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canonlyme

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  1. It'd be interesting to know which parts of the edit you would simplify 🙂 Thank you! We didn't have any crew so it was natural lighting only. I think I would have used some more elements to make the lighting more pleasing. Also there were big problems with IR pollution and red skin tones. Which made me buy an IR-Cut filter 😄
  2. After reading that the minolta mc 28mm 3.5 lens is a secret keeper that's often overlooked due to its speed, I was really pleased by it's sharpness and look after some lens tests. Payed 30 bucks for it. Which is still a normal price today. When shooting a short film in Norway, I wanted to challenge myself with just one lens. I went with the 28mm 3.5 on my pocket 4k since that would be about 35mm in super 35, which scorsese for example loves and other filmmakers have sticked to during longer periods of a film. I find the 28mm 3.5 a tiny bit sharper than the minolta 28mm 2.8's I have tested. Well here is the result and I am quite happy with some of the images.
  3. I know this is probably not anywhere close to the real quality, but if anyone wants to watch the video on a phone i shared it on instagram. Feel free to have a look or if you want high quality screengrabs tell me or alternatively I can upload it to vimeo.
  4. Andrew, will I be able to adapt it to the pocket 4k? Is there a mount which I might find it cheaper in on ebay? Cheers
  5. I realized shutter shock on a higher shutter speed of 1/1000 when on a tripod and with a 3 second delay too. Electronic shutter fixed it. Came across this video, which pretty much shows an external recorder for the gx80 / g85 doesn't really do much. Maybe they crippled it more from the g7 to g85??
  6. Of course, I will share the video. I agree with you. Though with AVCHD I did not see my image break apart nearly as fast as I am used to. But knowing the noise level I also tried overexposing 1 or 2 stops, so I exposed to the right while still trying to fill the histogram. Thanks Indeed I made a vibrance note, because it is a great way to increase the look without going to far. I used a key to pick the less saturated part, skipped the skin tones and desaturated the rest.
  7. Hey Guys, Since starting in this forum I progressed from the GX80 to buying a Pocket 4k which I use for all documentary shoots and trying to built a showreel. Meanwhile, the non rigged out GX80 is way easier to take on trips and fun shoots and I still think it is one of the most underrated cameras in terms of price/performance. For the last trip to Loen in Norway (where a rock falling into the lake caused a 70m wave extinguishing to villages in early 1900), I took the gx80. Normally I shoot CINE D with all settings around -2, but this time I decided to shoot a dialed down natural, and furthermore I heard on youtube that AVCHD supposedly holds up way better to grading. So I tested it and used the internal noise reduction and grain from davinci. What do you think? I am quite pleased with what I can get out of the 24mbit files, even with several nodes, vignettes etc. The opinion is well established that the Full HD on the gx80 seemed to look softer than on the g85 or g7. Even the slow-mo to me looks way better than what I am used to from the 24mbit 60p in mp4. Way easier to edit than 4k as well and easy on the storage. At 250 Dollars or Euros used, often including a lens, I think this camera is still a steal, especially for people in the mft ecosystem who need a second/third camera. In my backpocket I had a tascam dr05 to record audio and a short interview with a habitant of one of those villages.
  8. Makes sense. The gh5 seems cheap for anamorphic, the gx80 seems cheap for a small gh5
  9. This is a very good workaround. Sad that I can't use my feelworld ma6 for this, but I will try it out. Great insight. I have shot parts of my documentary yesterday and I instinctively felt like shooting 4k 16 to 9 with cine D settings that I can match with gh5 cine D shots. I also feel like, in theory, cropping the 16 9 shouldn't hurt too much at 4k. Another idea I had, is what happens when you are in 4:3 cine D and add an external recorder like the atomos. This one doesn't need the camera to record at the same time. Shouldn't that work?
  10. Yes, so it blocks it before you even enable the burst. I do not have the app but I can check :). Once you enable 4k photo mode, no matter which kind, the monitor shows white writing on black that 4k photomode is enabled, so only the lcd screen shows the image, and once you go back from 4k photo mode you see the 4:3 image for a second on the monitor before it goes back to 16 9. Happy to give extra information. Thank you!
  11. Anamorphic is not really fun - I was happy to read that 4:3 photo mode is supported at 30p 4k, which would have worked well for all slow-mo shots, but found out that the hdmi is blocked. It only works during 16 9 for proper desqueeze and focusing. So basically it is really more a normal 16 9 camera like all the others in that regard. Gh5 anamorphic modes are sweet though...
  12. To be honest, I would be really careful with trusting someone else on a simple test like this. I do not trust them too much.
  13. @BTM_Pix 2019 and I am still using my beloved and underrated gx80. The main problem for professional use is that the HDMI output get's blocked during photo burst mode. I would like to shoot 4/3 4k with the burst mode but when enabled the HDMI function gets blocked, not really, rather there come a sign transfered by the camera that photo mode is activated. This is for shooting 4/3 anamorphic. Funnily enough, when I do switch back to the normal mode, I see the external monitor showing the correct image in 4/3 desqueezed for one split second before going back to the heavily cropped 16 9. (with anamorphic, this is 32 to 9). So I know that the camera could do this, but they do not allow it. Do you think, from your experience, there is any chance that the HDMI output could be manually enabled or hacked? cheers
  14. Thanks for your response. That is such a good insight! When you are an artist, as a filmmaker, you find your own way of doing it and if it works and you have the time for it, I see no problem in this at all. In contrary, I think it is really nice if someone takes such passion and time for something, unless you would find out a much quicker way to do the same. Yes, I chose minoltas not for their price, but I looked at comparisons of images and their special way to treat colors just pleased me the best. Now I am happy I could afford the whole lens set without spending too much. Something that vintage lenses do is they give a special treatment to colors, where if I would take the same effort in post to try to create something special and tweak around a lot, it would probably turn out garbage until I become much better at grading. Did you encounter any problems with bringing the clips from HLG to rec709/premiere color space? Because the way that HLG is filmed it introduces a greenish color tint from what I have learned.
  15. Hey Ian, I think you have inspired me for my next documentary. I will try to recreate paintings of places in real life using anamorphic. What I am especially interested in is the grading. I can imagine there are some important workflow steps for you, if you graded in davinci resolve. I really love the look and some tips to get to this "painting like" look would be greatly appreciated. This will also be my first project in Davinci, so I think I will try to get everything as good as I can in camera, exposure and white balance, so that I can edit without any grading in adobe and then grade the finally used, picture locked clips. I will try to use the Color management tools and tutorials in davinci as well. I also will try to use HLG combined with Cinelike D. And am going to use kowa for b&h with minolta lenses. 28mm, 50mm, 135mm, 70-210 mm. I am looking forward to hearing from you. Great movies. The same thing with the spots actually happened to me in india. Luckily I was doing hyperlapses so I could easily correct the spots in lightroom. Lesson learned, I always have the blower and a cloth with me now. Cheers, Julius
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