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seanzzxx

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Posts posted by seanzzxx

  1. On 2/19/2020 at 12:48 PM, Palanza87 said:

    So having shot with the bmpcc4k now for most of 2019 figured I'd share a finished video if anyone is thinking about doing wedding work with one. 

     

    Holy cow, that is great! May I ask about your grading process?

  2. I posted about this in the BM forums but this place seems a bit more active, thanks a bunch in advance!


    "Hey folks, I am looking for some feedback on the coloring and cinematography of a video we made. The video uses the poetry of a friend of mine and while the video is not supposed to tell a simple linear story it is meant to evoke the feelings of the poem, which (for you non-Dutch speaking people) is about making choices, failing, struggling with past memories and letting go of things. The audio is the super rough draft audio (done by me  :lol: ) which at some point will be replaced with a male and female voice over.

    With regards to what I was aiming at: the coloring is supposed to feel nostalgic, warm, and definitely not 100% realistic, while still remaining very naturalistic; people should not 'see the grade', so to speak. I added grain to a number of shots, Vimeo compression killed most of it except in the most extreme cases, but that's life, haha.

    Looking forward to any and all feedback!

    https://vimeo.com/386482322
    password: dutchpoetry "

     

  3. On 10/4/2019 at 1:17 AM, JordanWright said:

    @Snowbro

    Try these colour management settings for better highlight rolloff. It works quite well on the 4k

    Screenshot 2019-10-04 at 00.16.04.png

    Can I ask something? All these options are greyed out for me in the management section. What am I missing?

  4. 2 hours ago, anonim said:

    Yeah, it was already posted here somewhere in the previous century in this eternity thread :) But, in spite I'm always against nitpicking, I'd  have to repeat that, besides too obvious testing issues (focusing, than probably and white balancing) from such great shooters, resulting difference for me is too noticeable in laptop screen to take it as real. Those scenes from two cameras with DR 13+, I think, should be much more similar, even identical on laptop.

    (I can't resist to post one more example of nice and inventive usage of great BM offer to us - sorry, maybe somebody find  some little idea...

     

     

    My sweet baby boy, if you really think the Pocket 4k has 13+ stops of usable dynamic range I have a bridge to sell you (and this is coming from someone who owns and loves the Pocket 4k!)

  5. The calculation is very simple. Let's say you use a 50mm. Your metabones reduces the crop by 0.64. 50*0.64=32.

    Your Pocket has a crop factor of (in full sensor width) 1.88. 1.88*32=60mm (rounded down). That's pretty close to the full frame equivalent already, but your new crop is (60/50) 1.2 times. So if for some reason you absolutely NEED to shoot at exactly the same equivalent focal length all the time (instead of just framing your shot slightly different), you can take your full frame lenses and divide them by 1.2. 50/1.2=42 equivalent perspective (rounded up). You could do that for all lenses. You want to match your 14mm on full frame's perspective with the Pocket+speedbooster? 14/1.2=12mm, etc.

     

    Does that make sense?

  6. On 1/14/2019 at 3:53 PM, wyrlyn said:

     

    That's a really common problem with the Viltroxes, and it seems to be a quality control thing. I have the same on my 18-35, from 1.8 it's really sharp but at 1.2 it's a ridiculous washed out glow, totally unusable. I didn't bother returning it because I'm 1) lazy and 2) never shoot below f1.8, but it's still annoying. Can't complain for the price, though.

  7. No problem! Just to clarfiy, the 1.44x crop of super 35 is against FULL-FRAME (again, in 4k your 1dx mark II is not the same width as full frame).

    Full frame sensor width is 36mm.
    Super 35 film width is 24,89mm.
    1dx mark II in 4k sensor width is 27,5mm (give or take).

     

    36/24,89= 1,45. So the crop of super 35 compared against full-frame is 1,45x.

    27,5/24,89= 0,91x. So the crop of your 1dx mark II in 4k compared against super 35 is 0.91x. You can do this in all directions.

    24,89/27,5=1.10x. So the crop of super 35 when compared to the 1dx mark II in 4k is 1.10x.

    Again, this is all theoretical, because a 1.10x crop is meaningless.

  8. So Super35/the Arri Alexa (90% of movies you will have seen will be shot on those formats) have a crop factor of around 1.45 (I got this number wrong at first, updated my earlier post), unless they were shot anamorphic in which case we get into the story of horizontal crop factors and we get really freaky, which we will not do now.

    Your 1dX II has a crop of around 1.3, so the angle of view is WIDER. If you don't want to exceed 18mm angle of view when compared to s35, you'll have to put a tighter lens on your 1dx mark II. In your case the crop factor of a 1dX II when compared to super 35 would be around 0,9, so you wouldn't want to go wider than a 20mm roughly.

    However, to make your life easier: in real life a crop factor of 0,9x is is so incredibly, insignificantly small that it really doesn't matter, just go for the same lenses you would use on Super35 and you'll be fine.

  9. Okay, so a few things.

    Super35 is technically a 1.44x crop (I GOT THIS NUMBER WRONG AT FIRST, EDITED IT NOW) when compared to full-frame. However on Sony it's a 1.5x crop, on Canon a 1.6x crop for their aps-c sensors. If you want to match the angle of view of Canon aps-c (1.6x crop) to that of the Canon 1dx II, it's important to remember that the crop factor is compared against a specific sensor format, namely that of full-frame 35mm (so NOT Super35).

    So the aps-c crop is heavier than that of the 1dx II (1.6x as opposed to 1.3x when compared to full-frame). This means that if you want to to match the angle of view of a aps-c sensor to a 1dx II (4k) angle of view, you will have to apply a NEGATIVE crop (because you're actually getting a wider angle of view, not narrower). That crop is about 0,8x.

    So it will look like this:

    Super35 (canon aps-c) to 4K (Canon 1DX)(0.8x)
    18mm = 14,4
    21mm = 16,8
    etc...

  10. 11 hours ago, tupp said:

    I wonder which one of you is correct...  ?

     

    Actually, if the camera does get released, I would imagine that it would happen sometime in between your two projected times.  It probably won't happen "soon," as the guy in the video announcement didn't give any  prices, and also note that the images of some of the camera models are CAD renderings.

     

     

     

    I don't see any indication of "trolling."  They appear to actually be making progress.   On the other hand, this recent announcement is probably premature.

     

    IronFilm's comment was made before the announcement, but Cinemartin is talking about two-to-four months, depending on the model: https://***URL removed***/news/2936447826/cinemartin-launches-fran-cameras-with-8k-global-shutter-and-raw-support
     

    Quote

    The footage looks pretty good to me, especially the properly exposed shots showing sunlit areas juxtaposed to deep shadow areas.  However, the only way to get an accurate assessment of the DR is to conduct a proper test with proper charts.

    No offense, but you have to be almost wilfully obtuse to think this footage looks good or even displays good dynamic range. You don't notice the:

    1) Incredibly wonky colors in log and even more so in the 'graded' footage at 2.56 or 2.19? I mean you could argue that this was the grade but this footage should never, ever be allowed to look like that in a product launch video,

    2) The heavy IR cast in much of the footage, including 2.56 and 2.10,

    3) The focus being off in a lot of the footage, most noticeably in 2.04: I mean these are the fundamentals, this simply cannot happen in a video like this,

    4) the dynamic range looks terrible and I would really love for you to convince me otherwise, you've got clipped highlight details and milky, crushed blacks at 1.48, 1.50 (better shadow detail), 1.58, 2,04, 2.18 and this is JUST from THEIR OWN highlight reel. You could argue this is because they didn't do anything to control the lighting on an extremely sunny day at high noon but my question to you would be then that WHY, for God's sake, would you EVER shoot your video like this when the aim of it is to make your footage look good?!

    5) the overall production quality is laughable, with audio sounding like they recorded it straight from a rode videomic pro in an empty concrete room, visuals popping in-and-out of frame out of sync, the guy explaining how to import the footage to your NLE, I mean it doesn't make ANY sense. This video is a masterwork in unintentional comedy.

     

    EDIT: Prices by the way:

    Fran LT: €10,995 regular, €7,920 introductory

    Fran (STD): €17,790 regular, €15,995 introductory

    Fran Plus: €25,670 regular, €19,995 introductory

     

    I mean these are URSA, EVA-1, even RED prices ... that's a big ask for this footage.

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