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Nezih

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Everything posted by Nezih

  1. Nezih

    Z Cam E2-S6 vs E2-F6

    @Tom Visser great info, thank you! When comparing F6 in Super35 crop mode to S6, do you have any comments regarding aliasing/moire/edge detail? Any noticeable difference? Specifically in HD, UHD, and 4K. Thanks!
  2. Unrelated to your original query, but I became somewhat put off the Video Assist 12G (which I almost bought) when I discovered a few things that irked me about it. I actually asked someone connected to Blackmagic about these... and they seemed to just think "why would you want to do that?", and essentially admitted it was a "prosumer product" and so "didn't need these things" (i'm paraphrasing). @CaptainHook it would be great to chat, if you're on here? The issues that put me off are: No ability to input external timecode on the 5" model. No ability to switch monitoring tools (Zebras/WFM) between pre- or post- LUT. No apparent ability to switch recordings, LUTs, or monitoring tools between legal/data levels. Unclear if recordings are legal or data levels, and what happens if the incoming signal isn't flagged as one or the other. No apparent ability to record without a LUT, but monitor with one at the same time. Very limited and basic calibration tools (though admittedly, they're apparently quite accurate out-the-box). No ability to burn a LUT into the recording. No ability to chard clip a recording to 100% IRE to make it "broadcast legal".
  3. Nezih

    Z Cam E2-S6 vs E2-F6

    Does anyone know much about comparing these two models? Are the S6 and F6 completely *identical* in every way except for the sensor size (and therefore, I assume, pixel size and density)? Has anyone conducted tests or seen any test comparing the DCI 4K, UHD, and HD images from the S6 and F6 side by side? Forget about glass for a moment.... I'm wondering if one is better than the other in terms it's super-sampling: edge detail, aliasing, moire.... that sort of thing. I assume the F6 has a "Super35" mode? Is that cropping or supersampling, or are there options for both? In the Super35 modes (if it has them) how do the images compare to the equivalent native images from the S6? Do the S6 and F6 have the same dynamic range (including "usable" dynamic range), noise floor, and base ISO? Do the S6 and F6 have the same sensor readout speed and therefore rolling shutter effect? Cheers!
  4. Does anyone know if the Fujinon XK6 lens will work on the Z Cam E2-S6 PL when recording 6244x4168 Open Gate throughout its zoom range with no vignetting etc?
  5. Nezih

    Genaray BLT-60

    For sure, I get that. But if the lens makes the beam brighter or more refined then that's a difference worth considering.
  6. Nezih

    Genaray BLT-60

    That's quite a different lamp. No lens included, for a start. And bigger.
  7. Nezih

    Lumu Lightmeter

    Sure? I just tried to checkout again and it still works. Add to basket, click check out, and in the "Discount Code" box enter UPGRADEMYPOWER1 then click enter. I ordered one - and it already arrived today. Free delivery with DHL and even included a pre-printed free returns label.
  8. TBH, that could have been almost any camera. Nothing special about it.
  9. Nice one! Solid effort doing a project like that. 45 days without taste...?! Jeez!
  10. That's why I kept my Light Dome mkI for ages (I still have it, along with a mkII) - because it packs down completely flat. Can easily slip it into a tripod case or similar.
  11. Nezih

    Lumu Lightmeter

    Anyone use one of these? https://lu.mu/products/lumu-power Specifically this newer "Power 2" model? Tempted to get one, as I found a discount conte that takes $150 off!! (UPGRADEMYPOWER1). Just wondering how often I'll actually use it! But I like that it also can compare colour with hue offset between two light sources. Thoughts?
  12. Nezih

    Educational Resources?

    Hello. Personally, my preferred site for news about equipment etc is Newsshooter also. Their reviews are so good. I'll only really check the other popular sites (Pro Video Coalition, Cinema5D, etc) if something catches my eye on Twitter. I see that you spotted that post I made with the magazines. I personally have read several issues of the Sony CineAlta magazine, which I found very insightful. I'm also a member of the GTC (Guild of Television Camera Operators) in the UK, and I get their magazine which is usually very good too. As well as gear and trade talk, it often has articles on topics such as finance, insurance, legal, mental health and wellbeing, etc. There is the long running American Cinematographer magazine too, but I've only ever flicked through copies of that when I've seen it lying around in studios etc. I also (again, if there is a copy lying around) like to flick through broadcast and advertising industry magazines (again, usually UK specific) such as Broadcast, Campaign, and Creative Review. For learning technical stuff, I've found Alister Chapman's XDCAM-User blog invaluable: http://www.xdcam-user.com - I've learnt so much from there. Dennis Hingsberg has a good one too: http://www.hingsberg.com - lots of good guides on there. As does Neil Thompson (another Sony Independent Certified Expert): https://www.imagemechanic.co.uk/training/ Another great resource is Ollie Kenchington - he has good online guides, and does great workshops (several of which are taking place online at the moment): https://www.korroacademy.com and https://www.filmconvert.com/blog/author/ollie/ - lots of Canon specific stuff, and DaVinci Resolve specific stuff. Often overlooked, Sony have their own really great training resources: https://training.sony-europe.com/local/coursecategories/course/6 - there is a lot there. Full online courses. Very extensive. They also sometimes run events: https://pro.sony/en_GB/support-services/support-resources-training (UK) and https://sonycine.com/dmpc/ (US). I've been to a couple, and they were good. Also for Sony, Doug Jenson has very comprehensive online training: https://www.vortexmediastore.com/pages/vortex-media-training-videos-and-books Here are two sites that are cataloguing as many as possible of the very many live streams that are taking place at the moment. A huge wealth of stuff out there! Lots of training here for free (mostly live, several coming up):
  13. Nezih

    Genaray BLT-60

    Does anyone have any experience with these lights? https://www.genaray.com/product/15141/Genaray-BLT_60B-Portable-Bi_Color-Focusing-LED They look really similar to the CAME-TV Boltzen 55w lamps... but with a couple of notable differences (at first glance of specs): 8 leaf barn doors wider beam angle range (15°-75° for the Genaray as opposed to 20°-60° for the Came-TV) Who copied who, I wonder?! FWIW, Genaray are the same parent company as Luxli.
  14. I saw that! Were you just going by eye? This was me a while back:
  15. More guidance! This time from PACT (which includes BBC, ITV, Channel 4, Sky, ITN, STV, and Viacom CBS). http://www.pact.co.uk/member-services/resourcelibrary.html?q=Industry+wide+TV+Production+Guidance
  16. Maybe, but not always possible. For example... in my case, I'm talking about the difference between my Gratical Eye EVF, my SmallHD 5", my Sony 17", and my iMac. There are no "same brand alternatives" that cover all those. Granted, I'm well aware of the limitations and how I'll never get them all looking exactly the same... but I've been to great lengths to get them to look as close as I could. I just found myself frustrated that I couldn't get them closer: I hit a brick wall - either because they don't have any support for external calibration tools, or the settings in their menus are just very limited.
  17. My two pence is that all monitors should have some calibration tools, and not enough do. Personally, it really annoys me being on a set with three or four different display devices that all look totally different. It can create a lot of confusion... especially if you’re in a situation where you don’t know which one is right.
  18. It's actually even more important with 5-pin cables. I had a longer 5-pin cable made for my Aputure 300d mkII. Good thing I checked it before, because it turns out it's not standard 5-pin DMX wiring which has the shield on PIN 1. Instead, Aputure's cable has the shield on PIN 5! Also need to ensure the cable is rated to take the right amperage the power supply will be using.
  19. @McBob.TV haha, brilliant intro!
  20. Worth checking the wiring though! For example, some 4-pin power cables only have pins 1 and 4 wired, but some devices use all 4 pins.
  21. https://www8.hp.com/us/en/workstations/dreamcolor-displays.html or https://www.necdisplay.com/p/pa311d-bk But for proper video reference, I’d consider a Flanders or Sony video display connected via SDI.
  22. Just this week (after nothing since 12th March) I've had two enquiries about work from previous clients - so I'm brushing up on all the H&S guidance that's been published so far, and putting options forward to them to safely carry out the work (both corporates with small crews). Lots to consider. Quite exciting though really!
  23. Fair enough. of those, Sony is the one I have most experience with (mostly 17" PVM and LMD series and PVM-741... ok, not on-camera displays), and I've found them rock solid in terms of image quality. But the UI leaves a lot to be desired compared brands like SmallHD, Atomos, and Blackmagic. Everyone I know who uses Transvideo monitors rates them very highly to. But happy to trust you if you've tried them all!
  24. Nezih

    K6500 Alpha 300 LED

    Haha, yeah. Awkward! Regarding the wattage, it's kinda confusing. Sure, 300 is in the name, and on the website it says that the kit contains a "300W LED Power Supply". But then the specifications it says "Lamp: 600W Bi-Color Matrix LED". That implies to me that it's 300W at either end of its colour range... no?
  25. Latest BECTU Film & TV Recovery Plan (Safe Return to Work Practices) available now via this link, up to date as of today 15/05/2020: https://bectu.org.uk/article/film-tv-recovery-plan/ N.B. BECTU are asking that you only share the link to this web page and not directly to the PDF itself as this is a live, working document that will continue to be regularly updated over the coming weeks. The version control can be seen on the first page of the PDF too. Alongside this, there is a separate British Film Council (BFC) document that is currently still in consultation and is likely to be referred to the Department for Digital, Culture, Media & Sport on/around 28th May after review by the Health & Safety Executive.
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