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Matt Hollman

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  1. If this camera has PDAF it has a chance in the consumer market. If not then it will be a hard sell I think.
  2. While using my S1H, I always thought that the H.265 codec gave the footage a green colour cast. However, I found out that this is Premiere Pro doing this (on both of my computers). In Davinci Resolve, internal H.265, H.264, and external ProRes all match colour-wise perfectly. Here is a video showing the problem and one solution I have found: The solution was to transcode footage in Davinci Resolve to DNxHR (not in Media Composer, this does not fix the problem). After transcoding the H.265 footage, I can edit in Premiere Pro without any colour cast. This was tested using CUDA GPU
  3. I'd like to buy a Tokina 11-20mm f/2.8 for my S1H to use with the MC-21 adapter, but I only want to buy it if the camera can be set to Full Frame Mode and not be stuck with Super 35 Mode (this is an aps-c lens, but it covers full frame from about 16mm). Does anyone have experience with this combination? Is it possible to set the camera to Full Frame Mode?
  4. I'm in the exact same boat as you. I bought a Sony a6400 last year to try and make my workflow easier with autofocus (I shoot 80% documentaries). It was so nice 95% of the time, but it always failed me when the shot mattered the most! Just bad luck I guess. Also the footage from it just looks dull to my eye, lacking in colour and lots of noise reduction above ISO 4000 or so making it really plasticky. With my S1H and GH5s, I am always blown away when I see the footage on my computer after a day of filming. It always looks way better than what I saw on the LCD/viewfinder making the over
  5. My wife doesn't want her face posted, but here is just an example of some skin tones under a terrible fluorescent light (white balanced) before/after a beginner blueish/green horror movie type grade. No keys or masks were used by the way, just white balance and tint changes. S1H 5.9K ProRes RAW on a 4K Cinemascope timeline @ ISO 4000
  6. Here's a very boring test shot of my kitchen at ISO 12800, Sigma 24-70 f/2.8 @ f/2.8 (ungraded). The light is coming in from another room and was quite dark to the eye. If you zoom into the image there is definitely noise, but it's totally usable even without noise reduction added.
  7. I'm not at home right now so I'll try to remember to upload later. For shooting, I white balance manually and I shoot ETTR with enough head room for a stop or so in the highlights. When colour grading in premiere, this makes me have to bring down the exposure tab in the Prores Raw settings to about -2.5 or so to get my highlights under the clipping point. I add/remove some saturation. Then, I use the secondary colour wheels (I think that's what they are called) to adjust the shadows, mid tones, and highlights. If there isn't enough contrast, I adjust the curve or simply use the c
  8. I've been messing around with it for the past two days. My findings: (of course do your own tests too if possible) + Sharpest/most detailed image I've ever filmed on any camera before + Easier for me to get a colour grade as a beginner that I'm satisfied with than when shooting V-Log + Edits easily on my mid tier gaming PC (i7-8700k + GTX1060) with Premiere Pro + ISO 12800 with enough light looked better than expected. This needs further testing for sure. - Higher data rate than initially expecting, this means I will still shoot mostly internal probably - In 5.9K
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