Jump to content

HurtinMinorKey

Members
  • Posts

    816
  • Joined

  • Last visited

Everything posted by HurtinMinorKey

  1. A few things. RED isn't a troll, they are an innovator who actually commercializes the patents they claim, and they should be able to benefit from spending the time/resources to make those inventions (assuming the patents are valid). That's not to say trolls aren't a problem in other areas, but more so this isn't one of those cases. It's not always the case, but trolls are typically non-practicing entities (they don't practice the technology they are claiming is patented). Also, Disney exploits copyrights, which is a whole other beast. Patents expire after ~20 years, which seems like a reasonable amount of time to benefit from an innovation (and thus to incentivize new innovations). Copyrights now last ~100 years, which is utterly insane, and completely detached from any notion of rewarding artists for their work (to incentivize the creation of new works). It's also sick that Disney seems to be able to get copyrights extended any time any of their main IP approaches the public domain (and in this light, I agree with your point about the corruption, or at least complicity, of public officials).
  2. Sorry for hiding it within a wall of text, but you have to download the file to get the full resolution.
  3. Below are links to some very rough, ungraded VR180 shots with the R5C using the Canon 5.2mm 2.8L Fisheye VR lens. Note, I’ve only tested these in Virtual Desktop (on a Samsung Odyssey), so I can’t vouch for them in other formats. Please download before playing for best quality. First things first, I wanted to show the ramifications of the fact that Canon’s EOS VR Utility cripples a crucial feature of the R5C for VR: being able to shoot 8K in 60fps. You cannot use the VR Utility on raw files (only with MP4), and since the R5C only records 8K60fps in RAW, you are shit out of luck (at least until someone finds a workaround—which will probably involve rendering your files in an NLE, creating an MP4 version, and then spoofing some metadata so the EOS Utility thinks you are using a native Canon file). Anyway, here’s the first 8K shot at 30fps, and then the same clip sped up X2 to simulate the 60fps look (you can see the judder is significantly reduced—although this will vary depending on what HMD you are using—I’m using the Samsung Odyssey because the extra contrast from OLED is worth the loss of resolution IMO). I chose a seen with a lot of movement intentionally. If a scene has less movement, you probably won’t suffer as much from the 30fps. 8K 30fps: https://drive.google.com/file/d/1uGmzJJzMnw6ZVo5S0kFaHSp6SQ6kdFZW/view?usp=sharing 8K 60fps: https://drive.google.com/file/d/1GGP6O0hRt8MFjcKfcXmiiy4nyANUZyqA/view?usp=sharing Now for some shots in 4K at 60fps. I also included versions sped up (in post) to 90fps, so if you have a 90hz HMD you can see what a big difference it makes to have your fps match the native refresh of your HMD. The 4K is clearly softer than 8K, but not bad. It’s most noticeable on objects in the distance. Things up close generally look quite sharp, even in 4K. In fact, I’d say the best image is taken of a subject that is between 4-10 feet away (which is much closer than the trains in this video). First sequence in 4K: 60fps: https://drive.google.com/file/d/19iV1KAwc9AKK1cLtqttZsaW0guMwgC92/view?usp=sharing 90fps: https://drive.google.com/file/d/1igs1_ErnqWhMDSwocaDw8xlJ2jJU2B8t/view?usp=sharing Second sequence in 4K: 60fps: https://drive.google.com/file/d/1QM5tDfHzXO5-GX-TlwdG7ifJeOfzjfvQ/view?usp=sharing 90fps: https://drive.google.com/file/d/1u8lVM0Z_GYxkxatW81msPzJ8pmcZM7pR/view?usp=sharing Last, some random still images, which don’t do the camera justice. The stills feature is great, the resulting images are very smooth from edge to edge, which is not something I’m used to. Typically a stereo image gets very distorted as you look 90 degrees in any direction. However, this only makes me more frustrated that I can’t shoot 8K 60fps in video. Still Images: https://drive.google.com/file/d/1PBR8sLXu4-GqiSPlBxz6ErmXxp7EfYSH/view?usp=sharing https://drive.google.com/file/d/1BRvRbbTusFd4EfLTacC-VFDwFGq_YVO4/view?usp=sharing https://drive.google.com/file/d/1tVipjBXyyJiAQWz3Ktw8SjEH9XxoQZ20/view?usp=sharing FWIW, I tried to shoot 4K in the 120 fps mode, but It looked like noisy garbage, when I tried to speed it back up to normal speed. There might be something wrong with my workflow here, but Canon forces anything about 60fps into a Slow Framerate mode, and you can’t just take regular speed video at framerates above 60—so it’s possible there is a big quality loss from this process internally. Note: All video clips edited in Adobe Premiere with the Canon EOS VR Utility plugin. The premiere plugin is a must on PC, otherwise you are stuck rendering your videos in the native Canon EOS Utility App, which will turn your videos into a blocky-compressed and ungradable mess. If you have a MAC you can render in PRORES using the native app (or so I’m told), but I haven’t tried it. I can’t Canon charges $5 a month for the app, it looks like it took $5 to create. Really all its doing is transforming the image(s) so that the two circular images (two dots) recorded by the sensor will fill up the entire frame. PS: let me know if you have trouble playing any files. Most are file are h264, but the 90fps are H265.
  4. Yes, at some point delivery bit rate formats become an issue at higher resolutions. I've seen 100Mbps 4K 180VR that looks very good, and at the same time 6K 180 VR at 30Mbps that looks like crap. FPS is a big deal too. I'm going to a lot of testing between 120fps 4K and 8K 60fps. There aren't many 120fps VR videos out there, and I think it could look really sweet (with a sufficient bit rate), especially in scenes with a lot of action. I can't wait for my R5C, until then my Canon 5.2mm fisheye VR lens is a glorified paper weight. I think I was one of the first pre-orders, so hopefully any day now.
  5. VRVRVRVR. I can't tell you what a difference there is, even between 4K and 6K. And 8K is still significantly below what the eye can resolve, especially when you are panning across the image frame with the screen pressed against your eyeball.
  6. So what brand of external battery do you use? And I thought you can use the internal battery for recording in 8K 50/60p raw, you just loose all power to the lens. Is this not the case?
  7. Congrats! Where did you order from (and what time of day)? I'm still waiting for mine.
  8. From what I've read elsewhere it appears this only affects 100 units. That could change, but for now it seems like an AUS only issue.
  9. VR. Very important for VR when your eyeball is up against the scree, and moving your head automatically pans across a zoomed in crop of the image.
  10. I'm currently thinking about 4K 120fps, versus 8K60fps. A lot of headsets can do 120, and the extra fluidity, especially in scenes with a lot of motion, can be a huge visual improvement--and yet I rarely see 120fps content available, but perhaps this gets at an even more general question: optimal data rates for delivery formats. Just looking at 4k 60fps (h265), I see massive improvements in quality between 30Mbps and 60Mbps and noticeable improvements all the way up to 200Mbps (depending on the scene). So I'm guessing that means in 8K 60fps you can get noticeable improvements going up as high as 400Mbps (i'm using a factor of 2 because with 4X the number of pixels compression artifacts are less visible generally), or if you want to make the codec more CPU friendly as high as 600Mbps (h264). Of course these upper end data rates will result in huge files, but I'm a big proponent of shorter, higher-quality videos, especially in the VR180 format where the magic of a scene only lasts so long. e.g., a 3 minute 8K file will be something like 9GB. Huge, but manageable. Any thoughts on delivery formats and data rates from the crowd here? I've got my Canon VR lens in hand, and am just waiting for the r5C to arrive. But I have a number of projects I'm starting to plan for.
  11. What did VR ever do to you? It's like the last bastion of where tech still makes a huge difference in the end product. That being said, I agree with your sentiments about the abhorrence of the almost complete corporatization of human interaction. What a time to be alive.
  12. There is actually a desperate need for cameras that can shoot high quality VR180. Canon just put out a lens specifically for this purpose--which is meant for the R5. So at this point, nobody has a VR180 camera setup that can match Canon, other than customized mirrored/lens rigs that costs 10s of thousands of dollars. BTW, the camera you cited (Insta360 Pro 2) is absolute dogshit. It's not a professional solution by any standard. The Z CAM K1 Pro is probably the closest thing to the R5C, but it's a fixed lens camera, that can't go above 5.7K in 60fps. As per the amount of resolution a human eye can see, obviously distance matter, but in VR, the screen is up against your eyeball, so 8K is well within the limit of visible resolution.
  13. it's not the full spec sheet, as the feature list was cut off. I'd be surprised if they didn't have these items when they are going out of their way to add "Expanded interface for professional needs".
  14. Yep. I just saw this a few minutes after I made my post. Day one purchase for me now. It's also got 6K in 60fps in super 35 crop, so they literally gave me everything I was asking for. Although I'm guessing this thing is going to be like $6,000 at a minimum now. Remember back in the dat 1DC was basically twice the price of the 1dX.
  15. This might be my first Canon camera in years. It all depends on the video features, an in particular the VR suitable formats. To this point, one of the biggest weaknesses of the 5R (vanilla), is that there is no above 4K output at >=60fps. Simply put, 30fps for VR (even in in 8K) sucks ass, and 4K at 60 or 12fps doesn't really provide something that isn't already available in other solutions. So I'm really hoping they can provide a 6K readout in the 5RC
  16. Again I thought it was way too dark, but there was definitely shadow detail in almost every scene. If anyone was seeing crushed blacks consistently, there probably is something wrong with their setup.
  17. I watched it on my PC via HDMI through a Samsung LED (2017 model). I have my NVIDIA Control panel set to full (0-256) DR, and as a result blacks will get crushed if I used the "PC" setting (which expects limited DR) on my TV (this is also the setting my TV likes to default to when hooked up to the computer), instead I have to use "Game Console" setting (which expects to receive the full range), and things are fine (no other adjustments required). That being said, even with the correct settings the action was a mess. You can shoot low lite, and you can shake the camera (personally not a fan of severe shake as I think it looks cheap), but together, especially in large portions, they made the action unwatchable at times. I'm surprised so many have had their TVs screwed up for so long like this. There have been other episodes in the series before that were obviously waay to dark with the improper setting, but nothing that was too dark regardless of setting (like S8 Ep3 was).
  18. So I did my shoot at an MGMT concert (after somehow getting my awkward, head-mounted metal rig past security). The footage is okay, but because I had to set up my rig in complete darkness, the IPD was a couple mm off. I think I can salvage it in post, but I just can't seem to find a good program that will allow me to make the lateral adjustment in post (some of the VR players -whirligig- so I can see that the adjustment will make it watchable). Any recommendation on free stitching software that could help? Resolve doesn't get me what I need, and I guess I will need to use the paid version of Fusion to be able to make those type of adjustments.
  19. So this looks like a merge between the BMCC, BMPC and BMPCC lines. Same sensor size as the original BMPC. And a form factor much enhanced but somewhere between the BMCC/BMPC and BMPCC in size.
  20. Thanks! I've posted in the BMD forums and see if I get lucky!
  21. Just got it up and running with the dual go-pro session 5s. I will post some clips soon. I ended up staying with the GoPros. While I considered the Z Cam E1, the need for additional lenses without providing better resolution a 60-90fps kept me with GoPro. The biggest challenge so far has been in post (Resolve) although most of my initial issues have been sorted. My jerry-rigged cage is actually effective (but ugly as sin). A couple of outstanding issues mostly related to Resolve: (1) Resolve Doesn't seem to have an option for using a 90fps timeline. Since I want the image to be as smooth as possible, and Oculus has a native 90fps frame rate, it seems like a huge oversight. How can this be? (2) This may be related to (1), but I wonder how much Fusion 9 would help the process. It seems like many of the options they provide is for working in 3D VFX, but it's a bit hard to tell what I might actually use from it. Things that I could really use is an auto-alignment feature (or even being able to do it manually in real time using my Oculus as a monitor). Also, it would be nice to be able to sync left and right footage automatically (e.g., when the cameras are not gen-locked). The Kodak pixmax software does this using audio. A similar feature in fusion 9 would be really helpful.
×
×
  • Create New...