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KnightsFan

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KnightsFan last won the day on September 3 2019

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  1. Apparently the versioning officer from Valve now works at Sony.
  2. How about we manually separate the RGGB channels from a 24 mpix raw photo, and try various scaling algorithms to make a better scaled bayer image? That would be fun.
  3. APS-C is usually 23.5mm x 15.6mm (Sony, Nikon, Fuji), or smaller (Canon). That's a 3:2 aspect ratio, so the area when shooting 16:9 or wider is smaller still. If anyone does "APS-C with MFT mount" it will likely be 23.5x15.6--Z Cam, for example. No one expects all MFT lenses to work on an APS-C sensor, it's the adaptability that makes it appealing, and mirrorless APS-C lenses like the the Fuji MK cine zooms.
  4. I have only surface level knowledge, but any time your lens is longer than your FFD, you'll need extra lens elements to provide a "reverse telephoto." For example, an 18mm lens on an EF mount 44mm from the sensor. The extra elements introduce aberrations, which require more elements to correct, and so on. Add to that the complexity of making a zoom lens in the first place, and you quickly rack up size and cost. That's one reason there are smaller wide angle lenses made exclusively for mirrorless mounts, such as the SLR Magic MicroPrimes. On the telephoto end, it's simply the sheer size of the lens elements required. As focal length increases, the physical size of the aperture also increases to achieve the same f-stop.
  5. Because no one cares about APSC except for Fuji.
  6. In all seriousness, definitely the latter. I remember the first time I shot with a Sony, which was right around the time I first shot with a Blackmagic. Those kinds of experiences stick with you.
  7. Maybe it's because you post topics titled "Sony A7R IV - can confirm colour is still SH**!" ? Regarding lack of Panasonic FF and Z Cam, I bet a lot of us are just constantly a few years behind on new gear. The S1 has looked perfect to me since day 1, but I'm waiting for a really good deal and/or a big project to use it on.
  8. I can't believe the poor NX1 is relegated to the "Something weird" category Actually on second thought that's pretty accurate. Carry on.
  9. I meant an example showing how the P4K is better than the GH5s in the same conditions. As long as you white balance in linear gamma, I've found no benefit to shooting raw in terms of ability to white balance in post. I have edited quite a bit of material shot in 400 mbps on a GH5s and never really ran into any compression issues even on extreme grades, so I'm curious to see any examples where the P4K does better. Same with exposure. You can correct exposure with any camera with the same results as raw if there aren't compression artifacts, and you can do it in linear. Since they share the same sensor, I would be very surprised if noise levels were different, and in my experience I haven't run into compression issues with GH5s footage.
  10. That's pretty much what I was saying terminology-wise: f stop is not just a theoretical number from a spec sheet, it's a value you can measure on a physical copy of a lens. I didn't mean to imply you were incorrect at all, just thought what you said could be misunderstood to mean that f-stop is some sort of voodoo number a manufacturer pulls out of a hat.
  11. Actually what the rumor says is that the person who claimed anamorphic, articulated screen and has been shown to be wrong on the date so we should not automatically trust everything else in the list.
  12. Also all lenses have some light loss, you won't find any f1.4 lenses that are also t1.4. (Unless its a pinhole lens but that won't be a happy solution for video lol.) So that doesn't mean they will have worse light transmission than any other given f1.4 lens, make sure to compare t stop to t stop when deciding on a lens. I have to quibble about semantics. f stop isnt theoretical, its focal length over the diameter of the aperture, a physical property of a lens you can measure. f stop simply is not a measure of light intensity, so its only theoretical if you use it as such. Of course you are right in practical terms, its just wording.
  13. Happy new year! Just waned to say how much I appreciate your website and your work. I recommend it every time someone asks me where to get music.
  14. I didn't watch Gerald's entire video, just the part linked to, but what I didn't see was a test of color across the exposure range. Most cameras have excellent color at middle grey exposure. In my experience, "bad color" is almost entirely due to color shifts across the exposure range. The same object won't be same exact same hue depending on how you expose it. What I do with new cameras is shoot a color chart at every exposure (using shutter speed or iris to adjust, NOT gain), and then create a LUT that makes the color chart maintain hue across different exposures, without touching any of the adjustments for the middle grey exposure. I've found such a LUT to make 95% of shots immediately look better. The other part of bad color is white balance. Auto WB aside, even balancing from a grey card won't be identical between cameras. The only way to do it properly is to transform the footage to linear gamma, perform white balance corrections, and then transform it into a your gamma of choice for other corrections/grading. If your software isn't color managed, this is all but impossible. Older Sony cameras had both issues, and with the amount of correction needed to simply even out hues across the exposure range, and correct for the atrocious WB, the 8 bit footage fell apart. It gets pasty and loses vibrance, especially in the shadows. It loses its "thickness," to use a popular term. And the compressions starts to show blocky hue variance that absolutely ruins skin tones--I imagine this last part can be mitigated with an external recorder to some degree, but no amount of pseudo-10 bit ProRes can account for WB issues and hue shifts on any camera.
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