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About Eugenia

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  • Gender
  • Location
    Spokane, WA, USA
  • Interests
    Filmmaking, illustration, collage, cooking, tech, sci-fi.
  • My cameras and kit
    BMPCC HD & 4k, GX85, Sony A6400, Canon M/M50/5DMkII

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  1. Anyone knows what to set the zebras on, for HLG3?
  2. Does anyone have a link for a right-out-of-the-camera slog2 or slog3 video file that contains skintones? I would like to test some arri-emulation luts on it, that used to work with the older slog versions, but I need to make sure they still work well before I decide to purchase or not this camera.
  3. I received the modded Helios 44-2 today, from a Ukraine seller who mods them for both anamorphic, declicked aperture, and cine gears. Looks less swirly than my other Helios, but I think it also looks more convincingly anamorphic. Massive flare at f/2.0 (wide open), but thankfully lots of it goes away if using a filter (any filter) in front of the lens. I loved the results.
  4. ML RAW is still not stable for "continuous" raw. I don't know how you get it to be stable, but here, it's not. Hence the "cool toy". We can go back and forth on this, but you won't convince me, because I've been trying ML on and off for years now. And yes, its UI is absolutely dreadful. As I already mentioned, the EOS M is a great starter camera, which is why I suggest newbies to get one, and also why I own 3 of them. But using ML RAW for serious work, with its aliasing problems and having to overcrank the SD controller to manage to write fast enough (which eventually leads to overheating and
  5. I've shot with ML Raw for years on and off, and I find its aliasing a big issue. It's also very visible on youtube footage by others. Overall, ML has massive issues on various levels (including a terrible UI). It's a cool toy, but nothing more than that. Still, the EOS M is the camera I always suggest people start their journey into filmmaking, exactly because they can have the standard easy use, but they can also delve in to ML and learn how a camera works more in-depth -- something that will help them down the line. But after that initial phase is over, it's time to upgrade.
  6. Anything is doable, but more labor-intensive. The biggest problem I have with ML RAW is not even the instability (since I would only take a few seconds worth of footage usually for my videos), but the aliasing artifacts that are very prevalent on the EOS M (I own three of these cameras!). There's no way around them, and people who shoot with ML RAW have often to throw away footage for that reason. Not a great experience IMHO. There is not enough processing power on that old ARM CPU in the EOS M to apply any filters. Personally, as I wrote above, I find the normal 8bit h.264 files at 120 m
  7. Thank you, appreciated! Regarding your question: ML footage comes out a little bit contrasty compared to the VisionColor CineTech picture style I'm using (which is my favorite of all I ever tried, and it has more dynamic range than even Technicolor Cinestyle or Miller's C-Log). Being contrasty, it means it's more difficult to manipulate MLRAW footage. For that reason, while I own three EOS M cameras that are capable of ML RAW, I still use the M50, with just 32 mbps h.264 bitrate at 1080p. It works well enough. I'm planning on buying the new M5 MkII in October, that reportedly has IBIS. Th
  8. This is the closest we will ever get with spherical lenses. There are a few more tricks to play though, like adding anamorphic lens distortion, as I have done so above. Overall, it's close. If you look at some modern anamorphic lenses, they lack the character of the old anamorphic lenses too.
  9. Γεια σου πατριώτη! Nice footage! You're not supposed to decompress anything on a fake anamorphic recording though. It's still square pixels. So when you shoot with Magic Lantern, you should not tell it that it's anamorphic recording, but rather normal recording. Then it will appear correctly when editing. Here is mine from today (Canon M50, Helios 44-2, Viltrox Speedbooster, Vid-Atlantic anamorphic aperture filter). I also have a modded Helios 44-2 (that doesn't require the Vid-Atlantic filter to get anamorphic bokeh) in the mail, coming soon:
  10. Can someone confirm that after installing the latest firmwares on any of these Canon cameras (M6 MkII, RP, 90D), firmware versions that now enable 24p recording, the HDMI-out STILL defaults to 30p? Peter Berg over at Youtube says that even if you set the camera to 24p, if you connect an HDMI cable to a Ninja V, the camera reverts to recording 30p without telling you about it. Can someone confirm?
  11. It is also my opinion that VR is the future of movies, and that 8k will help there. VR movies will also bring some interaction, which is the No1 thing youngsters report when they are asked why they prefer video games over movie entertainment.
  12. For that sample I used a manual 7Artisans lens which has vintage characteristics. Except the Sigma 18-35 and some Tokina zooms for their versatility, I avoid modern lens designs (like the ultra sharp Panasonic/Leicas, for example). Regarding GFX 100's sharpness btw, here's a test I did yesterday comparing it to the BMPCC4k (more information on its youtube page, not via the video itself): https://www.youtube.com/watch?v=Efx6i5LMPK4&t=2s
  13. On Davinci Resolve Studio (not the free version) there are various blurring algorithms/plugins. I use "sharpen and soften" plugin, adjustment node, then Filmconvert itself blurs, and if it's still too sharp, I use any of these plugins or the default blurring found in one of the tabs on bottom half of the color page. At the end, I add one more adjustment node, and contrast pop (another Studio plugin). Modern digital cameras are too good in sharp details but with an anemic look, while film was traditionally softer but with much more acutance and midtone detail (particularly older film, modern f
  14. My husband's GFX100 arrived yesterday for his studio. In a very short test I did, I found it to be sharper than my BMPCC 4k (its native Fuji lenses are very sharp, they resolve a lot of detail). I honestly don't think I need even sharper or whatever "better" Fuji thinks it can give us (better color/midtone detail sure, but even sharper details heck no). I had to soften the image in post by a lot to make it look anywhere near cinematic. There was a reason why Alexa was sitting at 2.8k resolution for the longest time before Netflix forced them to make a 4k camera. For true traditional cine stuff
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