Rungunshoot
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Posts posted by Rungunshoot
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Beautifull, weird so few react here but I guess they are too busy counting pixels. :)
Haha thank you.
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No, I haven't experienced any dead pixels as of yet. There was an error in my above post. I didn't shoot over 2000. How high of an ISO were you shooting when you experienced dead pixels?
I usually start getting dead pixels at ISO 6400. Which is a real shame because otherwise the footage is totally usable after a little de-noising.
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Great video. So you shot 1600x500, what was your final resolution? 1280x720? or you stretched to 1920x1080?
I outputted and uploaded 1080p. You definitely lose some sharpness, but I found it's not too bad unless you're shooting a wide shot of something highly detailed.
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Hi Brandon, have you tried anything like Ripple Tools II's RT Cloner for dead pixels? I haven't, but I tried replicating the general idea myself in FCPX a while ago to try to get rid of some sensor dirt on a shot (with a mask on a layered clip moved slightly to the side). It didn't really work because there was a lot of camera movement in the shot so the 'cloned' area kept changing, and not always in sync with the masked area.
I don't have any dead pixels on my 5300 yet, but I'm concerned about what I'll do when/if I do get some...
I've used the BG Pixel Blaster, which fixes the problem one agonizing pixel at a time...
I'll check out RT Cloner. Maybe it's a smidge easier.
Apparently Raw Therapee is supposed to be a good program for my problem (don't know about AVCHD though). But it has an intimidating interface. I'm gonna keep the fix within FCP X if possible.
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My first trial with slow motion at the pier, going for a hyper-real technicolor grade. Continuous recording at 1600x500. Also shot some regular 24p stuff.
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Hi, did you get any dead pixels? I've been having a really hard time with them at high ISO while shooting raw.
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Hey Skip,
Regarding NeatVideo, yes, get it. It's a lifesaver about half the time and unusable about half the time (if the footage is too mushy and grainy), but it will save your ass at some point.
Regarding test footage, try this: try to get a stranger to let you film their daily life for an hour or two. Somebody random off the street from a radically different walk of life. Show them a little reel of your work on your phone if possible in order to get them to agree. Then try to film them in an up-close, intimate way that sheds new light on the details of how they live. Try to use only natural sound, no music, for a challenge.
Example:
OR try to re-work your b-roll footage into something with spoken narration to give it a tone poem feel. Maybe use your own voice for VO.
Example:
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What seems to be the problems of the 14mm? I just ordered one :o
The 14mm has heavy moustache distortion in the center of the frame. It's otherwise pretty sharp at f/2.8.
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how did you stabilize your footage?
Looks awesome!
Thanks! I used the camera's optical stabilization (Steadyshot Standard, not Active). Then I used FCP X 10.1 stabilization in post for a few shots. I dialed back the power of the stabilization to about 50% of the default most of the time.
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I just shot this daylight test today with the RX10. Lots of subject and camera motion, for those who are curious about how well the camera handles that.
And here's one somebody recorded with a RX10 + Hyperdeck Shuttle 2. Static, but impressive footage:
https://vimeo.com/81727288
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Just got a loaner of this camera for testing purposes. Took it out around Chinatown for some street shooting.
Camera is very sharp, very convenient in good light. 24-200mm f/2.8 is a dream and produces nice-looking bokeh. Haven't tested it in poor light yet. Haven't tried 60p either.
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Can I ask what did you use as DNG settings in Resolve? Rec709 colorspace & Rec709 gamma because you mention 'sacrificing' black levels?
Have you compared the EOSHD LUT to just setting 'Linear' in Resolves (v10) gamma project settings for CinemaDNG rather than rec709 gamma.
That would give you demosaiced linear space frames and then doing a typical lin2log on those by applying Resolves linear to CineonLOG 3D 'input 3D LUT' in your project settings and then using Resolves log grading tools?
Doing a lin2log at input, will lift your shadows, obviously and put your source in a LOG space for grading. You may then find there's no point applying a 'Output LUT' to lift it all, having possibly crushed it at the start by applying rec709 gamma?
You may also find that 'Highlight Recovery' option then only needs to be applied to camera raw files that have 'actually' clipped a channel in camera raw rather than on every clip as EOSHD suggests, I guess to counter the intial rec709 curve again.
That's an interesting workflow. I'd much rather be in a true log workspace than be going through BMCC Film and an output lut. I'll try it. I like grading prores in FCP X just because it's faster on my laptop and allows me to stay in one program rather than round-tripping with DNG's. So if I can output Cineon LOG from Resolve as ProRes 422 HQ, then I can just apply my LUTS and grading in FCP X.
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Cool video, Andrew! Tech issues aside, I like your "aerial" footage from the ferris wheel and the moody lighting on the pedestrian shots.
The shots look great until the contrast is too high or there's too much motion. Most of the mid-contrast shots looked better than what I've been seeing from the BMPCC. If Sony could improve how that sensor handles highlights we'd be in a lot better shape.
Regardless, I'm not sold on this camera yet because I'm sick of buying cameras that do half of what I need or just "almost" look good enough. This one's not pocketable at all, so size isn't really that much of an advantage over full-frame. Plus a 5dmkIII with a Tamron 24-70mm VC will cover the same range with ML's 3x mode enabled.
I'll be testing my own unit soon. Hopefully there's a niche for it.
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I found the BMPCC's crop factor plays into image degradation in many ways as well. It magnifies any lens imperfections, plus the deeper inherent DOF encourages wide-open apertures, which are never the best.
I tried to use my old Nikon AIS 50mm f/1.4 on it shooting ProRes, and while I could get the color to a pleasing point, the lens bloomed viciously wide open. I never noticed this when using the same lens on a S35mm or full frame sensor.
Also, you get weird barrel distortion when trying to go wide with many lenses. And you don't even end up getting that wide a FOV.
And C-mount lenses just look swirly and awful on the edges.
I'm not gonna go get a Zeiss Superspeed kit just to get an acceptable image from this thing. I'll stick to my hacked 5dmkIII for my personal raw shooting right now, and rent a Red or something if I need reliable performance for a gig. BMPCC is a dud IMO.
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Thank guys for keeping this thread going. The D5300 hadn't been on my radar until now. Thanks for the mentions, too.
If FPN is truly gone, this camera looks like a great upgrade from the D5200. I might sell my current D5200's (now quite devalued) and get a D5300 instead.
I like that it's smaller than the D5200 with 2 stops of extra ISO gain. I also like the 1080p60 option. Plus Nikon has a great Standard profile that works for almost all my shooting with minimal need for color correction in post. And I do miss the articulated viewfinder when shooting with the 5dMKIII.
That said, the AF looks useless in live video recording, and the bitrate is barely adequate for slow motion; you'll likely still see motion artifacts at 1080p60 even at 35mbps. Just bear in mind that the GH3 will deliver much cleaner 60fps footage in that regard.
Of course, the clean HDMI output may change all this. I'd be curious to see how much finer the noise structure is when recorded uncompressed to an external source. That could also be a means of bypassing the 20 minute record time limit, making this an excellent camera for extended interviews.
It's a crowded marketplace right now with no "perfect" camera. In my mind, the best thing out there for me would be a C500 (sorta small + compressed raw + slowmo + Canon color science)...but that's the price of a Prius. So nope.
I'm still hooked on shooting 5d3 for my fun projects because I can basically do anything to the image in post. But the D5300 looks to be a solid workhorse and quite gradeable in post. I'd be curious to see how it stacks up next to a C100 in terms of sharpness, latitude, and low light.
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I'm not a pro colorist, so take my advice with a grain of salt. But in my experience, the color rendition of Sony and Canon 8-bit cameras in low light is better than the BMPCC's. BMPCC's color is simply too desaturated and brownish to be recovered fully. If anyone has evidence otherwise, I'd love to see well-saturated low light footage from BMPCC.
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I'm in LA but I just returned my BMPCC. I just was not satisfied with the ergonomics and the color rendition in low light.
But you might want to hit up Peter E. Price on Vimeo. He and I traded a little bit of conversation about the BMPCC. He's got one. Just search Vimeo's users for his name and send him a message.
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Andrew, do you know if the Nikon D5200 also does a full-sensor readout? I've had one for many months now, and in all my shooting it seems to lack moire, aliasing, and false color entirely.
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Can anyone tell me about using AIS glass with the D5200? As I understand there isn't any way to monitor exposure in video mode (e.g. no histogram). I don't like the sound of this and I'm surprised Andrew didn't mention it in his review (he was using an old, manual e-series lens). How do you expose accurately in live view using manual glass with the D5200?
AIS glass works fine but only in manual mode. You cannot use shutter or aperture priority modes with any non-electronically connected lenses.
There is no histogram or zerbas. I've always just monitored by eye and learned how to visually tell if the image is correctly exposed. It sounds dicey, but you can get consistent results just by practicing shooting in different conditions and then reviewing your work.
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I'm about to cancel my BMPCC order. B&H still has not shipped mine (after I pre-ordered on the first day it became available). Also, I'm pretty universally disappointed with the image quality and usability based on other reviews. Most BMPCC clips I've seen would have looked better on a Gh3, G6, or 5dmkii or iii. The camera's color is frequently washed out and muddy looking, still has moire issues, and can't even use M43 lenses without distortion.
Blackmagic has pushed the envelope; now it's time for a real camera company to create something we can actually use.
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A brief compilation of my travels, made for a travel competition. If you like it, please vote for me! Link:
http://www.bestjobaroundtheworld.com/submissions/view/13139
https://vimeo.com/73993049
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I've shot lots of Nikon D5200 footage. Very sharp, great color, but horrible noise in shadows and poor battery life.
The interview portions of this webseries are shot with that camera:
http://screen.yahoo.com/girls-game/
Here's a short film I shot on D5200:
https://vimeo.com/70224759
New Sony 4K camera teased, source describes it as 'F55 in DSLR body'
In: Cameras
Posted
This would have to be mirrorless, yes? In which case its form factor might take a nod from the A7. I hope they can keep the body small, but if not, at least it will be ergonomic for rig-free shooters.
As for the IS, I'll take whatever I can get in-body. 2-axis IBIS plus any sort of external stabilizing device like a glidecam or gymbal would be a killer combo.