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Jay60p

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  1. I agree there, the 8K will probably not be 60p. My normal everyday video will still be 4K60 with X-H2, We won't know the details till maybe next year. Its a new sensor. Yes you have a great setup for your work now. Same here, for 95% of my stuff the X-T3 is still more than enough. Even if X-H2 is what I expect it will be, I still will probably wait till it's been out long enough for the first discount at B&H.
  2. I don’t see any sacrifices yet, unless you mean a lower price. If I recall correctly, you had wanted a specific type of zoom lens for your wedding work that was not available for the X-T3. Was it for a stand-alone tripod set-up? With 8K you might only need a prime lens. In an event situation where an unmanned camera is set up for an overall master shot without an operator, 8K allows you to pick and choose the view afterwards, at your leisure in your NLE software. A lot of us have already done this with 4K in a 2K timeline, but only within 2X magnification. With 8K In 2K timeline, you have the ability to do a smooth zoom or cut up to 4X magnification, which is more than the Fuji cinema zooms can do (3X), by just using a sharp prime lens. Plus you can pan sideways at the same time, with software keyframes. Start with an 18mm prime, you can scale it to any focal length up to to 72mm inside an 8K frame. A 50mm prime will cover 50 to 200mm. You pick the prime for the area the camera will need to cover. Try a 400% scale-up zoom to see the power this can have. The 8K frame covers four 2k frames in a row. I have shot school plays and concerts and sports where I have a seat in the audience and one camera, and a small tripod. Everything will happen inside a limited space. I have two options: letting the camera run in wide angle to cover the entire stage, which gets old pretty fast. But it allows me to sit back, relax, and enjoy the show. Option 2 is to manually run the camera to follow the action with tighter shots, which gets you in closer but often misses things suddenly happening stage left! With 8K for 2K I can do both, relax & watch the show and cover the action later in software, And not have to miss anything unexpected happening just out of my zoomed-in view. This is a fantastic option 8K gives me. I wish it was available years ago, at my price range, around $2K. So, for me, 8K for unmanned event coverage is like slow motion, something which you might not use 95% of the time, but in that other 5%, it's an amazing option.
  3. I would find 8K captures useful for my 4K timelines, And even more so for 2K: Software pans, tilts, zooms, possible inside the 8K frame. No loss in picture quality from stabilization with 6 or 8K reduced to 4K. Super clean chromakeys. Thats the sort of thing I look forward to, not 8K timelines.
  4. Yes, It doesn’t make sense to be developing two X-H2 prototypes. But different sensors, maybe. Today Fuji Rumours has yet another message: Future Fuji X cameras will no longer use X-trans IV sensors. In that case it would make sense for them to to be developing a new 8K sensor and a new 4 or 6K sensor, to cover entry level 4K bodies as well as 8K top-of-the line X-H2. (I'm assuming the 4-6K sensor has a lower manufacturing cost than the 8K!)
  5. Do you mean sensor prototypes or X-H2 prototypes? I took it to mean sensors at first, Andrew is assuming X-H2.
  6. There’s another new Fuji Rumours post about the “monstrous” X-H2 in 2022, predicting a new sensor & processor for 8K. What new APS-C sensors will do 8K video? and will any of them do 59.94p at 8K?
  7. Rumoured Fujifilm X-H2 with 8K DCI/UHD Video Coming 2022: https://www.fujirumors.com/fujifilm-x-h2-with-8k-dci-uhd-video-coming-2022/ I'm in no rush for 8K this year. But looking forward to it eventually, along with the M2 Mac.
  8. 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 individually, motorized at one per second (12 X 60 X 24fps). Having the electronic shutter is a life saver for this, and for time-lapse & stop-motion. (Mac plug: FCPX with 8GB memory had no problem loading and processing 17 thousand stills, rendered to 24fps video.) Having worn out the mechanical shutter in a previous DSLR on time-lapse, I now use electronic shutter for just about everything, except electronic flash. From the X-T3 manual: The following restrictions apply when the electronic shutter is used: • Sensitivity is restricted to values of ISO 12800–160 • Long exposure noise reduction has no effect • The flash can not be used
  9. 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 the same offer as American Cinematographer, I’d grab that even faster.
  10. 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, performance and reliability of these top scanners, except from the Hasselblad Flextight scanners. Too bad, that Nikon has given up its film scanner production in the year 2009.” https://www.filmscanner.info/en/FilmscannerRangliste.html I've used my CoolScan V ED since 2005 for 35mm Kodachrome and Ektachrome. Slow scanning but excellent results.
  11. 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 of the shot (emulsion) is left for grading. I was so used to seeing color negatives on orange masks that the bluish X-T3 results looked wrong. But I inverted a random bunch of photos to negative and found the overall bluish tone to be normal for my shots, orange areas show up only in deep blue areas such as blue skys.
  12. 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, here is an old Nikon CoolscanV capture of the negative for reference: a casual shot in a museum on a family trip years ago. I wanted to see how close the X-T3 with 80B filters could match it’s color… I shot the negative on a daylight 5000K LED Lightbox, with two 80B blue filters under the negative. The X-T3 had a 50mm Fuji enlarger lens on bellows. White balance was at sunlight (5000K), ISO 200, 6K JPEG. My main question was - would double 80b filtering remove the orange to the extent that grading would not need to be drastic? (However I spent more time to get the settings in this camera for the best raw result for this particular negative for least amount of grading. I found that it needed a boost in contrast and color. I used Fuji’s Classic Chrome, color +4, dynamic range 100, Highlight and shadow tones +2, and exposed +2/3 stop brighter so the whites don’t get clipped. But no color shifts.) I reversed the negative to positive in GraphicConverter, and Imported into Final Cut Pro. I adjusted the color with curves, reduced red in the shadows and reduced blue in the highlights. Here’s X-T3 capture after final grading in FCPX: It doesn’t match the quality of the Nikon scanner, but better than I expected. (I have a binder full of plastic pages full of color negatives and the orange color among them can vary quite a bit, so grading could vary quite a bit.) The SOOC capture (JPEG) and inverse: Grading In Final Cut: My purpose for testing capturing negative is to prepare for digitizing my personal 16mm film, a frame at a time, using a Siemens projector being run off a geared down motor, similar to what I did with the Arri II for 35mm. That’s why I graded in FCPX. I can’t use the CoolscanV for that! P.S. I just looked online to see if other people are using blue filters. I found one person who suggested particular Cingel filters of colors similar to double 80b, here: https://photo.stackexchange.com/questions/70225/how-to-invert-color-negative-scan-via-dslr-without-clipping-the-red-channel However most other posts are suggesting using RAW image color grading, with varying techniques of removing the massive amount of orange after it is in the shot. I will be using JPEG files, RAW is not required if the orange is already filtered out.
  13. 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.
  14. 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, camera low just above the water, around 10 to 20mm. Got to be quick to avoid getting splashed! I really love white clouds against deep blue skys and wouldn’t want to exchange the polarizer for an ND. The only time I put two filters on one lens is for time-lapse at very slow shutter speeds, say 1 second per frame, for the classic motion blur. Then I’ll put on two polarizers and spin one to darken way down. I suppose If I ever had to do f4 in sunlight, I could do the double polarizer thing. So that is my experience, it’s a different look and it’s not very difficult. From your new post, I now understand you’re doing shallow DOF at 24p, in sunlight. Yes, 30p or polarizer don’t do it. Thats a challenge.
  15. 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.)
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