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    Quote Originally Posted by Zak Forsman View Post
    Near to Superstition has been uploaded to Vimeo, alas, only in 720p.


    https://vimeo.com/231752824
    So far done only in 720p because the 4k ProRes file is nearly 60GB! Way too much for her account on Vimeo.
    Mitch Gross
    Cinema Product Manager
    Panasonic Media Entertainment Corporation


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    Quote Originally Posted by filmguy123 View Post
    What's with the passive aggressive downvoting of Stattos' comments? Mproust14 asked why the footage lacked dimensionality as if it looks like it was shot in front of a green screen, and the answer was "I don't believe it was shot in front of a green screen". I mean... seriously? That is a very unhelpful answer. AFAIK, The Alexa 65 is basically a large format version of the Alexa... I don't really see how Stattos comment, while phrased tongue in cheek, is remotely offensive or unhelpful?

    ANYWAY.

    mproust14: I believe the footage lacks dimensionility not because of the EVA-1, but because of the content. The shots are very flat in contrast (overcast weather), etc. Basically, they are very "safe" shots. I believe that in higher contrast scenarios, and scenarios with less flat lighting, you would see a lot more dimensionlity. It is light that crafts this, just as if you were to artificially light a set flat, or light it with accents and shadows to give it depth and dimension. I am personally of the persuasion that Panasonic would have been better to show of the EVA-1 in more challenging scenarios, but understand that from their perspective that introduces the risk to show the limits of the camera as well, so it's trade-off. I am personally inclined to believe the EVA-1 would have impressed here. We will have to wait and see. I will make a point though: go look at Apple's "shot on iPhone" gallery. "Dimensionality" in footage is a big topics. Lens choices lend to this, cameras lend to this, but the largest contributing factor from what I believe you are seeing here is merely content. Almost every shot in this demo was straight on (flat against a backdrop, all filmed very shallow DOF at f/1.4-2.8 with the background far in the distance, low contrast, etc. Even in the artificially lit scenes are extremely flat (the model popping up from under the water with super flat face lighting and super flat green backlighting is a prime offender - it's the aesthetic choice that makes that shot look like video and not film - *NOT* the EVA-1!!). There are some exceptions, but the point is, even phone cameras produce vastly different characteristics of dimensionality based on content and the photograpgher - there is nothing I have yet seen to indicate that the EVA-1 will lack this (and it will certainly be much better than an iphone!!), only some content shot very flat (I believe this demo here was more to focus on the color, anyway).

    Regarding the grade, they both showcase different things, but I believe that Filippo's grade is clearly more cinematic (and thus to my eye, superior -- though I can absolutely see why Panasonic may have preferred the more vibrant original clip to showcase the colors, etc. Only critique here is they definitely should have released both simultaneously)
    Thank you. I understand that the lens and lighting are big factors when it comes to dimensionality, especially the size of the front element of the lens. But the characteristics I am seeing from the sensor must contribute to the sense of unreality. It makes it seem like the background is a green screen (the best way i can describe it). I see this whenever I shoot with my sony alpha series cameras, but not when I shoot with my c series canons. I get the same impression with the Radio 88 short, and I am guessing it has something to do with how the sensor is interpreting the light. It really makes it look plasticky.


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    Quote Originally Posted by Mitch Gross View Post
    So far done only in 720p because the 4k ProRes file is nearly 60GB! Way too much for her account on Vimeo.
    Curious - can it be uploaded on YouTube as a "6K/8K" or even a 4K 60p file in order to minimize the compression?

    PS. Panasonic and all other camera manufacturers should have own "video pages" where the control over compression and bit rate is not abdicated to a third party.


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    hey mitch, the european product manager for panasonic mentioned that there are 2 settings for noise reduction in camera, 1 and 2, which setting is best use for shooting 2500 iso and above? do choosing either setting and doing in camera noise reduction affect the image in any way or make it look video-like? or is it better to do it in post?

    can the 'focus squares' be used in conjunction with the one shot AF? for low light shooting do the one shot AF still work? or will it hunt?

    also for vlog or any scene files, are you able to go in and adjust the settings yourself like turn down sharpness or dial up the black levels...etc?


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    The nice thing about her short film, is that she put the camera in some extreme exposure situations, and the camera did really well.


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    Quote Originally Posted by Amira-user View Post
    hey mitch, the european product manager for panasonic mentioned that there are 2 settings for noise reduction in camera, 1 and 2, which setting is best use for shooting 2500 iso and above? do choosing either setting and doing in camera noise reduction affect the image in any way or make it look video-like? or is it better to do it in post?

    can the 'focus squares' be used in conjunction with the one shot AF? for low light shooting do the one shot AF still work? or will it hunt?

    also for vlog or any scene files, are you able to go in and adjust the settings yourself like turn down sharpness or dial up the black levels...etc?
    The noise reduction settings are OFF, 1, and 2. I only briefly played with these settings and I think you would have to experiment with them yourself to determine how you would like to use them. For the three shorts this setting was always at OFF.

    The Focus Assist can be set to OFF, Peaking, Focus Squares, or Peaking & Focus Squares. There are a bunch of sensitivity, display and other adjustments for fine-tuning the Focus Assist. It operates completely independedntly of the One Push AF, and each of these functions can be set to a User Button (there are nine available). One Touch AF can be used in low light, but at a certain point it may be harder for it to find the correct position. This is subject dependent and something you would want to test for yourself.

    You can set many adjustments to the image profile in the scene files. in V-Log/V-Gamut the point is to best capture as much as the sensor can see so all of these other settings are greyed out. The idea is that in this mode you would be making these adjustments in post, not in camera.
    Mitch Gross
    Cinema Product Manager
    Panasonic Media Entertainment Corporation


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    Quote Originally Posted by James0b57 View Post
    The nice thing about her short film, is that she put the camera in some extreme exposure situations, and the camera did really well.
    Agreed!
    Mitch Gross
    Cinema Product Manager
    Panasonic Media Entertainment Corporation


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    Quote Originally Posted by James0b57 View Post
    The nice thing about her short film, is that she put the camera in some extreme exposure situations, and the camera did really well.
    It was a fair attempt to show what the camera is capable of, but there were a few shots that should have been pulled from the edit due to underexposure (campfire) and overexposure (clouds). The other short film had a more consistent look and showed the camera is more than capable in low light.

    Biggest problem for me is using the short film format for a camera promo film. Shoot a proper promotional film. Say something about the camera. Show what it can do; colour, movement, dynamic range. Dazzle us with it's capabilities. These shorts are only ever going to be good as the script, and 49 times out of 50 they're just a tad lame.
    www.liamhall.net
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