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Everything posted by Nezih

  1. A lot of options out there! I think Vaxxis have a massive sale on at the moment, by the way.
  2. It'll happen soon though, I think. I follow a few developers, Apple staff, and macOS "nerds" on Twitter, and my understanding is that with Big Sur and the Silicon processors things are starting to become more unified between macOS and iPadOS, and what the hardware is capable of. The maker of Hedge (data transfer software) in particular I've seen often comment on this.
  3. Which country Frank? This is a global forum!
  4. Yeah, I mean after all... they made a CineAlta phone FFS!
  5. Except that video isn’t actually about the 12K at all, he literally keeps saying that himself throughout the video. Furthermore, he is ignoring that fact that many acquisition codecs that other manufacturers use are built upon well established standards, aided by organisations such as SMPTE and MPEG. It’s the fact that those codecs and standards are cross platform and universal that makes them so useful. Closed ecosystems can allow for optimisation, sure, but they can also put up walls that become a hinderance. Also, Blackmagic aren’t the only company who make both cameras and their own Edit/Post software.... Sony and Grass Valley both do too. Also he touches on the the historical “did we need 4K” ignoring the fact that 4K display resolution was proven to be the perfect upper limit for most home environment viewing distances vs screen sizes. Also also, what’s with the conspiracy theory documentary style music and slow speech pace, haha 😂 Frankly, a mostly hyperbole video that could be said in the space of a single Tweet.
  6. Nezih

    PMW F5

    If using an external recorder (ProRes) and the camera in CineEI mode, be aware that slog2/3 are both Data levels, whereas ProRes is typically Video levels. So unless the recorder allows you to force Data levels, or you adjust the flag in post (can easily do this in Resolve, for example), it’ll look wrong. Also the recordings will always be at the base EI.
  7. Nezih

    PMW F5

    Most good computers can handle XAVC just fine. I’m still running a late 2014 iMac and in most cases it handles XAVC ok. Handles X-OCN and Sony RAW ok too. Only starts to get sluggish when applying multiple effects to clips, especially if 4K.
  8. Nezih

    PMW F5

    Out of interest, why do you want to record externally instead of internally? However, as above, pretty much any external recorder will record HD signals from the SDI ports. If you have the 4K upgrade then you can do quad-SDI.. but there are only a few recorders this will work with. You can also get 4K out over HDMI if you have the upgrade. The AXS-R5 and AXS-R7 are the only RAW recorders that'll work with this camera. And the other down side to recording externally over SDI/HDMI is you lose all the metadata except timecode. I also use XDQ cards in adaptors. Have done for 7 years. Aside from one which sometimes doesn;'t load (just needs to be ejected and reinserted) they've never skipped a beat.
  9. Surely it depends on the camera? I do the same.
  10. For day to day fast paced work I’d get the Video 15SB. I’ve had mine for 7 years I think, and bought it used (but in mint condition) and it’s still working just as it always was - perfectly. I love that it’s lighter that the 18 and 20 - makes a big difference when carrying it around on the shoulder! I use this with an F5 + Fujinon XK6 and have had accessories such as follow focus, 5” monitor; zoom demand; double stacked batteries.... and it’s been fine. However, I have put a fully rigged Alexa Mini on it too, with big Cooke lenses, big matte box, etc... and it was starting to become too heavy for the 15SB. I had to be really careful. I’ve used the same on the 1030HD though, and it was perfect. I recall once renting a 1030HD to use with my F5 and with certain lenses it was actually too light for it: the counter balance overpowered the weight of the camera.
  11. I own a Satchler Video 15SB... my sticks are the ones that are slightly lighter than those that come with the 18 and 20 too. I opted for this option as it handles the weight of my kit, and is lighter/easier to carry around. The 15 head, like the 18 and 20 is excellent. Robust, reliable, smooth. But it's strange to compare it to the 1030HD... that's a far superior head IMO, and much more expensive too, and rightly so. I've used it with rentals a few times, and it's a noticeable step up from the 15 (and better for heavier payloads too).
  12. You're assuming a very specific scenario / use case there. And it doesn't have more highlight latitude than many other cameras... it just rolls off in an aesthetically pleasing way.
  13. Gotcha. Well, there’s obviously a reason the use them.... but I’m not sure what the reason is. Perhaps it’s a way of increasing quality on smaller sensor sizes? Super35 and above it’s not necessary... but 2/3 and lower it is? And those cameras keep their small sensors for the lens range.
  14. Eh? How does a nice highlight roll off mean you need to do less lighting on your subject? Doesn’t make sense.
  15. I don’t think it’s so straightforward to compare... I mean, all of the top-tier digital cinema cameras are single chip, as are many top-tier system cameras. Do you feel they suffer from the problems you describe? Also worth noting that there are 3-chip cameras around now, but that use 3x CMOS sensors instead of CCDs. Such as Sony PXW-Z280, HDC-P43, and the brand new PXW-Z750 (which is also global shutter).
  16. It was that blog post by John Brawley that made me think all of these things...!
  17. I wrote all this on the comments on the Newsshooter article, but it keeps getting flagged as spam (maybe because it's too long). Thought I might as well share here... From what I've been reading, I can't help thinking that the additional white pixels are just to bring the dynamic range back to what is considered "normal" levels (14 stops), because by using such small pixels and such high resolution, without them the dynamic range and sensitivity would be greatly reduced. Which makes me think.... is it worth it? It feels like smoke and mirrors to win over the naysayers of ultra high resolutions: trying to wrap it up as things that enhance the image quality and sensitivity.... when in reality it's just a way of fixing the things that get compromised by having such small pixels and high pixel density in the first place. They have to argue the benefits (whether they are real or not) of colour and sensitivity, because the dynamic range (ok, I can't speak for "usable dynamic range" / SNR, because I haven't seen tests that push that) is only just "normal" or arguably even just "average"... and because they maybe know that if resolution was the only selling point then it'd get criticism by those (majority, I think) who will say that much resolution isn't necessary. Of course, let's see if the pixel structure of the CFA really yields significantly better 4K images. But the reality is, 4K supersampled from 6K bayer is already delivering outstanding images... which on most displays at correct viewing distance look perfect. The argument for cropping room is lazy. Surely one doesn't ever need to crop that much. The argument for 8K deliverables... well... that's hardly commonplace, and won't be totally normalised for a long time. I don't buy the whole "12K is good for VFX" line either. Maybe in a boutique post-house for certain shots... but I can't imagine many (if any) big post-houses are going to upgrade their full end-to-end pipeline to handle 12K resolution material (especially if the BRAW is converted to something like DPX, TIFF, or OpenEXR). Until recently, most of them (on major features and dramas) were still only running 2K end-to-end pipelines (even for 4K delivery)! Though I'm a little out of touch, so I expect many are now running in full 4K. And for high-resolution background plates for set extension compositing etc, surely camera cluster arrays will still be better, because of the limitations of lenses (distortion, edge detail, edge vignetting etc.). Once an array is stitched you lose all of those issues, and can get a much wider field of view at a high resolution than would be possible with a single high resolutions sensor. I applaud BMD and their lead sensor R&D guy for pushing something new, I can't help thinking this is innovation for the sake of innovation, rather than innovation to solve a problem or fulfil a need. That's how businesses have to work in a capitalist world though... stand still and you die. Need to always sell more! On a side note, someone on Twitter flagged up to me that this "new" sensor deign (in the patent) is actually (apparently) basically the same as something both Aptina (now ON Semiconductor) and Kodak had already done to some extent. So I wonder if the patent will be granted... how much is actually totally new?
  18. In case you're interested (I recall you asking about size comparisons recently). The Sony one is the smallest: BP-U30. My logic for going with mini V-Locks is uniformity. i don't have any other kit that BP-U batteries are useful for, so made sense to stick with something I can use on other kit and is thus future proofed better.
  19. But it is a “nano” plate. It’s the same height and width as the mini v-lock battery. Much smaller than a normal one, and smaller than that Lanparte. Making it thin like that Came-TV one would be pointless in this instance anyway, as the card would still hit the battery itself instead of the plate. I wouldn’t want to use that Came-TV on the back of a camera designed for heavy run’n’gun work... looks too risky.
  20. Haha, me too. I've also customised several things. I'm not sure I entirely agree about making the v-lock plate slimmer... there is a reason no one does that. Less support if gets knocked: more likely to break off.
  21. Hawk-Woods are an excellent company, well known in the video/film/broadcast industry for making batteries, battery adaptors, and various other power solutions. One such product is the VLM-Z280, which is specifically designed for Sony’s PXW-Z280 handycam. It allows V-Lock batteries to be used, and provides two regulated D-TAP outputs. It’s a very well made product… albeit for one major design flaw! Check this blog post and the included video to see the problem, and my solution! https://medium.com/@videosoul/modifying-the-hawk-woods-vlm-z28-v-lock-battery-adaptor-for-the-sony-pxw-z280-camera-fc1aa65d087c?source=friends_link&sk=d9199968eda5ce6d10c6e1809090c8fd
  22. The only downside then is the inability of the camera to use its in-built LUTs for S&Q and Playback... which is why I got used to not using it (most of the time). I use a Gratical Eye instead... but the downside with that is that the LUTs are only 1D, so only change the gamma, not the gamut. Can't win!
  23. Another thing to be aware of: the built-in LUTs int he camera (such as 709(800)) don't need to be "exposure compensated". They automatically shift when you raise/lower the EI. It's only relevant if using LUTs in 3rd party EVFs/monitors, or in post.
  24. Because you're not lowering the ISO, you're lowering the exposure index. The sensitivity of the sensor stays the same. Just rating it differently... as you said, like film.
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