elgabogomez

Might be a sign of things to come, first 10bit 4k trough hdmi from sony

Does it send 10bit out? I thought it was same as a7 line and 8bit 422 through hdmi

If you are recording raw (honest question, no trolling) why do you need the most accurate colors in a camera monitor?

Not having a 4k, hdr display I did a basic grade in 2020 to try in a dept store tv with a couple of sony a6300 slog3 clips and there is an obvious difference in how the shadows and highlights are allocated in the hdr, 2020 clips vs the normal 4k 709 graded clips. I could see the sky AND the details in the below mid gray at the same time. And I graded the clips in catalyst browse not even resolve. So in my limited experience, 8bit shows a real difference in hdr.

Step down rings to the 43mm of the kowa 16s/d will work... however it’s very likely you misalign the kowa when focusing. For an ultra light set up (steadycam, gimbal) where you don’t change focus, it is useful, fiddly, but useful.

The elmoscope I is a lot like the kowa 16d or 16s (size and image look, not sure on flare color) but as an owner of the 16s I’ll say I prefer it over the elmo, even over the sankors (which are larger and a bit heavier but with blue flares). The kowa 16d/s has a 43mm back tread that can be helpful for mounting or using step down filters to avoid light leaks and prevent the scope from falling when used with clamps. I vouch for the kowa for a first non expensive anamorphic.

50mm works no problem on apsc with a kowa 16s, once you go wider, vignetting is a big issue, so I used an Impact dvp wa70-72 0.7x and get a wide image with no vignettes even at 3.56:1

Kisaha, thanks for watching. Could you elaborate on your comment? Noise, softness, artifacts? Resolution? I’m still debating myself if its slow mo is useable in a non-personal project. I’m only seeing my kid and turn a blind eye to the short comings of the image, so I need people that don’t look at it with my fondness.

Any chance you also recorded on camera? The info shows you had sd card in with space. You might have to use the internal recording (if it exists).

ok, long due “test” one day with 120 frames conformed to 24p in camera, another with 120p made to 24p in post. Can you tell which is which? Hint: all long sleeve shots of my kid are one mode, all short sleeve shirt shots are the other mode... are both modes terrible enough to not matter at all? Would you use it for a project?

I just learned that the sony a6300 has both slow motion options (24p 120 fps conformed in camera AND120 fps at 100mbs) and shot a comparison in the worst possible situation for slomo (low light, slog3, iso6400, 2x anamorphic on a f2 taking lens). I’ll post a link as soon as I upload one.

Great read! Now I need to find out more details to the helium balloons used as diffuse clouds that he mentioned.

The scarlet uses just part of the sensor an is an 1.87x crop from 35mm ff. The sensor read of the ump is bigger than that. Why do you "need" 4k and not 4.6k?

What's the crop factor in the 4x3 mode?

"Cinema camera" is nowadays two different things, 1, for a proyect where you want the end product to be proyected on a cinema screen. (Where we are talking dcp and p3 color gamut) or 2, an aspirational label to believe you are doing "better" or more professional job than with "lesser" cameras. On both instances I can see why raw is desirable.

Couldn't do much other than a couple of pictures... My one year old upset about lack of attention and camera dad not pointing camera at him.

It is not a 4x3 mode, it's a 6x5, so maybe that's where you are having it wrong. The timeline for 2.40:1 in hd is 1920x800, for 2.35:1 1920x816. With the focus module you should be getting the 2x stretch as you are on infinity on your Schneider.

Everything is proyect dependent, large or small crew, cast, props, etc. But the one constant of shooting narrative is this: it's always a battle against time!! Money or light or someone on cast or crew is going to be on the clock and on the edge of leaving/running out. Part of the creative endeavor of cinematography is dealing with the relation of equipment/time. Murphy's law is the rule of the set so apply the KISS rule (keep it simple, stupid) and you will be better prepared for it.

Try not to mix different brand lenses on the same scene. For narrative films is very important that the image is consistent. There are some lenses you can mix and match but try beforehand. The contrast can be super different let alone the color and the "rendering" of each. What looks close enough in the edit doesn't always looks good on a big screen (if you are thinking film festivals). There is a reason cine lenses are matched sets and have Tstops, cause even if you are on the same settings (iso/aperture/lighting) by changing from 50 to 24 can look so different that you will end up spending hours matching them (if the lenses don't match). And it can happen to you in your most important scene or the most expensive of the production.

It will work, however it will limit your actions quite a bit, if you move a bit you can be out of frame really fast or have your hands "cut off" when you move your arms. Whatch for those issues and you can make it. It will allow you to use a less wide lens as well.

True CinemaScope is a relative term, it was originally 2.66:1 as it was expanding a 4:3 negative x2. Later in cinema history it got cropped to 2.39:1 to allow the sound strip in the final edited film. At some point it became 2.35:1 or in some cases 2.4:1 and all 3 (2.4, 2.39 and 2.35) are academy accepted as wide screen formats. But 2.66 is the "true CinemaScope" and one could argue that it requires a 2x lens... So use what you want to achieve the format you want. The 1.85:1 with a 1.33 anamorphic lens gives you 2.46:1 aspect ratio (if the lens is really 1.33x).

I had forgotten about that mod, and I used to own a nex5n... It actually looks a lot like the kinefinity terra (wonder why i liked it so much).

The terra 6k is shipping, ready to buy... The thing with the 5k is the same that got us exited about ursa mini at launch: global shutter. And really and cannot stress this enough: it IS handhold able, not shoulder mount heavy, handhold heavy, size wise is close to a 5d (remember the revolution the 5d II made? It wasn't only the price and sensor size, it was also the possibility of using it in your hand in thight spaces, the combination of size, weight, image quality). And ssd as record media, from them or other vendors.

Less than 20k for a 3 lens anamorphic set looks like a big deal. 40mm as the widest is not ideal but they plan a 32mm in the future. The terra 5k is not "new" but is not shipping yet so is new to me, it now has an e mount adapter option and with it you basically have every lens ever made as an option. And it's lightweight to hold handheld and with the battery in the handgrip it can shoot for an hour and a half. The lights where intriguing and glidecam has a new $700 horizon motor for their stabilizers. Those where good things for me this year.

No slog (if true) means this camera is not sony's response to the gh5. That's why this is not during NAB and there's hope for a7* III and 10bit external very soon