riccardocovino

It's the way he's managed the footage in post. This is how it should look:

 

 

 

No aliasing or false detail there!

 

Even if the result is incredible the aliasing is quite evident in the white wall surrounding the parking lot.

Loving the image out of the D5200. Thanks for the heads up on that sensor, Andrew. Shot this on Sunday. No CC - just Filmconvert. Really like Nikon's colors compared to my GH2.

https://vimeo.com/64274981

 

colours and grain in your video are so natural!

D5200 is really a great camera for such low price..

Canon 1D C... $12,000.

 

NEX series have 1080/60p as does the new Samsung NX300... But poor video quality especially on the Samsung.

 

Saw later you wrote the same.. You're right, GH3 video quality is better, but Nex is still better than Canon stuff (except Full frame), and has better low light and dynamic range than GH2, so.. quite usable after all.

 

Regarding Wifi.. as far as i know the lag makes it quite unusable for live framing, is it correct?

1. I'm surprised that it didn't get more play in your article, but the GH3 does 60p overcrank at 1080p. I don't think any other camera in it's class comes close. Is there anything under $5k, except for the FS100 that can do full HD slow-mo? (Bonus: some folks are saying to shoot in 60p, so you can still hear the sound on slo-mo sequences until you go to post! Great idea!)

 

NEx-5n and Nex-7 do it since one year before GH3 and Nex-5n costs less than half.

Then also their heirs Nex-5r, Nex-6 and upcoming Nex-7n.

I'm still wondering why they do not consider an E-mount.

It would be way better, allowing rangefinder lenses, all DSLR lenses, plus active Canon lenses in both 1.5 and full frame proportions thanks to Metabones Smart or Speedbooster adapters.

Blackmagic Pocket Cinema Camera: Ultra portable Super 16 digital cinema camera with super wide 13 stops dynamic range, Super 16 sized 1080HD sensor, built in SD card recorder LCD, ProResâ„¢ and lossless CinemaDNG RAW recording, active Micro Four Thirds Lens compability and Micro HDMI monitoring with overlays.

 

 

Blackmagic Production Camera 4K: Compact 4K camera with large Super 35 sensor global shutter, Ultra HD and 4K support, built in SSD recorder, touch LCD metadata entry, compressed CinemaDNG RAW and ProResâ„¢ recording, thunderbolt and EF lens compability. Includes DaVinci Resolve and UltraScope.

 

The real game changers!

Something that makes the Phantom look like an old sluggish device.. incredible!

Using a medium format with stereo lens ended up in two "almost" 35mm images.

Probably what they want to show is that, with proper lenses and medium format, you don't need the expensive and bulky dual system used by cameron or peter jackso but "just" one Phantom 65.

Definetly quadrants are so evident at 0:54 and in the end.. that's awful!

Noise under the bridge seems more evident in the Ikonoskop, probably due to the smaller sensor.

 

I prefer BMCC image, althought it is just a subtle feeling.. who knows.. blind tests like Zakuto's Revenge clearly showed that our opinions are driven also by knowing the names!

A short movie shot during two stop-over of 6 hours that I had in the trips to and from Thailand.

You can watch the movie and read about this experience on my blog:

 

Hong Kong stop-over

 

or directly on youtube:

 

http://youtu.be/Tcygrby9xJE

No noise removal in post. The thing I've learned about Sony cams is that keeping the contrast at 0 results in very little visible noise, even at ISO 3200.  Decreasing contrast in-camera seems to lift not just shadows but increase chroma noise, even once I've applied an S-curve in post. And I haven't found that there's any increase in shadow detail by reducing in-camera contrast.  So there's no point to it.

 

So the trick is to get as close as possible your final look in-camera when shooting high ISO's, and keep the contrast at 0.

 

The discussion around contrast, saturation, sharpness and the Creative styles (portrait, standard and sunset) seems to lead to the point that in the end there's no real gain in tweaking the camera differently from the standard setting.

 

I'd be glad to know your opinion about my short "Fusilli", posted in this forum section.

 

cheers!

Thanks, all handheld.  ISO was usually at 1600 or 3200.  I kept the contrast set at 0 - this hides the ugly, compressed noise that the 5n generates at high ISO values, and attributes more shades of grey to the midtones.

 

It was really dark in that place and I'm amazed I got such a usable image.  I would love to get my hands on a FS100 + Speed Booster and film a black cat on a coal field at midnight at new moon.

 

Contrast at 0 is default, it ranges form -3 to +3 (I'm trying to remember..)

3200 ISO and such low noise.. incredible.. did you use some noise removal in post?

nice one!

is it all handheld?

1.4 with speedbooster is a real killer.. can you tell us ISO values?

I did this some months ago, but I'd like to share it and have your opinion :)

 

I was preparing lunch at home and as usual I was going to split myself between cooking and testing my new vintage lens, a Minolta Rokkor MC 58mm f1.4, so I decided to use it for shooting myself while cooking.

It was some kind of joke, because timing was ruled by the food’s own cooking time, but it ended in 20 minutes of pure fun. (continues..)

 

If you want to read it all and watch it here is the page on my new blog:

 

http://www.riccardocovino.it/?p=1

 

while here you have directly the video:

 

http://www.youtube.com/watch?feature=player_embedded&v=ec6-qQYZkBM

 

Then, again, same solution as with film, you use more light to remove the contrast.

 

"Black Magic" is the name of the camera and the company, they're not actually claiming the camera has magical properties, FYI.  And there's definitely no magic in the Nikon.

 

Again, your solutions can be good in some practical situations (not in others, like real life documentaries), but this is not the purpose of this topic, where we are talking about tests to prove camera's qualities.

 

So, Zakuto shootouts (with intentional high range from shadows to lights) would be useless for you?

Think of the audience of the Shootouts answering: you could put more light there and solve the problem.

They would be missing totally the point. :)

 

And I'm not talking about magic, I'm talking about normal things allowed by floating point colour data.

It is a good solution.

 

That comment makes you look a bit silly.

 

I laughed because he clearly misunderstood what I wrote.

We all know what an ND filter does, allowing proper fshutter speed and fast aperture even in bright sun.

What I wrote is "high dynamic range" scenes, which involves light spanning from dark areas to extremely bright ones.

And that's not solved at all by an ND filter.

 

Maybe he was moved by my sentence: "an overxposed sky", but what I meant is not a faulty shoot but a common problem (as for a indoor set with outside seen from the windows), where the change in light is not vertically graduated.

 

More politely, here the topic is the quality of data delivered by 10bit hdmi from D5200, not a possible solution for a generic outdoor scene with bright sun, so a gradient ND filter is not an appropriate answer.

Use a graduated ND, like the film guys with even more latitude use.

 

If that's the solution for scenes with high dynamic range, ROTFL

Thanks for the article, that's the hot topic for sure.

Future is clearly in how we store data more than sensor quality.

 

But we are still missing a comparison on getting data from a overexposed sky, I hope that will be addressed in your second round of tests.

Should we expect same color correction possibilities as BlackMagic CC ProRes via HDMI ?

Considering the better sensor we could say that D5200 via HD Shuttle could have quality level between Raw and ProRes  of BlackMagic Cinema Camera?

That would be way beyond any other DSLR, and almost matching BM for a fraction of the cost!

Waiting for part two to see if this is going to be one of the most interesting articles I could expect!

Same for me.

With 14k$ you get a Scarlet starter kit, which gives you:

Scarlet

external high res exceptionally good monitor

64 GB SSD memory

2 batteries

canon mount

 

which means:

5k at 12 fps

4K at 30 fps

HD at 60 fps

16 bit RAW footage.

 

buy an equivalent external monitor for the canon, extra battery, CF and you have same price of scarlet kit but obtaining a ridicuolus 8 bit MJPEG.. how they think to be competitive?

So you need to offence someone you don't know, saying "Idiot" is your way of defending ideas?
What a pity someone has always to turn talks into a defence of his poor self estimation.

Some guys you never heard of?

[url="http://www.bruceweber.com/"]http://www.bruceweber.com[/url]
[url="http://www.gregfoto.com/"]http://www.gregfoto.com/[/url]

It's not my fault if you don't know worldwide famous photographers, just your ignorance, but it's clear you don't want to learn something from anybody, mr. Richg-Kubrick.
Anyway if you think that BBC will start buying dozens of Canon 1DC for news make yourself a favour, become a dealer and get lots of money.
I'll be happy for you.

[quote name='richg101' timestamp='1351166474' post='20274']
Can the Scarlet shoot proper stills? NO!
Can the Scarlet bet set to 'run and go' with intention of acquisition for news and documentary with simple post workflow? NO!
Can the Scarlet be set to auto mode for fast paced non cinematic documentary stuff? NO!
Would anyone consider a Scarlet for still and motion paparazzi work? NO!
[/quote]

Can the Scarlet shoot proper stills? YES! - please search before writing, it's so easy, directly on Scarlet's own page, it's widely used for photography on fashion magazines, or Bruce Weber and Greg Williams are stupid folks who don't know their work.

Can the Scarlet bet set to 'run and go' with intention of acquisition for news and documentary with simple post workflow? YES! - a friend of mine is a documentarist using the Scarlet.

Can the Scarlet be set to auto mode for fast paced non cinematic documentary stuff? This one is soo funny! AutoMode is never used by anyone serious.. please! Leave it to GoPro stuff, and by the way, AutoMode is half useless with RAW footage.

Would anyone consider a Scarlet for still and motion paparazzi work? - Paparazzi taking 4K motion video? Are you serious?

For news, run'n'gun, etc they have different stuff that fits the work better.
You really think someone would buy a 4K DSLR 15.000$ worth for recording news?!

Canon is TOTALLY out of market with this product.
Do they know that at the same price you can get a SCARLET?!?

16-bit RAW Processing : Compression choices of 18:1 to 3:1
1-12 fps 5K FF
1-30 fps 4K HD
1-48 fps 3K HD
1-60 fps 1080p HD
1-120 fps 1K

4K RAW and all the specs for making REAL cinema.

Why should I go for a DSLR? Give me one reason, one... (and please don't answer full frame.. cinema is NOT full frame)