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Everything posted by seanzzxx

  1. ...That looks like it could be the Pocket 4k? Reflected at an angle with a big lens with a screw-on ND on the front. I don't see what the problem is.
  2. I don't dislike the overall look you went for (I actually personally like a bit cooler skintones) but I do think everything starts to look a bit waxy and weird. Might have to do with grading 8 bit footage. Overall I think Brawleys footage would be a much better neutral starting point.
  3. 1.9x crop is the number I've seen thrown around the most.
  4. I personally believe that would be waaay overthinking it, haha. I just think in general M.Zuiko lenses just look much better than the Panasonic ones do (that often have this early 2000-s finish even when the optics are excellent).
  5. 180 degrees is the same as 1/50th at 25fps. It's the industry standard for unobtrusive motion so I don't know what he's talking about exactly. Might come down to personal preference for him.
  6. No, the comment I am talking about was in response to B&H updating their release date. I'm also expecting second of September at the earliest though, to be honest.
  7. Anaconda, a representative from Blackmagic said on their forums that they cannot stress enough that any date currently put out by vendors is not official.
  8. YouTube often takes a while before it displays 4k resolution, in the meantime the video will be capped at 1080p. I have no idea why. It is actually 4k footage if you go and check now.
  9. No disrespect but this footage is exactly why I am holding out for the Pocket. The yellow greens and the overall 'mushiness' of the footage is something that really annoys me on my Sony and I see it here as well. The Pocket footage clearly handles color and detail differently (at least in the forest footage, I think the beach footage is also a bit mushy to be honest). EDIT: The man who shot the footage, Wyatt, also confirmed on bmcuser that someone at Blackmagic graded the footage, he just send in the files. Also everything except in the ravine was shot at ISO 400.
  10. I am actually really impressed by the footage in the forest, however I agree the beach footage looked kinda funky. There seemed to be a lack of detail and color in those shots somehow, I really wonder what happened there or why they choose to include that. Also while your footage is really lovely Gethin, I disagree that the highlight rolloff is similar there. Not only did you have to underexpose significantly (and understandably) in a lot of shots, your footage also blows out really mean in a lot of the footage, very different from the light in the Pocket 4k which I actually think haloes quite nicely. This is much better than what I experienced from the original URSA. Of course you cannot compare this to the Ursa 4.6k (I know we all will, haha), which has at least two stops more of dynamic range.
  11. How do you guys and girls expose your 400mbps V-log? I'm renting this camera in a bit and just looking to make sure everything is in place. I generally over-expose Sony camera's by two stops, is this still necessary with the 10-bit 4:2:2 codec? I know I never felt the need with Blackmagic camera's for example, but if I don't over-expose Sony camera's the noise will get insane.
  12. Look at the question though. They're talking about raw HD. All 4k Blackmagic cameras that I've used crop from the sensor when using a lower resolution in raw (since they don't downsample in raw), and downsample instead (meaning no crop) in Prores. Grant Petty said HD was downsampled in one interview.
  13. From what I understand technically raw can be prepared in any way you like, however the vast vast vast majority of people will load the raw into a standard NLE which will use the manufacturer's recommendations on how the image will be displayed. Someone correct me if I'm wrong.
  14. Yeah I'm pretty sure I lack the technical vocabulary to describe what I'm talking about. If these are encoding dependent then that would be very encouraging, since that would mean that blackmagic look will remain intact. I guess that's supported by Steve Yedlins work stating that a sensor-by-sensor look is not determined by the sensor but by the manufacturer's preparation of the sensor data provided.
  15. This comment wasn't aimed solely at the GH5, I talked about those cameras because the S has the same sensor. I own an A7rii and I dislike this same quality about the footage. Surely you would agree that edges look much softer on Blackmagic cameras?
  16. The one thing that I am worried about when looking at footage from the GH5 and GH5s is edge sharpness. I know this is dependent on the way the manufacturer treats the footage but the Fairchild sensors all had such an amazing 'creamy' look that made me immediately fall in love with the Ursa's when I first rented them. I do not see that on the GH5(s) footage at all, it looks like a digital camera right away. I hope the Blackmagic 'look' was not partially reliant on the Fairchild sensors. It will be a very interesting time when it comes out!
  17. They're talking about the cooling and the boards on the new Pocket because THOSE are what negatively affect the battery life when compared to the GH5S, not the battery its actual capacity. The LP-E6N has a capacity of about 1800mAh, where the DMW-BLF19 has a battery life of about ... 1800mAh. There is a limit to how much juice can be squeezed reliably (and affordably) out of a battery. Sony's latest FZ100 seems to be class-leading at the moment with about 2200mAh. So no, manufacturers cannot simply "use a larger capacity battery". Instead they look for ways to decrease energy use of the device itself. These are not always viable: the Pocket needs more energy- consuming cooling than a GH5S because of its much higher bitrates. Alternatively, Blackmagic didn't NEED to use more power consuming boards but they opted to do so for financial and pipeline reasons. Which to me seem like small trade offs (switching batteries takes like five seconds and I shoot in a way where this is not a problem at all), however I can see how some might find this a downside.
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