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EphraimP

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About EphraimP

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  • My cameras and kit
    X-T3, X-T4, Ninja Vs, Mavic 2 Pro, waaay too much other stuff, and counting

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  1. It's not too difficult to get certified as a commercial drone pilot here in the US. Hell, even my dog walker went and got his part 107 so he could sell drone services (not that he knows anything at all about videography). I've been slacking about getting mine, but I will. And the guy I hire when I need a second shooter is certified.
  2. I've found the Mavic 2 Pro to be plenty small and transportable. The image is ok, but I certainly wouldn't want to downgrade it at all. These specs look pretty interesting to me. Love the internal 1TB storage Overall, very interested in this thing. Will it stay unde $2,000 is the question.
  3. Ha, yeah, matching two different systems can be lame. Has me questioning whether I should offload the two Fujis for another Canon body now that I'm going with the C70. Unfortunately in my case I'm not excited about Canon's mirrorless offerings, with the caviate that the new R3 might be pretty dope... but I don't want to spend what I just spent on the C70 on a mirrorless body... And I want at least one lightweight little camera for backpacking... and I do some multi-cam livestreams so owning at least 3 cameras is helpful. On the other hand, @Ty Harper said he might use the 5Ds for A and B cams, I'm assuming for interviews, and using the Fuji for b-roll. In my opinion this makes some sense and can work. If you are not looking at two versions of the same image (tight talking head+wide) color differnences aren't as easy to spot. And, many folks color grade their b-roll stylistically, so shooting with a different camera sort of bakes that into the process. Oh, the joys of camera researching/buying...
  4. I'd be happy to share a few clips from the T3 or T4 in various lighting conditions, @Ty Harper, if you'd find it useful. I absolutely agree that a Fuji would be great for family/travel stuff. They are really fun cameras to handle and shoot with, especially for photo. I'm not really even sure why, because when I first got one, I was so used to the 70/80D that shooting on the T3 was slower and I'd occasionally bumble settings. Most likely, the Fuji film sims had a lot to do with it, because it is so easy to pick between the different ones and get really nice shots with minimal effort. In photo mode, I typically shoot RAW plus Jpeg but rarely use the RAW becuase the Jpegs look so good with minimal effort.
  5. Because I haven't used any other speedboosters, I couldn't definitively say if the Metabones is the best, IQ-wise. I can say that it has the best reputation adn that I've never been dissapointed in the images I get using my Canon lenses with it. The electronics also work well and it does autofocus, though, as I said, I typically use my Fuji lens if I wanted face-tracking autofocus.
  6. I've been using the T-3/4 with the Metabones since it came out with older L glass (mainly 17-40 F4 and 70-200 F2.8 non-IS). The image quality is fine. If I want to use autofocus, I tend to use my XF 18-55mm f/2.8-4, which is a nice little lens in its own right. If you do get a Fuji, be sure to get the kit with this lens even if you have equivelent EF focal lengths. I've been a fan of the Fujis overall, and it's nice to grade from F-log, through you do have to mind your white balance, especially in low-light/under exposed situations, or I find, the colors get a bit off. They make fun stills bodies for sure, and the Fuji film simulation J-pegs really are a treat. These cameras are head and shoulders above Canon crop-sensor cameras (I shot extensively with the 70 and 80Ds). Your biggest issue will probably grading the 5Ds to match the Fuji. I'm sure it can be done, but in my expience Canon color and Fuji color are both very "good," as in pleasing to look at, but not very similar. If you're shooting with ML in raw, this may be less of a problem than it is starting with a baked-in Canon color profile., even one thats as flat as you can make it in-camera. Since I'm personally moving to a C70 as my A cam, I'm hoping Clog 2 will make cutting in a Fuji B cam easier, especially using Resolve's color managment or a similar tool to bring the images into a neutral color space with less user input. Between the two Fujis, the size difference isn't really noticeable unless you're holding one after the other. The T4's extra battery life is very nice, but its IBIS isn't amazing and has bitten me in the ass on more than one occasion. For a video workflow, SmallRig's cages are great. The 4k 60p looks great, and even though the T4 does 120p in 1080 I rarely use it. When I first got the T4, I'd have recommended over the T3, now I'm not so sure. Depending on your shooting style, it might make sense to get the 3 and load up on batteries or third party power solutions (V-mount with dummie battery or a NP-F style battery with a USB port if you're going to use an external monitor). Those are my rambling thoughts. Hope they help.
  7. Ah, FML! I just reformated the cards for a shoot tomorrow. Hope the guy who DIT'ed the job copied the whole cards, but I bet he didn't. Luckily it's not essential. He can always use foley.
  8. So, if you are recording on card A, it will create audio file on card B? I'm not finding the audio files...
  9. And speaking of the lovely C70... Has anyone else had the issue of Slow&Fast motion, with or without sound, disabling external recording? I was DPing some shoots last week using the C70 professionally for the first time, using a Ninja V as a monitor and recoding backups on it. My 23.976 A-roll recorded just fine on both the camera card and the Ninja. Whenever I hit the button I'd preset to S&F, hitting record on the camera wouldn't trigger the Ninja to record, though I could still monitor everything. I switched to duel recording internal instead of relay, until I got low on card 1 space and had to switch back, but I haven't sorted throuhg all the footage yet to see if I was gettting dual internal copies each time I hit record while dual record was selected internally. Luckily, I didn't have any card malfuntions, so didn't really need the backups. It's nice for peace of mind, though, and I don't like shooting for somebody else without being able to do so. S&F with sound didn't seem to actually record sound, but that's a different issue. If there is a setting I'm missing to enable external recoridng in S&F, I'd sure love to know what it is. It is very helpful, for me at least, to record my backups on the Ninja and keep the C70 on relay record. Becuase a monitor is a MUST for outdoor shooting (90 percent of what I do) it's also really helpful when looking at the Ninja and catching fast-changing action to see the red tally signal around the recorder's screen to let me know I'm recording. If external recording is completely a no-go in S&F, that would be a huge bummer. It's so convenient to switch on the fly at the touch of a button, and I'm not looking forward to having to buy a bunch of V90 cards when I've got rwo 1TB SSD's for the Ninja. Yay Canon!
  10. I can't imagine a lav working unless it was a headset unit, as others have recommended. In my experienc you really need to tape those suckers down to deal with handling noise. You could always run a boom over talent as well with an omni or cardioid mic.
  11. Your video? It was hilarious, in a good way. Loved it.
  12. I can't speak to that exact combo, but the 25mm I have in X-mount is a honey of a little lense. Well made, smooth as butta, nice clean image. It's does wash out with flares rather easily, so matte box is a must, but one of the new super light clamp on matte boxes for around $100 will do nicely. The only thing I don't understand is why you'd want to buy the full frame PL mount version and adapt it to MTF. For that price you could get two, almost three regular MTF Meike cine primes. Do you plan to also use it with PL mount full frame cameras, maybe rental units? They also make Super 35 versions in EF mount, if you're just looking for something that's adaptable to other systems. You can get two of those for the price of one PL mount.
  13. Yeah, that's a weird take and a misplaced analogy here. Who is saying taht there is no point in making the image (food in your anology) look (taste) good? Did you miss the comment I made about how I'm adding a color calibrated monitor to my editing workflow right now? Hell, I literally just had to stop typing this to go get the B&H package off my doorstep with the X-RIte Display Pro in it. What I said was "Having people view them on a variety of devices in a variety of conditions is even better, in that it replicates what the average viewer might be seeing." So, a better analogy would be a chef, say an Italian cuisine expert, testing two varients of a dish by having a variety of other chefs and home cooking enthusiasts try them; some of these chefs aren't going to be Italian cuisine experts, rather they might be sushi chefs or cook thai food or Argentinia BBQ. They will, however, be people who notice flavor, texture and presentation more than the average customer will. The whole point of this post is exloring what might one grade look better than another. We can't make our viewers color calibrate their laptop or phone screens or contor their ligthing conditions. But we can use the tools at our disposal, inlcuding scopes, color correct monitors, etc and then explore what other creators see and take away from what we're trying. This may not have the authority of scientificly rigourous testing, but it can give us somethings to think about. Going for subtextual analysis for your guess. Interesting, but an inaccurate reading of the clues. Not Sony. The camera is, in fact, expected to have good color. I'm interested in seeing if people can guess wihch camera not to hear how good people think it is but rather to poke at the idea that certain cameras have a "look" or, on the filp side, that most modern camera can look so good that it can be hard to distinguish them.
  14. This is an interesting exercise so far, to me at least. In the real world, we can't be sure our viewers will be using calibrated monitors in controlled lighting conditions. In fact, we can be sure the vast majority won't. As a professional video producer for social media, generally a OMB, I was curious to see how other video pros and interested amateur would react to the subtle differences in these images on whatever screen they use. Having people view them on a variety of devices in a variety of conditions is even better, in that it replicates what the average viewer might be seeing. It would be helpful to know the viewing conditions of each commenter, but it's not necessary in that this isn't a scientific test. There are no right or wrong answers here. In fact, I myself have just connected a brand new ProArt 4K monitor to my editing system today. It's using factory calibration at the moment because my X-Rite system is coming tomorrow. These were graded on an HD Samsung TV that I've been using as a monitor for some time while waiting to invest in a new monitor. I used the histogram in Premiere to set the white point and the waveform monitor to set the tonal range, so they should be decent. Other than that, what I'm interested in is the response to the two different Rec. 709 LUTS I used. Both images look warmer to me on the ProArt, but the difference in shadow tonality, blue hue of the shirt and the skin tone difference are still apparent and I still favor one grade over the other. After I calibrate the monitor using the X-Rite devise, I'll judge them again determine if I need to tweak the colors at all. I'm interested to know if anyone can guess the camera I used, and how they came to that conclusion.
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