I’ve been kicking myself for not taking part in the Osee 15.6″ Field Monitor group buys that were running a month or so ago. And while I’m sure its worth every penny of its $995 price tag, it’s strangely difficult for me to spend that much when I know others got it for a few hundred less. Also, it’s probably overkill for my needs. While LUT support, focus assist, peaking, waveform, etc are all necessary, I have those features on my 5″ and 7″ monitors, from which a feed can be run to a larger production monitor, making those camera assist tools somewhat redundant. Even if I were to use this monitor alone, I’m shooting with a Blackmagic Micro Cinema Camera that has many of those features built-in too.
Two things to say about this right off the bat are (1) if you’re not bound by any union/guild contracts, present your credits however you see fit. And (2) I’ve somewhat reverse engineered this so if someone can add clarification or note something here that isn’t accurate, please do and I’ll revise the article.
That being said, here are some general guidelines for the presentation of your movie’s credits. If you are left with any questions, pop in one of your favorite movies and analyze what they did.
With the inadvertent pre-release of V-Log L to GH4 owners this week, a number of questions immediately surfaced that focused on noise levels, LUTs, and usability. For me, the most important distinction to be made was how it performed when captured in 8 bit, versus 10 bit. And how it compared to the built-in profiles that the GH4 was released with. Last, I wanted to get to the bottom of these new cyan/magenta artifacts other users were reporting. And I did.
I had heard really great things about this lens, but was still taken aback by how fun it was to shoot with. It is the widest in my set of SLR Magic cine lenses, all of which I’ve come to be a fan of. I paired it with my Panasonic GH4 which has a mFT mount. So no adapter or speedbooster is required.
Two things struck me right away. How sharp it remained with the aperture wide open, and how little distortion it had. It’s definitely there, but nothing like the fisheye effect you get with other lenses. Which makes it a great choice for filmmakers who need to increase their field of view dramatically, without that goofy look associated with many ultra wide angle lenses.
This is something I’ve been eager to share with you for some time, but we wanted to wait until the ink was dry because this is big, big news for us.
First… about the title of this entry. I know it’s a mouthful. In my defense… I’m an idiot.
Variable ND Comparison: SLR Magic vs Tiffen
When I set out to do this comparison, I thought I knew what to expect. I thought putting the Tiffen Variable ND next to the SLR Magic Variable ND would produce similar results with minor differences. I typically use these during the day to cut a substantial amount of light. So in this test, I have the Panasonic GH4 shooting 4K with the Natural profile, set with an ISO of 200. Without ND the 25mm’s aperture is at a T/8 and I’m cutting 5 stops with each ND to bring the aperture to a T/1.4.