras that supported them.  Imagine if you could buy an adapter that mounted into the hot-shoe and gave two or three hot-shoes across the top of the camera (maybe only to the left to avoid the dials) and you could put whatever you wanted in there.  USB was released in 1996, almost 30 years ago with 12Mbps, and by 2008 it had 5Gbps, so it's not like the technology in, say, 2004 wasn't there yet.
  15. Like
    kye got a reaction from John Matthews in Let's bring back the good, old-fashioned camcorder of the 1990-2000s, but with modern specs.   
    I've been watching the TV show M*A*S*H (1972-1983) and I'm finding it really interesting:
    The storytelling trumps the image quality, and it only takes a few seconds to stop looking at the image and start paying attention to the content It was shot on 35mm film, but was before colour grading, so the image is about as pure as you get The image is rather drab in comparison to any image that has been colour graded Whenever they cut to a shot that fades out or does a freeze frame the image degrades significantly in resolution and the colours and contrast shift significantly, presumably because it had to go through another generation to add the effect, so the quality and resolution limits are no joke However, having said that, the skin-tones and the high-DR external shots filmed in full direct sun are world class, even compared to the flagship cameras of today from ARRI.
    It makes it obvious that ARRI are in the business of making cameras with as many film-quality pixels as possible, and everyone else is in the business of making cameras with as many pixels as possible and letting quality fall where it may.
  16. Like
    kye got a reaction from KnightsFan in Let's bring back the good, old-fashioned camcorder of the 1990-2000s, but with modern specs.   
    With all the digital standards out there it's unfortunate that no consumer camera manufacturer developed the hot shoe as a modular communication standard.  We could have had add-on EVFs, microphones and audio adapters, monitors, timecode boxes, etc.  
    The argument that they wouldn't have sold becomes quite different if you think of the potential sales of accessories over 10 or 20 years of cameras that supported them.  Imagine if you could buy an adapter that mounted into the hot-shoe and gave two or three hot-shoes across the top of the camera (maybe only to the left to avoid the dials) and you could put whatever you wanted in there.  USB was released in 1996, almost 30 years ago with 12Mbps, and by 2008 it had 5Gbps, so it's not like the technology in, say, 2004 wasn't there yet.
  17. Like
    kye reacted to QuickHitRecord in Motion Cadencemo   
    I thought about starting a new thread, but there is already so much theory packed into this old discussion that I decided to revive it and see if the last nine years of camera releases might add to the discussion -- which always seems to bring up some high emotions (for those of you who feel an eye roll coming on, feel free to write me off as not knowing what I am talking about and move along).
    I'm coming at it from a deeply subjective standpoint. I always try to find wide shots with people walking in them as my baseline. More cameras than not look "off" to me.
    With that out of the way, which cameras produce your favorite 24p motion in 2024? My favorites are all older cameras:
    Motion Picture Film - The original and best. It pulls me in and almost puts me in a trance-like state.
    Red One MX - Honestly, the best digital motion I've seen. It looks better to me than any newer Red or frankly, anything from Arri.
    Ikonoskop A-Cam Dii and Digital Bolex D16 - Really nice.
    And some sleepers too:
    Canon EOS-M with Magic Lantern - It just looks right to me. Much better than my C70.
    Panasonic GH1 - Odd, I know. But yes. And it looks slightly better to me than the GH2.
  18. Like
    kye reacted to PannySVHS in Motion Cadencemo   
    I've seen Gh1 videos which impressed me a big deal color wise. I had posted one a few years ago. But textures were never that appealing to me because of the codec. G6 was so much better in that regard. From cameras i used myself I was the least happy with motion when footage was too sharp as it was with my S1 or when codec was not up to par like on a G6 in lowlight. I love my Bmpcc and Bmmcc for colour and motion.
    My Sony PMW F3 looked great, judging from my own test footage and the clips which were still on the card when I bought it.
    Ikonoskop is a camera i always wanted to try. The Coney Island video on vimeo impressed very much back then. Colors, motion, plasticity, setting and summer grooves did their thing but colors were really magical. It is not a S16 but a 16mm camera iirc.
  19. Like
    kye reacted to PannySVHS in Let's bring back the good, old-fashioned camcorder of the 1990-2000s, but with modern specs.   
    I think I gonna try out some 3 x 1/3" CCD magic some time with a Panasonic HPX 171 or 151, both writing to cards, p2 cards and 8bit 422 100mbit DvcproHD the former, sd and 8bit 420 25mbit Avchd the latter. They would function as a Dvx100 Andromeda substitute:) @Matt Kieley Both are sporting less than perfect 1080p resolution and higher framerates at 50/60p in 720p or 1080i. For best image quality of the bunch it would be a HPX250 with perfect 1080p even at 50/60p, also sporting a 3 x 1/3" sensor design plus 10bit 100mbit 422. No CCD magic though. 3 x CCD and perfect HD with high bit rates comes in big shoulder cameras only. But then some 2/3" calibers. And a Varicam among them. Would like to find out which one is the smallest of these biggies. This thread has the potential for a perfect nerd cave. Great place to be. 🙂
  20. Like
    kye reacted to Clark Nikolai in Let's bring back the good, old-fashioned camcorder of the 1990-2000s, but with modern specs.   
    What I'd like to see is a tiny OLED viewfinder that would connect with HDMI and 12volt DC. There are a few nice EVFs that connect to proprietary hot shoes such as the Canon EVF-DC2, FUJIFILM EVF-GFX, Sigma EVF-11, Sony FDA-EVM1K, etc. however they aren't able to be used with other cameras.
    I'd like to see something like this, or an adaptor from the hot shoe connectors to HDMI and D-tap. Then if you have a cinema camera you're not left with only huge EVFs (which are really just small monitors with a loupe.)
    The one that seems to have this potential is the Sigma EVF-11. In pictures it shows what looks like a USB-C plug, two pins, then what might be a micro-HDMI. It might be possible for there to be an adaptor to use this.
  21. Like
    kye reacted to ac6000cw in Let's bring back the good, old-fashioned camcorder of the 1990-2000s, but with modern specs.   
    After owning a variety of consumer/prosumer camcorders (starting with VHS-C in 1995, then several DV then HDV), I skipped DVD-based ones and decided that the memory-card based ones (that I could afford) were getting too small and light to hand-hold with reasonable stability. Also viewfinders were becoming rare other than on the higher-end camcorders.
    Having noticed that reasonable video was starting to appear as a feature in 'photo' cameras, I tried a Pana TZ7/ZS3 compact, then a Sony HX9V compact and Pana FZ100 superzoom. Decided that I preferred the form-factor/handling so  moved on to a Pana G3 MILC - nice and compact, good to hold, with a decent viewfinder, video, audio and stills. Upgraded after a while to a G6 with 14-140mm lens (probably my all-time favourite lens) - much larger sensor than any consumer camcorder but still a fairly compact setup for something with a 10:1 zoom lens.
    As I'm very much a hybrid shooter, I prefer the m43 'compact MILC' form-factor (and the IBIS). The only 'icing on the cake' that I'd like is a quality power-zoom lens with a decent range - the (now obsolete) Oly 12-50 is about as close as m43 has ever got to that.
    So no, I wouldn't buy a 'camcorder' form-factor camera again.
    (When I look at some of my old VHS-C or DV footage, it just reminds me of how far consumer/prosumer video capture has improved over time...from less-than-SD resolution, interlaced, noisy, smudgy video to pristine 50p/60p UHD from a pocket-sized camera - wow!)
  22. Like
    kye reacted to BTM_Pix in OPEN AI VIDEO TECH ONE YEAR LATER...   
    And yet here he is last month shilling a product that enables you to automatically edit your weddings using.....yep...AI.
    I have to say that the use of AI to isolate the voice better in the clip he is criticising is a far better use of it than this editing one.
     
  23. Like
    kye got a reaction from PannySVHS in Deciding closest modern camera to Digital Bolex look   
    It will depend on the processing in-camera.
    Linear is Linear, so no dramas there, but getting the 3x3 matrix right to define the primaries requires a calibrated setup, and might be non-linear or some other thing normally inside the camera and hidden from us.
    Don't the BM cameras have a defined gamma and colour space?  Wouldn't they be BM Film Gen 1?
  24. Like
    kye got a reaction from Snowfun in Action! (or how to capture it...)   
    Just thinking about this more, and I recall that testing the GoPro on that little outing was actually really illuminating.  I have always shot video in uncontrolled conditions, so never seriously studied coverage or blocking or sequences etc.
    What I found was:
    I shot everything I could see (which was really fun because I didn't have to wait for the camera) Not being able to see (the GoPro I had didn't have a screen) eliminated all aspects of chimping Pulling everything into the edit, I realised that I had so many different options, and make it a more whimsical edit with little sequences of fast-cuts like when getting seated at the cafe, and then again for standing up and walking out The success of those fast-cut transitions made me realise the value in having lots of shots to cut up, but also made me realise things like you can cut faster if you keep the compositions similar between shots so that the subject doesn't move, etc I made several videos with it, essentially going through a learning process each time, understanding more about how you can push the edit pretty hard without it seeming odd, realising where the barriers were in the edit and how I might solve them when shooting, shooting with that in mind, pushing further in the edit, etc I highly recommend shooting a few test videos like this, literally of anything, just to get a sense of the possibilities.  Also, it's good to specifically test:
    How long it takes from hitting the button to the first frame, and how much it chops the ends off clips (the clip may end before you hit the stop button) How far off-centre you can put a subject before the wide-angle lens starts becoming unflattering or straight-up odd How active you can be in shooting and how much motion that creates in the frame (knowing you can run and get usable footage for example might open up possibilities) How far you can go in low-light before it's no good (for example, it might be ok indoors during the day in rooms with windows but not ok if there aren't any, etc) You probably know all this, but in case you don't, or the lurkers don't, this stuff is invaluable.  Unfortunately, despite me shooting little tests quite frequently, I always learn things on trips that I wish I'd learned before and come away basically thinking I've screwed up each one.
  25. Like
    kye got a reaction from Snowfun in Action! (or how to capture it...)   
    I shoot family travel videos, where you shoot what is happening and you have to shoot quickly to keep up, and I ran into the issue that I wasn't capturing establishing shots or getting any shots of moving between locations, so in the footage we'd just sort of teleport from one location to the next, starting with when we'd gotten into the venue and I could then take out the 'big camera' and start shooting again.  I resolved to try and get a setup that I could shoot with while we were getting in and out of vehicles, walking to and from venues, buying tickets on entry, etc.
    I had an old GoPro and did a test of shooting a random outing when my wife and I went to get coffee by the beach.  Predictably, I found that it was super easy and fast to shoot while walking down stairs, thinking about other things like navigating and reading signs, getting selfies, etc.  What I didn't expect was that it was actually really easy and fun to get a large variety of shots too.  High-angles, low-angles, detail shots (while remembering the fixed focus has a minimum distance) etc, and these were both fun to shoot and super useful in the edit.
    I personally like to shoot when I'm out doing things, I find it adds to the experience both in terms of giving me a toy to play with and a challenge of finding creative compositions but also training me to really look at the world and appreciate the beauty of everyday things.
    Now I have mostly replaced that role with my phone or a smaller camera like my GX85, but if I could only shoot something with an action camera then I think it's a really useful tool to make you focus on the creative aspects of film-making like subject and composition and movement and variety and sequences and editing style and sound design etc, rather than the technicalities of the image.
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