jgharding

  I don't believe this, plus I disagree with the party's opposition to same sex marriage which, along with comments like "of the 27 EU Commissioners, at least eight are ex-Communists." proves the party's right leanings.   I have no intention of ever casting a vote towards the right. They create fear and division in communities in order to gain power and wealth for themselves and their close allies and paymasters. I have no doubt that if this party find power there will just as many corrupt crooks with their noses in the trough. I would no more vote for them than I would for the Bullingdon club Tories.   I reckon this is way off topic now, so I guess I'll leave it there!

Last time I heard someone from UKIP speaking they didn't manage to hide their homophobia or racism for more than a few minutes. They'd be just as "nose in the trough" greedy and backhanding as the Tories.   I would love it if there were a strong Communist party in the UK but they're hopelessly divided. No chance of a Socialist Republic of Great Britain ant time soon it seems. Though I feel the time is right.   So there are my colours on the mast.   Quite how we got to this subject I don't know, but I like it.

I don't believe the twisted morality spoken of comes from art. Art reflects society.   The twisted morality spoken of comes, for the most part, from the dehumanising pursuit of capital above all else... money as new God.   But that's another huge debate I think.

I'm gonna watch this film soon.   I think Tarantino is an intelligent film-maker with great cultural awareness, and his kitsch use of violence is usually funny, rather disturbing.   Films are such an easy target though. The Bible and the Qur'an are full of violence too. I couldn't sleep after reading the descriptions of mutilation in Hannibal, but the film? I nearly fell asleep during it.    A person who is going to go and unload a magazine into the face of a stranger will find their inspiration anywhere around them. They use art to reinforce their delusions.Murder did not begin with the advent of the moving picture.   The examples of "people copying films" provided are all people already performing such actions. Gangs copying film gangs, people who like fighting doing it in a Kung Fu stylay.   Any rational mind would see that saying films cause this behavior is the wrong way round. People who have a predisposition to such behavior are attracted to certain aspects of related art.   I feel that celebrity culture and moronic reality TV are more damaging than violent yet intelligent films, and foster a destructive materialistic culture that is, in its extended form, literally destroying the world and some of the core values of humanity.   I find that games are quite dangerous, but only because they provide stimulation and virtual reward with no real-life interaction, and that can be dangerous to the development of a disciplined and strong character, especially in interpersonal situations.

I totally agree! It would be great to have an EOSHD sub forum like Screening Room, called Footage Sharing or similar, where people put up Wetransfer link in individual threads. I'd love to play with BMD, 5D Mkii GH3 etc with my own software and hardware...

That looks lovely. What was your kit combo here? Very good grade too...   I love the flickering lights in the tunnel. I've always been a fan of desync strobing!!!

Yeah I shot with the FS700 quite a bit, hated the button layout with a passion. Loved the slow motion though. The codec got noisy in the blue channel at high ISO, and I didn't find the noise was removed so easily... things got muddy in post... is the FS100 similar?   I liked how on the Epic you could set all the touch screen stuff, but after that you only needed to touch the lens and the little wheel controls and buttons, and it was all on one screen. That was great!   I found this video of the menus, which is useful: http://www.youtube.com/watch?v=fFNMulvob34   So can you adjust white balance, ISO etc by using the button below the setting on screen, then use the iris and focus button for up and down? Or is it all touch?

I don't anticipate a lot of different users cos the cameras are so rare, but any and all insights are welcome...

Ah yes I've watched that one, thanks. It does have quite a few tips in it, but the more perspectives the better!

The other day I had a chance to use a Red Epic with Arri Master Primes *sigh*. As awesome as it all was I don't have that kind of budget on personal projects, but the raw footage is lovely and addictive.   Naturally, I was looking and Black Magic Camera hire as it's not too much for a music promo (£90 a day or so compared to nearly £700 for the Epic).   Now what I'm wondering is how many of you out there have used the camera enough to list its quirks that I might have to look out for.   The Epic took me all of 20 minutes to assemble and work out how to use, it's dead simple and just works, but relying on that kind of robust simplicity from the BMD could see me losing time on the day I think, from what I've read so far.   Any general tips out there?   Many thanks...  

That look at about 1:14 is my favorite. You can get a lot out of this little camera it seems!

I love seeing interpretations. With just one shot it's totally open to aesthetic sensibilities -- there's no particular story to reflect --- you can have fun!    I wish there were more footage sharing here now Wetransfer exists.   It really helps with buying decisions too.   I'm most impressed with how much detail is in the shadows there. This camera doesn't seem to have the GH2's hard highlight clipping either.

I do have a JVC DT-V20L3D monitor here in the office though, which is amazing and helps a lot for grading.

Cheers my firend!   Varying degrees of Colorista II, Looks and Filmconvert.    Lots of small tweaks rather than big sweeping attacks on colour, which are all too common these days IMO.   I tried sharpening a bit but it looked very artificial, even just sharpening high frequency detail in the luinance channel.   Is in-camera sharpening on or off here?

You have a big spot of dirt on your sensor there, BTW ;)

I had a play with it for a few minutes, using Vivid   GH3 looks pretty good. Once speed booster arrives too should be extra awesome.   Here's my video:   https://www.wetransfer.com/downloads/9bb6bc8980c4e0610b5b398e7cd165f720130227123624/e5ae0a6e50c49b3633d67492bf833b6f20130227123624/426636

  I was addressing to two different things in that post. I think we're all confusing each other now which was never the point of my post, so I shall bow out!

Yes Hero 3  files don't play back properly either, it probably needs an update.   Avid DNxHD is a good one too, you can get it here: http://avid.force.com/pkb/articles/en_US/download/Avid-QuickTime-Codecs-LE-2-3-8

It can be corrected using picture warping: just skew the top two corners of the image to the right using After Efects or a similar and scale up a bit.    Looks like alignment to me...

  Yes I should've said "when I've come across uncompressed it's usually RGB 444" to be more precise! I did make a 4:2:2 uncompressed file a while ago, but most uncompressed I've dealt with has been RGB+alpha.    I threw out the info on resolution and yellow purple etc because it's a bit conceptually messy and I was trying to simplify. People find it easier to understand as red and blue and black & white than the odd shades that represent the reality of how the computer deals with it!   And if you want, you can think of it as red and blue, to make it easy. And I like to make it easy!     I'll add a few edits to the post, cheers for the in depth knowledge my man!

So it seems if you've got one of these new Nikons and an external recorder, you may as well use it. Just don'r expect miracles...

For those looking for simplification, a summary of what I've learned so far about the destructive aspects of video compression follows.   This is from the perspective of someone who likes to shoot but loses interest at the level of coding and mathematical formulas, or where the complexity of information outweighs the practical benefits gained from the knowledge outside of the lab/software or hardware development.   If you're the same, you'll probably like it.    ---   Bit-depth = number of possible shades.   8-bit allows 255 different levels of colour for each channel. 10-bit allows 1023 different levels. And so on.   Side effects of limited bit-rate such as 8-bit include banding in areas with subtle gradients such as sky and smoke, "plastic" looking skin tones.   Practical fix: shoot your footage as close to your final look as possible. If you shoot flat, colour grade in After Effects, DaVinci, or another application with a 32-bit processing mode.   ---   Sub sampling = spatial resolution of colour channels. There are three colour channels in digital video.   Uncompressed is R G and B, all at full resolution.   Sub-sampled is Y (black and white, or luminance), Cb (blue) and Cr (red). 4:4:4 all channels are full resolution. 4:2:2 the colour channels are half resolution. 4:2:0 the blue channel is half resolution, the red channel is quarter resolution.   This is not a mathematically perfect way of describing it, but it's conceptually sound for most of us in practice. It's as much as we need to know.   Side effects of 4:2:0 sub sampling include jagged pixelation and edges to red areas such as red glow from lights or red clothing.    Practical fix: use a cooler white balance and bring your red back in post using a finishing application like after effects.   ---   Bit rate = the amount of data used for video encoding measured over time.   50mbps is 50 megabits per second = 6.25 megabytes per second, for example.   This data rate alone does not necessary directly reflect visual and aesthetic quality, as compression algorithms and implementations are extremely complex and varied. Some fall within standards, others do not.   I-frame codecs encode each frame individually. I-frame allows most film-like motion "cadence".   GOP encoding uses Groups Of Pictures. The longer the GOP the more the codec can struggle with lots of movement. Long GOPs can contribute to a digital video "feel"   Side effects of limited bit rates include pixelation in high-motion shots, very little data in under-exposed or dark areas leading to blockiness and inability to recover shadow detail. general masking of natural sensor noise (grain) with unattractive pixelation.   Practical fix: a low bit rate is very destructive even with an advanced codec like AVCHD. This is why Canon use AVCHD for the C100, and their implementation of MPEG2 for the C300.   If your camera has a "black level" or "pedestal" or "Cinestyle" or "DRO", you can shift this up a little to prevent data from being encoded where there is very little priority given to it by the codec. This does spread data more thinly though, also remember your 8 bits...  Hack your camera if you can ;)   ---   In short, working with compressed footage is a bit of a balancing act. A huge amount of data is thrown away in order to make files small and to separate markets.   The process is destructive, and cannot be reversed, though being intelligent on set and in post can help a lot.    The ideal is something like Red R3D: visually lossless compression that maintains raw processing capabilities. It is a joy to work with.   Ironically, it's actually more important  that you get your shot right with a cheaper consumer camera than with a RAW camera, as you can't do so much in post production. Though users of lower end DSLRs are the least likely to use a light meter, for example, they are actually the most likely to benefit from it.   Practice makes perfect.

Unless this camera is doing the C300's trick (when not in cine mode) and recording values above "clipping" in super white, so you can pull back in post, I'd guess clipped is clipped on this Nikon.   That's what the such an ND is for though, bring the sky down a bit to keep things in range, I don't see why it's funny! It's  a perfectly valid solution to such a problem. It certainly would allow someone to use a camera with low dynamic range and a filter to shoot a similar scene to that which could be shot without the filter and using a BMCC or similar raw camera.

  Yes indeed, I got a Redstan clamp for it, it is good though dual focus is a bit of a bitch of course. It has a good look to it...   I think only the Iscorama is single focus, hence some laughable prices being asked for it.   The Moller 32/2x I have has orange flares, subtle though as it's multicoated. I should make some kind of test and upload really, so others can see.

It'd be good to see as many examples as we can from EOSHD user with full data, something like:   SIMPLE FAULT DESCRIPTION CARD TYPE USED FURTHER DETAILS   If you know anyone who's had the fault and encourage them to come and post perhaps we will find some parallels together.   I'm not an owner myself, but was tempted. This is concerning...