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Jay60p

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  1. A good reason to use electronic shutter is to prolong the life of your mechanical shutter. Today I saw online there is a class action lawsuit against Sony for a7III camera mechanical shutter failures: “Numerous users report shutter failures far below 200,000 but between 10,000 and 50,000 for most of the users who experienced this,” the complaint states. “While the a7iii is generally sold with a one-year warranty, shutter failure occurs randomly, often outside of the warranty period.” Just one 12 minute movie film I digitized with the Fuji X-T3 had about 17,280 jpeg frames shot indi
  2. I dug up my two dozen issues from the 1980’s, and they are a real blast from the past for me. I’ve signed on and have been downloading full pdf editions from the past 60 years with articles and photos I’ve never seen before. Another magazine I liked in the 80’s is CINEFEX. Sadly, they have just put out their final issue, about The Mandalorian. My few 1980’s issues had about 80 pages with no advertisements, and great behind the scenes color photos of shot set-ups. That mag was also too expensive for me to keep up a subscription at the time. If they had
  3. Jay60p

    Scanning film

    What, you don’t like my elephant?!! What is even more amazing is the price this scanner is going for on Amazon today, 3 grand! Here is plenty of details about the Coolscan: https://www.filmscanner.info/en/NikonSuperCoolscan5000ED.html ScanDig’s opinion on scanner rankings (don’t know anything about this guy) : “The best film scanners which are available or which were ever available, respectively, are those of the last generation from Nikon, i.e. the Coolscan V ED, Super Coolscan 5000 ED and Super Coolscan 9000 ED. No other scanner has ever achieved the image quality, perform
  4. Jay60p

    Scanning film

    Further testing shows two 80b filters are not needed, one should be enough to reach a white balance comfortably within reach of a digital camera. Find a blank frame or unexposed section of a negative film strip, and auto-white balance the orange out with with an 80A or 80B filter or gel between your light source and the film. One blue filter under a blank orange 35mm frame brings my camera’s white balance to about 3800K on my light box. Two filters bring it up around 5600K, and it will vary between different film types. After the orange is auto-balanced out, the actual color
  5. Jay60p

    Scanning film

    Here are results from my 1st experimental 35mm full frame negative capture with an X-T3. From my years of shooting Kodachrome long before digital, I had color filters for adjusting daylight film to tungsten, and vice versa. I had noticed that the orange color of negatives was similar to two stacked #85b filters. 85’s are used to adjust tungsten balanced reversal films to sunlight. Therefore the logical correction for two 85’s would be two blue #80B filters stacked together, filters used for the opposite of 85’s - adjusting daylight balanced film for tungsten light. First, h
  6. Jay60p

    Scanning film

    I’ve started with my positive movie film scans first, using the X-T3. I have a lot of negative too, will experiment with that next. I found this to try, for negative video: http://www.filmlabs.org/index.php/technical-tips/invertcolorneg/ This free plugin is for apps that support OpenFX, such as Resolve or the open-source Natron. If you try it, let us know how well it works.
  7. I still have the camera files for all of 2020 that I shot from the X-T3. I checked the metadata in some sunny day shots. The brightest would be the beach shots last summer. I had set ISO 320, Fuji 10-24 zoom at f9 to f13, shutter speed 1/100 to 1/160 at 60p, and the polarizer measures about a one stop drop. All set manually. There were A few odd shots like ISO 500 at 1/250th, I probably wasn’t paying attention. I’m not after soft focus backgrounds so I don’t need f4. I like the wide angle look. I wade out Into the water (ocean bay, small waves) to get shots of the kids, cam
  8. I downloaded that video "Canon Beach Cinematic" to play in quicktime player a frame at a time. That one shot at 0:28 plays 4 frames then skips the 5th. That would happen with a 30p shot edited on a 24p timeline, Subtract 1/5th of 30 and you get 24. The jitter you see is the little jump at every (dropped) 5th frame. The rest are 24p frames rendered at 24fps so look fine. (I like to use ClipGrab on Mac for downloading youtube video, it is not a browser plugin, it is an app that runs on its own.)
  9. 30fps would help a little for lowering outdoor exposures. Do you see a difference between 24 & 30 motion? Outdoors I use a polarizer, I want the blue sky and foliage colors it gives plus it lowers exposure. On top of that at 60p I will go from 1/60 to 1/80 or 1/96 sec if needed, so I also never needed to use a ND. I do have a graduated ND filter that will darken just the sky, but rarely think to use it.
  10. Excellent post. Always good to understand how different our experience can be. I have done X-T3 24p experimentation, camera on tripod, shooting classic Hollywood style. So stationary shots, no zooms, only panning to follow a moving subject. The results look fine in these conditions. I would have no problem shooting a drama like this. But usually shooting at home, I need to pan & walk around, hand held. What bothers me most with 24p is panning from one POV to another without a moving subject for the eye to lock on. Even in the theater or Blu-ray playback, this kind of pan bother
  11. You wrote a long response to my earlier post and I see now it looks like I dismissed it in my answer. Actually I read it through several times. It contained quite a bit I never heard of. Obviously you’ve been down many rabbit holes before I started with mirrorless, and I’m happy to read your reports on them. I know the frustration of getting stuck in one, I no longer have any stomach for them myself. I know how much time you’ve devoted to 24p, and I assumed you would have an opinion on a shutter speed for 60p. If you never shoot 60p and don’t like it at any shutter speed,
  12. Let me ask this another way. Let’s assume 24p looks fine on the right equipment and has the classic cinema look when shot Correctly. But what if you were given the job of providing a video, with only your GH5, that most closely matches real world human vision? I don’t expect perfection here. Say for instance, you are asked to provide a video projection used in a Disneyworld simulation ride, where It needs to appear “real”. (In the ‘80s, Douglas Trumbull’s famous answer to this question was Showscan, now obsolete.) I am talking about deciding between the usual 30p to
  13. and probably: poor run & gun ergonomics. overheats before the sixth month. micro HDMI.
  14. Wow. Kubrick often shot with the 200ft magazine, that lasts 2.2 minutes. My Arri 400 foot magazine lasts 4.4 minutes. So 1 year = 90ft/min x 60min x 24hours x 365 days = a 47 million, 304 thousand foot magazine. That’s a magazine weight of about 266,000 pounds. Is that camera on Ebay?
  15. Yes, the waving the hand before your face test! I’ve done that with the X-T3 at 60p to see what shutter speed mimics reality the best. And the 180 degree “rule” fails completely here, the motion is too stroboscopic at 1/120th. 60p at 1/60th shutter works for me. It looks most like my real hand waving before my eyes as far as motion blur is concerned. There are no small increments of time left out at that setting. Just like seeing with the naked eye. Thats how I shoot at home. But that’s not what we want for narrative story telling. We want to be immersed in an alternate rea
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