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Tyler Purcell

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Tyler Purcell last won the day on May 5

Tyler Purcell had the most liked content!

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About Tyler Purcell

  • Rank

  • Birthday 07/28/1978

Profile Information

  • Occupation
    Other
  • Location
    Los Angeles
  • My Gear
    Aaton XTR Prod +, Aaton 35III 3 perf, Bolex EBM, K3, Blackmagic Pocket Camera
  • Specialties
    Cinematography (digital cinema and 16/35mm) and post production (DaVinci/Avid/Final Cut Pro)

Contact Methods

  • Website URL
    http://www.tpproductionfilms.com
  • Skype
    tye1138

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53268 profile views
  1. Well yea, Sony wants you to spend lots of money. Blackmagic doesn't. Yea of course. Where is the timecode input on the Sony handheld cameras? No TC, no magic audio sync. Blackmagic has all of these features and Sony has no excuse.
  2. I mean now that the 6k pocket is out, the entire slate is clear of cameras below $10k. The pocket blows the doors out of all of them. I've been watching tests and I'm very impressed with the image coming out of it. Not only can you capture in the standard Super 35mm image size (yes it's 1.8mm shy of full super 35mm) but you can do so in 6k which means you get a beautiful shallow depth of field high resolution look that's very nice. Being able to capture in full bandwidth 12 bit 444 RAW is essential in 2019. I really don't care what anyone else says on this matter. It works flawlessly in DaVinci which is free and the backup codec Pro Res 422 is still 10 bit and looks great for those shoots you don't need RAW capture. It uses C-Fast, SD and USB3 media, which is a first in a camera that small. It has XLR audio input as well as two stereo mic's built in. It has a real power connector, so you don't have to worry about it breaking off the side of the camera. It has timecode input, so you can sync multiple cameras AND your audio recorder to it for instant sync in post. Then you've got the double base ISO which means you don't have to worry about losing dynamic range when you shoot in lots of light or low light. You're always at an optimum setting. With the Canon EF mount, the lens selection is wildly open and inexpensive. I'm sure someone will come out with a hard PL mount for it soon as well, converting isn't that difficult as people have found out with DSLR's. The battery life issue is a non-issue, there is a double battery holder that BMD makes for the bottom of the camera that gives you nearly 2 hours of life. Did I mention the amazing menus, something NONE of the competition have? Did I mention the ability to map your keys which only high end cameras have. Did I mention the nearly invisible rolling shutter, which is a rarity amongst the A7S and GH5 cameras, which both kinda suck in that department. So the downsides... Screen isn't movable. For those times you need it, buy an inexpensive electronic viewfinder. The codec's are heavy so you'll need a bunch of media. It's not a "pocket" sized camera so eh... whatever, not a big deal. GH5S is a bear to use. It's a real piece of junk. I've used it a lot, can't stand it. A7SMKII not even worth discussing. Good luck shooting outdoors without 7 stops of ND ZCam is a complete toy, when they go out of business, I will be sad for the people who bought. Pocket 4k. Was a great beginning, but the M43's imager, didn't stand out as being very good.
  3. There is no worse codec then XAVC-S. UHD @ 100Mbps? My youtube uploads are higher bandwidth. lol The A7S doesn't even use the full frame imager to capture video. So you're ALWAYS cropped anyway. There really is no audio, it's all just such a joke. Using "still" cameras for video just because the manufacturer says you can.
  4. It wasn't blackmagic's fault for the camera delay. They had issues with the manufacturer of some custom components. They have since switched those components out on the 6k camera, so they will no longer have those issues again. Sometimes suppliers don't let manufacturers know what's going on and likewise, manufacturers have a hard time explaining the issues to customers because they would be pissed at someone in China. So they kept the issues under wraps and like many manufacturers, they have a bad wrap for it. I had no problems buying an original pocket camera and the Ursa Mini Pro has always been in stock. So I wouldn't boycott the only company who is standing up for the little guy. Few things. 1) The EF mount is the only way to run a Super 35mm imager, can't do that in a MTF mount. 2) PL mount is only necessary for us older folks who have classic cinema glass for our fancy cinema cameras. The Blackmagic Pocket camera is not made for us. It's made for people who have a DSLR and want to upgrade, ya know... the 99.95% of everyone else. 3) A PL mount would make the camera worthless for people who don't have money. There are currently 7 manufacturers making cinema primes in EF mount, including Zeiss, Canon, Sigma etc... So if you can't find decent glass for cheap, IDK what to say. Yes it sucks for the .05% of us who have Super 35mm PL mount glass sitting around, but I don't think it's a big deal.
  5. 50D and 250D is negligible difference in grain/noise, especially if scanned well. Where I don't shoot 50D much, the few times I have, it's not been worth the lack of stop range. 250D works great in broad daylight with a 1.2 ND and even with gray skies, you can run a .9 and it falls in the F8 range. More important to grain is how new your stock is and how fast you process it. If you've got new stock, processed immediately after exposure, you'll literally have very little to no grain. 200T and 250D are the perfect stocks for 16mm.
  6. Not much to worry about. I mean yes, if you had a magazine that was out in the sun for a day, it may be good to not do that? However, with film you're shooting so many rolls in a given day, the amount of time a single roll is out in the sun, is pretty limited. Also, I would not freeze exposed film. Process immediately.
  7. Call Andre at AM camera 661-433-7667‬ He will know the answer.
  8. Oh nice! Remember, the camera doesn't create the image like digital, the film stock does. So if there is anyone to be impressed with, it's the ability of the film stock and the lenses. 🙂 Are you making a music video with this material or something?
  9. It for sure looks like a reflection off the filter going back into the lens. The mattebox doughnut didn't have a tight seal and the lens was smaller then the mattebox hole. So there was room for light to get through. I was initially thinking viewfinder was left open, but I don't think so.
  10. I'm pretty sure they always used telecine machines, which are basically the same process they use today. Back then they did have another machine, which was a projector with a CRT camera built-in, but they were pretty shitty. I doubt any studio vhs masters were done that way. Maybe for the porn industry or some low budget movies, but not the studio films. The telecine machines automatically did the 3:2 pulldown and outputted 29.97i. So basically an IP or IN of the film would be dropped off to a facility with the matching magnetic audio. They would do a scene by scene grade and real-time transfer to a 2" or 1" video tape machine. Then they would transfer the audio separately using "insert" edits on to the videotape. The final tape would have all of the content that would go onto the VHS tape. The duplicating system was quite simple as well, they'd simply had a bunch of VHS machines in a room and load tapes into them. There was a master start button where they would start recording, first black and then it would auto switch to the 2" or 1" master. Over the years, the only major differences is the addition of digital telecine machines and digital video tape machines, which took over in the late 80's/early 90's. High Definition would have come around the same time where they would have made HD masters for SD releases.
  11. Yea, but it has all the same problems the other model has. The main codec is still .h264/.h265 with a limited bandwidth of 300Mbps. We haven't seen their raw codec working yet, so let's say for now, it doesn't work with DaVinci or any of the other post software natively. I don't understand the remote control comment. I have never in my entire life even considered triggering a camera remotely. Unless you're doing crash cam stuff, I don't see why you would need that function. Everyone is so interested in convenience, they're completely unwilling to bend on "creature comforts" and instead, go with a lesser codec or worse imager. People would rather shoot with a GH5 and that horrible menu system, unusable codec and worthless functions that make shooting, a completely miserable experience, all because they want a twist display. Having used the new pocket quite a bit, I agree the display could be considered worthless if you only use it directly out of the box. However, with a sun shade, it works great and adding on an electronic viewfinder to your "rig" would be the same for either camera anyway. One could spend a week arguing about the "professionalism" of the 10 billion minutes of finished content uploaded to streaming sites every 24hr period. Many of those people are being paid to shoot and are probably getting paid more than most DP's make on average. So arguing the point that only low-end videographers would use the rear display, is kind of not a valid point. Nearly all content in the world is made by low-end videographers and the 4k version of this camera is marketed directly to them. Even the 6k pocket is marketed to the low-end market. Again, nobody is going to replace their Red Dragon or Alexa mini with one of these. The first two cinema cameras they made, had a major defect... they put the batteries inside the cameras and didn't provide adequate cooling. So the batteries simply overheated and many cameras melted down. Since then, the pocket and URSA cameras have been pretty damn good. I can tell you many "manufacturer defect" issues on many other Japanese cameras. The reason why you don't hear about it is because generally they're owned by consumers, who aren't on cinematography forums complaining. I have owned the original pocket cinema cameras since late 2012 and they have been around the world on 100's of shoots, worked on a few documentary features and I have personally shot countless productions with them. To this day, they still power up fine and work great. I just don't use them anymore because clients won't accept 1080p. Heck the current industrial film I'm working on, which is talking heads, complete 4k production and finish. So yea, where I do love the old pocket, it's long in the tooth. The new pocket is a superior camera in every way outside of physical size. I will miss that smaller form factor, but I would trade it for it's features and resolution any day of the week. Blackmagic have always been delayed on release. So have many companies who rely heavily on custom components coming from China. Off the shelf components are easy to source, but when you develop your own imager and ASIC (which is what they did), the lead times can be very long. Grant Petty has stated many times, some parts are 72 week lead time. Big companies like Sony and Panasonic don't have to deal with that issue because they own the companies who make the IC's, but blackmagic does not. Plus neither of those companies is trying hard to make something new and unique. They are making the same thing over and over again, so they aren't bound to new chipsets that don't exist yet. This could be the reason why the Japanese camera companies as a whole are so delayed in doing what blackmagic had been doing for so long.
  12. I do this all the time with a light box and my iphone. This is how I check negatives before I transfer and get some stills to the client ahead of time. Obviously with a macro lens, it would be a lot better. This is cropped in heavily from the original image. Easy to correct in photoshop using the manual color tool, just time consuming, especially if the white balance on the film changes from shot to shot. I haven't tried a blue filter, but I can't imagine it being any better.
  13. It doesn't need SDI at all. HDMI and SDI are identical in every way except for metadata and the type of connector. "The Masses" make up 99.99% of all content!!!! Why does nobody get that? Does nobody watch youtube, vimeo or facebook? 5 billion minutes of content are uploaded to youtube every single 24hr period. Then you add other services like Vimeo and Facebook, which in of themselves, probably together equate to the same amount. Do you think the narrative industry produces 10 billion minutes of content every 24hrs? No, they don't. Then let's think about all the streaming services and television content that's shot "documentary" style? Over 50% of television is reality and 20% is educational. So that means 70% of all content on television is not-narrative. Then you add in all the industrial, commercial and music videos produced, the number skyrockets. I just don't understand why everyone just assumes that every camera needs to be made for such a myopic production style in the grand scheme of things. This camera is made for the masses, for the people who don't have a lot of money to rent or own a more fancy setup. I would run this thing on a low-budget narrative in a heartbeat. In fact, I'd buy two of them and have A/B camera with all the lenses and accessories for less than a used 2k Alexa body. Why? Most people shoot their own content. For those rare times someone would need to transmit video, you can get extremely inexpensive HDMI wireless kits these days. The cheapest being $450 and it goes 300ft in a straight line and could be powered off the camera. Don't need an onboard monitor, it has one. If anything an EVF would be nice, but not necessary. It's rare to find a low-budget shooter like myself who doesn't have EF glass lying around. I don't even have an EF camera, but have gobs of EF glass thanks to EF adaptors to other camera mounts. Where I vastly prefer PL, it's not a PL camera, wrong market. Once you go PL mount, you open it up to the professional market and then you complain about the lack of other features that only some AC's on million dollar shoots care about. "Where is my film plane marker on the side of the camera for measuring focus" NOT NEEDED it has built-in focus assist. "Where do I attach rails for my fancy follow focus and mattebox" Buy a shoulder kit and attach them to it. "Where are my P-taps"? Attach an AB or V mount battery to the shoulder kit. "I can't see, its too bright out here" Buy a cheap EVF. etc... You mean on a narrative film set. Because outside of that very myopic sector, the accessories are pretty much plug and play because everyone else has been using HDMI and EF mount Canon still cameras for "video" work. A reminder that Panasonic, Sony and Canon all make small still cameras in this same price range that "crop" the imager and shoot .h264/.h265 codec's only. This camera is designed to destroy that market. Anyone who expects to spend $2500 bux on a camera and not a penny more, is foolish anyway. It's a no-brainer you'll need lots of cFast storage, extra batteries, maybe that beautiful double battery tray, some sort of cage, yada yada yada... Ya know, I've been shooting film with my own professional cameras since 2015 and the accessories list will go on forever. I could literally never stop buying accessories. So the concept that buying accessories is somehow a deal killer because this camera doesn't work with what you consider "standard" accessories, is kinda silly. There is always something new, there is always something better, there is always something you break and need to replace and there is always something you never bought because you couldn't afford it.
  14. AH yea, I've never owned an EF camera so there ya go! I use a PL mount on my M43rds mount. Z-Cam is a cheap chinese product, designed to penetrate the "mini" market. It's best codec is Pro Res 422 (no raw format) and is capped at 4k with a M43 mount. It has no built-in display. Only uses CF cards, so basically you're screwed with media price and did I mention a small imager like the 4k pocket? The chinese cameras are garbage. The Kinefinity cameras at least have some semblance of quality, but no way are they even remotely close to the Red or Alexa versions. They just don't have the quality imager that the other brands have spent so much time developing. By contrast, Blackmagic work with Sony to develop imagers, so they are on the forefront of imaging technology. I have been very happy with the original pocket camera's imager, even though it has a very limited working range, you can get some great pictures out of it. The Blackmagic Pocket Cinema camera is a zero accessory, hand held camera for run and gun cinematography. It is not a studio narrative camera, of which there are dozens of models that exist. It's not in any way shape or form, in the same business as Z-cam, Kinefinity or Red/Arri. Nobody makes a run and gun 6k cinema camera with a 35mm imager EF mount. I'm referring to a camera you pop a card and battery into, attach a low-cost lens and go shoot cinematic images.
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