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Jay60p

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Everything posted by Jay60p

  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
  16. I was actually editing what I posted because the text got chopped up, then your reply was announced! then I realized I had taken too long on my edit, it would not save. Oh well. Yes I edit out the nasty or unpleasant stuff. I love the look of narrative camera work and actually do try to get the shots play cinematically. I spend a lot of time on the editing which is why I now have a big backlog of footage to do. And I also often do camera test shots, often I end up keeping because of who is in them. For many years I could shoot my family with no one paying any attention to the
  17. Thats very interesting to me, because I am shooting the same things with the opposite preference. I do like cinema's impressionistic effects so I understand what you'e saying. So you would have little use for 60p, or 4K even. That makes sense. You prefer to make a movie, not a documentary. There was a science fiction story in which there was a special window glass, called "slow glass". Light would enter it but take many years to pass through before it came out the other side. Characters in the story could see their loved ones alive as they were many years ago, on the other side
  18. Yes, I like that. I hope it works safely that way, that makes things a lot easier.
  19. The trouble with that wiring is you need intermittant use of half press for AF-S focusing. It also stops focus check (hi magnification) from working in manual focus mode. And probably interferes with a bunch of other things, like no playback! It may be that he just directly connected 2 and 3 contacts to the switch , but I won't try that unless it's been shown to be safe by a reliable source online.
  20. That looks like a single pole, single throw, momentary closed switch. Possibly what he did, in that video, was connect the 1 & 2 contact wires in the Vello harness to one switch terminal on the push button, and the contact 3 wire to the second switch terminal. Using the push button in this way would be the equivalent to holding the camera's button down half way during switching it on, then full press for recording (and back to half press), full press for stop recording (and back to half press), then turning off the camera (while holding half press). In other words,
  21. 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.
  22. OK , here is how I soldered this thing. However this has occured to me: WARNING: I always have the camera in “half press” activated mode (contacts 1 and 2 closed) before firing shots with another external remote switch (closing contacts 2 and 3). The camera, and Vello remote, were not designed to close 2 & 3 without simultaneously closing 1 & 2. For all I know, closing just 2 and 3 alone could damage the camera electronics. I'm calling the top metal contact 1, the middle is 2, the bottom is 3. My Soldering:
  23. Yes, but I only needed two wires to B & C. I wired up the remote to use my Arri IIB for digitizing it’s own 35mm shots. For anyone interested, It is a very low-tech DIY setup: The Vello remote has a switch you can push forward, locking it it in the “full press” Mode. But I isolated C contact with tape so the X-T3 did not take a shot, leaving the camera In the “half press” ready mode. I soldered short wires to B and C and attached them to two small screws I set in the case. I could then attach an external connection running to the contact switch at the
  24. I agree. I would add that "constant quality" (variable bitrate) works best for me. Here’s what has surprised me over the past two years with mirrorless video: I shoot 4K 60p in-camera at 200Mbps H265 10bit. When I re-compress this to H265 10bit In Handbrake (at many times slower than real time) at the RF 19 setting with “constant quality”, I get near identical image quality at only 10Mbps to 60Mbps depending on the subject matter. The scenes at higher bit rates (50-60Mbps) are outdoor shots with a lot of complicated textures from trees, grass, etc. But indoors shots with solid
  25. Apple is doing Windows users a big favor. It’s been mentioned elsewhere online that Qualcomm and Microsoft are working on ARM for windows. Apple’s M1 challenge is like the Russians sending up sputnik, no doubt it will accelerate Microsoft and the PC chipmakers work on Windows ARM. Everyone will have excellent machines for their preferred OS. Is your Current PC working smoothly for your camera’s video? I don’t need an M1 at the moment since I don’t use an 8K 422 camera and won’t for at least two years (Fuji X-H2?). Right now I am still amazed with my X-T3 and Intel Mini with T2
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