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Nezih

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Everything posted by Nezih

  1. Robin explained similarly above. So to clarify, when I rate my F5 at 800 EI to get it at "0dB", the camera, as Robin says, is still actually at 2000 ISO... but I'm monitoring it as if it were 800. As such, when I view the image in post it may look over exposed. But using an exposure compensated LUT in post, or manually bringing the levels back down to make it look correct will, in turn, be reducing the noise floor.
  2. I'd also recommend reading and understanding Alister's guides on XDCAM-USER. A real treasure trove of useful information. Also http://www.hingsberg.com/category/pmw-f5/ has a great "Ultimate ExposureGuide" too. For best results, in my opinion, it's worth taking time to understand some of this stuff. When I first got my F5 back in 2013 it took me a few months to fully get to grips with it all... but I'm better for it (and now a bit of a nerd on these matters, haha). But I've seen countless mistakes made by others along the way. Here are some top tips: CineEI mode was originally designed for RAW... to even if recordingXAVC, think of it terms of RAW: very limited in camera image control (other than exposure), with the idea that everything is done in post, in the grade. Hence the white balance being locked to those three presets (though in the VENICE and FX9 this changed). slog3/sgamut3.cine is designed to have a gamma curve that feels familiar to colourists used to working with Cineon material. Similar to Log-C also. The gamut is designed to meet rec709 primaries, so be easier to grade than the full sgamut (F55 only really) which has extreme "out of standard gamut" colour capabilities. slog2/sgamut however is arguably better for scenes with a really wide dynamic range (though it's what put some people off and made some people think Sony material was harder to grade). slog3 is data levels... so if using a LUT to convert to something like rec709, ensure it converts to legal. Also ensure any post software realises the slog3 is data levels... some don't read the flags correctly and need to be set manually. This is a very common mistake when people record slog3 to a ProRes file... because ProRes is typically video levels, and it won't capture the metadata... so need to tell post software to treat it as data levels. It's worth noting that Sony's published "base ISO" for the F5 and F55 when using slog2/3 are not actually 0dB. Rather, they are the mid-point in the gamma curve where equal amounts of highlight and shadow latitude are captured. This is why some people thing that slog3 is noisy: because at 1250 EI (F55) or 2000 EI (F5) the sensor is actually at +6dB. So you'll read a lot about "rating the camera higher, then bringing it back down in post". What I like to do is: Rate my camera at 800 EI (this is 0dB on the F5... I think on the F55 it's 640). Even if it means sacrificing a little highlight headroom (though I'd reconsider depending on the scene). Use a rec709(800) LUT in my EVF (because I'm using a Gratical Eye) that is exposure compensated for 800 EI. Then either use a similarly exposure compensated LUT in post, or just manually bring the levels back down in post to compensate. This allows me to see a familiar rec709 image in my EVF when shooting... so I know to place white at around 90%, Caucasian skin at around 70%, etc. You can make your own exposure compensated LUTs with a free program called LUTCalc. If you look at the native slog3 image be aware the levels are different (I cannot tell you the amount of times I've seen people expose slog3 as if it's rec709, thus massively over exposing and clipping their highlights. For slog3 on a waveform monitor (or when setting zebras), the clip point is 94% IRE (I'm not sure why it's not 109%), white is 61% IRE, middle grey (18%) is 41%, and black is 4%. Also bear in mind that very few monitors (and certainly not EVFs) will be actually visually showing you the full dynamic range if looking at the flat slog3 image... as most are only capable of 6-10 stops, rather than 14 stops. Another reason it's better, in my opinion, to use a rec709 compliant LUT (and to trust tools like a waveform monitor). I hope that's all helpful.
  3. Glad to hear this helped you! Yes, definitely impress upon them how significant this is. I’ve mentioned it to them too.... and they’ve all seen my review mentioning his adjustment.
  4. You're absolutely right! Agree with all that. These are better than the Sony CineAlta set for FF work, as they only just cover full frame (and the widest one doesn't quite). Though the CineAlta price dropped to £6000 at one point, which is absurd.
  5. Not everyone seems to think so: (See other comments)
  6. That's an amazing deal. I'd be all over that if I had the spare cash. But it'd be hard for me to make the money back... I only rented primes 3 or 4 times in the last year!
  7. Oh yeah. I’m going to ask them about that change to the top levelling adjustments. Seems mad to remove it. I saw that new “arm” for the under-sling. I’d like to try one. Kinda looks like it might get even more in the way of taking the camera on/off the shoulder quickly though. Hmmm... Good additional feedback though, cheers.
  8. I hope so! Though instead of rumours, we may get a load of people complaining that Sony haven't made the camera they want (and who will simultaneously refuse to switch to Canon or Panasonic).
  9. I think if you have a BMD camera, then there is good logic to using their VA monitor.... if you can make use of BRAW! I got the impression that a few of my complaints about it's lack of features are because it was designed to be used in their eco-system first and foremost.
  10. I was also curious about this, and asked around lots, including on the Blackmagic forum... struggled to get a satisfactory answer, because I guess, to an extent, it's down to personal taste. I had several other questions about them though... you can see here: https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=109077&p=609372#p609372 I also got answers to some of these questions on WhatsApp from a UK Blackmagic rep, and on Twitter from another colleague. For now, I've decided not to get one.
  11. The stats are related to the UK, but the sentiment is relevant to everyone. Please read the whole Twitter thread. The magazine supplement he is referring to was recently published by the GTC (the UK's Guild of Television Camera Professionals). They've kindly made it publicly available, you don't need to be a member. Please do check it out here: https://www.gtc.org.uk/about-the-gtc/mental-health-and-other-helplines.aspx https://www.gtc.org.uk/media/fm/Zerb articles/GTC - Mental Health Supplement 2020 - Full Mag - WEB (Spreads).pdf
  12. You've made some fair points. Without wanting to drag this out much further, the only thing I'd add is that most tactical military, law enforcement, and medical gear uses the regular plastic buckles... and the fact that they are so commonplace in those mission critical environments implies to me that they're mostly fine!
  13. Well, I don't know about the Easyrig, but the clips on the Ergorig are made in the USA. You must have got lucky (in the same way you seem to be unlucky with buckles), because I've heard some proper horror stories about fake Easyrigs.
  14. Indeed, it's worth remembering there are multiple factors at play here, such as: the fact that most cameras are bayer pattern, and as such have as many blue (and red) photosites as they do green. So blue (and red) are more likely to struggle at real extremes. the fact that the type of LEDs used in stage/touring/club/theatre fixtures are not typically built to the same colour specifications as those for film/tv. Their focus is looking good on the eye when falling on skin and fabrics, etc, not how they look to a camera sensor. The human eye can handle a lot more than a camera sensor at the extremes. They also put more focus into things like beam control, raw power, movement, and effects. the fact that in events environments it's much more likely that a lamp is going to be pointing at a the camera (actual lamp fixture visible) than in a typical film/tv environment. So while the effect of that lamp may be correctly exposed by the time it falls on the subject, the point of origin (the bulb) will likely be massively over exposed by several stops: causing severe clipping. Of course, in a music video or commercial (for example) one may also have lamps pointing directly at the camera... but one would also have total control over these. When filming a music or theatrical event this is rarely possible, unless the video is a really key part of the production, and the DoP/Camera Supervisor can then work closely with the Lighting Director. It can also be dependent on what gamma curve is being used, and how highlight roll-off is handled. Some sensors have a wide gamut too... for example, in Sony world, I'd expect the F55 and VENICE to handle this situation somewhat better than the FS7 and F5 if only because of their wider native colour gamut. In the past, if I have any opportunity to speak to the LD of the show and make requests, usually there isn't time for them to reprogram everything, so the least I try to ask for is more bright "white" (whatever shade that may be) light on the key performers. That way, the hope is that when I expose their faces correctly, typically the exposure of the coloured fill and effect lights would naturally become lower and so less likely to clip. For example, in the screen shots above, the faces are very dark. Lifting exposure to get them brighter has subsequently made the background lights brighter, and thus clip. had more white light been added to their faces it wouldn't have been necessary to lift the exposure, and hopefully the blues wouldn't have clipped (as much). Of course... not always possible! I used to shoot a lot of big night club promos in London. Often, even in venues with very bright and vibrant lighting, the DJs would still be quite dark. When I wanted to grab my main DJ shots, I'd pop a little top-light on a mini tripod up just to the side of the decks to throw a bit of extra light on their faces just while I grab those shots. Sometimes they'd find it annoying, but it was only ever for 2 or 3 minutes while I grabbed a few shots. Basically the same idea as a photographer using flash.
  15. Amira shoots UHD, doesn’t it?
  16. @Run&Gun hmm... interesting. That hasn't happened to me at all, and it doesn't feel like it will. I wonder then if on the version you have they also used different buckles?!
  17. Really?! That seems like such an odd thing to remove! A shame to hear of your experience. Were you speaking to Jesse, or people from Cinema Devices?
  18. P.S. for anyone reading this considering buying an Ergorig - feel free to hit me up if you have any questions about it. Pro, cons, etc. I'm happy to help where I can. And if you found all this useful and are considering buying one from Cinema Devices, please do kindly consider using my ambassador code in the "Notes/Referral Code” box on the checkout page: A73FKN3OLYTUEJ (thank you!). https://www.cinemadevices.com/product-page/ergorig
  19. As you may know, I'm a fan of the Ergorig (I'll save the details why, as I've discussed elsewhere, but do ask if you'd like to know more about why!). Having said that, it's not, in my opinion, perfect right out of the box. There are a few modifications I made to make my Ergorig better suited to me. 1. The first, and the main thing, is that I'm quite slim... and I found that I had to tighten the waist strap as far as it'll go to ensure it sits properly on my hips without slipping down. However, if I change layers I'm wearing, this needs quick adjusting on the fly. For example, I've had situations where I'm working indoors in just a t-shirt, and then suddenly need to go outside and put on three extra layers. This means an adjustment of the waist strap. I found this quite fiddly to do while the Ergorig is on me because the direction the strap tightens is on my left side and pointing backwards: so not only is it my weaker hand, but also in the weakest direction. This makes it hard to get it as tight as I need. I found myself having to take it off to adjust, slowing me down a lot. After speaking with Jesse, the designer of the Ergorig he suggested I try flipping the strap around. This was easy to do, but note that there is a piece of velcro under the strap to stop it slipping, so I had to stitch a new bit in (as the alignment had changed), but that wasn't too hard to do. Now the strap can be tightened with my right hand.... much better! BEFORE: AFTER: I did also suggest that a ratchet system like steadicam vests have might be better. IIRC he said they had considered this, but opted against it for cost and simplicity reasons. He said they may reconsider it in the future. 2. The Erorig comes in two sizes. "Normal" and "short" (which is designed for people with shorter torsos). I measured myself, and felt I fitted into the "normal" category". However, I found that I was unable to get the shoulder pad quite as low as I liked. Too late to return, as I'd paid for expensive shipping from the States (this was before CVP in the UK stocked them). I could just make it lower by just letting the metal slides overlap one another, but this caused them to protrude and catch on my clothing. So, I simply cut some metal off! I'm confident that doing this hasn't weakened it's structural integrity at all... in my case it was definitely totally redundant metal. I simply used a hacksaw suitable for metal, and a file to smooth it off afterwards. 3. Even then, I felt I wanted to get the shoulder pad closer still to my shoulder. So I simply removed the inner velcro pad from it (the one that goes between the Ergorig and my shoulder). This save at least 1cm, meaning I can now get the camera/lens/EVF closer to where it would have been were it just on my shoulder. 4. The shoulder pad needed some fine tuning when I first got it too. I felt that the camera was a bit wonky, and tended to roll away from my head. Fortunately there are several adjustment points here. It's a little fiddly... but eventually I got a setting that works perfectly for me, allowing my camera to remain well balanced on my shoulder without rolling. I also felt the edge of the shoulder pad dug into my neck a little. Taking the top velco pad off (the one that the camera sits on) and shifting it over slightly so it overlaps the metal alleviated this issue. 5. I found that the front strut poked out, causing it to catch on clothing etc. I got some strong self-adhesive velcro I already had, cut it to size, and stuck it in to fix this. Much better now! BEFORE: AFTER: 6. Molle pouches! I'm glad the Ergorig was designed with the accessory loops on the waist strap. It meant I was able to easily add these pouches I already owned (I use them on my F-Stop backpack that I only occasionally use on certain travel jobs). The two green ones are perfect for accessories - and even fit spare v-lock batteries. The taller one will take either a water bottle, or I've also used it for a reporter's wireless stick mic! I hope you found these ideas useful!
  20. I can't remember if we discussed this before. Have you tried removing the inner pad from the shoulder area (not the one the camera sits on, but the one that goes between the Ergorig and your shoulder. This should allow it to get a little lower. I partially agree with you... but I have also used it with a Panasonic ENG camera and it was pretty happy with it. I've modified mine in a few ways actually...
  21. @Nathaniel Bockley you might want to consider an Ergorig! An Amira with a big lens and batteries is definitely a lot heavier than most other equivalent cameras. The last two times I used one fully rigged up I did one day without an Ergorig, and one day with... it made a huge difference! Any questions about the Ergorig, just ask! I'm happy to try to help. And if you do decide to buy one, perhaps you'd be kind enough to consider using my Ambassador code in the "Notes/Referral Code” box on the checkout page: A73FKN3OLYTUEJ (thank you!). As Martin says, Easyrig a good option too.. but quite different tools for different styles of working.
  22. What?! How is putting USB-C on a battery something that one can win a patent for?! Surely those patents won't be granted? That's ridiculous! Your batteries look very nice. Good features. My main thoughts are: after-market support / warranty recycling practices (I'm trying to think as ethically as possible when buying things like batteries now) repairability quality of the actually cells (which one can only tell after extended periods of use) safety ratings / international standards, etc
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