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Jay60p

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  1. Like
    Jay60p got a reaction from Tim Sewell in American Cinematographer Special Offer   
    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.
     
  2. Haha
    Jay60p got a reaction from SR in Fujfilm Product Announcements - 27/01/21   
    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?
     
  3. Thanks
    Jay60p reacted to MrSMW in Fujfilm Product Announcements - 27/01/21   
    That’s the deal breaker right there for me.
    I could compromise on the rest, but I might have gone on holiday at that time and if it stopped recording while I was away for those 2 weeks...
    Actually, now I think of it, that is ridiculous. Holidays and especially international travel are a thing of the past so not an issue.
    How does it compare with the Panasonic G100? I’m mostly interested in vlogging.
  4. Thanks
    Jay60p reacted to fuzzynormal in Why Do People Still Shoot at 24FPS? It always ruins the footage for me   
    As you say, 60fps, shutter speed of 60.
  5. Thanks
    Jay60p reacted to kye in Why Do People Still Shoot at 24FPS? It always ruins the footage for me   
    No offence taken!  
    I've played with shutter angle and waving my hand on front of my face and I've gotten a sense of how 24p is different to reality.  The subjective experience for me is that 24p has a 'look' which is made to look the least un-natural by having a shutter angle somewhere in the 120-240 degree range, depending on your mood and if it's dark etc.  
    But the thing is that 60p doesn't look more neutral to me, it looks like it has about the same amount of a 'look' in comparison to reality that 24p does, but the aesthetic of that look is very different.  
    24p seems to have a kind of 'heightened sense' aesthetic, like realty can have in moments of strong emotion.  Kind of like the visual component of "time slowed down" and in a sense it's an effect that kind of increases the romance and emotion and depth and pain and very texture of experiencing the world as an emotional animal.  
    60p has an aesthetic that makes reality seem like every atom has been lubricated and everything is kind of slipping all over itself, kind of like everything is falling in slow-motion except that it's doing it at the speed of reality, and perhaps a little bit too fast for comfort.  It has an aesthetic like the love child of slipping over in the bath, being scammed by a con artist that was so good the only warning that you got was that everything was happening slightly too easily, and what I imagine it would be like taking pills that make you smarter and give you superhero reflexes.
    In my mind, 24p has a more relatable aesthetic, it fits with things that I occasionally experience in my sober real-life, but it's also familiar from watching movies and TV, so that's an advantage too.  60p has an aesthetic that I have never experienced in sober real-life.  24p disappears but 60p never seems to fade-away into the background, it's like I've had my brain downloaded into a robot body and somehow they got the code wrong.
    My answer to your question about what to film for a simulation ride was 60p, but not because it mimics reality, but for two reasons - the first is that in motion-simulations it's been shown that lower frame rates make people nauseous and that it doesn't look like reality or like 24p.  So people would come out of the ride having kept their lunch and having had an experience that they'd say "wow, it really was an experience" rather than say "I watched a movie and the seat moved".
    Talking about frame rate and shutter angle to mimic reality is like talking about drawing with crayons to mimic a moving sculpture - there's enough similarity to make it seem reasonable to ask the question but only good enough to choose between fundamental challenges that cannot all be met.
  6. Like
    Jay60p reacted to IronFilm in Fujfilm Product Announcements - 27/01/21   
    Yes.

    But the shipping will bankrupt you.
  7. Haha
    Jay60p got a reaction from IronFilm in Fujfilm Product Announcements - 27/01/21   
    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?
     
  8. Like
    Jay60p got a reaction from fuzzynormal in Why Do People Still Shoot at 24FPS? It always ruins the footage for me   
    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 reality, and for us right now 24p works best for that.
    And 16fps still works fine for Buster Keaton.
    I find these frame speed opinions fascinating, its all about how the mind/brain works,
    and our cultural training & history. If Hollywood had developed a 48fps standard, who would
    want to shoot 24p? It wouldn’t look like Cinema!
    Maybe we are all brainwashed by the mechanical & financial limitations of a small group
    Of engineers over a hundred years ago.
     
  9. Thanks
    Jay60p reacted to BrunoCH in Fuji X-T3 / X-T4 sticky topic   
    You can read this, on this page
    https://www.doc-diy.net/photo/remote_pinout/
    Fuji (Fujifilm)
    Fuji has currently three types of wired shutter release connectors.
    2.5mm Jack Plug
    Some of the Fujis have the standard 2.5mm jack socket to connect the microphone. This socket also serves as a shutter release socket. The wiring is compatible with Canon and Pentax (see above) and cheap remotes designed for these brands can be used. 
    So the fuji remote control works like the RS60-E3 cannon remote control.
    And you can read this on this page
    http://www.camerahacker.com/RS60-E3_pin-out/pin-out.php
    When the button on the remote control is pushed half way, contact section 1 and 2 are shorted together, causing the camera to focus. When the button on the remote control is pushed all the way, all three contact sections are shorted together, causing the camera shutter to be released. Pin 1 is actually the ground connector. Therefore, it's pin 1 and pin 3 that causes the camera to trigger.
    1 - ground
    2 - focus
    3 - shutter
    When you build your own camera interface, you can split the auto-focus and shutter release function by using two switches or use two independent circuits.
     
    Now I think I have everything I need. I will try to build my trigger button this weekend. I will use wire 1 and 3 on the momentary button and hide and protect wire 2. 
  10. Haha
    Jay60p got a reaction from newfoundmass in Fujfilm Product Announcements - 27/01/21   
    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?
     
  11. Like
    Jay60p got a reaction from BrunoCH in Fuji X-T3 / X-T4 sticky topic   
    Yes, I like that. I hope it works safely that way, that makes things a lot easier.
     
  12. Haha
    Jay60p got a reaction from ghostwind 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.
  13. Like
    Jay60p reacted to BrunoCH in Fuji X-T3 / X-T4 sticky topic   
    Thanks Jay60p for the answer, but I think the diagram is more like the one I corrected. Just thinking about how the stereo audio is connected. I think I'll try to connect only 1 and 3 on the momentary button and I won't use 2. Just to trigger the rec. but I'll continue to do some internet research first.  

  14. Thanks
    Jay60p got a reaction from BrunoCH in Fuji X-T3 / X-T4 sticky topic   
    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, the camera will
    always be in half press mode. I tried this and it works on my X-T3, you should try it on X-T4.
    I would investigate this further online, maybe talk to Fuji support.
     
  15. Thanks
    Jay60p got a reaction from BrunoCH in Fuji X-T3 / X-T4 sticky topic   
    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.
     
  16. Thanks
    Jay60p got a reaction from BrunoCH in Fuji X-T3 / X-T4 sticky topic   
    Here is a diagram I worked out for the X-T3:

    This is what I found inside my Vello remote for X-T3.
    I attached external wiring to 2 & 3 for remotely firing off frames when digitizing my Arri II 35mm timelapse footage, a frame at a time run by a geared down motor. The X-T3 results are excellent. My major project at the moment.
     
  17. Like
    Jay60p got a reaction from kye in Camera owning plans 2021   
    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 color walls and less busy backgrounds can come out as low as 10-20Mbps.
    I compared test files like this:
    Open the test movies in Quicktime player windows.
    In one of them go to the menu “Window / merge all windows”. 
    This puts them all in one window with tabs along the top for each video.  
    Find the same frame In all the movies, and set all at the same magnification.
    Do an instant back & forth comparison by clicking on the tabs.
    Comparisons at high magnification shows a tiny bit of softening in the Handbrake image compared
    to the original, not visible at normal magnification, at a fraction of the of the original camera bitrate.
    It seems to me that the speed of compression processing affects the IQ as much as the bitrate.
    In other words, letting Handbrake run a compression slowly at 5 frames a second (resulting in a 20Mbps variable bitrate “constant quality” file) can give the same IQ as the original camera file did in real time at 60 frames per second (at 200Mbps “constant bitrate”.)
    More time/frame makes sense when you look at what happens in the algorithm settings Handbrake uses for compression as you change the slider under encoder options from fast to slow.
    For example, h264 10bit, slider at “medium” shows the following settings:
    x264 Unparse: level=4.0:vbv-bufsize=75000:vbv-maxrate=60000
    compared to slider at “very slow”:
    x264 Unparse: level=4.0:ref=5:bframes=8:b-adapt=2:direct=auto:analyse=all:me=umh:merange=24:subme=10:trellis=2:vbv-bufsize=75000:vbv-maxrate=60000:rc-lookahead=60
    Going from 200Mbps to 20 or 30Mbps for comparable IQ was a surprise.
    This is probably common knowledge for Handbrake users, but I haven’t seen it discussed (or I missed it).
    Happily this means I can archive an excellent master at a fraction of the original 200Mbps.
    And fit everything on a flash drive for the TV’s USB slot.
    To get back on topic, I usually go at least five years between cameras, which means I might still have
    three more to go with the X-T3. I have oversampled 4K60 DCI 10bit, Fuji fixed the auto ISO stepping, I got the lenses and accessories I need so I’m fixed indefinitely.
    Now if Sony 4K projectors would come down in price…
  18. Like
    Jay60p got a reaction from Chxfgb in Camera owning plans 2021   
    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 color walls and less busy backgrounds can come out as low as 10-20Mbps.
    I compared test files like this:
    Open the test movies in Quicktime player windows.
    In one of them go to the menu “Window / merge all windows”. 
    This puts them all in one window with tabs along the top for each video.  
    Find the same frame In all the movies, and set all at the same magnification.
    Do an instant back & forth comparison by clicking on the tabs.
    Comparisons at high magnification shows a tiny bit of softening in the Handbrake image compared
    to the original, not visible at normal magnification, at a fraction of the of the original camera bitrate.
    It seems to me that the speed of compression processing affects the IQ as much as the bitrate.
    In other words, letting Handbrake run a compression slowly at 5 frames a second (resulting in a 20Mbps variable bitrate “constant quality” file) can give the same IQ as the original camera file did in real time at 60 frames per second (at 200Mbps “constant bitrate”.)
    More time/frame makes sense when you look at what happens in the algorithm settings Handbrake uses for compression as you change the slider under encoder options from fast to slow.
    For example, h264 10bit, slider at “medium” shows the following settings:
    x264 Unparse: level=4.0:vbv-bufsize=75000:vbv-maxrate=60000
    compared to slider at “very slow”:
    x264 Unparse: level=4.0:ref=5:bframes=8:b-adapt=2:direct=auto:analyse=all:me=umh:merange=24:subme=10:trellis=2:vbv-bufsize=75000:vbv-maxrate=60000:rc-lookahead=60
    Going from 200Mbps to 20 or 30Mbps for comparable IQ was a surprise.
    This is probably common knowledge for Handbrake users, but I haven’t seen it discussed (or I missed it).
    Happily this means I can archive an excellent master at a fraction of the original 200Mbps.
    And fit everything on a flash drive for the TV’s USB slot.
    To get back on topic, I usually go at least five years between cameras, which means I might still have
    three more to go with the X-T3. I have oversampled 4K60 DCI 10bit, Fuji fixed the auto ISO stepping, I got the lenses and accessories I need so I’m fixed indefinitely.
    Now if Sony 4K projectors would come down in price…
  19. Like
    Jay60p got a reaction from Xavier Plagaro Mussard in Apple M1 crushes Intel – benchmark results   
    And here is the best basis for selecting a computer, the operating system you are happiest with.  Most important I think.
    Mac users have traditionally paid more for Apple hardware than PC users paid for Windows hardware, precisely for the same reason, that they prefer the OS. (I am one of those.)
    But now for the first time (?) Mac users can pay a little less.
     
  20. Like
    Jay60p got a reaction from Emanuel in Apple M1 crushes Intel – benchmark results   
    And here is the best basis for selecting a computer, the operating system you are happiest with.  Most important I think.
    Mac users have traditionally paid more for Apple hardware than PC users paid for Windows hardware, precisely for the same reason, that they prefer the OS. (I am one of those.)
    But now for the first time (?) Mac users can pay a little less.
     
  21. Like
    Jay60p got a reaction from IronFilm in Fuji X-S10   
    Recently most of the forum topics have been about new FF cameras for $3-5 thousand, but I bet 90% of views on this forum are from people looking to spend $1000 or less.
    Even in the USA the average family savings account is only about the price of a new car, and for age under 35 the average is $10,000.
    If you do mostly hand held shooting and don't care about 4k60p, the X-S10 is the obvious choice for the IBIS.
     
    I compared the After Effects stabilizer (same as Premier?) doing walking/running torture tests, and the Final Cut Pro InertiaCam stabilizer was much better.
    I haven't tried Resolve.
     
  22. Like
    Jay60p got a reaction from karin in Fuji X-S10   
    Recently most of the forum topics have been about new FF cameras for $3-5 thousand, but I bet 90% of views on this forum are from people looking to spend $1000 or less.
    Even in the USA the average family savings account is only about the price of a new car, and for age under 35 the average is $10,000.
    If you do mostly hand held shooting and don't care about 4k60p, the X-S10 is the obvious choice for the IBIS.
     
    I compared the After Effects stabilizer (same as Premier?) doing walking/running torture tests, and the Final Cut Pro InertiaCam stabilizer was much better.
    I haven't tried Resolve.
     
  23. Like
    Jay60p got a reaction from karin in Fuji X-S10   
    according to this interview
    (https://www.imaging-resource.com/news/2020/09/04/fujifilm-interview-covid-gfx-strategy-shrinking-ibis-300K-cycle-shutter)
    X-H2 will come with "some sort of breakthrough", "something more revolutionary".
    Possibly global shutter? oversampled 6K60? AI boosted AF?
    Since they appear to be very ambitious for the X-H2, I am willing to wait. X-T3 is still all I need now.
  24. Like
    Jay60p reacted to Kisaha in Fuji X-S10   
    Yes, thank you, but where is it?!
    They have to act fast, most people in business I know will get a Canon from now, till Christmas. Canon will "dominate" the video market again.
    It has been at least 2 years since the XH1, it wasn't a huge success, I thought they learned by that release, "smaller" companies have to do a couple of right moves to put them ahead the curve, BM does alright, Fuji had a few nice releases lately, but they have to be pro active, and get ahead.
    Also, they need some better "video" lenses, less breathing, some kind of parfocalness, I.S on hybrid lenses (a better 16-70mm 4f, this one is a very expensive dissapointment), the excellent 10-24 on a newer version, e.t.c
    Their ecosystem is 95% photocentric right now, and do not tell me about their 2 manual MK lenses, they are nice, but not enough, and certainly not up to what we expect in 2020-2021.
  25. Like
    Jay60p got a reaction from tupp in Is full frame really necessary?   
    A few thoughts on this topic:
    1) I would have expected this equivalency theory would have been tested more reliably by still photographers at the numerous
    photography forums long ago. They use a much wider range of format sizes than the video people here at EOSHD.
    If not, it could be there is just too many variables to control, or no consensus on the methods to use.
     
    2)  I would suggest using a 4x5 sheet film camera (8x10 is at $15 a shot!) and limit the test to manual lenses.
    Mount all lenses on a 4x5 lens board and take a 4x5 shot for each, to be scanned for viewing.
    This way the camera does not change, the sensor does not change, no digital transformations are done in camera.
    The different lenses would have different size image circles in the 4x5s, so would be of different resolutions,
    but that should not effect the depth of field comparisons much.
     
    I did look at the SLR primes with the Turbo II speedbooster. It shrinks the first fringing seen, but it includes more of the edges of the
    image circle, with more CA, so overall the fringing looked the same. It really is not a big problem, in video it will never be noticed unless
    you look for it, it's more of a problem in still photos.  I use these SLR primes for stop-motion and time lapse, where you don't want any
    communication with the camera that changes the lens settings.
     
    Here is a review of my favorite Fuji lens that includes comments on the in-camera corrections (CA, vignetting, distortion) for anyone
    unfamiliar with this: https://opticallimits.com/fuji_x/887-fuji1024f4ois?start=1
     
    My question is, what about the third party lenses? Do the mirrorless cameras generally apply in-camera corrections to
    Sigma, Tokina, Tamron, that come in their lens mounts?
     
     
     
     
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