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KnightsFan

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Everything posted by KnightsFan

  1. If I had $1k to spend on a photo/video hybrid, I'd go with a used XT3. They are easy to find in the $850-$900 range. Directly compared to the NX1 (same sensor as the NX500), the XT3 has more detailed video, much more dynamic range, lower rolling shutter, much better ISO performance, and a larger variety of good color profiles, all of which look great. Photos have slightly fewer MP, but other than that there are no downsides for photography in my experience. I'm not a fan of the XT3's ergonomics, but I think it's pretty similar to the NX500. Samsung's menus are better though. The down
  2. The bolded part is the catch unfortunately. Definitely need to be able to monitor it. Also it's over twice the price per channel. Maybe worth it for remote monitoring and remote start/stop, but not for a glorified bodypack recorder. Might as well use a Tascam DR10 with the safety track.
  3. He must have a quiet voice. Mine have hard clipped several times, not even really shouting but just with actors talking with a bit of force. And it appears that the gain settings are applied to the output, so there's no way to mitigate clipping at the transmitter at all. Hopefully. Either Rode or Deity. Seriously all the they need is 32 bit float recording on the transmitter and it's an instant buy, professional or not. I can work around everything else, internal storage/batteries, non-locking connector, and even the weird looping recording.
  4. Good to know. That seems kind of pointless, to be honest. Some real baffling decisions have been made with this product. 32 bit... from a 24 bit source. Backup track... after it's digitally clipped at the transmitter. Well, so much for my excitement. This is another baffling design choice. Have you compared to the original Wireless Go? The original definitely does NOT keep from hard clipping an actor with a bit of energy. If they didn't fix that, then my guess is these aren't intended for anything other than interviews speaking at conversational levels.
  5. Ah, that would be a pity. If true then probably won't be useful for me, as I've had no issues with dropouts in my use case. Though the safety track would get to the same place, if it can do that on the transmitter side. It just means that the data, whether 16 bit, 24 bit, or 32, has not been compressed, for example into MP3. If 24 bit (god forbid 16 bit!) then it will have the same digital dynamic range and potential clipping as other recorders, no matter what you export. Maybe it can autocombine the safety track? That would get the same results, but offloading processing from
  6. If it has backup recording on the transmitter, then reliability won't be as much of a deal breaker. I have the Wireless Go I. They've been 100% reliable at short distances, but I haven't used them at their limits. I have found them to sound fine. I've never done head to heads, but the results I got were every bit as good as from G3's and UWP's with kit mics... though it's not a direct comparison since it was different conditions, different actors, etc. I guess the takeaway is that they aren't bad by any means, sound-wise. One big disadvantage is that there is no locking 3.5mm connector on Go's
  7. Whoa... why was 32 bit not more prominent on the news sites? Definitely going to get one of these at some point if it performs well in reviews. I wonder if the ADC actually has the headroom to take advantage of 32 bit though. It's easy to clip the Wireless Go 1 and as far as I could tell, the gain on the original only affects the output from the receiver. I also wonder how they got around the patents though, but as long as it works and is legal, it doesn't matter to me! I assume some of those quirks, like the loop recording, have to do with it?
  8. Oh wow, I assumed that it could only record when transmission was disabled and vice versa. But that quote makes it seem like it's simultaneous? Maybe if the time stamps of the files don't match it gets around the patent? It says it starts recording as soon as it's connected, so I guess that would mean no start/stop button. I have no idea though. I'm certainly going to look out for more information, because that's a crucial feature! Some of the news stories also mentioned safety track recording as well, but I didn't see if that was on the recorder or output from the receiver. If it can rec
  9. That's not my point at all. Ideally a class will provide the best equipment possible. It's just not feasible for many film programs to have enough "higher end" cameras for large classes. Having high fidelity cameras doesn't hinder an instructor from teaching or grading composition and lighting, and narrative if the class covers that. Meh, it's not that I really care since I'm not getting one of these either way, I just think that there's disproportionate dislike towards EF mounts, compared to what's actually useful. It feels like car snobs talking about how stick shifts are marginally bet
  10. @tupp By software failure, I mean that if you have an existing protocol, like L, and translate to another protocol, such as EF, there is the very real chance that not every lens and camera will work. For example, Viltrox's EF to M43 adapter can control aperture, but not autofocus. Some lenses don't work at all. Adapters between different manufacturers will always have that risk. RF to EF is much safer, since the same company could make firmware updates on both ends to fix bugs that they missed in testing. I think that RF would be the only good option. E, L, and M43 would have a very
  11. There's a large swath of people who just want things to work with absolutely no hassle. I have friends who are very good at making movies--better than me, in fact--and are making a living from their art, but would be unable to go on ebay and buy a vintage lens because they can't wrap their head around adapters, and would end up ordering something incompatible. And personally, if I'm adapting to EF anyway... I don't mind an EF mount. I see no reason to add another point of mechanical and software failure. The chances of me ever needing a different mount are vanishingly small. Given the opt
  12. In my opinion, this looks like an absolutely wonderful camera for people who want good images without complex rigs. Most of us here are very tech minded and love adapters, and external rig parts, but I don't think this style camera is aimed at us. No adapters, no front-of-lens ND filters, no rigged batteries (if you use the grip), no external monitor or recorder. I'm sure many schools will be buying these. Simple enough for intro classes, don't need to teach students how to rig it up just to use it, but still makes great images. IBIS would make it more handheld-friendly in some cases, sur
  13. If you see it in YouTubers' shots but not Hollywood shots with similar amounts of motion, then it's user error and not a problem of 24 fps per se. Certainly any time you put footage on a timeline with a mismatched frame rate you'll have problems unless you know what you're doing. I've shot a lot of projects at 24.00 fps, but they were shown in theaters on native projectors (nothing big, just screenings for friends, small festivals). On a proper projector it's pretty easy to see the difference between 24 and 30 fps, with the former feeling more like a classic movie to most people. So at th
  14. I'm curious @herein2020 if what you are seeing is judder (from playing 24 fps on a 30 or 60 hz screen) or something else. I've never been able to verify that I can see judder personally. Once 120 hz monitors are the norm, of course judder won't be an issue. I watched that drone video you posted, and at the 28s mark there is definitely something wrong. It's jumping all over the place without that much motion, so I would guess at operator error somewhere. Certainly dropping a 60fps clip on a 24 fps timeline will cause noticeable problems without good frame blending.
  15. I did do a quick test. My process was to film a white wall as a 4k Raw clip, which I processed into a 4:2:2 10 bit uncompressed file. I then used ffmpeg to process the uncompressed video into two different clips with the only difference being the bit depth. I used 420 color and crf 16 on both. The two files both ended up roughly the same size. (8 bit is 3,515 KB, 10 bit is 3,127 KB). I applied a fairly extreme amount of gain, and white balance adjustment equally to all clips. I've included a 100% crop of the uncompressed, 10 bit, and 8 bit files. As you can see, the 8 bit has significantl
  16. A decent test would be to shoot a scene in as high quality as you can, like uncompressed raw, and then export a 10 bit and 8 bit version with roughly matching codec and size from that Raw master, and compare those results. If you really want to isolate 10 vs 8 bit, export uncompressed videos with those bit depths. You will most likely see the biggest difference in scenes with smooth gradients in the shadow, particularly with big color grades such as incorrect white balancing, or underexposed scenes. Maybe I'll do some tests later today.
  17. My camera owning plan for 2021 is an RTX 3080... It's hard to justify live action movies with Covid, so I've been doing animation instead. Hopefully my ticket comes up in EVGA's waitlist soon.
  18. I'm glad you're bringing attention to this, @Andrew Reid, as everyone should at least be aware of who is tracking them and why. I have two Firefox addons, one is uBlock Origin for blocking ads, and the other is Blur for blocking trackers. I can confirm that the EOSHD main site has those two Google trackers (which Blur blocks), and the forum has 0. Blur blocks 9 trackers on SonyAlphaRumors even after opting out of cookies, and 67 ads are blocked. It's worth pointing out that even if you are okay with being tracked, the richest companies and people in the world make their money off analysis
  19. @Andrew CalvettiI think it's a special order camera that you can buy directly from Z Cam or maybe some smaller dealers. I don't know if the original E2g ever got listed on B&H or any of the main retailers either. I'm not 100% sure, so the best place the ask is the Z Cam facebook group. Soltys had a "buy" link before but it's gone now.
  20. Oh yeah, I was mainly replying to the post above me
  21. It's continuous. Hold the shutter and it goes until you run out of card space--according to specs. I only ever used it for short bursts.
  22. @fuzzynormalThat's a much better idea, shooting photos. Lots of camera can get nice, high fps. The NX1 can get to 15, I never thought to use it that way.
  23. @kye isn't talking about undercranking though, right? He's talking about slowing down 24 fps. Speaking of Wong Kar Wai, didn't he use used the effect kye is talking about in Chungking Express? It's a nice effect for some scenes. I feel like it's used more for "impact" in action scenes as opposed to the "cool factor" or "rhythm" of normal slow motion, if that makes any sense. Long ago on my GH3 I did that trick with the shutter speed, but a lot of digital cameras don't let you lower the shutter below the frame rate. The Z Cam E2 can shoot any integer frame rate from 1 up to the max, and
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