Forum Replies Created
May 17, 2018 at 6:38 pm #2030
It can be more possible with adapters for Nikon as they usually have an aperture control ring. Adapters with Canon EF mount need electronics to control aperture settings – maybe that’s the hassle as the E-mount adapter probably doesn’t offer this feature (they wrote it doesn’t work with G-master lenses). Has anybody tried?November 7, 2014 at 12:09 pm #936
Another SSD tested by one of our great customers:
A-Data SP900 – (D, C, K, H,
2K is proven. Camera has no 4K Option right now so it was impossible to check it at 4K. However, it should work fine at higher resolution as well 🙂October 1, 2014 at 7:47 pm #1008KineAdmin wrote:j_szczygiel wrote:
I already wrote it in another topic but here it comes again: these aliasing on 120fps footage and moire effect come not from the camera (KRW converted to Cineform is clean) but probably from DaVinci Resolve…. I’ll ask Tomasz from FilmCyfrowy to write more about this issue.
Hey, j_szczygiel! That would be great if we can get more info on this 🙂
I mixed sth and actually it comes from Cineform opened in Adobe Premiere, anyway Tomasz will write about that in details 😉October 1, 2014 at 3:07 pm #1006
I already wrote it in another topic but here it comes again: these aliasing on 120fps footage and moire effect come not from the camera (KRW converted to Cineform is clean) but probably from DaVinci Resolve…. I’ll ask Tomasz from FilmCyfrowy to write more about this issue.October 1, 2014 at 3:04 pm #940KineAdmin wrote:
Hmmm, yes there does seem to be a lot of aliasing. Is this just as visible at other ‘lower’ HiSpeed frame rates (96fps, 75fps) etc?
Tomasz already found out the reason and solution. I’ll ask him to share it here with you soon 🙂
By the way – there is an option to shoot 120fps at 2K in Cinemascope mode in the latest software. A little trick is needed in “Sensor FPS” menu (I’m not sure because I have no access to the camera right now).August 29, 2014 at 2:18 pm #841aspirepro wrote:
I was surprised to see how much noise the Red Epic has compared to the KineMINI in low light.
Please note it was “older” Kinefinity camera model, the KineRAW Mini but image sensor is probably the same (guess they improved OLPF filter in KineMINI).August 28, 2014 at 10:08 am #861
Yes, we had the same problem about advanced functions when started with KineMINI 😉 Basically you are able to make an fine adjustement if camera records more informations in highlights or in shadows by moving gamma. Moreover, it has an influence on the noise.
BM used a tricky way how to avoid overexposure on their cameras 🙂 The reason is located in the way how zebra and histogram interpret overexposure. Zebra use RAW signal, but histogram is basing on RGB (post LUT). That’s the reason why zebra in BM shows overexposure before you can see it on the histogram 🙂 Finally, footage is underexposured if you work with zebra and there is a lot of room to recover details in highlights. In KineMINI you can set in the menu which signal is used for zebra – RAW or RGB (post LUT). To sum up – you can’t recover (nearly) any data if zebra blinks on RAW signal because these informations are captured directly from the sensor.
I see Tomasz joined our discussionand explained with much more details 🙂