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ghostwind

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  1. Haha
    ghostwind reacted to alanpoiuyt in Why Gerald Undone is wrong about the Sigma Fp-L   
    I've never owned a more inspiring camera than the OG FP. I bought a C70 to make work a little easier and tried out a Lumix S5 for a week to check out the advantages for anamorphic shooting but quickly returned it. Nothing has come close to the IQ I'm getting out of the FP.
     
  2. Haha
    ghostwind reacted to Jay60p in Why Do People Still Shoot at 24FPS? It always ruins the footage for me   
    24 frames a second, that was the faster speed for us back in high school, when I started with my Minolta Super 8 camera.
    Me and my friends were happily shooting 18 frames per second (silent) silly comedies and we loved it.
    If I was doing narrative now, I'd have a hard time deciding between 24 or 30. 
    For family and nature these days, 60p looks best to me.
  3. Downvote
    ghostwind reacted to Felipe Leonardo in Why Do People Still Shoot at 24FPS? It always ruins the footage for me   
    The quality of movement in cinema (film) is formed by these characteristics:
    Global shutter with smooth in-out Projection Speed 1: 1 (not pull down) Acceptable number of frames (I think 24 is the minimum acceptable. No one creates wine tasting arguments to defend 20fps) 24p and 1/48 expose are standards for projectionists, camera manufacturers and filmmakers to talk each other. If the standard was 30p it would be a little better, but with higher costs for film, development, print, copies ...
    In digital, global shutter is possible, and solves movement much better than rolling shutter. The smooth in-out, made by the mirror in a plane away from the film, is another of the mechanical and chemical wonders that we lost when embracing the digital facilities (there are exotic solutions, like the mirror in alexa studio, the old tessive time filter .. .)
    Now, 1: 1 viewing is a mess in digital. There was the old standard 24p, but for TVs they created the 60i and 50i. For electronic devices, monitors, phones ... 60p.
    Even TVs that can offer the true 24p, depend on the signal being sent that way. I heard that with NVIDIA Shield it is possible to send the 24p signal from applications like NetFlix.
    TVs that offer 120Hz, usually like to meddle and alias movement, and sell as if it were “incredible", and often, turning off all features still offers an image with signal intervention.
    That said, the 30p manages to meet 1: 1 in almost all cases, except for TVs in Europe (and maybe other places in the world, I don't know). Little cost involved (25% of storage). Improves movement, without making it clinical, like 60p.
    1/48 expose, if there is no smooth in-out of the mirror indicating the trend of the next frame, I think very little. It creates a very large gap that the digital with its implacable cuts only worsens. Here I still prefer a bigger exposure (tests in progress). Less than 360o and greater than 180o.
    More frames (30p) and a larger aperture (maybe 1/48) also softens the effects of rolling shutter. But for me this is one of the unacceptable characteristics of digital. And I think that's what the friend said that hollywood has less of that jitter effect
  4. Downvote
    ghostwind reacted to Felipe Leonardo in Why Do People Still Shoot at 24FPS? It always ruins the footage for me   
    I see that too. A mantra, repeating what they heard. Cinema Look Pull Down 3: 2. I also disagree with the dogma 1/48 shutter expose. I understand the 180o shutter for the rotating reflex camera, but today it is no longer necessary, the blur drag is not too bad compared to what it offers in quality of movement, not to mention increased exposure, when necessary.
  5. Downvote
    ghostwind reacted to herein2020 in Why Do People Still Shoot at 24FPS? It always ruins the footage for me   
    I know this is probably very controversial, but I ask myself this question every time I see a video shot in the USA at 24FPS instead of 30FPS; why did they do that? I am mainly talking about the USA because I know overseas there is PAL and 50Hz refresh rates and some other things involved in that formatting which I know nothing about. I will assume that if my TV was set to PAL and the frame rate was 25FPS it would look the same to my eyes as my TV set to NTSC and the frame rate set to 30FPS.  So back to shooting at 24FPS  or 23.97FPS in the USA...I just don't get it; I have never seen 24FPS footage (that I am aware of) anywhere other than Hollywood that does not look like its is stuttering badly at 24FPS. If there is no motion, or its a talking head, then sure I can't tell the difference; but most of the time the footage looks great....except it is stuttering along due to the frame rate when there is fast motion.
    To me and the TVs and monitors that I use to view YouTube and online content, I can almost always tell when its not 30FPS and there's nothing "cinematic" about it. I even researched the history of frame rates and I know they started out that way to save  tape media, but those days are long gone. Motion simply isn't smooth if it is not shot at 29.97FPS (30FPS) in my opinion. Somehow Hollywood gets away with it, maybe its their post processing, their camera equipment, etc. but every other footage at that frame rate is just a stuttering mess to me if its fast action or a lot of things change between frames. I have also watched a lot of videos on frame rates and they describe the problems that occur when you shoot in 59.97FPS then try to slow the footage down to 50% on a 24FPS timeline....let alone to 23.97FPS. 
    Even with Hollywood, playing a movie straight from a DVD, there's been scenes that were hard for me to watch because the frames appeared to be stuttering. So am I the only one that thinks this way? Is it something with H.265/H.264, YouTube compression, LongGOP compression, bitrates, or something else that makes 24FPS look so terrible most of the time when motion is involved?
  6. Thanks
    ghostwind reacted to joenyc in Wrote a review of Wonder Woman 1984 so you don't have to watch it!   
    These things can both be true:
    Wonder Woman 1984 was blockbuster garbage. A man crying sexism because one shitty blockbuster (out of how many hundreds?) dares to portray men in an unflattering light is whiney, entitled, pathetic, microphallytic nonsense Do you write internet diatribes every time you see a movie that shows woman as oversexualized? As objects of ownership? As conniving bitches? As ditzy morons? You don’t, because if you did your wrists would break because there are so many of them. 
    Look around you, the world is full of awful men doing nightmarish things. Why shouldn’t a clumsy blockbuster get to play with that trope as much as all the tropes about women? The film is absolutely terrible, but loads of terrible films are made by men all year round, filled with cliches and destructive stereotypes. It’s not other people making this an issue about sexism-it’s you. You have drawn a line that says stories by and about women can’t employ the same lazy filmmaking that is rife in Hollywood blockbusters. How is that not the definition of sexism?

    Also: I’ve seen literally zero hesitance in the media to call this movie lousy. Not sure what you’re reacting to, but nobody I’ve read is hailing this film as a milestone of feminism. Or even trying to defend its sheer awfulness from a filmmaking perspective.
    Like many small men, you’ve made a little internet fiefdom for yourself by spewing anger on a blog. Yawn. Perhaps turning that angry, critical eye on your own perception of women would prove instructive. Grow up, little piggy.
  7. Haha
    ghostwind reacted to Video Hummus in Blackmagic Design > RED   
    Bottom line is this camera is a game changer for BM. It’s the camera where finally a custom made sensor and BRAW come together. REDs are jewelry cameras in a way. A status symbol work tool. The Hilti power tool guys that can’t believe you used Dewalt to make your deck.
    Now what they should do is get BRAW in other brands cameras ASAP.
  8. Downvote
    ghostwind reacted to Neumann Films in Blackmagic Design > RED   
    RED had a similar reputation not all that long ago. It takes a big innovative splash to make people change ships...once they do you have a chance to shake up the market. I think this camera will make enough RED users jump ship and then it all comes down to this specific camera and how good/reliable it is. There’s no reason to think this camera isn’t how Blackmagic enters that conversation. None at all.
  9. Downvote
    ghostwind reacted to Neumann Films in Blackmagic Design > RED   
    Certainly debatable as of two days ago ☺️
  10. Like
    ghostwind reacted to Oliver Daniel in My C70 just arrived!   
    Shot 70% shot the C70 and 30% A7SIII.  More coming soon! 
     
  11. Like
    ghostwind reacted to IronFilm in Sony a7S III ... for a cinematic look/feel? Or look elsewhere?   
    Or it might be none of those, and it might be because he was looking at images created by highly skilled and experienced DoPs, supported by an entire crew who are also highly skilled and experienced. And it is that which is creating the "cinematic look & feel" that @bonesandskin speaks of. 
  12. Like
    ghostwind got a reaction from billdoubleu in Sony a7S III ... for a cinematic look/feel? Or look elsewhere?   
    Same can be said about "Proud Mary", link below. Of course these are extreme examples, with multi-million dollar budgets that allow for big productions with very expensive lenses, rigs, lighting, crews, etc. Then you have access to the best coloring and grading in post. So while it's true that it can show what the Sony sensor can do, for people here, they won't be able to get there so easily. And that's when a larger camera like the FX6/FX9 will help, with more flexibility, more I/O, etc.
    I think the key is to focus on flexibility when you are a one man band or a small crew. Which camera will offer you the most flexibility and make it easier to get the end results you seek. Yes they can all get there, but choose a realistic path (e.g. not the "Possession of Hannah Grace" or "Proud Mary" paths), and that will lead to the best camera choice for you personally.
    https://britishcinematographer.co.uk/dan-laustsen-dff-asc-proud-mary/
     
     
  13. Like
    ghostwind reacted to kye in Sony a7S III ... for a cinematic look/feel? Or look elsewhere?   
    I'm going to disagree with all the sentiments in this thread and recommend something different.
    Go rent an Alexa.
    For practical purposes, maybe an Alexa Mini.  Talk to your local rental houses and see if there's a timeframe you can rent one and get a big discount, often rental houses are happy to give you a discount if you're renting it when the camera wouldn't be rented by anyone else so have a chat with them.
    Shoot with it a lot.  Shoot as much as you can and in as many situations as you can.  Just get one lens with it then take it out and shoot.   Shoot in the various modes it has, shoot into the sun and away from it.  Shoot indoors.  Shoot high-key and shoot low key. 
    Then take the camera back and grade the footage.
    I suspect you won't do this.  It's expensive and a cinema camera like an Alexa is a PITA unless you have used one before.  So I'll skip to the end with what I think you'll find.  The footage won't look great.  The footage will remind you of footage from lesser cameras.  You will wonder what happened and if you're processing the footage correctly.  
    I have never shot with an Alexa, but I am told by many pros that if you don't know what you're doing, Alexa footage will look just as much like a home video as from almost any other camera.
    Cinematic is a word that doesn't even really have any meaning in this context.  It really just means 'of the cinema' and there's probably been enough films shot and shown in cinemas on iPhones that now an iPhone technically qualifies as being 'cinematic'.  Yes, i'm being slightly tongue-in-cheek here, but the point remains that the word doesn't have any useful meaning here.  Yes, images that are shown in the cinema typically look spectacular.  Most of this is location choice, set design, hair, costume, makeup, lighting, haze, blocking, and the many other things that go into creating the light that goes through the lens and into the camera.
    That doesn't mean that the camera doesn't matter.  We all have tastes, looks we like and looks we don't, it's just that the word 'cinematic' is about as useful as the word 'lovely' - we all know it when we see it but we don't all agree on when that is.
    By far the more useful is to work out what aspects of image quality you are looking for:
    Do you like the look of film?  If so, which film stocks? What resolution?  Some people suggest that 1080p is the most cinematic, whereas some argue that film was much higher resolution than 4K or even 8K.  What about colour?  The Alexa has spectacular colour, so does RED.  But neither one will give you good colour easily, and neither will give you great colour - great colour requires great production design, great lighting, great camera colour science, and great colour grading.  By the way - Canon also has great colour, so does Nikon, and other brands too.  You don't hear photographers wishing their 5D or D800 had colour science like in the movies. What lenses do you like?  Sharp?  Softer?  High-contrast?  Low contrast?  What about chromatic aberation?  and what about the corners - do you like a bit of vignetting or softness or field curvature?  Bokeh shape?  dare I mention anamorphics? But there is an alternative - it doesn't require learning what you like and how to get it, it doesn't require the careful weighting of priorities, and it's a safer option.  Buy an ARRI Alexa LF and full set of Zeiss Master Primes.  That way you will know that you have the most cinematic camera money can buy, and no-one would argue based on their preferences.
    You still wouldn't get the images you're after because the cinematic look requires an enormous team and hundreds of thousands of dollars (think about it - why would people pay for these things if they could get those images without all these people?) but there will be no doubt that you have the most cinematic camera that money can buy.
    I'd suggest Panavision, but they're the best cameras that money can't buy.
  14. Like
    ghostwind reacted to Video Hummus in Sony a7S III ... for a cinematic look/feel? Or look elsewhere?   
    You buy the camera you can afford. You buy the camera that is the right tool for the job. If it is really a serious question for you, then you rent all the cameras that you think you like and test them for your use cases. Maybe one camera has amazing image but a terrible workflow. Maybe another has a sweet workflow but falls on its ass in certain modes you like or need. Maybe one camera needs a crew to operate effectively.
    If you are doing wedding, documentary, lower budget commercials, or events, and you are solo or small crew than any of the higher tier cameras from Sony or Canon you really can't go wrong with (FX6, A7SIII, C70). Rent those and see which one works best for you. They all have gotchas and trade-offs.
  15. Like
    ghostwind reacted to AnthonyBert in HBO Max streaming controversy - Christopher Nolan versus Warner   
    Well they had it coming... WB did not kill anything... Nolan did. as well all the top actors and top director...Movie budget are getting completely out of hand.. Nolan took 20 million salary for tenet. How can that be justified? Top actor are paid tens of millions. Now, the last time I wanted to go to the cinema, probably 18 months ago, the tickets were £15.50 for their so called Imax experience... So 31 quid for my wife and me. imagine if we had the kids!! Well enough said... We simply didn't go. not because we can't afford it but because it's insane to spend such an amount to pay for a below par experience. the last few times I have been to the cinema in the last 5 years they were 10 to 15 people max in a 300 seat cinema... What experience is that? my suggestion... Bring actors and directors back down to earth, pay them decently.. make good film with good script and story for 25 million max, put the cinema ticket around £6-8, and I bet you that they will fill up again... or go on spending 200millions on some crap with high price ticket and the 20th century fox and the others will follow in the footstep of WB...
  16. Like
    ghostwind reacted to newfoundmass in HEVC/H.265 - Why on some cameras like the R5 & A7SIII and not on others like C300MKIII?   
    It's still a pain in the ass to edit for most people that use a lot of these lower end professional/cinema cameras, and h.264 is already in wide use at this level. There aren't really that many benefits to it, outside of smaller file size, is there? I also don't sense much of a demand right now. 
  17. Like
    ghostwind reacted to UncleBobsPhotography in HEVC/H.265 - Why on some cameras like the R5 & A7SIII and not on others like C300MKIII?   
    I think you've understood the situation quite well. h265 is more efficient, but high bit rates in professional cameras can make up for it while using less efficient codecs. h264 is a safer codec to use if you want to minimize frustration. h265 support has improved a lot recently, and will probably improve a lot the next 1-2 years, but we might end up with a situation like ProRes vs h264, where people prefer ProRes even though it's less efficient because it's easier to work with. At higher bitrates h264 will perform good enough anyway, so why not make life easier for the editors?
  18. Like
    ghostwind reacted to zerocool22 in HEVC/H.265 - Why on some cameras like the R5 & A7SIII and not on others like C300MKIII?   
    Well it would be a mistake to include h265 in a pro camera, that every editor has problems with. If they would include prores or any other pro codec on the R5(besides the cripple hammer overheating limit), the sales on the Canon cinema series would take a big hit. 
  19. Like
    ghostwind reacted to Kisaha in Canon Cinema EOS C70 - Ah that explains it then!   
    when you are in the field you want to be able to work fast and reliable.
    There are reasons some cameras cost 2000 and others 5000. First of all I have spend hundrends of euros for Tilta cage/powering/CFast/SSD/Nano focus/front ND and IR filters (just order a Hoya for that) that are not convinient to work with, and still searching for a better vND than the ones I have/sound options/weird body, e.t.c
    With the C70, just add another battery, 2 SD cards, and you are ready to go. No need for building anything on the field, or worry that everything will work, and I work H265 since 2015-2016 with my first NX, so it is nothing to me..
    I will say it again, professionals want to worry LESS on the filed, less is more, less is safer, less is better.
    I never use my Pocket, because I do not want to worry about hanging cables, SSD drives and USB C connections (I bought the CFAST back then for 500euros because I didn't want to worry about loosing footage), then I have to add the NPF adapter, a Focus monitor, various things on and in and around the Tilta cage, and other stuff..
    Working with - cheap- cine cameras is liberating, even if it is 2 or 3 times the price of a GH5S or a P4K.
    Building setups like Lego are destined for huge productions at the top of the industry, or exactly the opposite on the lower end. Where most work happens, in the middle, people prefer all in one solutions, yes, even camcorders, mind you, imagine the C70 has the price of some of those camcorders!
  20. Like
    ghostwind got a reaction from BenEricson in Canon Cinema EOS C70 - Ah that explains it then!   
    Agreed. This thread is mostly about codecs, but to me the ergonomics are just as important. Having named it the C70, that leaves some hope that perhaps they will have a C100MKIII at some point, full XLR, BNC?, larger/modular form factor/ etc. for $2K more. Dunno. Many are saying this IS the C100MKIII, but then they would have called it that no?
  21. Like
    ghostwind reacted to Towd in Canon Cinema EOS C70 - Ah that explains it then!   
    In regards to Raw vs Log formats, while its nice to have a the ability to change color temp and ISO in RedRaw, etc.  The Kodak Cineon system, a 10 bit RGB 4:4:4 Log format was the gold standard for over 20 years when scanning film for digital processing in VFX and later for Digital Intermediates.
    https://en.wikipedia.org/wiki/Cineon
    Every post house on the planet worth its salt should be comfortable delivering professional results using a 10 bit log "digital negative".  It wasn't until the rise of HD video acquisition over the last 10 years that raw became a thing.  And the early reaction to Red's raw format was mostly met with derision due to its lossy (gasp!) compression format.  Attitudes have definitely changed as people got used to the new formats.
    I think the big step up in the video/DSLR space was when we went from 8-bit video recording to a 10-bit log format like the GH5 offered.  The 8-bit log formats from Technicolor's Cinestyle, to C-Log, S-log, V-log are just too prone to banding and color artifacts when pushed heavily.  The ability to shoot raw is nice, but 10 bit log is a totally viable format for any post house to work with and deliver great results.
  22. Like
    ghostwind reacted to newfoundmass in Canon Cinema EOS C70 - Ah that explains it then!   
    That's my thinking too. I actually prefer the C100 style body for this reason. 
  23. Like
    ghostwind reacted to gt3rs in Canon EOS R5 / R6 overheating discussion all in one place   
    There is only HQ up to 30, 60 is lineskipped/binned, 120 is internal only the same for 8k at the moment.

    From the test that I saw external "unlimited" without card is HQ but another test would not be bad..
  24. Like
    ghostwind reacted to mechanicalEYE in Canon EOS R5 / R6 overheating discussion all in one place   
    No when you pull the card and record externally it seems to allow HQ recording for sure, but it also allows longer record times in HQ modes without overheating.
    I'd be really interested in hearing the outcome of your test on this.
    Hilarious!
  25. Like
    ghostwind reacted to mechanicalEYE in Canon EOS R5 / R6 overheating discussion all in one place   
    It's been
    Yes, It's been posted...  I believe Gerald Undone confirmed there was no quality change when shooting in HQ modes through the Ninja, and mentioned a drop in sharpness with the normal 4K modes. 
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