alexander

for greenscreen the best is anything with 4:2:2 so ... no DSLR and a Camcorder with 4:2:2 starts at 2000€ so I would wait and by a BMCC

Low Light of the RX100 will be extremely hard to beat! Especially concidering how bad Pana with its camcorders at this

12mm f2 will be delicious on the bmc plse let us have a ef m4/3 adapter!?

This would be amazing!!! then we could get the zuiko 12mm f2!!!!!!!!! or at least the pana 20mm 1.7

I liked his stuff lil more then Ridleys ... my favorite is Man on fire. Ridley is more of the visual guy not so much the story teller like his brother! RIP

[b] [url="http://www.eoshd.com/comments/user/18253-marcuswolschon/"]marcuswolschon[/url][/b] Dont have a GH2 here but because the GH 2 is 16-235 this isnt much of a problem with blown highlights. On a Sony using this fix u get much more highlight detail... and overall dynamic range (about 3-4 stops) because of 16-255.

The Part with the Blacks u shouldnt do! Only do the Highlights... necause the fs100 is 16-255 the blacks are recognized spot on by Premiere. Only the Highlights need fixing!

[b] [url="http://www.eoshd.com/comments/user/13863-hmcindie/"]hmcindie[/url] [/b] [b] [/b] U r not getting this are u ... Mac and Windows have same issues with sonys avchd output files. This beacause the files are 16-255. so u get unnatural roll off in highlights and less dynamic range due to clipping them. U have to bring them back with the fast colour corrector!

O dont have FCP x only PPro so Fix is for P Pro cs5.5 cs6

I dont know if PPRO is using quicktime to nativly deal AVCHD 2.0 files from the NEX. I dont think it does. Only with encoding u could choose h.264 to encode the output files ...but i use quicktime photjpeg because it gives the best quality ... Most people use 5d to rgb because of the clipping... never heard about noise issues... and also Premiere Pro uses CUDA for AVCHD are u saing that PPro uses quicktime APIs in windows too? Because if what ur saing is true for just MAC systems then MAC users schould use 5dto RGB then... But in windows I have never ever heared of such problems with Noise because of Premiere using Quicktime API and also have never seen such a problem The Problem discussed in this thread is clipping ... not Andrew, Yellow, me or other user talked about this "noise issue" ur talking about. If there really is som noise issue well then let us discuss it. But when it comes to the conversion of rgb then I can assure u PPro is doing it nativly with 32bit percision, it does it LIVE when u pusch the sliders in the Fast Colour Corrector. 5dtoRGb is same conversion step but just fixed and also 32 bit

there u go [url="http://www.eoshd.com/comments/topic/661-how-mac-osx-still-screws-your-gh2-fs100-nex-footage-a-must-read/page__st__60"]http://www.eoshd.com...ad/page__st__60[/url] there are a few posts look at the second one If u have questions about after effects workflow just ask here.

AdR i dont get it ... what do u think, that 3dtoRGB uses some extraterrestrial technology and converts better then Premiere Pro 32bit engine?

[b] [url="http://www.eoshd.com/comments/user/20701-adr/"]AdR[/url] actually harddrives are much more expensive then in 2010...[/b] NLE like Premiere works nativly in 32bit so u can bring all the data back! No need to convert with 5d to rgb... and as i said 5d to rgb might work well with canon eos footage but it does not with nex! It will fix the highlights but will make washed blacks... if u want to bring up some shadow detail in Premiere u can better do it the same way u can bring down the clipped highlights ... just need teh "fast colour corrector"

download some footage from internet at look it up for ur self

I stated pretty clearly 16-235 ... so no problems with NLE there!

Broadcast is 16-235 so thats one reason why the NLE is cuting it but it could just as well convert it with 32 bit floating point and make it loook right.... son no real excuse for Adobe here. But [b]5DtoRGB is doing the higlights correctly but it makes milky blacks... read on why:[/b] all of this i posted 2 months ago ... nobody except user : YELLOW red it. no one else reacted to it... Hey Thats exactly what most people get wrong: The FS100 does NOT do 0-255 it does 16-255! and thats why every software threats it as 16-235 and not as the odd 16-255 it is. U can test it ur self keep the lens cap on an record a few seconds with lowest gain or iso... and u will see that u won´t get info at levels: 1,2,... 15. All will start at 16. So basicly Premiere takes the 16 and threats it right. and goes on up until 235 and cuts off everything else above. So basicly there is no crushing of the blacks but clipping of the whites. I know this sounds strange about the blacks but really what u are getting with the 5dto.... conversion tool ist that it will make ur whites spot on! but it will make ur blacks "milky" because it will move them exactly 16 levels. and if your desire is a lil brighter blacks than you can have perfect controll in premiere pro with the "fast color corrector" too. I delt with this so so much and had a big discussion with Adobe too. For them its the easiest way to threat the blacks first and cut off the levels above 235... because this way they wont have to deal with each camera individually. And when u ask them they say : "well thats AVCHD superwhite levels" thats why we clip it ... So for instance if u have a GH2 (16-235) then premiere threats the blacks perfectly fine and goes up till the brightest white the GH2 can output which is 235 instead of 255. So u wont get clipping or crushing with this one. Back then I also commented on how to deal with native NEX footage in After Effects which opens up much bigger problems...!

There is no clipping guys ... avchd records up to 255 and premiere cuts off the last 16 (235-255) levels off. U have to bring these super white levels down with the fast color corrector in premiere pro... I am telling u in Windows+ PP cs6 its the same thing with the highlights.

yes as i said in my first post so do I! atl least close to 35mm. 65mm 70mm is different thing.

filipeG Who said that digital is as good as IMAX ???

I agree with nolan when It comes to 65mm 70mm Imax film but 35mm film is already beaten by alexa and sony f and also red. The only argument pro 35mm film is that filming on it realy is more of an art then flat digital is. Because it makes u think more about the look before actually shooting the scene. But it seems as if all the older directors prefer digital. Do not know wich one it was but one said that he did not wont to die in front of the cutting bench. thats why he is shooting digital... migt have been Scorsese. But back to nolan I loved his early films where his brother was involved writting them. But Inception in wich he was NOT involved sucked big time!! I really think that that its not him but his brother Jonathan Nolan who is the genius behind a Nolan movie. Also thats why I think Dark Knight Rises will be good.

brano vaclav hmm on the internet 30 p is wide spread but the most spread format in EUROPE ist 25p or 50i wich is the broad cast standard in all PAL countries so really its the US Version that is limited!

That I know 25 is still enough for smooth viewing but then think further what happens if u then put this video in a 25p time line in Premiere!

in order to achieve 25p from the 50p out of the rx100, you have to use a 25p avchd timeline in premiere pro. If I use 1/25 shutter for 50p in what kind of a timline do I have to put it to get 25p. This is important to know for verly lowlight conditions.

Andrew could you pls respond to my q? "[color=#282828][font=helvetica, arial, sans-serif]Andrew how did u pull off the Zolly... (in the scene with the bike) very impressive... feels like ur best Film"[/font][/color]

Andrew how did u pull off the Zolly... (in the scene with the bike) very impressive... feels like ur best Film