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drm

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  1. Some LED lights can produce colors that are beyond the range of many sensors. The camera sensor or image pipeline may clip those colors. Different cameras are sensitive to different lights. The Panasonic cameras (S1, etc.) have problems with blue LED light. My old JVC LS300 cameras would freak out when a LED in the blue & purple range was in the frame (think weddings). Some of the BM cameras are sensitive to clipping in the red channel. If you shoot raw, a color space transform can usually fix this problem. Hopefully, BM pays attention and works on the red issues in the next version of their color science. Have you checked the BM forums for people talking about particular BM cams and this issue?
  2. I agree with you. The camera can work well in most environments with some accessories. I work a lot of live events where I only get one shot and there are no retakes. I frequently use the P4K/P6K cameras on a shoulder rig, with a big battery and a follow focus. In that environment, they work well. I am still sorting the straight out of camera colors for our live broadcasts, but I am fairly happy with this setup. I am not really happy with the camera when I have to use the camera handheld in a rapidly changing environment. I guess it just comes down to the effort needed to get great footage. Sometimes grabbing an S1H, GH5, or an A7III is going to give you more usable footage. Different cameras for different jobs
  3. While the P4K/P6K *could* be used in the situations they show in those ads, I am not sure that I would chose the P4K/P6K cameras for those settings. As I have said many times, I love the P4K & P6K cameras and the options they provide. But, in a rapidly moving run/gun situation, I have found them challenging to work with. The one-touch AF is slow (at best) and the battery life is poor (unless you use an external NP or v-mount). Perhaps your @BTM_Pix AF solution will help in this area. If I have time to set up and can use sticks, give me the P4K/P6K every time. If I have to go handheld or move fast, I generally take something else (GH5/GH5s, etc.).
  4. Be careful with the E2-C. Make sure that you check out the reviews before buying it. I believe that it has terrible rolling shutter and very limited dynamic range. The E2 might be ok, but the E2-C is not in the same league.
  5. We don't have AF on the P4K or P6K anyway.... 😂
  6. Even a couple of years after launch, the GH5 is a heck of a video camera. Yes, it is noisy above ISO1600, but the video quality, stabilization, etc. make it a great choice for a lot of projects.
  7. I ran some tests with the P6K with some of my lenses to compare it to the P4K. The Tokina 11-16 looks great and is mostly rectilinear, the Sigma 18-35 looks very nice but has very small shifts at the edges, the Canon 24-105 f/4 also looks great. I didn't find any of my lenses that looked bad and none were even remotely close to the Oly 12-100 on the P4K.
  8. I snapped these quick shots at 12mm, 18mm, & 25mm. I will do one of the "brick wall" tests at some point. I had no idea that the GH5 & GH5s were correcting things that much. Check out the curve in the crown moulding. Three shots are the Oly 12-100 on the P4K, the 4 are the Oly 12-100 on a GH5. Olympus-12-100-at-12mm-P4K Olympus-12-100-at-12mm-#1-GH5 Olympus-12-100-at-12mm-#2-GH5 Olympus-12-100-at-18mm-P4K Olympus-12-100-at-18mm-GH5 Olympus-12-100-at-25mm-P4K Olympus-12-100-at-25mm-GH5
  9. I frequently use the Oly 12-100 on my GH5s, where I use it most of the time and really like this combo. I put it on one of my P4Ks with a shoulder rig today and was surprised at the difference. The Oly 12-100 shows visible distortion on straight lines (think door frames) both in the middle and on the edges of the lens. I will have to use this combo more to decide for sure, but at the moment, I am leaning toward saying this is not a good combination.
  10. I have both of these lenses (along with many more). What are you looking for? Are you looking to see a comparison of the lens between the GH5 & P4K to see how much correction is being implemented in the GH5/GH5s?
  11. The Olympus 12-100 is a very versatile lens for photo and video work. I don't know the exact focus throw, but it seems to be around 90 degrees. The Rokinon Cine DS line of lenses are reasonably priced and have about a 150 degree focus throw.
  12. I have used my P6K (along with my P4Ks) for many hours on three or four shoots per week since I purchased it on release day. I have not had the camera randomly turn off or stop recording, not even a single time. I have a Sony NP970 battery plate on the cage and I use the 1TB T5 drives. I am not using original Canon batteries. I will sometimes also use V-mount batteries. I also generally don't fill up the entire drive, so I may be unintentionally keeping the drives below 50%. In my usage, the P6K has been just as reliable as my 3 P4Ks.
  13. I have been playing with that method lately. I work in constantly changing lighting conditions and I haven't been super thrilled with the results so far, but I am confident that I will find something that works well. I even made a LUT that matches the GH5s ... so many excuses to play
  14. So, this is a much harder to answer question than you might think. The files straight out of camera are great on the GH5/GH5s. So, if you have a project that requires a quick turn around and doesn't have a budget for much post processing, I think that the GH5/GH5s is a better option than the P4K/P6K. In my opinion, the GH5/GH5s is also better for run/gun situations (better battery life, better ergonomics, better AF, etc.). The BRAW files on the P4K & P6K are excellent, but they require post processing. I don't care for the files if you just use them straight out of camera, like by baking in a LUT. I have tried the Blackmagic LUT, the Leeming LUT, the Buttery Films LUT, and others, but I don't like the way the files look unless I pull them into Davinci and process them. Normally, this wouldn't be a problem, but I broadcast events live several times per week. I need to be able to apply a LUT to the live feed and have a great look to broadcast. So far, I haven't perfected that process. I am still not happy with the image straight from the camera. I am working on LUTs for this on a regular basis. We just finished a commercial shot entirely on the P4Ks and it turned out great, but we had time to process the footage. So for fast turnaround projects, pick the GH5/GH5s. If you have time to work with the footage, pick the P4K/P6K. If I can get a nice display LUT, then I will use the P4K/P6K much more often and could probably replace the Panasonic cameras all together. For me and the work that I do, the S1H is darn near the perfect camera (although the AF still bothers me...)
  15. All kidding aside, it bugs me to use the 10-bit on my GH5 & GH5s now that I have gotten used to the BRAW on the P4K & P6K. I love the GH5 & GH5s footage, but the flexibility of raw is just amazing.
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