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About bjohn

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  • My cameras and kit
    BMD Micro Cinema Camera

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  1. I'm considering this; I have an A7ii but have never shot video with it because I have better cameras for that job. But it would be nice to have a simple option for the occasional times when I want to/need to use it. My main question/concern is that I want to be sure this won't affect my raw shots in any way. I have heard (though I don't understand why) that applying some of the picture profiles can actually have an effect on raw images (perhaps because it can cause you to misjudge exposure, that's the only thing I can think of logically, but maybe there's more to it than that?). I use my A7iii
  2. I really love the way you set it up; I've done something similar with my original Pocket Cinema Camera when using it on a glidecam and it's a great solution. These updates to the fp really have me seriously considering it as my next camera. I currently use an A7iii for stills but never for video (just not worth it, I can get so much better footage from my old Pocket or Micro Cinema cameras), but for travel I'd like to be able to use just one camera for stills and video. The fp has some drawbacks in the stills department (mainly the e-shutter) but there isn't any other hybrid camera that appeal
  3. I forgot to mention that the easy workaround for this is to just plug your camera into your computer via USB, which resets the camera's clock. In my case, both of my Micros have baseplates for attaching rails so getting at the USB input is actually quite an undertaking and it's faster to use the menu. But if you don't have a baseplate and the USB input is accessible, this is the fastest way to reset date and time.
  4. ProRes HQ is very flexible in terms of white balance, especially if you shoot right where you have it, 5600k. On the Blackmagic Design cinematography forum Dmitry Shijan has a post somewhere describing his experiments with this, saying that ~5600 appears to be the "native" white balance for this camera. It works up to a point; I don't think it would hold together as well if you had WB set at 5600 but were shooting indoors under tungsten at 3200. The main issue with ProRes is the greenish color cast that shows up sometimes; I've never experienced this with raw (I'm shooting compressed raw,
  5. Agreed! I have two of these cameras and might eventually get a third. They are perfect for my uses; the only thing I don't like is those tiny buttons but after a few months of practice navigation becomes second nature. I have the One Little Remote (for both of my cameras) but don't use it much anymore as I'm shooting 3:1 raw these days instead of ProRes. I have the Rawlite OLPF on both cameras, highly recommended. No need and no plans to upgrade to other cameras anytime soon or maybe ever.
  6. bjohn

    S1H ii

    8K or 10K is not about delivering at those resolutions: it's about shooting at those resolutions and delivering in 4K or even 1080p. It gives you many more options in terms of cropping and framing. This is the big selling point of the Blackmagic Design Ursa Mini 12K, apart from the image quality from its sensor -- nobody is delivering 12K footage.
  7. MFT still offers some benefits to video shooters, especially greater depth of field, generally lower cost, smaller, lighter weight, etc. There's a good discussion about it in this thread: https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=116781
  8. That was what I was referring to; what I read (can't remember where) was that the LF has only been used in one major motion picture, although it's been making inroads in television. Maybe my source was incorrect.
  9. That's because these are cinema cameras. Traditionally, cinema cameras do not have AF, are used under controlled lighting situations, and don't have IBIS. Cinematographers generally prefer full manual control and dislike IBIS (more organic approaches such as steadicam are preferred). This also sort of explains why they haven't released a full-frame camera, since full-frame is not a cinema format; I read recently that only one major motion picture in history has been shot in full frame. Full frame is making inroads in television, but slower to catch on in cinema. In general, the cinema world is
  10. I used a Kingston Canvas Select Plus card and it did indeed record up to 30fps raw but the card died completely after about a year. SD cards should last 10-25 years based on their specs so this was a disappointment. I bought two Angelbird cards and so far those have been performing well. No dropped frames yet!
  11. That's not how it works, though. The green, yellow, and red colors in the waveforms in FCPX are showing audio playback levels. If you raise the clip's volume too high you'll see the peaks start to turn red in the waveform. It's not going to show you clipping on imported tracks: in imported audio you can spot any clipping simply by looking at the waveform itself: if the peaks look like they are shaved flat, they're clipped. There's nothing you can do to fix that (Izotope RX has a "declip" tool that attempts to reconstruct clipped peaks based on its best guess, but that's an option of last resor
  12. Minolta made the first version of this lens (Minolta Rokkor 35-70mm f/3.5) and according to the cinematograrpher Uli Plank, it's parfocal. The Minolta version is much more affordable than the Leica version; you would need a Minolta SR to MFT adapter or a speedbooster but the combination would likely still be cheaper than the Leica version. There's a good review (from a stills photographer) here: https://fourbillionyears.org/minolta-md-35-70mm-f-3-5-an-outstanding-lens/. Uli Plank talks about it here: https://www.reduser.net/forum/showthread.php?92246-Minolta-Rokkor-Survival-Guide/page2
  13. Apparently Hans Hijmering (the creator of the Rawlite OLPF) made some tweaks to his design of the Rawlite OLPF for original BMPCC and BMMCC last year and the new version doesn't soften the image as much as the old one did. I have Rawlite OLPFs in my two BMMCCs but not in my original Pocket and I'm tempted to get one now...although i'm also hesitant to invest more money in my old BMPCC; I've noticed some frame drops lately using media that always recorded reliably in the past and can't tell whether it's the camera's fault or the SD cards.
  14. Worth pointing out that f8 or at most f11 is as high as you should go, otherwise you start running into diffraction softening on that small sensor. I lost a lot of footage when I was first starting out with the original BMPCC because I shot it at f16 and didn't realize the image would be affected so badly by diffraction; I've seen it at f11 as well but not as badly. ND filters are essential to ensure you don't have to stop down too much. There's a good tutorial on diffraction and sensor size at https://www.cambridgeincolour.com/tutorials/diffraction-photography.htm
  15. The sensor on the Micro Studio 4k is not very good, especially compared with that on the Micro Cinema Camera.
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