Jump to content

Vintage Jimothy

Members
  • Content Count

    97
  • Joined

  • Last visited

About Vintage Jimothy

  • Rank
    Member

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. I had no idea until I saw this thread that Falcon Eyes had released an updated model on their RX-24TDX and RX-18TD flex lights. Have you ever been able to compare your Mark II model to the older original variants? I've been eyeing one of them for awhile now, so I'm curious if it'd be in my best interest to save up a bit more to get the new models. Also could you provide any more feedback on the Luxli Taiko? There's only a handful of videos on that light compared to the new Aputure P300c, and while it'll be quite awhile before I could afford buying either one, I'd love to hear input on wh
  2. Holy smokes, practically all of the sample footage in that video is stellar. Really hope a translation comes out for this review soon, as I'd love to hear this guy's thoughts in detail on the camera. Also, your argument about the advantages Sony has over the competition right now are, for better or worse, spot on. They're just flat-out further along than everyone else in the field when it comes to having an ecosystem of full frame mirrorless cameras and lenses to work with. Not to decry the value of other cameras (the RAW footage of the Sigma fp is genuinely beautiful, and if you're A-ok
  3. The problem there is that their existing L-mount lenses are designed for Contrast Focus, so there'd probably still be a growing pains period for Panasonic in transitioning over to Phase Detect. But yes, at this point, they really do need to start to that transition as soon as possible if they want to really seal the deal on the market.
  4. While this camera is certainly interesting and I can see certain advantages in pursuing 12K (though I think 6K and 8K are both already more than enough for most any production), I do kinda agree with people that it feels like the wrong camera for Blackmagic to make and put out there in this particular moment. A full frame 4K or 6K cinema camera would've probably been the smarter call, even if it is the more 'obvious' option.
  5. Went back in DaVinci and fiddled around with the Luminance and Saturation with the built-in ARRI Rec709 LUT. Holy moly, this looks gorgeous.
  6. Here's what I got after just putting DaVinci Resolve's built in ARRI Rec709 LUT on that footage. Looks pretty great to me, though I could maybe try to saturate it a bit more for warmer skintones.
  7. Not at all, I absolutely get that some videographers will need a camera that's recording one file for an extended period of time. Especially anyone working in wedding videography. And in that regard, the Canon R5 clearly isn't the right fit for that sort of workflow or niche of filmmaker, which I'd say is a big bummer for anyone in that field of work that was looking forward to this camera. That said, by the same coin, not every videographer or filmmaker needs to have a camera recording non-stop. Which is also fine! I've personally been using a Panasonic G85 for two years now and it's se
  8. I dunno, I feel like even if Sony redesigned the body, it'll still probably be too small. They seem very gung-ho about making sure that their mirrorless cameras are smaller, unlike Panasonic, Nikon or Canon who are pumping out cameras that are much closer in size to a DSLR. Though I'm no insider or scooper, so I could absolutely be wrong on the matter. I'd be impressed if Sony go for a bigger body. Personally I'm not sure what camera I'll wind up going for, be it Canon or no. Personally the overheating issues with the Canon R5 won't be much issue for my personal workflow most of the time.
  9. Really hope Fuji provide a similar update to the X-T4 (and maybe the X-T3 too) for it to be able to output ProRes RAW externally as they just did with the GFX100 sometime in the near future... assuming it's possible, of course. It sounds as though we're still aways off from getting an X-H2 where such a feature would seem immediately obvious, so it'd make sense to capitalize on the hype towards these two cameras in the meantime by providing them a means to output some sort of RAW video codec. Obviously it's not needed, as I've seen plenty of incredible results from the internal 10bit 4:2:
  10. What bugs me especially about that video is that Caleb's actual review seems to be generally pretty positive and IMO fair when considering that a vast majority of his viewers won't need a full-blown CinemaDNG RAW workflow (though Caleb does suggest a rather straightforward and not particularly straining workflow with the RAW files in the review) and will likely be looking for an easier "Quality of Life" camera to use for their work. The issue is that video title is clickbait-y as hell and rejects the finer nuances of the pros and cons of his actual review. As far as I can tell without ha
  11. Incredible read. I got a good laugh when the author immediately referenced The 400 Blows and Yamanaka-san confirmed that it had been an influence on Sin-Sin, because that movie was the first thing that came to my mind after watching the short. Also, holy cow this short was originally set to debut at Cannes. I was already gushing over how great the short was compared to other company shorts made to promote a new camera in one of the other FP threads, but that little nugget of info speaks volumes as to how good it is compared to what else we typically see done to promote these types of cam
  12. Yeah, the only short film that I can think of that even begins to compete with it for me is A Different Beyond that Fujifilm used to promote the video capabilities of the X-T3. And that short had Matthew Libatique as the director! Sigma went all out with this short film. It's a genuinely compelling story being told by a talented filmmaker and cast and crew. The colors coming out of the FP look like something you'd see in a painting. Subtle, but rich. Sigma did seem to confirm that they're working on a new model in that same interview with the site that shall not be named and that
  13. So to follow up on that whooping 35 minute short film from Sigma, I just found that they'd released a Behind-the-Scenes video highlighting the crew's experience using the FP for the project and what their thoughts on it were! Gotta say, if Sigma continue to listen to the feedback they're getting on this camera and keep that in mind moving forward, I cannot wait to see what Sigma's followup camera to the FP will be like. They've got a monster of a camera on their hands, just iron out some quirks here and there and the next model will be insane.
  14. Man, this new firmware update is MASSIVE. Definitely breaths a ton of new life into the FP and fixes a few of the issues that Caleb mentioned in his video! However, I feel it's worth noting that Sigma confirmed in a new interview with one of the sites that can't be linked here that they were ultimately unable to create a proper LOG/flat profile for the FP due to technical limitations... So apparently that's not coming any time soon for the camera. Not the end of the world, as I'd wager most filmmakers buying this camera are investing in it for the various RAW codecs it can provide intern
  15. I'd say it really depends on what sort of video work the customer is intending to use the camera for. I think the R6 is probably going to be the better pick for most people, especially YouTubers and videographers, but for someone working more in the fields of indie filmmaking or music video might benefit from the 8K RAW/10-bit and the 10-bit 4K 120fps. That said, if Canon wind up offering the ability to record ProRes RAW externally via an Atomos recorder for the R6, that'd definitely sweeten the pot for a ton of indie filmmakers. Either way, I do think the R6 will probably sell well
×
×
  • Create New...