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andrew_dotdot

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About andrew_dotdot

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    Member
  • Birthday January 5

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  • Gender
    Male
  • Location
    Stockholm
  • Interests
    Documentary filmmaking, ice hockey.
  • My cameras and kit
    Canon 5D3, Fuji X-T3, Fringer EF-FX Pro

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  • Website URL
    www.articom.se
  • Instagram
    instagram.com/articom_images

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  1. + @EphraimP Concur. I've never had the camera run down when using a USB-C PD power supply. (I don't have the Anker, but something similar.) This weekend I shot two hours of 4k h.265 high bitrate video with the LCD on, and the battery didn't run down that I could see. Camera got warm, for sure. Without the powerbank, that's 3 batteries' work.
  2. thx for the confirmation. I thought it might be broken, since I worked with Canon for a long time and never had that with their zooms. It's the Fuji sawtooth aesthetic for the aperture vs zoom curve, I suppose.
  3. Zooming = uneven exposure. Is this a thing with the X-T3? --> So, I'm filming with my Fuji 18-55mm f2.8-4.0 lens, with the aperture locked at 4.0, ISO locked down, shutter speed 1/50th... What I expect: Since f4 should be available through the whole zoom range, I'd expect the exposure to stay the same through the whole zoom. What I see: Zooming in, it slowly gets darker, then snaps back to lighter three times on the way in. And vice-versa on the way out. Anybody know a way to avoid this or a workaround?
  4. EEK! Sorry! I guess this wasn't you. I went just now to find the thread and I can't locate it now. Argh!
  5. I use the @Attila Bakos workflow where you use a CST node to convert from rec.2020 to rec.709, and then make adjustments in whatever various nodes before hitting a second CST node to take it back from rec.709 to rec.2020, then apply the Fuji LUT (which is expecting rec.2020) at the end. RCM, it seems to me, makes all of Resolve behave like the bits between the two CST nodes above, where you're always making adjustments in the rec.709 color space. You wouldn't put the Fuji LUT there between the two CSTs. Does that mean that the Fuji LUTs are no longer useable if working using the RCM with F-Log workflow?
  6. This. He called it a test for "out-of-the-box profiles" and they both looked terrible. The user who doesn't want to mess around in the menus will be lot happier with the results from an iPhone or Galaxy than with either one of these cameras.
  7. I believe resolve also has a Paste Attributes-style function in the context menu for this kind of thing.
  8. Is this the same thing?
  9. Yeah, I tried it with my new PD power bank and compared it to my old “regular” power bank and it was the same thing. I moved the audio cables around to try to see if/where there was some interference coming in there, but I never heard it change. I’m going to rebuild it one time just to see if it was a fluke. If it changes, I’ll post again.
  10. Yeah, it’s that excruciating trade-offs game. I do documentary and have a policy that if it’s ‘on sticks’ it’s raw. That’d be the use case for the BMPCC4K for me, but the 5D3 floats the boat there. But the 70D was routinely fell short in picture quality as the on-the-move camera leveraging the AF. There’s no doubt the DPAF in the 70D I sold, or a client’s C100mkII that I often use, is a lot better than the AF-C mode in the Fuji. If the EOS-R had entered the market with better video specs, I might well have plonked down the cash and gone over budget for it. Then again, just this morning I res’ed up a project from the 8-bit proxies to the Fuji’s UHD h.265 10-bit originals got a FHD render back out that was pleasantly comparable to the 5D3 ML raw in a way that the 8-bit footage from the 70D never ever was was. But here, if I’d been shooting BRAW I might not even have needed to make proxies, and how nice would that have been? And there closes the “circle of compromises “. Best not to think about it too much and just get on with it!
  11. I sold a couple lesser Canons (incl. a 70D) to buy an X-T3 to pair with my 5D3 on ML. The BMPCC4K was never really an option for me due to lack of autofocus. I'm looking forward to hearing what you come through to. I'm feeling very jealous about BRAW when you describe it.
  12. Is that old one the "95MB/s" card? -- I have a 64GB one of those, which I was pretty sure worked with all codecs, but I didn't dare put it on my list, since I'm at the office and the card's at home and I wasn't 100% sure it was the 95. If that's so, then I can agree with you, it has worked for me on the 400Mbit/sec codecs.
  13. I have one of these that I bought to go with the camera: Sony 128GB M Series UHS-II SDXC Memory Card (U3) And I had one of these (like @Attila Bakos), which works just as well for all codecs and data rates as the above in my experience: SanDisk Extreme Pro SDXC V30 128GB 170MB/s A card to definitely avoid is the SanDisk Ultra 80MB/s, which only works with data rates up to 100Mbits/s. I had a bunch of these for codec recording on Canon DSLRs. What those "Ultra" cards do turn out to be good for, though (on a semi-related note) is for filming when the footage is going into my iPad Pro for quick editing in Luma Fusion. Apple has nerfed the iPads direct-import-from-SD-card capabilities to only accept up to 100Mbit/sec h.264 and 50Mbit/s h.265 -- all of which work comfortably with those cards. The iPad will edit better data rates than that, but you're forced to go via iTunes or other bad workarounds to get the clips onto the device.
  14. A weird use case, but something to be aware of: I was using a Tascam DR-60D mk2 to record audio, and then feeding the audio from the dedicated line out ("camera high") into the mic input of the X-T3. Worked great until I decided to use the same power bank to supply juice to both the camera and the recorder. Everything was still great on the Tascam's audio, but the audio on the X-T3 had a weird data warble noise clearly audiable -- something between a modem or fax, and a mobile phone interference noise. Unplugging either of them from the power bank made the problem go away. It happened with my nice new PD-compatible battery, and with an older big power bank I have. Works fine with them plugged into separate power banks, but it would have been nice to power the whole rig from a single battery.
  15. “Shot a water sports festival with X-T3, hugely empowered by the enhanced face detection in the latest firmware, face select also came in handy when switching subject. F-log, HEVC 400Mbps LongGOP, sharpness and NR -4, custom WB” @androidlad — Curious here: Seems like you must have been shooting 4K (or DCI) at sub-30 FPS to use HEVC, LongGOP and 400Mbps. How did you decide to go for LongGOP versus ALL-I @ 400Mbps?
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