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  1. Yesterday
  2. Actually, I need to make a correction regarding the battery capacity. The Canon LP-E6N has a 14Wh rating; whereas, the Canon BP-A30 battery has a 45Wh rating. That's 3.2x the BMPCC4K/6K battery capacity. My IDX NP-F970 equivalent batteries (at 48Wh) give me 188min of 4KDCI recording time (which I gather is far more battery intensive than what the C70 can record), so that's as good, if not better than what the C70 gets out of a BP-A30. The BP-A30 is also physically not much smaller than the NP-F970 battery. Just thought I'd add that info.
  3. So Canon has introduced a camera that has a similar design to that of the BMPCC4K/6K, only bulkier. I'll be curious as to whether all the criticism levelled at the design of the latter will be levelled at the former. Perhaps Blackmagic's design wasn't all that bad after all. The C70 also seems to be a bit crippled in what formats are available, but then that's fairly typical with Canon. Edit I: I notice from the comments that there are still those who can't seem to live without a built-in EVF. Edit II: I also notice that there are still people about that complain about the lack of a 5" flip-out screen on the BMPCC4K/6K, the supposedly poor battery life, and now a lack of top handle. The so-called poor battery life of the BMPCC4K (especially) is a real bugbear to me when I hear it. The LP-E6N battery is only 1865MAh; whereas, the BP-A30 is 3200MAh, almost double the capacity of the BMPCC battery. With two LP-E6N batteries, I can get close to 150min of recording time, which is not too bad. With my current setup using an NP-F970 and LP-E6N, I can get four hours of 4KDCI recording. And those NP-F970 batteries (IDX) are far cheaper than the Canon BP-A batteries. Just thought I'd get that off my chest.
  4. @Günther Göberl. I'm not sure what it is, but anything especially to do with landscapes always appeals to me more when it's in a wide format. That project, for me, would not have had the same impact in say a 16:9 format, it would have had a made for TV impression. My view is do what you want, not what someone else dictates. And if some festival dictates a format that kills your creativity, and all that you're then doing is making a film to suit the festival, why even bother?
  5. Last week
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  7. If you need or reply on peaking alot ,I would recommend changing to "normal" ,set a level and leave it on all the time .. I used to use color (red) but was given the same advise and its really alot better ..
  8. We wanted to share with you recent news about our newest native drag and drop effects plugins! Each of the six plugins is a very different, individual effect and can be applied to any footage or text asset in your video. If you’re working across an entire sequence, apply the effects to an adjustment layer to alter multiple assets: 1. Camera Shake 2. Bad Signal 3. RGB Offset 4. Extreme Flicker 5. Slasher 6. Chromatic Aberration For more details, check out our short video and our recent article: https://www.youtube.com/watch?v=P5MI-wMPrrs https://motionarray.com/learn/motion-array/motion-array-effects-plugins/
  9. Cool. It can do it in camera, no recorder needed. Its the original C500 that needs a recorder for 12bit 4:4:4. Just know that the new C300 MKIII and C500 MKII both dropped the 12 bit 4:4:4 from the camera, probably because Canon is pushing their Raw.
  10. Hey everyone! Come listen to great stories from the absolute Legends of Cinematography! Episode 1 Robert Yeoman ASC Episode 2 Daniel Pearl ASC Episode 3 Barry Markowitz ASC Episode 4 Jim Plannette youtube.com/cinematographylegendspodcast
  11. WWW.Youtube.com/Cinematographylegendspodcast
  12. Technically speaking, no Bayer pattern sensor cameras are actually 4:4:4 anyway... 🤷🏼‍♂️
  13. It's a bit like the difference between say RGB and Adobe RGB (kind of) or JPG vs RAW, as there's more information available. It really depends on whether it's necessary for your work. My preference, whether it comes to video or photography, is to record at the highest possible/practical rates to allow for the best post-processing (you never really know when you're going to need it). It requires more storage space, but that to me is a worthwhile tradeoff. Once information is lost, you never get it back. A graphic example: https://i.rtings.com/images/chroma-subsampling/subsampling.png
  14. Thanks. That's very helpful because a C300 II and a 4:4:4-capable recorder is high on my list of candidates.
  15. Thanks so much and yeah will do, and I try to search first also. 😉
  16. What are people's general views on gimbals? I have a love/hate relationship with gimbals (I own two relatively lightweight ones) and, in the few years that I've owned them, I simply cannot get to like them. I've tried a cheap Glidecam clone and just hated it, as balancing it was always like trying to get a drunken wife into a car (been there, done that). The gimbals work fine, but they simply can't hold my run & gun rig that weighs 4.3 kg. There are of course gimbals that can hold that weight and newer ones that can do that without having to break down the rig for full movement, but you then end up with a huge weight to carry around (and I'm able to carry some fairly hefty weight). For the sort of work that I was doing before COVID, I was using an Easyrig clone to support a very heavy rig, but I subsequently reduced the weight to a nice 4.3kg and did away with the support (wandering around some places looking like a Ghost Buster started to wear thin). But there are times when I want to move about with the rig and get reasonably stable footage, which kind of points to a gimbal of some sort. Recently I did some testing with a counterweight system, by attaching my monopod to my rig, with the monopod extending horizontally from the rear of the camera (aligned with the lens). The results from the monopod experiment were actually quite surprising, giving an almost gimbal like movement with a bit of stabiliser added in post. Noting that I can't Ninja walk (more like Bobba Fett sitting on my shoulders) the results looked little different to shots using another camera on one of the gimbals. This could be an option with some practice. Gimbals are all the rage at the moment, but are they really an ideal option for documentary style work, which is my main aim? Has anyone come up with a portable solution that doesn't involve a gimbal?
  17. Do check requirements of any festivals you plan to submit to, as well as DCP specs. Many may be fine with whatever format, but some may be fussy. You may find capturing in 16:9 (but framing for 2.35:1) and then editing for 2.35:1 a safer option, so, if necessary, you can re-edit for 16:9 later down the line if required (may involve re-doing some “pan and scan”, but with the vertical alignment). Unless of course you’re shooting anamorphic, then you can’t do this and will need to crop your master heavily to create a 16:9 version. Also consider that, if theatrical release is intended, it’s unlikely to be 16:9, but rather DCI 4K or DCI 2K (1.89). So, if you can shoot in one of those formats instead of UHD/HD, then do! The few pixels of extra width will help you anyway if you’re going for a wider look, and will mean slightly less cropping of the height is needed (you’ll need to work out the correct crop to cut a 2.35:1 portion out of 4096x2160 or 2048x1080). Agree that creative intent is a part of choosing what to do here.
  18. Good luck with your new venture... and ask away away (in the appropriate sub-forum)!
  19. I shot plenty of docs and doc style content in 2.35:1, here's a few examples. Ultimately I'd say its down to personal choice and what's best for the project. I picked 2.35:1 in these examples as it was my preference and suited the style of both pieces. Hope that helps...!
  20. I updated my FX9 firmware to version 2.0, and it appears to have broken color peaking. Normal peaking works, but color, b&w, etc. doesn't work. I primarily work on verite stuff, so I rely pretty heavily on color peaking. Anyone else have this issue?
  21. Are you planning on distributing it online or trying to sell it to a broadcaster? I've shot projects in both 2.35:1 and 16:9 and even 5:1. All of them have positive and negatives. 2.35:1 or even shooting anamorphic can be great for some projects or shots, but It can be terrible for others.
  22. Earlier
  23. Yes thats true sir .. for sure go for what best suits .. Ive noticed on Netflix there seems to be quite alot of docs in what looks like some sort of crop ... another thing that seems to be "in vogue" is interviews with a down the barrel eye line .. really noticed that alot as it used to be quite un usual ..
  24. That's true if the project has been commissioned, but if it's a personal project, then I'd be inclined to use a format that suits the narrative. If the project has lots of grand vista, you may not want that to be compressed into a 16:9 ratio. That's why I noted the 2:1 ratio, as it supports grand vistas, but can be made into a 16:9 without losing too much of the grand vista.
  25. 16-9 is the standard for broadcast .. presumably you are not shooting anamorphic to get your 2.35-1.. and going to do it in crop .. I would look into you future sales plan first .. some might not want cropped 2.35.. or if there is a production company they will tell you anyway .. you could do a "common top" and play safe .. the rules of aspect ratio are not really just guidance .. they will be set by the production company or the producers and not just the DP,s call..
  26. Having the same issue, tried updating firmware on both devices. Guess we'll just have to wait for Atomos to issue another update...
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