Jump to content

andrew_dotdot

Members
  • Content Count

    23
  • Joined

  • Last visited

About andrew_dotdot

  • Rank
    Member
  • Birthday January 5

Profile Information

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

Contact Methods

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

Recent Profile Visitors

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

  1. Yep. I was all set to buy a high cri dimmable LED panel, but the delivery was too late. That rented fluorescent had a nasty green cast. Now in have that LED. 🙂 I think I'm with you on lowering the light. A bump up to ISO 640 on the Canon would be fine. I can dim my bg boat lighting, but I can't gel daylight windows until I can afford a crew to do that for me. :'-|
  2. I can see a/the use case. When filming in F-Log, the minimum ISO is 640 - that's a lot of light going in. So my X-T3 was even overexposing at f2.8 when I was shooting an interview indoors using a pretty basic soft box with a giant single compact fluorescent bulb. In that setting the X-T3 was the B camera to my 5D3 shooting at ISO 200. I couldn't turn down that particular light even if I wanted to, and I didn't want to stop down the X-T3 and lose the blur of my background. I could see getting an internal ND filter that makes the two cameras "match" in terms of light-gathering ability at f2.8 ISO 640 vs ISO 200 on the Canon, especially if it's optically superior to using on-the-front filters. What would you do in a case like the picture below? 1) Use less light? 2) Switch the X-T3 out of F-Log and use another profile? 3) Use an internal (or external) ND filter? 4) Stop down from f2.8? Such trade-offs! Wow.
  3. How does this work now with the color space transformations? As things stand now, I usually have four nodes where the first node is a rec 2020 to rec.709 color space transformation then a node with any exposure adjustments then another color space transformation back to rec 2020 from rec.709 and then finally the Eterna LUT from Fuji. Where would your correction LUT want to go?
  4. Agree. It's a big improvement for video. The EF 50mm f1.8 STM is one of the lenses they say they've introduced the smooth video focusing for -- I can say that it does do a slower transition when focusing. It makes a sort of a humming noise -- a C#, if you're interested -- as it seeks the next focus. It would definitely be audible in the on-camera microphone, but I don't think it would be as noticeable on external sound -- not like the ticky-ticky focus noises it made before. It still doesn't obey the settings of the AF-C custom settings, though. It's like having that set to AF Speed of -5 all the time. I wish it did obey that setting of course. I usually use a slow-ish value with mu Fuji lenses, so now it at least sort of matches.
  5. Codec question! I'm trying to decide what settings to use to capture footage for a documentary. The situation is a sit-down interview. It's not going to be hours and hours at a time (or I wouldn't be using X-T3), but I do want to be smart about file sizes and my SD storage requirements. So I did an experiment. I shot one minute of a scene that had very little movement in it three times - it's H.265...DCI (4k)...24FPS 1. ALL-I @ 400Mbps: File size: 3.02GB 2. Long GOP @ 400Mbps: File size: 3.07GB 3. Long GOP @ 200Mbps: File size: 1.56GB It's easy enough to understand why a 200 Mbps file is 1/2 the size of the 400Mbps file. But what I don't really understand is going on with ALL-I file and Long GOP files at 400Mbps. I do understand that ALL-I has all the info for every frame (and edits easier), and that GOP has all the info every once in a while and just describes the changes in between. I've read that ALL-I requires 2-3x the data of GOP to capture the same sequence of pictures -- but what is the X-T3's Long GOP doing with all the extra data it's using in this case? See what I mean? My understanding had always been that you used Long GOP to get smaller files. In this case, I might have expected the 400Mbps option to be greyed out for Long GOP in the menu, since the 200Mbps Long GOP ought to give you roughly the same quality as the 400Mbps ALL-I. Is 400Mbps Long GOP some kind of super-duper picture quality?
  6. Ahh, right. It doesn't use the 10-bit color unless you check those boxes and set the timeline right - or something like that, isn't it. I remember that now. Nice catch, you guys.
  7. Aditya Varma has uploaded some really nice videos with and about the X-T3, but this post came out just now.(Screen captured it, as I couldn't find a way to share a link. See the post on his YT channel on a mobile device...) What's he on about? Is this a Premiere issue? An X-T3 issue? An h.265 issue? Does this only happen if you render via one of these as a mezzanine codec? One only ever renders from the original files anyway, but is this a thing?
  8. I've asked for the auto-ISO to report what ISO it's set itself on screen, rather than just "AUTO", and to have a max ISO setting when using auto ISO in video, like there is for stills. A request close to my run and gun heart. I got a personalized response when I wrote to the Tokyo office.
  9. I’m just about to invest in the 10-24 f4 for video myself. I had a Sigma 10-20 f3.5 for my aps-c Canon 70D, and it let in enough light to get acceptably clean video indoors, where I really needed the ultra wide angle. I wonder how you’re using your 10-24 and whether you’re happy with it on the X-T3?
  10. It makes more difference if you have a lot of motion and/or a lot of detail in the footage. I never want to see a compression artifact if I can help it. That said, I’ve had really good results with 200 Mb/s, too. For me, though, the revolution has really been the 10-bit color.
  11. 2. I use the Zhi Yun Chrane v2 — I recently switched from Canon DSLRs and used rigs that were right at the limit of what was possible with that one, so the X-T3 feels like a skinny legend on it by comparison. Though the X-T3 maybe a little nose heavy by comparison with the 18-55. 1. I don’t have the 16-55, so I can’t speak to the auto-focus question, but... A few unsolicited observations on video... For video I think you want the OIS unless you build the camera into a bigger rig with some handles good. I use a Small Rig cage to beef up the handle, and even with the OIS, it’s all I can do to keep things steady. I once shot with the same setup without OIS by mistake, forgetting to turn it back on after going off tripod. It was not useable due to the shake. My next lens is going to be the 10-24 f4 OIS, and that will be it for video lenses for X-mount. I used to be very annoyed about the non-constant f stop lenses in the Fujinon range — having used Canon L zoom lenses. I’ve mellowed on that stance. My old go-to was Canon’s 24-105 f4.0 IS L. For documentary, f4 gives some bokeh, but also forgives when the auto-focus doesn’t keep up. So, on the X-T3, I often find myself locking the aperture at 4.0 just to keep my highlights under control in bright indoor scenes (rather than putting on an ND filter), thus taking the whole variable aperture over the zoom range out of the equation, in a sense. Here’s a camera test I just did*. The negatives I noticed was that the auto WB misbehaved in a couple of spots — I should have remembered to lock that down. Also, the autofocus was completely off the reservation sometimes (which is different than the slow focusing, which I had dialed in on purpose). I’m super curious whether the coming firmware upgrade will give a useful bump in AF performance. * It was the 18-55 OIS lens, hand-held. Aperture locked at f4 with auto ISO and auto WB. The focus speed was set to -5. (I wanted it to feel a bit sloppy and sloshy) 4K 25fbs F-LOG @ 400 Mb/s h.265
  12. I wrote in English to the Japan office last week with a request and they answered me with a specific reply (they did actually read my email) within a few days. So it isn't hopeless. I asked if they could implement a setting for max ISO in video mode, or at least show the ISO being used, instead of just "ISO AUTO".
  13. I do believe that new crop only happens for the new "viewing modes" that were added with that update. I.e. if you want to save F-LOG internally and see film simulation over HDMI or vice-versa (a new viewing mode) -- then you get the crop, but not in any of the original viewing modes, like where you see F-LOG internally AND externally, or film simulation internally AND externally. I don't think any crop was introduced there. That meant that the original v1.2 functionality is intact, with some additional options added on in v2.0. I don't think it broke anything -- or am I wrong?
  14. Video auto-ISO... min & max? After a run & gun shoot, I got back to the computer and noticed I had some pretty noisy video in one sequence where it got pretty dark. Reflecting on the conditions, it’s not strange. It must have used a very high ISO. So, it doesn’t look like auto-ISO in video respects the max-sensitivity that you set in the photo section. Does anyone know if it’s possible to set the max ISO for video or even just to see a continuous readout of the ISO in use, and not just “AUTO”?
×
×
  • Create New...