Jump to content

Leaderboard

Popular Content

Showing content with the highest reputation on 07/18/2014 in all areas

  1. Well, if you pull that kind of data from the sensor it will heat up considerably. And the 5-axis in-body stabilization will not allow for methods to disperse of this excessive heat. So, for me 4K on the EM-1 is a nice fairytale, but nothing more. You can't just provide 4K as a FW-upgrade. It's impossible. Besides, they've never shown any care about us videopeople before. I don't even really need them to throw out 4K footage out of the E-M1 and onto my storage medium. I just need a proper videomode, with a broader selection of just about everything (especially 25fps!) and maybe a little tweaked bitrate or something like that. If they trained their pet into learning new tricks, that's cool. I want to see it. If they drugged it with stereoids and implanted it with a chip I'm afraid something horrible will come of this. But so far, for photography it's really awesome. Although I had a few issues with false exposure readings now and then.
    2 points
  2. Indeed. I just finished a production for a client who entertained the notion that his quad flying shots were appropriate for his film. It was incredibly difficult to diplomatically try to inform him how to fly his toy. Ultimately, he just liked to fly the damn thing high to the point where the landscape basically looked nondescript/static and then he would just pan and tilt the camera around randomly. Augh. Some people would rather hang a painting of Kincaid in the house than a Wyeth. I just had to accept it. Lots of folks just don't get it. Their subjectivity skews toward tacky. With flying shots it's typically low, slow, and in a straight line. It's really that simple.
    2 points
  3. So, I started with the 12-35 on the GH3 thinking it's the perfect all around lens. It sort of is. Very sharp. Light. Compared to the Sigma lenses and Zeiss lenses it looks very sterile though. I started using the Sigma 18-35 when I could use a tripod and fell in love. When I needed to go handheld I just used a monopod. Now I use the Sigma almost 75% of the time.
    1 point
  4. I have a DP3 Merrill, it's lovely. Oh, I mean the images are lovely, it's a pig you have to wrestle with, as is the Sigma Photo Pro software, which i believe is steam powered. I hate what they've done here with the new models, made a sort of half foveon. Why not just up the processor speed and card write speed and buffer, and keep proper, true film like Foveon X3? They've created a compromise, rather than pushing the most promising photographic technology out there. It makes me sad. BOO! Grow some nuts, Sigma!
    1 point
  5. It seems the GF3 doesn't have manual exposure or exposure lock? And it only does 1080i, not 1080p?
    1 point
  6. The 3+ was announced in October last year, so not surprised they'll do it again this year. I agree the timing could be better...
    1 point
  7. With the release of RawMagic 1.1.2 and Davinci Resolve 11 (Beta), the process of shooting, converting, editing and grading raw footage has become much, much simpler. Anyone speculating that the ML raw workflow is difficult needs to take a look at the two apps above.
    1 point
  8. Axel

    4k frenzy and BMPCC

    Excellent article. I occupied myself intensively with the correlations of resolution, image size, perceived sharpness and - to introduce the Holy-Grail-term that combines all those parameters - glory, both professionally and personally virtually all my life. There was an ancient german textbook on cinematography, considered The Bible at german filmschools, but I always found it to be unbearably dogmatic (it recommended, for instance, never to use sDoF and always to use 3-point-lighting). But it had a good, an indeed very good chapter on framing, on composing an image, using the french term cadrage. Good framing, according to the book, always results in an image that has great *pithiness*. This was illustrated by putting grids over great, well-known paintings, thereby retracing the way the artists guided the viewer's attention from there to there, creating either harmony or dynamic (or, for that matter, a tension between harmony and disharmony). Furthermore, there was a debate on how detail contributed to pithiness - or on the contrary, confused it. And there was a crucial distinction between texture detail and motif detail. Texture detail will always need sufficient resolution (relative to the image's size) to depict the pattern (grass, skin, fabrics), but it has no postive effect on pithiness (but may interfere with it). Motif detail is not so much about resolution, it is, interestingly, about *time*. Because to take in important motif detail within a film frame, you need time. Take this painting from Pieter Brueghel the Elder (The Procession to Calvary, 1564): (EDIT: Resolution is about size. You can't recognize all the interlocking scenes, because the resolution is 800px) Polish filmmaker Lech Majewski made a feature-lengh film of all the little actions put into this painting (which clearly is meant to be watched for quite a while), The Mill & The Cross: Every single of the awesome GH4 demos we saw so far either have no pithiness of the image (users are tempted to 'show off' meaningless High-Res and shoot the naked chaos) or they are resolution-independant. One could as well say, higher resolutions don't add any information to the image, they just allow to blow it up more. But then again, as the article says, we saw the latest blockbusters, including Godzilla, in meagre 2k (856 x 2046 pixels), and nobody complained.
    1 point
×
×
  • Create New...