Wild Ranger

Yes, this is what I have been saying to various colleagues from the industry here in Argentina; We've gotten to the point that you can make any camera look good. That's why I continue with my dear GH5. It is not that I am not willing to invest or upgrade to more expensive cameras, but I am working in a more "economical" film production framework and the budget ends up to what is seen in front of the camera. Yes indeed!

Hi, I know this forum has been quiet for a long time, but I did not want to miss the opportunity to share this teaser of my next movie. All shot on a GH5 using GHalex. This film began to be filmed in the middle of the pandemic, and now it is in post production to be released in 2022. I cannot help but thank @Sage for his work in creating this color matrix that has made my life easier. Cheers!

Hi @Sage, I haven't get any email. let me know if this is coming.

In the technical side, there's nothing really wrong with 24FPS, the problem comes in the displays, most of consumer displays are not native compatible with 24 fps, so they end up "doubling" some frames and others don't, that makes the jitter. 120hz/240hz displays are better for this task as they are even numbers with 24. Now on the artistic decision, I shot in 24fps, but I choose to do so because I do narrative content and films. I prefer the abstraction that gives from reality by shooting in lower frames rates, I think that it gives some space for that imagination to play and induce into another reality. But maybe, if you what to make an hyper realistic drama, maybe 60fps will fit better for the context.

I think that the copper heat spreader only is by far the best mos practical solution, and also good enough to keep it cool.

The SOC is nice, and a new infrastructure is inspiring for the future of computers. But, let's be honest, 8k Prores is't not a hard codec to work with. I wanna se real h264/h265 performance.

I trust Sareesh, he's quite knowledgable and at least he's a DP who works with the gear he shows. It is interesting to see how the camera will work now with this new update. The timer seems to still be present but it seems that it doesn't "bother" so much when recording, obviously it would be better not to have it present.

That's whats I was thinking. Nobody (more even youtubers) will care if the camera "had issues".

The sad truth is, that in the future Canon will surely launch a "firmware fix" and this problem will be solved, we will all forget about it because the camera will probably be great and in the end, Canon still wins.

"It seems as soon as there is a card inserted, an overheating countdown timer starts, but doesn’t apply when an HDMI device is attached and the card removed" These get very fishy. I had commented in another post about suspicion and my crazy paraonic theory that the overheating limit is only a limit made by firmware, nobody believed me... Now I believe it more firmly, but we still have to wait for the truth to come out. For me, Canon's credibility is at stake in all of this.

Yes, I know it sounds crazy. But ... bad press has worked better than good press in the past, it's not something new. I know, I know ... It sounds crazy. But if this problem is solved only with a firmware, it would be suspicious to me.

Call me paranoid if you want, but I think the overheating of the r5 and r6 is quite a marketing trap. I have already seen several videos where it is mentioned that heating occurs at very different times and several times they have said that the camera is cold to the touch (or at room temperature). In my view, I believe that overheating is a limit set by Canon through software, I do not think it is a real hardware problem. Canon blocked the camera with a false heat alarm to generate all this debate and controversy on the matter. Then in a few months they will fix it with a simple firmware, because the problem is that, only software. In this way Cannon earns a couple more months of free advertising for his latest product. If the camera can only be fixed by firmware, I would be very inclined to this theory (in my opinion) and would stop believing Canon. It is all very strange. But hey, it's just my theory.

Panasonic avoid PDAF because they aim to "higher image quality" since PDAF pixels in sensor reduce potencial resolution. Now that's a debatable topic, but that's why they keep pushing Contrast detection.

Fuerza y cariño para tu padre! Cheers!

Thanks, the script was made by a friend trying to make the thing a little more collaborative. I didn't consider change the role because i wanted to leave the main character alone for the self reflection. it's more about the "inner my self" but itroducind the topic in a more enjoyable way. Although the puppet killing the man it's a nice too. Venga ese español!

Thanks, I honestly don't know zach goodwin work but cheers for the puppets!!!

Well... a rental borrow me a Panasonic S1 for testing... them the quarantine came to my country. So, i was so bored that i made a short film by my self, almost alone. Obliviously for the grading i used the GHAlex Luts. B&W was made with LogC to film print Color was made directly with the "Main lut" then graded a little. The point of this is just to entertain and incentive others to make and create things now on this times.

Well since that quarantine got us all... I struggle a lot with inactivity, so i had to make a short film... Almost alone, by my self. The point of this is just to entertain and motivate others to make, create even on this times. PD: I had a Panasonic S1 that was let to me for testing. I used this for the film.

@Sage I wrote you an email so you can send me V4. Maybe the mail was wrong but didn't get it.

Hi, it's the new version out? I didn't receive anything yet.

Now with the most recent adoption of AV1 in Netflix and youtube, i think that internal codecs are going the AV1 way, it's really efficient supporting up to 12bit and 4:4:4 color space. Also IT'S FREE OPEN SOURCE MAGIC!!! Implementing Prores is a more hard thing to accept in my opinion, It needs to be hardware encoded to be efficient in smaller cameras, also licensing and chip development it's quiet a risk for mirrorless cameras. That's why Panasonic opted for a 10bit h264/265. its cheaper, smaller and, let's be honest, quality wise it's not really far from Prores HQ. The only benefit of apple's codec it's the easy to use and adoption in NLEs.

Sorry, nope. But today the released the public version, there's a trial. https://topazlabs.com/video-enhance-ai/?utm_source=Gigapixel+AI+for+Video&utm_campaign=fbf309c150-EMAIL_CAMPAIGN_2020_01_02_05_52_COPY_01&utm_medium=email&utm_term=0_eb14b23af4-fbf309c150-92946301&mc_cid=fbf309c150&mc_eid=2d27f88d69

The upscaling software is Topaz gigapixel for video, this software is in current closed beta for developers and testers to use, is not in the web page. But, since I'm in the beta test page, i can provide a link: https://topazlabs.s3.amazonaws.com/packages/win/videoenhanceai/VideoEnhanceAI-1.0.1-windows-x64-installer.exe?fbclid=IwAR2fORNpdKqvFvleUeH_xkvNOfmz3c92tjigWOwcMRsKrb5-WP6NseMlaWE Bye!

Also, it might be useless mastering in higher than 4k. Now with the advancement in AI neural upscalers (Topaz is currently working on a version of gigapixel for video) you will be able to upscale 4k to 8k effortless, maybe even 2k to 8k! And still looking great. Time will tell...