mastroiani

So, potentially same thing could be done with the A7s 4K footage that was recorded to an external 4K recorder?

i found the videoquality of the gh3 still a bit better then the a6000.

what would be interesting is how would the a6000 preform with the new anounced atomos ninja star.

I defenatly love the finer grain of the a6000 and the more detail. overall color and feel of the picture is nicer then my gh3.

but the sharpness is still not gh3 like, for me.

Could be possible because i had a preproduction model.

 

so share some videos ;)

 

 

I'd be very interested in the comparison!  Thanks

Isn't 8 bit 4:2:2 to external recorder a bit disappointing?

Price?  Overall kind of disappointing

60Mbps would be less desirable than 150Mbps :)

ISO 640 I seem to remember.

 

Hi Andrew,  would you say the video quality is better than GM1/GX7? 

 

Thanks!

I wonder what of clean HDMI output it will have... ?  I just bought a GX7 and am planning to buy  GH4 when it comes out.  I do have BMCC but it's so heavy and cumbersome I almost hate it at times...  Image quality is spectacular though and that is the saving grace of BMCC.  In any case, wondering how A6000 would compare to GX7?  I woulnd't want to buy into a new lens system, but A6000 as a body could be used with my legacy lenses..

 

Thanks for the news and review Andrew.

Andrew, nice post!  Thank you.

 

I'm wodnering what do you think of GX7 video mode?  Are they the same?  Does GX7 do the full pixel readout as well?

If they are trying to entice videographers, well... videographers already have an excellent camera  - Panasonic GH3  - that does everything and more much much better for the same price.

Andrew, I hope you're right!  But Sony is just a big business with long term money making strategy.  I have a suspicion all of their decisions are based on some complex algorithms that don't take human emotions and artistic notions in account :)  Blackmagic wanted to break through on the other hand and it made sense for them to offer everything they had up their sleeves.  But I do hope you're right!

Anyone have the lowdown on whether the hdmi is 10-bit? That would be huge. A ninja 2 isn't really "that" big.

 

 

We can surely dream on while SONY chuckles cynically :)

The camera itself does look quite tasty for indie documentary work.  XLR inputs are great.  Uncompressed video sounds great as well, however let's see how it's handled in terms of sensor processing.  

 

A7 video capabilities were quite disappointing.  But that was to be expected.  At 2K range Sony won't take a chance at cannibalizing their upper end market.  I maybe ignorant, but I don't see a lot of wisdom behind this kind of reasoning.  Professionals will never use DSLR type of camera as their main camera.  They would only buy it as a second body (B camera), crash camera, etc.  A7 would sell even more and there is no chance it would cannibalize pro market.  Consumers and prosumers for the most part usually don't have money to buy pro level cameras anyway, so they will stick with DSLR no matter what. Hence, if they want best DSLR video quality they are forced to look elsewhere (i.e. GH3).  So, here too Sony looses customers.  Small percentage of prosumers who have a chance at becoming pro will eventually purchase Pro level cameras, so where is cannibalization here?  

 

What the hell SONY? 

@yellow  So you mean he doesn't have to do anything?  His footage is fine?

Has anyone every used Flaat Picture Profile for Nikon?  

 

http://www.similaar.com/foto/flaat-picture-controls/index.html

 

I'm wondering if you have any comments and think this would work with the D5200.

 

Thanks!

Andrew, you mentioned that you'd get around to reviewing GH3 qualities vis-a-vis other DSLR's and also on it's own merit.  I'm wondering if you're still planning that review?  I'm sure a lot of people are looking forward to it.  I know I am.  It will be very interesting to hear your opinion, whenever you get a chance.  Thanks

I don't read his forum. It sends me mental.

 

The ProRes is slightly better but the main issue is that it is 30p in live view, and drops to 720p if recording to the card. So no 1080/24/25p over HDMI from this camera until Nikon sorts it out with a firmware update. Might be possible to get 24p from the 1080i output but this needs more testing and possibly firmware updates from Blackmagic and Atomos as had to happen with the D800.

 

Oh, sh%$t :)  I think I missed that in your review.  I thought it did output 24p via HDMI and bought the camera yesterday :)  No big deal, I will test it out and see how it looks along side my hacked GH2.  Or can return it.  But thought I'd buy Blackmagic Shuttle and record 1080P24 ProRes to it...  Oh well.  I keep looking for the holy grail affordable camera that shoots great photos and great videos.  

 

Thanks for your reply Andrew

Hi Andrew,  do you think there will be a difference in ProRes quality recording with Blackmagic Shuttle and Ninja?  Someone at Vitaly's forum posted that ProRes files on NINJA graded better than ProRes files from Blackmagic Shuttle.  Could that be true? I doubt it, but still...  Thanks!

HI, great review.  Thank you.

 

How does D5200 compare to the hacked version of GH2?  If you were to compare the HDMI 422 output of D5200 and one of the better patches for GH2?  Thanks!

Does anyone know when GH3 is shipping finally? I had high hopes for Sony A99 uncompressed footage, but after reading this article I have very little incentive to spend $5K and more on a DSLR camera + atomos + lenses to get moire and aliasing when I can clearly shoot pro quality footage on my hacked GH2 and FD lenses... What a bunch of BS from Sony...

I'm also willing to buy Blackmagic Cinema Camera but their production woes are very disheartening.

Would love focus peaking!

Hi Andrew or anyone else who can chime in, I'm wondering what do you think of this lens in terms of narrative filmmaking? I've been buying old lenses for their "look" and "feel". I'm wondering if this new lens would be too sterile or clinical for narrative work? Does it have some kind of character? What do you guys think? Thanks

[quote name='sfrancis928' timestamp='1343356784' post='14586']
I think I figured it out in FCPX. I just used the built-in color corrector.

The exposure levels in FCPX aren't numbered 0-255, they're percentages (0-100).

So I figure bringing it up by 15/255 at the low end equates to 5.88%, so bring the blacks up by 6%.
The high end is to be lowered by 20/255, which equates to 7.84%, so bring the highlights down by 8%.

The resultant waveform looked similar to the waveform of the footage transcoded in 5DtoRGB. Not exact, but pretty much the same.

[/quote]


So, all that 5d2rgb does is lift shadows? and bring highlights down? Why do we even worry about transcoding then? If I won't to bring up the shadows I can do so at any time in any NLE... How is it different from "recovering detail" which is not even there in the first place...?

Hi, could someone provide a definitive workflow for Final Cut Pro x without 5d2rgb?

Just importing AVCHD files straight into FXP X, transcoding them with the internal engine (optimized Prores)? Then what?

sfrancis928 mentioned in a previous post that he lifts black levels in order to match the footage to how 5d2rgb transcodes the footage. But, is that all to it or is it necessary at all? Just lifting shadows is enough? So, why would I even use 5d2rgb then? I won't even worry aboutl I'll bring in the footage into any NLE and then according my taste I will either lift the shadows a bit and lower the highlights or I won't... Am I missing something?

Thanks