jgharding

Reds are plenty sharp enough for me. There's no sharpening applied to the raw, you can select sharpening in standard red debayer which isn't great, or apply your own.

Consumer cams use a ton in camera and compress the shit out of the data. Sharpening is part of trying to get detail back from a bayer array.

Here's a short test. I was going for Emmanuel Lubezski plus cats LOLOLOL!!!1one!!1!

1st shot 4K 25fps, 2nd shot 2K 50fps. So yes the second shot is cropped in. It's not that noisy, certainly not unmanagable at ISO800 here.

I think it was 60mm Macro

If the old file path is still visible it likes to go back there. Rename the old folder while delinking to the new location.

I'm no technician but do have experience.

red goes earlier on Canon, Blue goes out horribly on Sony... (Try a blue LED) And guess what, those are the tones each is known for.

I'm not sure which part of the analogue or digital pipeline is responsible for this, but do know it's what happens.

A bit of a WB tweak or a saturation drop can help. On Canon the WideDR profile is nice. Sony I don't know as I sold mine. Because it all looked blue.

Hmm interesting topic, I'll follow it

Perhaps the enclosure translates between sata and USB3 poorly, and you could find a better enclosure with different controller chip? Must be a tech review site somewhere...

Never seen those diopters before! :O

M Carter makes a good point there: I got one for a film project, as in feature, as it's cheaper than hiring when you include all the testing etc.

So do consider why you want a cinema cam. They are brilliant images and the fact that you can now own them is quite amazing. They are also rather temperamental things that were designed to be used in a professional environment where they can be serviced and so on. Be sure to think it all thorugh!

Scarlet is less likely to go wrong IMHO, but you will need more stuff. At least a v-lovk or goldmount battery plate and batteries, as redvolts won't last, and some more media, which are very very expensive.

One should remember though: only Red have Redcode, and that's still the best for 4K footage. MANAGABLE FILE SIZE RAW MAYHEM!

3 hours ago, neosushi said:

I have never been a big fan of the scarlet image... have never seen anything from it that really had the magic of the Red One Mx... - and yeah I know it's suppose to be the same sensor and everything... But still it always feels like the Red One MX has this special mojo...

Well it's not just supposed to be... It is the same sensor! 

18 hours ago, Lintelfilm said:

There's a Cinema5D post and video on this from ages ago - it's clear that recording to 10bit 422 ProRes HQ results in a much better image than recording in standard ProRes 422 (8bit), so in one way or another you're right.

https://***URL not allowed***/canon-c100-internal-avchd-vs-prores-compared/

 

haha yeah TBH I'm not a scientist, so it's all second hand info, i just know it looks better!

Scarlet is nicer to use, but you'll need to add more kit to that package. It can do 60fps in 2k crop. 4k tops out at 30fps.

The One package is very complete, can do higher speeds (120fps 2K crop) but is obviously even older and bigger.

Both are sill very much relevant. The image still knocks seven shades out of most consumer gear, we're talking 4k raw here. But of course they're big and bulky and not very friendly to the wallet once you start adding bits. you'll have to make the call. I went Scarlet despite the lack of high speed, just because it's smaller and easier to use.

A handheld setup in a cage can vary from 5-7kg though so know what you're getting in to! Good luck!

11 hours ago, richg101 said:

I kinda hope they don;t get too easy to acquire.  The more there are, the more they'll be willing to knock down prices and make rental for crap jobs possible.  nothing worse than seeing a golden standard used for menial projects. like when a creative director or dp suggests shooting a walmart advert in anamorphic..  it undermines everything and removes the 'special' option that should only be made available to the true high end jobs like features.

I'm fine with perople having access TBH, I think it's poor content that doesn't do a format justice, and that can be created by productions with vast budgets. but I agree that half the adverts shot on anamorphic at the moment look silly. It's really distracting and totally out of context, looks like the DOP is indulging a lens fantasy rather than shooting appropriately for the content. Domestic situation with mum opening crisps IN 65MM ANAMORPHIC!!!!11one!!1

They match well under these conditions!

The left-hand camera has rendered the reds in the lipstick with more blue so I'd guess Sony, but it's evidently not so hard to match them when they're not being used at extremes, that's good news.

14 minutes ago, hmcindie said:

8-bit is ludicrously panned even though good 8-bits is really good.

And even then it looked great. That's because no compression.

This matches my experience recording C100 with Ninja 2. I was using DNxHD 220x which is 10-bit, and was thinking "is this somehow filling in the extra bits?!" But it isn't, the output is 8-bit, it's just having so much more data really helps.

Amazing that there are so few in the world! I'm sure one day such sensors won't be so expensive.

18 hours ago, jax_rox said:

Actually, in 4:2:0, both Cb (B-Y) and Cr (R-Y) are captured equally, but on alternating lines. 

I would posit that the reason things can fall apart on any digital sensor when shooting in warm white balances is because most sensors are weakest in the blue channel. Digital sensors are most sensitive to green - hence the proliferation of green screen. This mimics the human eye, which is also most sensitive to green.

Sensors are least sensitive to blue, so when you're shooting under Tungsten light with a Tungsten white balance, the blue channel gets very noisy, especially when compared with shooting daylight balance, where the light is mostly blue, and therefore the blue channel gets the 'saturation' it needs to stay 'quiet'.

Therefore it makes sense that even shooting daylight balance (considering digital sensors are 'biased' towards daylight) to saturate the sensor with more blue, will clean up better as the blue channel will remain quieter/less noisy as compared to shooting under tungsten balance.

I can't imagine chroma subsampling post-sensor does wonders for the blue channel either, so you've got an already noisy blue channel having its resolution reduced and compressed - which is why it's much less of an issue on a raw, or 444 subsampled camera.

Thanks for clearing that up, I knew i was rusty.

Still, it remains a fact that red comes out far more blocky than blue, so I'm guessing all of it as at play at once: chroma subsampling, blue sensitivity, bitrate priority and so on...

Even using Redcode raw with a red camera things are nicer at daylight balance. I think most sensors and processing pipelines are just optimised for it.

Red's web site has a good description of what';s going on which I should have read before posting:

http://www.red.com/learn/red-101/video-chroma-subsampling

Please do, I'd be interested to see

11 hours ago, lafilm said:

Whoa!

This guy prefers the new Canon 1D X ii - than the Sony FS7!

http://nofilmschool.com/2016/05/field-review-canon-eos-1d-x-mark-ii

I'm a bit more relaxed today than when I wrote that first post - production stresses!!

Yes, this is due to chroma subsampling.

in 420 footage the 0 is the red channel. It is encoded with (Im rusty here) one quarter the resolution of the luma channel and half that of the blue channel. Red is not prioritised.

my exact number details could be rusty, but this is what's going on. The edges of red out of focus lights will show you just how fuzzy things can get. 

the more red your balance, the lower the resolution of your image.

when I used to use Canon 600D I used Visioncolor, which is a profile that enhanced blue, and used to balance cool. I also used a hack that upped the bitrate a lot. If you shoot very warm with and 8bit 420 codec then yes things are more likely to fall apart if pushed around.

so if in doubt cool/green it a bit would be general advice.

HOWEVER I've got rid of all my Sonys because I hated the colour, and the endless grading just to fix problems, so perhaps trying to go cool and green will just ruin your footage: you can but try!

3 hours ago, kaylee said:

for now.......

LEL!

My Scarlet standard setup is 7kg with a small prime lens. So if i can I'm happy to use a little camera, if I don't need the nicest image quality.

Every Red should come with a set of these:

***

7 hours ago, Laurier said:

Yeah , but If you had the budget to go do a shooting on a glacier, you should probably rent/buy something like a c300 mk2 that is weather sealed with pro camera functions and internal ND. Because I don t think you want to go shoot a space where everything is white without zebra and peaking and on a 8 bits codec.

 

In this situation battery life would be a real problem, as batteries massively underperform in freezing conditions. You'd need a huge sack of them for an SLR. I'd definitely want to run with big goldmounts or v-locks, and yes 10-bit at least for smooth transitional tones.

C100 appears to capture over 100 into super. Using it in Premiere you can just pull it back, it's not a hard clip, that's probably the float engine at work. It's really useful. You'll probably lose that when you transcode I'd guess.

I wonder if "full range" in 5D2RGB is pushing that down into a 0-100 file, hence the look?

32-bit in AE sees it all, slows working down though. I often work in 8-bit, occasionally check 32, and render in 32.

On 04/05/2016 at 0:55 PM, User said:

Sorry if it wasn't clear, and thanks for the insight, but as mentioned twice in this thread, I am on CC.

I went ahead with the transcode to ProRes because of the 4.2.2 space and because I will grade and add effects. Moreover, I have had issues with the Mercury Playback Engine while using 8.2.0 (Creative Cloud 2015). Also because another member suggested that it makes round-tripping between other programs easier.

Ah I missed that, sorry. Yes if you're having trouble with Mercury I'm sure ProRes will be easier on the system.

12 minutes ago, Jimmy said:

Being able to shoots stills springs to mind!

Size, lack of attention they generate, cheap batteries and various other reasons too.

They still have their place in shoot arsenal, although I don't use them for video since the XC10 came out.

Ah I have paid so should be fine, thanks!

I was thinking dropbox but do they have bandwidth limits for public downloads? Between a gig and two

What's the best online host for big files to keep links alive? I have a few Amira clips so y'all can compare with a few other cams.

This seems to have very drab colours compared to most Canon in video clips, so this testing is useful in that it proves this is not an illusion! 

For the price of this you could go and buy a proper video camera 2nd hand. I can't see why you'd get it unless you're primarily a stills guy, weddings and so on.

I think it's a sort of last-gasp of their current sensor style. They will HAVE to innovate sooner or later. As soon as Sony fix colour and menu system they're in real trouble.

its clear that Canon engage in "perception management" and refuse review stock to people who have an opinion, and I for one like the alternative voice at EOSHD. They can't stop you buying it in a shop so that's what Andrew does, like the rest of us.

there's no "Andrew Reid edition slider" here, no banner ads for products that are supposedly impartially reviewed.

one doesn't have to agree with everything said in order to appreciate free speech.

With the release of a $6000 1D body that has no peaking, uses an ancient 8-bit codec and has no log, don't expect the lower range 5D body to be whipping those specs...

the writing has been on the wall for so long it's faded and someone has graffitied toilet-dicks all over it: Canon has seperated video and stills for the foreseeable future.

sad times.