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Kino: Pro Video Camera

lux.camera

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Re: Kino: Pro Video Camera

#241

Post by Tempest1981 »

ihuman wrote: post #79
tonetegeatinst wrote: post #72

On graphene is so I'm unsure how well this could work...but I might recommend this to my family members that only buy iphones. Question I do have though: is the purchase done through the app store or your website, and if its done via the app store or website, can I use it on as many of my own devices attached to the account? Or is it more of a 1 liscense per device? Second: the presents you have sound nice and you me…

It's a paid-up-front app, so you buy it through the App Store, which means you can use it with any device you have that's signed into the same App Store account. I don't see any in-app purchases.

On the App Store it says: "Up to six family members can use this app with Family Sharing enabled."

Re: Kino: Pro Video Camera

#242

Post by th0ma5 »

dylan604 wrote: post #207
th0ma5 wrote: post #193

Earlier quoted context omitted.

This is all I ever hear though. It isn't (just) LUTs, a bunch of posturing, and then "but it is magic that I can't share or you wouldn't understand."

Not understanding might not be far from the fact, but it is probably just posturing. I doubt most of the Tubers understand it themselves which is the real reason they can't share. They saw it on some other YT video, and then made it like it was their own idea. I've tried to explain how to use waveforms/vectorscopes and why they are important. Those things are rarely used any more, and people just don't realize how mu…

Tracking eyes and reducing shadows within a mask is ... Beyond what I would call grading. It all feels like some serious gatekeeping. Thanks for your reply heh but there sure is a lot of FUD out there in the mastering and grading world.

Re: Kino: Pro Video Camera

#243

Post by augustohp »

zamadatix wrote: post #180
fragmede wrote: post #168

Earlier quoted context omitted.

why would buying an old version entitle you to a new version?

For every couple year major versions (with decently advanced notice it's coming and/or a recency allowance) I think it's fair to charge anew but for minor improvements over the lifecycle of a major version I think it's fair to want to buy everything that will come in the major version up front if you're making a one time purchase. Tons of software is this way from Sublime to Windows to ZBrush to an absolute crapload…

They do something which is "common" in Apple-land (Dash for MacOS does this, a Twitter client did this as well, over and over): They get the same app, add some features, call it v2, launch as a new app and remove v1 from the store.

They don't "give" you the new version. They take away the app you paid "once", and provide you with a version with an expire date. So you have no choice. You either pay them, again, or lose access to the v2 (subscription based) app.

I don't mind paying for good software, I even think Hallide is worth $60. But I won't make the same mistake again. So best of luck Lux! I really wish you all the success. If you treat your customers right this time.

Re: Kino: Pro Video Camera

#244

Post by voltaireodactyl »

burntwater wrote: post #218
voltaireodactyl wrote: post #191

Earlier quoted context omitted.

FWIW, I truly hope 24fps never goes away entirely. Something about it is the key to making movie stars look like legends and regular people look like a stars, imo.

Yeah, what qingcharles says. I personally can't say I've seen what's special about 24fps artistically, but it doesn't bother me from a technical perspective (as much).

As someone who lives more on the artistic side than the technical, but appreciates both, that’s honestly reassuring to hear.

And for what it’s worth: I think 24fps is partially why people of frankly similar talent and beauty look untouchable on film, but just like some dude on social media. My personal back-filled theory is that it’s something to do with the fact that 24fps creates more gaps for your imagination to fill in with whatever burns inside your personal subconscious — those “missing” frames let you “see” in Russell Crowe or whomever just a little bit more of yourself than is possible in gapless, real-time reality. Sort of like how old photos with lower resolution feel comforting and organic, because they’re cloudy like dreams, unlike the stark reality that can be achieved by modern lenses.

It would also somewhat explain why high FPS works better for things like sports (where most of the awe is that you’re watching real people do these amazing things) and video games (where the awe comes from actually embodying the figure on screen and existing in their full framerate surroundings).

Re: Kino: Pro Video Camera

#245

Post by wraptile »

wilg wrote: post #238
wraptile wrote: post #233

I wish titles on HN would clarify the platform for limited releases like this. This is iOS exclusive.

Hell hath no fury like an Android user spurned.

Nah all software should be multi platform if possible. Locking programs in to some specific brand is just silly and you don't even need to be a open software extremist to acknowledge that.

Also not mentioning the platform anywhere in the title or even article body itself is inheritly deceiving.

Re: Kino: Pro Video Camera

#246

Post by _carbyau_ »

Clamchop wrote: post #182
fragmede wrote: post #168

Earlier quoted context omitted.

why would buying an old version entitle you to a new version?

"Entitled" seems like an inappropriate word here. OP isn't entitled to the software, and the publisher isn't entitled to repeat customers or the perception of being a good value.

I dunno. I understand "entitle" has connotations - like the word "privilege" these days - but I thought this was used in the straight sense of the word.

Re: Kino: Pro Video Camera

#247

Post by wilg »

wraptile wrote: post #245
wilg wrote: post #238

Earlier quoted context omitted.

Hell hath no fury like an Android user spurned.

Nah all software should be multi platform if possible. Locking programs in to some specific brand is just silly and you don't even need to be a open software extremist to acknowledge that. Also not mentioning the platform anywhere in the title or even article body itself is inheritly deceiving.

I think its okay for people not to do twice the work to support a type of phone they don't care about or use. Who is this deceiving? You figured it out, clearly. I think you're more mad than reasonable here.

Re: Kino: Pro Video Camera

#248

Post by keithalewis »

Does it come with a gold plated audiophile quality cable i can use to tap my reticule? i don't know what any of that means, but i really, really want to feel like a big shot movie director. Where do i send my money? Is it okay if i tell people i work for HBO or Netflix while sticking an iPhony in their face, or should i tell them i am an influencer.

Re: Kino: Pro Video Camera

#249

Post by Auracle »

SamBam wrote: post #33
dylan604 wrote: post #20

"Now, it's not always possible for Kino to pick cinematic settings, such as when shooting in bright daylight." Since the phone's cameras are fixed aperture, you lose one leg of the exposure triangle. Instead, they lean heavily on the shutter speed as ISO is also a function of the chip. Increasing the shutter speed also increase the jello effect from the rolling shutter. Using an ND filter helps. If you find yourself…

> Bonus points if your sunglasses are polarized. You can rotate your sunglasses to "dial" in the effect similar to a circular polarizer. Surely that would only affect polarized light, like glare from reflections, no? Possibly that's all you're saying (I understand the general purpose of polarized lenses) but it sounded like you were suggesting you could make the whole scene darker -- and thus improve the motion blur…

It’s been a while since I used a CPL but I recall using them to darken the sky, so that would probably affect your overall exposure somewhat.

Re: Kino: Pro Video Camera

#250

Post by lencastre »

I’ve used FilmicPro for years until bendyspoons acquired it and made a mess out of it. From there I jumped to BlackMagicCam from the DavinciResolve team and never looked back.

I already had VideoLUT and LumaFX so any kind of grading can be done afterwards.

I never had Halide.

Just saying, I’m trying to understand how Kino improves on this?

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