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Showing content with the highest reputation on 07/05/2015 in all areas
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Best Dynamic Range?
Jonesy Jones and 2 others reacted to Nick Hughes for a topic
Wow, my bad. I see enough shitty footage on here that sometimes it's hard to tell who's doing it on purpose and who doesn't know any better. Now that I know you're in the former group, I'll be sure to leave you to your own devices from now on.3 points -
Sony has gone internal-4K crazy: A7RII, RX1004, RX10II
Emanuel and one other reacted to fuzzynormal for a topic
I do entire shoots with 5-axis. I love it; works for me. I agree with your opinion that stabilization can look very artificial when the camera is moving. It's a tool on my EM5II that works very well for grabbing static shots without a tripod (which I do often) and for mimicking a short slider shot...but you have to practice at it, much like using a glide-cam type rig. For much of the corporate crap I do, I prefer a quiet lens. For those shoots I'm trying to keep what I do as neutral and transparent as possible. I don't want to call attention to my shooting and/or editing. I put their stories at the forefront and the production style is conservative. I also concur with your assertion, Implement the 5-axis technology in an intelligent pragmatic way and it's a wonderful thing. We all should keep in mind that a lot of shooters you see on the youtubes haven't a clue or are just messing around with testing, (5 minutes of walking though as park handheld? Who would use that in an edit anyway?) so judging by their work is a mistake. And let's be honest, a lot of prosumer enthusiasts can also be talent-limited, assuming that IS or OIS is some sort of panacea that'll make their footage wonderful. Um, no. If you stink as a shooter in general, your stabilized footage will do the same. (those Canadian guys from that camera store come to mind. They're gear geeks and can tell you the ins and outs of a camera's functionality, yes, but they're not the best shooters and the footage always looks subpar to what a particular camera can do.) Finally, don't forget, if your camera has 5-axis stabilization, you can always turn it off too.2 points -
SpeedBooster Math
TheRenaissanceMan and one other reacted to mercer for a topic
If you're looking for a nice midrange FD zoom... Try out the Canon FD 35-70mm f4 lens. Metal construction, compact, constant aperture, parfocal and it has a reputation as being as sharp as a prime wide open. And even at f4, it has some pretty nice bokeh. It's often overlooked due to the 35-105mm, but let me tell you... It is nice. Here's a quick and dirty lens test I did with the 35-702 points -
Best Dynamic Range?
maxotics and one other reacted to Mattias Burling for a topic
"Come on guys, in raw, ISO is just metadata - everybody knows that.Only if you set it to 1600, the curve gets mapped a bit different, to prevent noise in the blacks.But it still is metadata." , Frank Glencairn "When you change the iso value on the bmcc, the clipping point does not change, but the noise floor is pushed down. So lowering the ISO will make the image look cleaner, but you will still be clipping at the same point. So lowering the ISO on this camera in order to help to control the level of light being recorded is not a good idea. Iso 1600 is a slight exception in that although it is still meta data, the way the range is mapped is different, allocating more bits in the shadows." , Tom Majerski "A couple of things worth noting. There's "exposure"....A creative choice..... And then there's the ISO you choose. The sensor is always 800. When you change the ISO in RAW or ProRes, all you're doing is changing a curve that's applied to ISO800. Lower ISO's trade some DR in to get you a nicer looking curve for those lighting conditions. In effect you're "grading" your image down exposure wise, then baking it in if you're shooting ProRes I think the reason a lot of people like lower ISO's is that it kind of forces you to to a bit of ETTR, and appears to give less noise. That's because there's less detail in the blacks. The near black information is now crushed along with the noise. The end result of ETTR is that is pushes the noise further down into the blacks....thus reducing apparent noise. When shooting RAW, I often use the ISO 0f 400 or 200 to enable me to overexpose the image a little, and it ALSO gives me a nice looking preview image on the back of the camera. In my thinking, without changing your exposure for a given setting and shot (aperture and shutter angle stay the same) you can always achieve the same result in the grade." , John Brawley2 points -
Best Dynamic Range?
Daniel Acuña and one other reacted to Nikkor for a topic
Even with a 16stops camera, shitty light will always look shitty.2 points -
I have the 35-70mm f/4 as well. It's the only FD I got so far. That thing is surprisingly light (as in: doesn't weigh much). Unfortunately my FD -> M43 lens turbo arrived in pretty rough shape. The lens elements became loose on transportation and were full of scratches (you couldn't see through anymore), so I needed to replace the optical core, which took a while to get resolved (really ran into Murphy's law with that one). In meanwhile everything is lovely jovely again, but have yet to put it to good use. Nice to see mercer's test! What portrait and M43 concerned. I do love the SLR Magic HyperPrime CINE 25mm T0.95 as well for its bokehlicious look. Not so sure however to put it to use as a portrait lens. 35mm already seems like a more sensible range shooting with the 4K crop. Although I think the best portrait lens for M43 is probably the Olympus 75mm f/1.8. No hate for the longer focal lengths here. Of course, if you have limited space to work in, longer focal lengths will prove to be challenging and you'll have to compromise.1 point
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Best Dynamic Range?
andrgl reacted to TheRenaissanceMan for a topic
Haha, great to hear we're getting the same results! :) Can you elaborate more on what you're trying to accomplish in your landscape work, what tools you're using to expose, and how you're processing your files? Perhaps we can fine tune your method to help get you the results you want.1 point -
Best Dynamic Range?
TheRenaissanceMan reacted to andrgl for a topic
Thank you. You're absolutely correct. Shot a high DR scene at 200, 800 and 1600. All files identical.1 point -
First Rectilux samples...
Julian reacted to Zak Forsman for a topic
My GH4 profile is... Natural, 0 contrast, -2 saturation, -5 sharpness, -5 NR. Recorded in 4K to an Odyssey 7Q+ in ProRes HQ. Weight of the Rectilux with a Kowa Bell & Howell inside it is about the same as my Sigma 18-35mm. Roughly.1 point -
Best Dynamic Range?
andrgl reacted to TheRenaissanceMan for a topic
ISO values on the Pocket have no bearing on its RAW files besides giving you a different preview. Of I'm incorrect, please provide a source that clarifies how and why.1 point -
SpeedBooster Math
mercer reacted to fuzzynormal for a topic
Yeah, I've done stuff with FD's on the FS700 and enjoyed the results, so getting 1 or 2 FD primes would be a nice addition to the pile of lenses that keep accumulating...1 point -
It bridges the gap between compacts and dSLRs/mirrorless cameras. It has an all-purpose superzoom lens that ranges from 24-400mm. Really flexible. I consider the FZ1000 a mini GH4. Downside is the dynamic range... it clips rather quickly, operating noise of the lens and it's harder to create a shallow depth of field. Of course you can't really throw another lens with specific characteristics in front of it either. But it does make for a nice all-in-one solution and does offer dSLR-like controls and features. The LX100 is more compact and unlike the FZ1000 that sports a 1" sensor, the LX100 has a four thirds, 4/3, 1.33" sensor. I like the image out of it a lot. Surely the lensrange isn't as flexible and doesn't feature some more advanced features the FZ1000 and GH4 do sport. On another note, I don't know how much of what you do includes photography, but the 24MP APS-C sensor cameras offer that little more for shooting a bit higher quality stills. I briefly touched on this subject in my first reply. If you want to adapt lenses to Sony and/or Panasonic, you can. There are cheap adapters from e.g. Fotga that hardly cost a thing. Going with vintage/2nd hand glass will get you great quality lenses for fair prices, they usually have full manual controls with an aperture and focus ring. Some newer Nikon lenses lack aperture rings, but because they're still mechanically operated, the cheap adapters feature a basic ring for closing and opening the aperture. With newer Canon lenses the aperture ring is missing as well. However, these are electronically operated. You need a fancy expensive adapter with electronics built in to take full advantage of those lenses. So you might want to pass on those. Then even better, if you get one of these Sony/Panasonic cameras you can get a focal reducer/lens turbo/speedbooster. These adapters contain glass elements that compress the image from the lens that's originally meant for a bigger sensor sized camera onto the sensor of the smaller sensor sized camera you're shooting with. This recovers some of the crop factor essentially giving you a wider field of view than a regular adapter, which also translates to a shallower depth of field and increased light gathering ability. Look into the possibilities. Take your time to figure out what suits your needs best and drop by a camera store for some hands-on experience.1 point
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You said you used two lenses and only really ever used the wide one, right? Nikon D5500 w/ 18-55mm II ~ 719,- (D5300 about ~ 599,- ) Sigma ART 18-35mm f/1.8 ~ 679,- For some more range, two suggestions: 2nd hand Nikon AI-s 35-70mm f/3.5 ~ 110,-* , 2nd hand Tokina AT-X PRO II 28-70mm f/2.6-2.8 ~ 299,-* (* target price for excellent condition lenses (or in other words: the price I got mine for)) For wider the Tokina 11-16mm f/2.8 II ~ 449,- More about lenses: http://www.eoshd.com/comments/topic/6396-lenses/1 point
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I'm really not trying to bump this thread but people keep being incredibly helpful and need to be thanked. That is some great info on the Nikon Primes. I was indeed finding it overwhelming and you have really helped to clear that stuff up. In the end, (I still can't believe I have done this) I ordered the Sigma 18-35mm. I figured I am hoping to get pretty serious with this and it seems to be a few primes rolled into one. I can handle beans on toast for a year or two! Thanks again for all the fantastic help from everybody Nick1 point
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SpeedBooster Math
TheRenaissanceMan reacted to fuzzynormal for a topic
Indeed, and I already do this quite often. Seeing as how a speedbooster will get focal-length and f/stop numbers into similar territory as FF (or s35) equivalent counterparts, how it renders and bends the light differently is a consideration. Thanks for the other advice too.1 point -
Best Dynamic Range?
Mattias Burling reacted to TheRenaissanceMan for a topic
Some cinema cameras, like the Bolex, Blackmagic, and Alexa, have only one native ISO. They use digital gain to "push" that data and produce brighter results for higher ISO values, but the RAW data never changes. It always captures at its native ISO on the sensor level. Some cameras, like all DSLRs/DSLMs, Canon's Cinema line, and the Panasonic Varicam 35, have more than one native ISO. They use analog gain on the sensor level to change the way the sensor actually "sees" photons, resulting in better dynamic range and noise characteristics at higher sensitivities. Hope that clarifies things.1 point -
I've been using one of their focal reducers for my BMPCC and I haven't taken it off since I got it. It's the EF to MFT adapter, but I use it a lot with my m42 glass (with Canon adapter) and its worked really well for me. I know it's not the same one you're looking at, but wanted to share my experience with their products. Haven't seen any blue spots or anything to make it unusable.1 point
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Footage looks horrible......... This has nothing to do with dynamic range, you can capture something great just knowing the correct time of day to shoot. Also Blackmagic cameras with 12 stop dynamic range for video is amongst some of the best in the "prosumer" world. My suggestion if you want better footage would be to shoot "Raw" time-lapse photos where you can maximize the dynamic range of any slr camera. If you want the best in video you would have to be looking at Arri, but even still you need to know how to grade + color correct which you obviously don't have a clue.... Sometimes "tough love" is best......1 point
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switching from fcpx to adobe premiere/after effects.
BrorSvensson reacted to sudopera for a topic
Here are some http://coremelt.com/ http://store.pixelfilmstudios.com/?gclid=Cj0KEQjwiN6sBRDK2vOO_vaRs5cBEiQAfsnJCR3Gik8jMEbkfHVfbgoagR7iHqCtf669WUgiLGG9tQ0aAlhs8P8HAQ https://www.redgiant.com/ http://try.colorgradingcentral.com/colorfinale/ http://fxfactory.com/products/1 point -
Does NX1 lose focus on zoom?
Nick Hughes reacted to agolex for a topic
If you're talking video, maybe the Canons weren't sharp enough to notice?1 point -
Best Dynamic Range?
Marco Tecno reacted to Nick Hughes for a topic
Your grade is creating really strong halos. Does not look natural- look at the edges of the treelines or mountains. Also, your footage is way too shaky for shows of nature. Sorry, I know you didn't ask for a critique, but I'd recommend working on those things before moving to a different camera.1 point -
Take a look at the new H1+ from Pilotfly, upgrades from previous: 32bit and dual IMU. To me this for the time seems to be the best pistol grip deal out there. What normal handheld stabilizers concerned, the CAME Mini 2 might be the winning choice. Both the H1+ and Mini 2 are just about toolless and easy to set up. Don't forget to check out the YouTube channels of Dave Dugdale, Nitsan Simantov, MrCheesycam, Erik Naso and Tom Antos. They get in bunch of gear for reviews and know a thing or two about these stabilizers.1 point
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it's likely to be rental only, or for those who usually buy gear with intention of renting it out when not in use or who buy near the end of the financial year to offset their profits for tax reasons. Multiple thousands unfortunately, however being something that will couple with 35mm and longer lenses on full frame, or 25mm on s35mm, or 15mm on gh4 in 4k, with only the need for one anamorph, i imagine it will be taken on board by a lot of the rental outlets. - some of which have already confirmed they would like to stock multiple units. as a result, it'll rail mount onto almost any camera and turn 16:9 into 2.66 without needing to crop. and with a rear element of 62mm diameter it should give you an idea of the light transmission the beast will allow. Also being a unit not costing the rental houses 10's of thousands the rental price will be within easy reach of anyone serous enough to shoot proper anamorphic within a production environment.1 point