Shirozina
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Posts posted by Shirozina
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3 hours ago, Ronnie Amighetti said:
BTW, Sony MDR7506 are an old staple in audio (I still own 3 or 4) and were very popular a ton of years ago. I would never try and mix anything on them. They are one of the most unbalanced headphones ever made, to my ears at least.
If you wanna enter into this kind of budget, AKG K240 are a beautiful sounding open back headphone. But again I would buy an open back and a closed back to get the variety in reference.
7506's are not mixing headphones - I was only recommending them for their better bass response compared to cheap studio monitors and subwoofers. For mixing or monitoring the last thing you want is 'beautiful sounding' - leave that to the world of 'hi-fi'.
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18 minutes ago, Kisaha said:
"Are you able to use the footage for client work? If so do you have any footage that I could see please?"
my impression is that you can't use the footage for client work. I wouldn't.
Neither would I
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13 minutes ago, Kisaha said:
Unfortunately such a small sensor is not enough for serious results. I detest all these drone and action cams. I am looking to Phantom 4 Pro for that reason, but I am guessing that we are going to have a Mavic with the Phantom 4 Pro camera soon (with soon I mean when I am going to buy my Phantom 4 Pro, a month after that!).
I do not have the money or skills to find a different drone solution, but instead of GoPro's (where is possible) I use a small mirrorless camera with a real APS-C 3.5f fish eye lens. Much better results.
Neat Video is a great, and cheap, app that we all should have in our arsenal, it really works, and it is really easy (and cheap!).
The Phantom 4 pro is still a 'drone and action cam' so don't pin your hopes on it delivering 'serious results' ( whatever they are......)
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After some research and testing..........;
1, The bit-rate for 4k/UHD is 60mbps vs 45mbps for 2.7k i.e you get 2x as much bit-rate per pixel which should reduce artefacts and give more latitude in grading and once in a 1080p timeline the difference in resolution between 4k and 2.7k is virtually invisible.
2, D-Log doesn't look as flat and muddy as when I first tried it so maybe it's changed in the latest firmware and (unlike other Cameras LOG settings) you can still adjust contrast and saturation so it should be possible to get a good setting using D-LOG and higher contrast and saturation (more testing needed)
3, If you push the highlights past the zebras clipping point there is still headroom in the actual file so you can pull them back down with your grading tool of choice and not get any harsh clipping. This means you can be a lot more generous with exposure during capture and consequently avoid the nasty artefacts in the shadows.
4, Neat video seems to solve the flickering shadows.
These 4 things combined could significantly improve the quality of the footage......
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Also if you need to 'mix' bass frequencies you may be better off using a good pair of headphones as these will have a more accurate base response than a cheap subwoofer setup in an untreated room. By 'good' I don't mean mega expansive either - Sony DMR 7506 or equivalents are 'industry standard' for monitoring recordings and should be part of anyone's sound production kit.You will still be better off mixing the mid an upper frequencies with monitors as they will give a better stereo presentation but bass is not very directional so use headphones.
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https://www.attackmagazine.com/reviews/the-best/ten-best-nearfield-studio-monitors/2/
Also worth getting a good USB audio interface rather than running them direct from your computer. I've got the Presonus E5's and they are very clear and uncoloured.
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The bitrate is far too low to support a log profile unless you want some major banding issues in the skies. Even with D-cinelike banding can show if you try to correct contrast and exposure errors in post.
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You need to see the original files and not some downsized and compressed to mush Vimeo/Youtube. Just try some different settings and see what you yourself like.
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15 minutes ago, BTM_Pix said:
And no doubt many garbage ones.
Hence why I was asking longer term owners if they had any recommendations for them....
The DJI ones are optically very good as they have a good anti reflection coating and don't interfere with the gumball operation BUT they are fiddly to fit and very easy to break while doing so and for sunny conditions you ideally need a 32x as a minimum and they only go up to 16x. I'll report back on the PGYTECH once they arrive.
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40 minutes ago, mojo43 said:
Are you able to use the footage for client work? If so do you have any footage that I could see please?
Ill try to push the contrast back up in the settings to see if that makes a difference. What are your sharpening settings at and are you using the DJI GO app or the DJI GO 4 app?
I use D-Cinelike +1,0,0 and the Go 4 app. I also use DJI ND 16 filter but have ordered a PGYTECH set to get an ND32. Also important to slow down the gimbal speed and yaw speeds to get smooth footage. I think it's an incredible bit of kit for a price / size / ease of use perspective.
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I've not seen 'aliasing' but there are plenty of artefacts from the compression. I keep contrast and saturation at 0 as the bitrate is too low to pull back contrast in the NLE without introducing banding in skies. I also add a bit of softening and if you shoot at max res and output at 1080p it looks OK. I'm very happy with the quality considering it's such a tiny camera.
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What are your settings?
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The whole idea of this profile is to not shoot in S- LOG 2 so you can use the footage with no or minimal grading. It also gets around the problem of banding and macro blocking artefacts that come when you reverse the LOG curve in post / grading as the huge compression applied to the internal codec throws away so much of the tonal info it can't be properly reconstructed later.
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So what is the longest single take with the 5D3 in 4k - does it just keep going until the CF card is full?
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20 hours ago, gt3rs said:
On Windows with many gaming notebooks available with either a GTX 1070 or 1080 that have basically the same perf as the desktop counterpart card an eGPU doesn't make too much sense. If you buy a notebook is for the portability so these new gaming notebooks allow you to edit on the road with no issue at all. I have a ASUS 15'' i7 7700HQ with a GTX 1070 with 8 GB Vram and I can do real-time editing and grading on a 4k timeline is Resolve.
Just like laptop CPU's the GPU's run a lot slower than their desktop counterparts due to heat issues but generally these gaming laptops do look like they offer certain advantages over normal 'business' laptops. I have to ask why anyone would want to do any serious editing with a laptop in the first pace even if it's performance is boosted with a good GPU. I use a laptop for rough edits, reviewing footage, transferring camera files to HD's while on location etc but for any serious editing or grading I'd wait until I got back to the studio and had a desktop PC and multi screen setup.
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1 hour ago, toxotis70 said:
Resolve free has noise reduction and Stabiliser?
Stabiliser yes but not noise reduction
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Glad I kept mine in the end. Not seen any banding in blue skies since I switched to EOS Standard. Used to shooting non - log now and accepting that the shadows always look crushed in the viewfinder but lift up if needed very well in grading.
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I have 14 studio and it certainly is an upgrade and resolve has been my main editing and grading tool for a while now but I wouldn't want to be without Adobe Creative suite at all. Premier has a clunky layout and certainly needs a revamp but it's integration with Adobe Audition and After Effects means it's got advantages over resolve even with the Fairlight panel. As far as I can see the Fairlight panel at present is just a mixing desk (which is not bad in itself) but it's not yet an audio processing tool like Audition anymore than the FX library in Resolve is any serious challenge to aftereffects if you want to do serious FX and compositing work. No doubt in teh future you will have to purchase extra Audio Plugins for Fairlight to get a complete set of audio processing tools? Any serious filmmaker should have a range of tools at their disposal and I don't see Premier vs Resolve as an either or choice - you need both!
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58 minutes ago, jax_rox said:
Avid publish recommended specs: http://www.avid.com/media-composer/specifications
But you could get away with less. I've personally never had much issue.
Given you can get a (admittedly crippled) version for free, I'd definitely recommend anyone download it and give it a go. There is a learning curve, but stick with it...
Avid also tend to listen to their users (for the most part), which is a good thing.
Unfortunately, I don't think the market for NLEs provides enough money to make it as most would want....
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I'd buy it if.........
1, RGB scopes / histogram
2, Push button AWB
3, Video record from the main shutter button
4, 10 bit 4.2.2 codec with sensible bitrate (may not be possible with current SDXC cards)
First 3 could be simple firmware updates on the existing A7R/S2
Don't need 6k ( yet), don't care about stills capability - have A7r2 for that, don't care about battery capacity - have 12 Batteries and don't want it to get any bigger.
Trying to make the Mavic Pro look decent
In: Cameras
Posted
The Mavic is a recreational UAV with a smartphone camera attached to it - why are people expecting it to deliver flawless footage in a commercial situation? 90% of cameras that people discuss at length on these forums are the same in that they can deliver nice enough looking footage in the right situation but they are not capable of being relied upon in a paid production. Some perspective is needed I think.........