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RawZion

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  1. I'm very curious about what Andrew mentioned, that GPUs can't hardware accelerate 10 bit 422 footage. Is that only when it's compressed in-camera, or is there the same issue with Atomos-produced ProRes 10 bit 422 footage? Please don't say I have to buy your software to discover for myself (I bought a lot of your picture profiles and use them, they're great but this is just a one-question one-answer thing)
  2. I hope this is a joke right? You buy Canon's expensive camera, and then need to spend at least a thousand extra to rig it up with another device that is really difficult to work with. I have a Ninja V for my Nikon Z6 and I'm pretty sure I'm going to sell it soon, as it's just so hard to deal with the HDMI cables, the crop factor, the delay, and the lack of 120 fps just for a slightly better image. The Atomos recorder is just really difficult to work with (super hard to get the gimbal to balance with the HDMI cable too). Regarding switching between camera modes though, the Nikon Z s
  3. The 14 bit RAW of the Canon 5d2 and 5d3 in Magic Lantern remain the best image quality I've seen outside of Alexa and RED. As in your test with the still photo, this is because Magic Lantern just made the cameras quickly shoot raw photos. In my real world shoots Andrew's Z-Log picture profile in 8-bit holds up extremely well against 10-bit N-Log on the Nikon z6. I like having the Atomos Ninja V monitor for the LUT preview and other monitoring features, but the extra bitrate really doesn't seem to add much.
  4. The Sigma FP, and FP-L are extremely tempting and interesting cameras. However, as Gerald pointed out in what I felt was a very polite, Canadian review the FP-L comes to $3,000 USD with the EVF, and that's putting it up against some heavy competition. The only really amazing advantage I see it having (besides size), is its internal raw Cinema-DNG to SD Card. I was putting together a new demo reel of my work recently, and the stuff I did in Magic Lantern on the Canon 5d2 and 5d3 was stunningly clear, sharp and beautiful compared to everything else I've shot on any mirrorless system (inc
  5. The 1dX3 looks awesome, I would love to try it. In the past couple weeks I have had the chance to try the Canon R5 and R6, and they confirmed that I did the right thing in purchasing the Nikon Z6 (or literally any other camera). On yesterday's shoot the R5 overheated. Thankfully it was working again after only a ten minute break, but we were only running it at 4k/24, and this is the important bit: WE'RE SHOOTING OUTSIDE IN CANADA IN WINTER! It's NEGATIVE FUCKING 12 DEGREES AND THE FUCKING CAMERA IS HOT AS A TOASTER! WHAT THE FUCKING FUCKITY FUCK?! WHO THE HELL GREENLIT THIS PIEC
  6. Great points Andrew. I think it'll be very interesting to see what the newly-enriched professional class produces on their own for less-lucrative ends after making more mainstream non-controversial works. In the USA Disney/Marvel financed Black Panther, which was respectful of Africans (so rare in Hollywood) but otherwise just a competently-made superhero movie no more daring than any of the other Avengers. However, because it made a billion dollars studios started financing other Black-empowerment vehicles, such as the HBO Watchmen series (the best show of all time), Black KKKlansman a
  7. The main problem with Planet of the Humans is that it was principally shot 12-13 years ago and then languished in distribution-limbo until last year. Since then technology has massively changed (kind of the point of this blog?) solar is 8-10 times more efficient than it was then, all battery technology has massively improved and the Scandinavians figured out how to use dams as giant batteries (perfect for storing wind power). The big lie that I mentioned were the attacks on Bill McKibbon, who has been strongly and vocally AGAINST biomass since at least 5 years before the movie came out. If
  8. This is not a new movie, . While it's very effective, emotional film-making, after further research it seems that it just vacillates between being incorrect or just out of date. There is a great 45 minute movie within that 100 minute-long documentary. Sadly the rest is either out of date, misleading, or downright lies. After a bit of research* I realized why no distributor would touch it and why it was dumped on Youtube for free. Lesson learned: Youtube is not a source of credible information. I expected better from Michael Moore *There are tons of critiques out there about Planet of th
  9. This video looks terrible! Not the content, which looks absolutely bloody amazing, but the quality of the image itself. The very first shots are full of banding, and there was more banding and aliasing throughout the whole video. Yes I watched it at 4K. I am certain the camera is excellent, and it is just Youtube's compression that is to blame, but with that much compression what is the point of using such an expensive camera? A GH4 or A7III would literally look the same by the time Youtube is done with it
  10. This looks amazing, however I can't afford it with the current pandemic workload. Which is ultimately good because I'll be able to see what problems other people have with it. My only complaint with the A7SIII was the sensor was too lo-res for cropping or photography, so this seems to have solved that problem to be the ultimate hybrid camera.
  11. I am not going to see this movie. But if you want to cheer yourself up Andrew, check out Netflix's superhero fare. Jessica Jones (season 1) is the best written and acted of the lot, but the action is fantastic in Daredevil and the lighting is amazing in Luke Cage (we'll pretend Iron Fist never happened). I have often said that people should check out Luke Cage or Daredevil if you want to see how to do dark cinematography the right way. It is the total opposite of the literally unwatchable Solo: A Star Wars Story. Night scenes on the Netflix supershows look realistic but everything po
  12. I bought a Nikon Z6 this summer because I needed a second camera for work, my budget was max-$3k CAD, and Sony was out (my A cam was a Sony A7III and due to the file numbering bug having more than one Sony camera on set was a nightmare). I'm happy with it, but it is basically just a repackaging of the A7III. The Z6II is so incrementally improved over the mark one that one would never believe it came out the same year as the Sony A7SIII (which finally fixed the file numbering bug). The saving grace is that the z6 has been an incredible photography tool. However when Sony comes out with
  13. For those who use older lenses like me, consider an ND throttle lens mount adapter. I have Vizelex's Nikon G-Z adapter, I've also used a really good one for Canon EF-Sony E. They have wonderful variable ND filters inside the lens mount adapter, which really let you precisely control the light hitting the sensor. They also protect the sensor when switching lenses, and are cheaper and easier than buying a filter for each lens. The downsides are that they don't have any electronic controls, but with a fully manual lens you wouldn't have any anyways, and that the minimum exposure reduction is
  14. I really don't see the point of this Zeiss camera, besides conspicuous consumption. Earlier this year I rented a Nikon Z6 to try it out and was blown away by the in-camera raw photo editing capabilities. Not quite Lightroom, but the best I'd ever seen in a camera. And of course it (like my Sony a7iii) can transmit photos and videos to my smartphone via an app for sharing or further editing. So I really don't get the point of this Zeiss camera, besides the Zeiss name (and of course you can put a Zeiss lens on a Nikon). B&H has the Nikon z7II at $3,046. You can then put any len
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