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eatstoomuchjam

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  1. Like
    eatstoomuchjam got a reaction from IronFilm in Panasonic GH7   
    I've already said that "magical" is my own summarization of how people seem to describe their imagined "medium format look" since requests for any sort of functional definition seem to result in things that are demonstrably false or claims that the look is ineffable.
    So this special term which defies all definition, but is to be considered useful in discussion must be pure magic.
  2. Haha
    eatstoomuchjam reacted to mercer in Panasonic GH7   
    Obviously, I must take the blame for this since it was my comment that started this off topic discussion. But my original comment wasn't meant to say that smaller sensors were inferior, just that larger sensors have some advantages.
    Sometimes those advantages can make comparisons slightly unfair. As I have already stated, my original comment was intended to give the GH7 some leeway in a video where it didn't fare so well.
    Everything I stated after that was probably an exercise in futility where I didn't speak eloquently enough or I was full of shit...
    Probably a little of both.
    But there's still a medium format look.
  3. Haha
    eatstoomuchjam got a reaction from 92F in Panasonic GH7   
    FWIW, I've been arguing exactly the opposite of that.  There is no special look intrinsic to larger sensors.  😃
  4. Haha
    eatstoomuchjam got a reaction from mercer in Panasonic GH7   
    FWIW, I've been arguing exactly the opposite of that.  There is no special look intrinsic to larger sensors.  😃
  5. Like
    eatstoomuchjam reacted to Emanuel in In memoriam: John Bailey, ASC (1942-2023)   
    I hadn't noticed of it yet such a loss... Just some minutes ago when I had the chance to search about him and received the shock of the sad news... : (
    https://variety.com/2023/film/obituaries-people-news/john-bailey-dead-academy-president-cinematographer-1235787930/
    https://theasc.com/news/in-memoriam-john-bailey-asc-1942-2023
    https://www.imdb.com/name/nm0007037/
    Got the unique chance to meet him along a workshop made at the Lisbon Film School about a quarter of century ago when his presence and his lovely wife and E.T.'s editor Carol Littleton brought a singular experience with this passionate couple of the world of movies and filmmaking.
    For a few days, we had the chance to hear them to talk about their work in two respective distinct workshops as Lisbon Film School's visiting guest lecturers throughout their personal experiences of their own, the way they met in the old continent they simply loved and their first meeting IIRC in Vienna, Austria.
    Ordinary People (1980), directed by Robert Redford in his feature directorial debut, The Big Chill (1983), Silverado (1985), The Accidental Tourist (1988), made with his partner in crime Lawrence Kasdan, Groundhog Day (1993) or Mishima: A Life in Four Chapters (1985), produced by Francis Ford Coppola and George Lucas, directed by Paul Schrader with whom he also helped to make American Gigolo (1980)...
    https://theasc.com/videos/lighting-tech-tips-household-lightbulb-russell-carpenter-asc-1/john-bailey-asc-the-stylization-of-mishima
    Among a few of the case studies in those memorable days I really miss his input in that week from the bottom of the heart.
    Long farewell dear John, it was great to have had the happiness to know a bit more of your presence among us.
    Never forget the humble character typical of yours expressed in the way you addressed to each one of us, your workshop attendees whether classmates or the other film school instructors, you added no distinct treatment as used in those customary elitist circles more often than it should. Your vivid enthusiasm in that close personal and direct communication face to face stands in our memories, as well your helpful advices to bless our careers, always plenty of generosity, love and endless good faith, a big thanks! < 3
    - EAG
  6. Like
    eatstoomuchjam got a reaction from 92F in Ludicrously lightweight boom mics: new Deity S Mic 3 & 3S   
    It's not a question of quality, but purpose.
    Is a car better than a truck?  Is a TV better than a tablet?  Are headphones better than loudspeakers?
  7. Like
    eatstoomuchjam got a reaction from 92F in Panasonic GH7   
    Andre Bazin, the film critic/theorist?  Yes, I am familiar.  Why?  Is he relevant to medium format film?
    It does mean that I'm not talking out of my ass.  I've likely taken far more images on medium and large format film than anybody else in this discussion which, I feel, is a pretty decent qualification for talking about what those formats look like.  I've also built several medium and large format cameras over the years.  What are your qualifications in discussing the look of medium and/or large format film?
    FWIW, I also have spent a lot of time with others who shoot medium and large format film.  Wanna guess which phrase they never use?  "Medium format look."  The discussions tend to be a lot more around what specific lenses look like/do, whether those lenses will cover a certain format, and lately, how much film costs.  A box of 8x20 is just about enough to send a person to the poorhouse.
     
  8. Like
    eatstoomuchjam got a reaction from Emanuel in Panasonic GH7   
    100 megapixels is more than 61 megapixels.  That's an advantage.  The 110/2 is my favorite portrait lens for any system.  In fact, every lens made for the GF system is excellent.  Also, because I like the ergonomics and I like any number of other things about the system.  It's possible to like a thing without inventing imaginary characteristics to apply to it.
    With film, I like my large format gear especially because I enjoy the contemplative experience of shooting with it.  I like using gear that by its very nature demands slow and deliberative composition/shooting.  It's a great contrast to gear that invites me to shoot hundreds of photos and end up with only a handful of keepers.
    If you mean the word "magical," that was my embellishment.  As far as people applying various inconsistent and fanciful attributes such as "you can walk right into the image," various people in the thread have done exactly that.
    With a given focal length and aperture combination, for a given field of view, a larger sensor will obviously provide shallower depth of field.  This is not controversial.  But there is more than one lens in the world so it would be silly to limit oneself to just those variables, especially when it's simply math to determine which combination will provide nearly identical results on a different format.
    It is also not controversial that with large film formats, one can achieve a depth of field that is shallower than is possible with any lens ever made for a smaller format.  As I said before, a 450mm f/5.6 lens on 8x20 inch film yields ridiculously shallow DOF (unusably so, even).  However, that is not traditionally why anybody shot larger formats - in fact, photographers like Adams used to stop down to tiny apertures in order to regain depth of field with large format cameras - to the point where their club was called "f/64."  If the medium or large format look is defined by shallow depth of field, it is certainly ironic that history's most famous users of those formats did everything in their power to not have that look, including using camera movements to increase depth of field (one of the reasons I brought up Scheimpflug earlier).
    Later in his career, Adams also frequently preferred to use a 6x6cm Hasselblad to his 8x10 field camera and even sometimes shot on 35mm film.  Guess he must have just grown sick to death of feeling able to walk right into his images.
  9. Like
    eatstoomuchjam reacted to Alpicat in Advantage of Full-sensor 'open gate'/anamorphic capture?   
    @eatstoomuchjamThat's a good point. I guess I just like the specific look of the Mamiya 80mm f1.9 in that case
  10. Like
    eatstoomuchjam got a reaction from Alpicat in Advantage of Full-sensor 'open gate'/anamorphic capture?   
    There is no such thing as a "medium format look."  If you like the way your medium format lenses look when speed boosted, that's fine, but an 80mm f/4 lens on a 0.71x focal reducer will be nearly indistinguishable from a 57mm f/2.8 lens that's made for FF (aside from lens character considerations, etc).
  11. Like
    eatstoomuchjam reacted to IronFilm in Good value microphone for capturing ambient sound?   
    @lsquareif you want a scratch mic with your DWM-XLR2 to get decent-ish ambient audio, then get the Deity SMic3S if on a very low budget, or the Sanken CSM1 if on a medium budget. 
    https://www.bhphotovideo.com/c/product/1830582-REG/deity_microphones_dtm0304d11_s_mic_3s_short_shotgun.html
    https://www.bhphotovideo.com/c/product/1404643-REG/sanken_cs_m1_super_cardioid_short.html 
    Unless they're specifically doing 360VR videos, or maybe some other niche usage (I dunno, creating audio library with lots of different format options??) then usually ambisonics is not a good idea for ambient recordings. 
  12. Haha
  13. Like
    eatstoomuchjam got a reaction from IronFilm in Good value microphone for capturing ambient sound?   
    At the risk of jumping in on a question that was basically made for @IronFilm, if your goal is to capture ambient sound as a 360 degree soundscape, you probably want an ambisonic microphone.  Look into something like the Zoom VRH-8 or the Rode NT-SF1.
  14. Like
    eatstoomuchjam got a reaction from IronFilm in Panasonic GH7   
    No, this is ignoring everything I've said.  Obviously the same lens on different sensor sizes at the same FOV will look different.  That's not controversial.  The point is that the FOV and DOF of a 12mm f/1.4 lens on a M43 sensor will be nearly identical to that of a 24mm f/2.8 lens on a full frame sensor.  Will the specific characteristics of the lenses influence the overall look?  Sure.  If the 24mm f/2.8 is from the 1970's, it will certainly look a bit different from a 12mm lens made in 2018.  But that has nothing to do with the sensor size.
    As I already said, I have done plenty of side-by-side tests over the years.  If you believe that a bigger sensor is really giving you a different look, that's fine.  I hope you enjoy it.  It's just not a position that is supported by any actual facts.
  15. Like
    eatstoomuchjam got a reaction from Davide DB in Panasonic GH7   
    Nope.  You're flat-out wrong.
    The only meaningful difference that has been presented is in the characteristics of different lenses which is real, but has nothing to do with medium format.  Pentax 645 lenses look different from Mamiya 645 lenses which, in turn, look different from Mamiya 7 lenses, etc.  They don't have a unified and monolithic look.  They won't have the same look when adapted to work with your digital camera, with or without any sort of focal reducer.
    You could say "I like the look of Mamiya 645 lenses with a Kipon focal reducer on my full frame camera."  That's totally valid, but if you say "Now my camera has the medium format look," you sound ridiculous.  Your camera has the look of Mamiya 645 lenses, nothing more.  People won't magically feel like they can now "walk into the image" and it won't be any more 3d than anything else.  Using a bigger sensor, likewise, won't make the image more 3d.
  16. Like
    eatstoomuchjam got a reaction from IronFilm in Panasonic GH7   
    Right, but that is proving my point.  There is no medium format look.  Maybe there are dozens of medium format looks depending on which lens set somebody chooses, but with a definition like "it means different things to different people," you might as well be saying "I prefer a cinematic look" or "I prefer something that looks more filmic."
    And of course not all lenses have the same character, but my point is really just that by the definitions given, I have actual large format and medium format film cameras that don't achieve the "medium format look" (as described by people here) and I have smaller sensor cameras that have a real chance of getting there instead, depending on which lenses I put on or whether I mount them on the back of a LF field camera using a vintage lens.
    And of course 8mm film and any modern-ish phone camera, not just the iPhone 4, will look substantially different.  This is, again, a place where there are a number of characteristics which are fairly common among 8mm cameras/film, including 18fps, gate weave, huge grain, and a response curve typical to the film being used - some of which could be simulated on the phone and some not so much.  
  17. Like
    eatstoomuchjam reacted to PPNS in Panasonic GH7   
    it’s a trick to understand optics and basic math?
    jesus fucking christ man
    if any of you gave as much shit about making, or working on interesting art on here and sharing it instead of jacking off your lil dingdongs over new gear, resolutions, different starting point looks of shitty fucking sensors, or being mentally insane about 24 fps this place could actually have interesting discussions. 
     
    I fucking hate gear. i fucking hate lenses, cameras, shitty lights, cables, rigs etc. Sadly its necessary to understand at least some of it, as it is a means to an end to create what i actually want to create. i suggest others to view it same way. Or learn color grading, like kye said. That has generated a bit of income for me from time to time.
     
  18. Thanks
    eatstoomuchjam got a reaction from IronFilm in Panasonic GH7   
    Just plain wrong.
    Yedlin: Because he wanted to
    Tarantino: Because he wanted to, and also is far from an expert in optics/imaging
    60's films: Resolution and marketing
    Nope.
    It's no problem.  Your comments are already more than dumb enough.  No need to dumb them down further.
    Why produce different-sized sensors?  Different use cases, history, any number of other reasons.  Why pay $10k for a camera when the exact same image comes from a $2k camera?  Any number of reasons including ergonomics, personal preference, and the fact that the exact same image won't come from both cameras.
    By your reasoning, anybody would be a complete moron to buy an Alexa with a S35 sensor for $20-40k when they could just go buy a used GFX 100 and get full-width 16:9 4K video for $3k used - since the GFX, with its 44mm wide sensor, will magically produce an amazing image that a person can just walk into, unlike the shitty Alexa with its puny 28mm wide sensor.  The GFX will produce huge sweeping images that you can just walk right into where the Alexa will produce a poor image with no depth, usable only by complete amateurs.
  19. Haha
    eatstoomuchjam reacted to mercer in Panasonic GH7   
    I know you are but what am I? Hahaha.
    I should probably be offended but like me, you're just some guy on the internet.
    Actually... I feel kinda bad for you. Everything is so binary. You don't believe in a medium format or large format look, yet you own a MF camera. I can only assume you don't believe in movie magic or how a cinematic image can transport an audience into another world.
    You seem like the type that probably rooted for the government in E.T.
  20. Like
    eatstoomuchjam got a reaction from Emanuel in How will 5.7K/6K videos look on a 8K display?   
    This depends on the size of the 8k screen and how far you're sitting from it.  If you're 3 meters away from a 27" screen, almost no human is going to see the difference in 4k and 8k regardless of the screen resolution.  If you're 10cm from the same screen, you'll probably be able to see some difference between 6k and 8k on an 8k screen, but...  it's not that important.
    Many cinemas are still projecting 2K on their enormous screens.  Do people watching from 10+ meters away notice the difference between it and 4K?  Would they even notice the difference side-by-side?  Maybe.
    Anyway, there are declining returns in increasing display resolution - going from SD to full HD was huge.  Going from HD to 4K was a lot less huge (and lots of people are still using full HD TV's all over the world).  Going from 4K to 8K is going to be pretty slow due to the fairly small perceptible gains at a standard viewing distance.
  21. Like
    eatstoomuchjam got a reaction from PannySVHS in How will 5.7K/6K videos look on a 8K display?   
    This depends on the size of the 8k screen and how far you're sitting from it.  If you're 3 meters away from a 27" screen, almost no human is going to see the difference in 4k and 8k regardless of the screen resolution.  If you're 10cm from the same screen, you'll probably be able to see some difference between 6k and 8k on an 8k screen, but...  it's not that important.
    Many cinemas are still projecting 2K on their enormous screens.  Do people watching from 10+ meters away notice the difference between it and 4K?  Would they even notice the difference side-by-side?  Maybe.
    Anyway, there are declining returns in increasing display resolution - going from SD to full HD was huge.  Going from HD to 4K was a lot less huge (and lots of people are still using full HD TV's all over the world).  Going from 4K to 8K is going to be pretty slow due to the fairly small perceptible gains at a standard viewing distance.
  22. Haha
    eatstoomuchjam got a reaction from Simon Young in Panasonic GH7   
    Just plain wrong.
    Yedlin: Because he wanted to
    Tarantino: Because he wanted to, and also is far from an expert in optics/imaging
    60's films: Resolution and marketing
    Nope.
    It's no problem.  Your comments are already more than dumb enough.  No need to dumb them down further.
    Why produce different-sized sensors?  Different use cases, history, any number of other reasons.  Why pay $10k for a camera when the exact same image comes from a $2k camera?  Any number of reasons including ergonomics, personal preference, and the fact that the exact same image won't come from both cameras.
    By your reasoning, anybody would be a complete moron to buy an Alexa with a S35 sensor for $20-40k when they could just go buy a used GFX 100 and get full-width 16:9 4K video for $3k used - since the GFX, with its 44mm wide sensor, will magically produce an amazing image that a person can just walk into, unlike the shitty Alexa with its puny 28mm wide sensor.  The GFX will produce huge sweeping images that you can just walk right into where the Alexa will produce a poor image with no depth, usable only by complete amateurs.
  23. Like
    eatstoomuchjam reacted to IronFilm in The most powerful i9-4900K/KF + RTX 4090 combination arrival now on Mini PC side?   
    Yeah, but you could just do also that with a laptop and a eGPU, and it would be an even more convenient setup to be traveling with than one without a monitor like this Beelink
    Exactly, I could get a dirt cheap but still high performance laptop such as a Thinkpad P71 for just US$550 then pair it with a beefy eGPU. Oodles of power!
    https://www.ebay.com/itm/116213947999 
  24. Haha
    eatstoomuchjam got a reaction from mercer in Panasonic GH7   
    No, you refer to having to stop down the lens on FF to achieve the same DOF as on M43 without a focal reducer and you call it "dumbing down."
    But please, don't let actual facts get in the way of whatever dumbshit point you seem to think you are making.
  25. Like
    eatstoomuchjam got a reaction from Alpicat in Advantage of Full-sensor 'open gate'/anamorphic capture?   
    Open gate recording is available on a number of cameras, not just Fuji and Panasonic.  Some cameras even have a 17:9 sensor so open gate is 17:9. 
    As far as using a 3:2 or 4:3 sensor to capture for 9:17, 1:1, and 17:9 delivery, it's intended to save time for people who want to deliver to multiple platforms and don't want to have to reshoot.  Plus the ergonomics of many cameras are impaired when turned on their side.  I would also worry less about capturing for vertical in the highest possible resolution - if your camera is 6k pixels wide on a 3:2 sensor, the vertical resolution will be close to 4k - which is more than enough if people are watching vertically on their phone.
    Part of what's tricky is that many cameras only allow a single box to hint at the final frame so you'd need to guess at the vertical frame or use tape on the screen to indicate it (or something like that.
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