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Type: Posts; User: Adrian Jebef

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  1. Yes I would agree with Andree. If you are...

    Yes I would agree with Andree. If you are building out for a full crew shoot and studio setup proper 4x5 NDs like the True or Arri's are great. But if the majority of the work is small with almost no...
  2. Variable NDs are two polarizing filters...

    Variable NDs are two polarizing filters sandwiched together. If you are one person in a one-person crew and have 50 shots to get before lunch then perhaps they can be beneficial. If however you care...
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    I think we agree. Yes! A scene can have...

    I think we agree.


    Yes!


    A scene can have an infinite range of luminance measured in stops or foot candles or IRE or bits or nits. A camera ONLY has a finite range from within the scene that...
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    I've been away working for awhile but is always...

    I've been away working for awhile but is always fun to stop by RU for notes.






    Phil, I respect you but the above is at best a misprint and at worst blatantly false.
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    All you need is a long cheese plate mounted to a...

    All you need is a long cheese plate mounted to a touch-and-go. The simpler the better.
  6. What software will be used for media transfers,...

    What software will be used for media transfers, check sum verification, and backups? $1000 is inexpensive. What dimensions are you anticipating and what sort of card reader(s) and display is planned?
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    IMO variable nd filters (which are basically two...

    IMO variable nd filters (which are basically two polas) are absolutely garbage. You will invariably introduce tons of unwanted color and tonal shifts in your image with these shifts being non-uniform...
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    IMO "future-proofing" is the same as...

    IMO "future-proofing" is the same as "obsolescence obsolete": it sounds good in theory but falls apart in practice. 120fps capture for multiple playouts at 24, 60, 120 just creates too many more...
  9. someone put the lens on upside down oh well ...

    someone put the lens on upside down

    oh well

    nice try panasonic
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    Try one of those smart phone protectors. You can...

    Try one of those smart phone protectors. You can buy a larger size and cut to fit.
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    [WTB] This is basically an impossible task. Not a lot...

    This is basically an impossible task. Not a lot out there. Only conceivable bet would be to contact the few rental houses that own sets and ask if they would be willing to sell. Highly unlikely but...
  12. Carnet for sure if you're bringing in a full...

    Carnet for sure if you're bringing in a full camera package. Get in touch with the rental houses out of Miami as they can point you to US travel coordinators familiar with getting gear in and out of...
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    As Hrvoje mentioned, you cannot "recover" what...

    As Hrvoje mentioned, you cannot "recover" what was never recorded. It is a fallacy to describe what is happening here as a "trick inherent in the power of R3D" which allows for 1+ stop highlight...
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    The best way to get the truest colors from any...

    The best way to get the truest colors from any camera is to light your subject with a source that is close to the native color temp of your camera sensor (usually cooler ie 5600K) and expose your...
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    One more thing to add: it is very difficult to...

    One more thing to add: it is very difficult to explain the relationship between RGB levels after the fact. It is much more instructional to simply play around with WB/T settings in a live real-world...
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    Think of the bucket. For every frame you capture...

    Think of the bucket. For every frame you capture you discreetly fill the Big Bucket up to a certain point. Raw allows you to shift the contents of the Big Bucket into the smaller RGB buckets in a...
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    So here's the thing from an imaging and color...

    So here's the thing from an imaging and color science perspective: once you fill the Big Bucket that's it. There is no algorithm or post process that can add or subtract data from the bucket. You...
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    And Rand, I love what yer doing there. I wonder...

    And Rand, I love what yer doing there. I wonder what the color temp of that key light was?
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    DR stays the same no matter the WB. However, your...

    DR stays the same no matter the WB. However, your WB setting during shooting will affect your base exposure. Meaning that you will see an exposure change onset via monitors and exposure tools like...
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    Rand, I love that you Dig Deep! Only thing...

    Rand, I love that you Dig Deep!



    Only thing I would add is that "camera Company's image rendering philosophy" = the technical aspect of camera design that directly creates images. Speaking of...
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    Hmmm. I would say these lenses are attempting to...

    Hmmm. I would say these lenses are attempting to mix varying degrees of "vintage" lens aberrations with modern glass and mechanics. I would not say they look like the original 1930s Baltars. I...
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    When you change Color Temp / Tint you basically...

    When you change Color Temp / Tint you basically change RGB channel gain settings from camera native which in turn changes your output image values ie: exposure. To state it another way, WB/T settings...
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    Shot with the Ts from Camtec today. Nice lenses....

    Shot with the Ts from Camtec today. Nice lenses. Sharp yet smooth. Somewhat hazy with flares but I think that's the point. Great build quality and nicely designed. Love the circular iris.
  24. As Phil said, no test is perfect. On a more...

    As Phil said, no test is perfect. On a more pragmatic note the things we shoot aren't perfect either. Over the years and years of testing different cameras for different reasons I've come to the...
  25. If you look at the ETTR waveforms in log the...

    If you look at the ETTR waveforms in log the "peak limit" was lined up per camera. Rating MONSTRO at 1600 is just underexposing peak clip by one stop. That's not really helpful.

    I totally...
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