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Everything posted by Karim D. Ghantous
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Kodak Vision2 250D 5246 - Thin Negatives
Karim D. Ghantous replied to Ali Shah's topic in Film Stocks & Processing
I don't want to presume too much, but I am betting that you underexposed it. Expired film needs more exposure. -
Not all! "Another major advantage the Alpha 1 has over the EOS R5 is unlimited recording times, way beyond half an hour... here's my Alpha 1 happily recording a single 8K clip lasting over an hour and 20 minutes."
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Sony's A1, which shoots 8K video (not RAW though), has IBIS.
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It's worth making the point that IBIS is absolutely useful for photography. Especially when it's used in conjunction with OIS. For video, well... actually not as much. How does the camera know that you're going to start panning before you start panning? Maybe some manual override buttons on the handgrip might be useful. Just as a reference, this is a perfect example of how useful it is for still images (and maybe for static video shots, too): (10:13)
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That is so true. It sounds superficial, but it's still true.
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Some digital cameras do have very nice noise patterns. Some definitely do not!
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I wouldn't either. The Fujis do have film emulation, too, and apparently they do it well. I personally don't like the fake film look which is sadly prominent in photography, but there are some genuinely nice LUTs which are not exaggerated and which add a little bit of spice to the image.
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From my observations I can concur with this. BM is definitely underrated in some ways, though. YMMV.
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From what little I know, this is what you have to do: measure the distance to the live action subject. Say, it's 6'. And the vertical FOV, for arguments' sake, is exactly head-to-toe. So, how do you imitate that with a miniature? Well, you use the scale of the miniature. So, if the live action actor is 6' tall, and you are 6' away from him, and if the miniature is 6" tall, then you put the camera 6" away from it. Then match the FOV. That is all I know and even here I might be wrong, because I've never done it. But, you should be able to test this via experiment.
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Dynamic Range of 5248 film from 1952
Karim D. Ghantous replied to Jonathan Ruiz's topic in Film Stocks & Processing
From what I understand, prints have less DR than negatives due to the increase in contrast. I think? But, was this 4K scan done from the negative? If so, let's keep in mind that EXR was years away. EXR I think was an innovative stock which greatly expanded DR. Black & white film had more DR than any colour stock for a long time, AFAIK. -
A minor note to this discussion. For the few people who don't know, Red has a process called Advanced Dragon Debayer, or ADD, for the Dragon sensor. I don't know if this is now the default algorithm for newer sensors, maybe it is, I'm not sure. What it does is quite significant - it's almost like a resolution upgrade. But it's so processor intensive that you can't do this in real time yet. Maybe one day you'll be able to, and eventually RAW will be truly redundant (which is one of the aims of camera manufacturers at the demand of photographers). Back in the day I used to shoot slide film when I could. Not merely for the colours or contrast, but for the fact that a slide is its own reference, and it requires absolutely zero interpretation. Negative film had the edge on resolution, though.
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2022 Film Stock Price Increases?
Karim D. Ghantous replied to Robin Phillips's topic in Film Stocks & Processing
A lot of people testify to this. I assume you're referring to the Blackmagic 2K Pocket. I almost bought one to use as a DSMC (i.e. a stills camera that is always recording). But it didn't quite have the features I needed. -
From what I know about cinema cameras, the advice given above is pretty solid. Stay with Sony and maybe consider Red. I think Tyler is right about post-ready file formats. I am not sure what you mean when you write, "I love having a wider native field of view". I hate to be a smart-aleck but I have no idea what that means. Digital S35 is the sweet spot in the size-price-quality triangle.
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2022 Film Stock Price Increases?
Karim D. Ghantous replied to Robin Phillips's topic in Film Stocks & Processing
Let me play devil's advocate: isn't that a good thing? You're telling me I can get really nice images out of a camera whose price is always falling? Sold, mutha**(obscenity removed)**a! -
Sounds fun to me. I wonder why you are mixing in VFX with miniatures, though. Although that would be easier. But why not do it all with VFX? The only thing I can think of is that for the miniatures, you will have to pay attention to light fittings. If you're using clear miniature bulbs, find the ones with the smallest filament possible.
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That looked pretty darned good! Even the best ARRI and Red cameras wouldn't be able to hold detail in the light sources (although the upcoming Alexa 35 might be able to...). BTW what was the shutter angle and stop? And I just realised this is Vision 2, not 3. Wow man. It still turned out well, nonetheless.
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I have an idea, although it's perhaps not necessarily practical. You could schedule the shoot for a day where you know it's going to rain. Have the actors rehearse the scene, as if they were rehearsing a play. Do it in one take while it's raining with one or two cameras in the back. Then, you will have to do another take with perhaps an exterior camera. Hmm. In your case maybe this won't work either. Even without the rain it's a problem. Unless you can find a suburb with very little traffic - that might help a little. You did say it's set in the city but I'm not sure you can do all of this quickly or cheaply.
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Okay so I'm not a DP so take what I say with a grain of salt. It sounds like a fun challenge. I have lots of free time so... what the hell, right? My first question would be, how long is the film? Is the car moving or stationary? Anyway, I suppose a bonnet mounted camera would work, although getting it rock solid might be an issue. You could consider putting the car on a trailer. That would cost money but it will make your life much easier. You might want a polariser maybe. I would stop down to maybe T5.6 or so. Focus would be locked. I wouldn't try to follow the action. You would also want to use interior lights, though not too much, and not in any obvious place like the roof. You could place a subtle light on the rear vision mirror, perhaps. Or you could place external lights on the wing mirrors if that works. You could maybe even bounce a light from the rear seats onto the roof as long as your WB isn't affected. You could establish to the audience that the car has a lot of lights inside it, if it were sufficiently modern. I drove a car the other day with a dash mounted LCD. If the car isn't moving, that makes the shoot much easier and much cheaper. I just would be prepared to spend some money on the proper rigs and perhaps, as I suggested, a trailer and a driver who knows how to drive it. Whatever you end up doing, I'd like to know.
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It depends on which subtlety you want to invite into your life. Some love zooms, some shoot on primes only. Some love format choices, some think there are too many. Some love lens options, some think there are way, way too many. Some love film stock options, while others... want even more. But I'll also make a peripheral point: line extensions are bad for branding, in general. Many business have a problem understanding this concept.
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FWIW, I photograph stage actors. My exposure, with relatively bright rehearsal lighting, is 1/40 sec, f/4 (IIRC), ISO 800. This translates to f/2 and ISO 200, which seems pretty reasonable to me. I think you're going to want data from more people on this one. I also checked the photos I took a few years ago at a gig. It was a smallish space. Exposure was the same but at ISO 1600, although I could have shot at 800 perhaps for some of the shots.
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Sometimes having a spectrum is helpful. Sometimes, it's clutter. There are too many iPhones. There are also too many bolt head sizes - one for every millimetre, it seems. Unnecessary! Fujifilm offers only two sensors: APS-C and medium format. Leica offers three and is possibly going to ditch APS-C. But, Leica only offers one variant of the S line, whereas Fujifilm offers four medium format cameras. Red arguably offers too many cameras, too.