rdouthit

Continuous 4k120 with Audio is a game changer for us. The R5 shoots gorgeous footage with a few well known issues. But even with the limitations, we still prefer them over all our other cameras in the office (much love for our BMPCC6kPro and Ursa G2, but they too have their fair share of issues). Jumped to pre-order an R5C today.

Here's a sample of how we use the footage in the first few seconds of one of my recent videos. No need for IBIS, the EVF is critical (and why we didn't buy a C70 before this) and this one pretty much hit all my wishes outside of built-in NDs. 

I have an Ursa G2 right now (in addition to several other cameras), and damn if getting 4k at 240p in BRAW isn't tempting. 

In the automotive review space, we deal with embargoes all the time -- just like camera reviewers. One thing I want to point out is the embargoes aren't just about "clicks" for the maker, they also enable car/camera makers to get their products into the hands of reviewers without having to pick who goes first. Embargo windows allow them to circulate review products to multiple reviewers before the embargo lifts, giving all review outlets equal opportunity in the launch of their reviews on a set date and time. 

For those of us that like to revise posts after the fact for clarity... the 5 minute lock on articles here is really frustrating. Now I have grammatical errors that will live on forever. Above should say "Even if my forum posts AREN'T as comprehensive as they should be."

1 hour ago, newfoundmass said:

You were correct until the "creator of the clip" part. Clips can be used for commentary/editorial and satirical purposes as long as you're using it in the proper context. 

I should have included commentary/satire in my post, but that's not something that someone would pull my content for. My content is usually used when someone is talking about a specific vehicle and they don't have proper footage. So they grab mine. That use is absolutely not covered under Fair Use. 

I've been in publishing and production for 20 years and my application of the copyright tool is completely within legal guidelines (and YouTube has always agreed with my claims.) Even if my forum posts are as comprehensive as they should be. 😉

I've issued successful strikes against other content creators with 10 to 4M subs that used any of my content (in one case, it was a 1-second clip.) Attribution is irrelevant. Fair Use doesn't allow a creator to use content (with or without attribution) to illustrate their video, unless the video is in some way commentary about the creator of the clip. This is not a gray area. I issue take-downs several times a month to creators that are too lazy to shoot their own stuff (looking at you Donut Media.) 

On the flip-side, DC Shoes ones claimed one of my videos as theirs. (It was 100% my content.) Thankfully, I knew the creative director over there and I gave him a call. Unfortunately, the video was trending when they claimed copyright and that killed the momentum and it never recovered. They blamed it on an intern. That was almost a decade ago at this point, and I haven't had any issues like that for a long time. 

For my YouTube channel I produce 60+ a year. But when you add in client work, that easily goes up to about 200+ per year as we do promotional videos for some chains that have 300+ retail locations and each one gets a video. Of course our YouTube show is much more involved involving multiple shoots and locations for every video. I find when doing high-volume (it comes and goes based on client projects) there is very little time to stop and really think about what is being done, so growth can be limited simply doe to a lack of bandwidth. I've also done this for close to 20 years.

The Sony is better. Not just the transmitter/receiver but also the quality of the sound from the lavs they include. 

The Mandalorian is doing a better job of carrying the Star Wars universe as a streaming serial than the entire Prequal trilogy, which had an unlimited budget. I'd be fine if they decided to carry it forward that way and cancel all the future cinema releases.. because the movies became bloated. Don't even get me started on Nolan. There's a guy that could do with fewer resources at his disposal. 

On 11/1/2020 at 9:02 AM, JackHorror said:

@fuzzynormal The thing is that i see a lot of comparison's and i can't decide.

@SteveV4D@Mark Romero 2 The budget includes a lens. I would like to photograph weddings/portaits/make up/fashion/etc and i would like to film videoclips/documentaries.

Yes i need autofocus for filming, so i was thinking getting the bmpc4k/6k + lidar autofocus.

Yes i am an owner of GX85 but right now i own only one lens.

Just get an A7C and spend the rest on lenses. You’ll be fine for most work and have major focal lengths covered with a great camera and good video option. $3k imho isn’t enough for multiple systems. Plus, e-mount gives you a path to some great cinema cameras you can rent or buy later. Fuji, imho, is a dead-end considering their limited camera range and total lack of dedicated video offerings. Fine if you want a second system, but not a good choice for a primary hybrid one. 

22 hours ago, John Matthews said:

Working with the E-M1X, have you seen significant differences in video capabilities with the E-M1 iii?

No. They're basically identical. The "deep learning" AF system exclusive to the EM1X doesn't work for video at all, which is disappointing. But single point continuous AF works a charm. 

On 10/11/2020 at 9:21 AM, John Matthews said:

Personally, I don't see a bit difference between the two.

Since posting that, I also bought an EM1X. The pair make a great multi-angle setup when filming off-road tests (in all sorts of weather) for YouTube.

21 minutes ago, Emanuel said:

@rdouthit and @herein2020 what about the overheating mod? Have you tested it intensively?

I don't mess with goofy modifications or "tricks" to get the camera to work right. 

In my case with the R6 and 1.1.1 firmware, it still overheats like crazy, even at 4k/30p. I can't comment on the R5, as I haven't used it. But, having previously shooting with the Sony A7RIII I can say -- as amazing as the images were -- I just don't need 45MP shots at this point. 

On 10/2/2020 at 3:51 AM, herein2020 said:

Were you in CLOG on the R6? That makes a big difference, I've read it is 8 bit H.264 footage until you turn on CLOG. I didn't test 4K30FPS at all or non CLOG. H.264 should be fine because NVIDIA cards can HW decode but need the CPU for H.265, my CPU was hovering around 70% and DR was playing the footage at around 5FPS until I created proxies.  I do think Canon needs to add an option to use CLOG with H.264 like the C200, this would be the best of both worlds as long as you properly expose and WB on set.

 

Yes, CLOG. On my 2016 MBP I have to create proxies. On the 2020 model, it's not smooth like butter, but absolutely usable without proxies. 

I shot my first event this past weekend with the R6 (mainly photos, I had my Ursa G2 for video) and it preformed well in 100º weather. The event was Subaru of America's Guinness World Record attempt in Los Angeles. I also photographed the 2022 BRZ teaser shots for them (those hit all the car sites yesterday), but I used my Olympus EM1X for that since I don't have the flash transmitter for the Canon yet. 

For video, I did use it to film a car in the desert the day prior. It was 110º and, as expected, video was near useless. It fell to only a minute usable after about 10 minutes of shooting various, very short clips. I do like the camera though, and I have lots  of other options for video so I'm going to keep it anyhow. Just would be nice if it was a bit more useful. 

Just want to throw in here that I just edited some 4k/30p R6 test footage today, and it edited just fine on a stock 2020 MacBook Pro with 16GB RAM and a Radeon Pro 5500M. That was over our 10GB/sec NAS in DaVinci Resolve without generating proxies. It wasn't 100% smooth 100% of the time, but it was perfectly fine to edit and review. 

9 hours ago, Dave Maze said:

I still have an em1mkiii and the three Pro prime lenses. It’s a buggy camera and I’ve had issues with it locking up on me. I’ve stopped using it for that reason.

Both my EM1X and EM1mkIII have been solid — and I shoot with them almost every day, all day both video and stills. Never even a hiccup. The problem might be specific to your camera.  

2 hours ago, Brian Williams said:

It’s on the product page for the camera as well as every review, the clean hdmi output is 8bit; not saying this couldn’t change in the future, maybe they could change this in a firmware update, but wasn’t mentioned and I doubt they’d bother adding it if they are focusing on Ninja V raw output.

Can confirm. I checked the output of both my cameras with a PIX-E5 and they’re 8-bit from HDMI. 

Great! Though I'd prefer 40/60p and 10bit internal. (EM1X and EM1 Mk III owner.)

It’s not “mandatory” to rig out a BMPCC4k. It’s a great camera bare. I shoot with it all the time in run and gun situations. If I want/need all the other stuff, I do have a UMP G2. But by no means is the BMPCC4k “unusable” without a complicated rig.  A pocket full of Canon batteries (not the cheap stuff) gets me through a full day of shooting and it’s a lot more comfortable to keep a pile of batteries in a bag than have to carry the camera with a V-Mount. Also, the display is great in most full sun conditions. Just learn how to use false color and avoid complicated moves (Or maybe the camera isn’t the right choice for that particular shoot - which is fine. Not all cameras are ideal for all situations.)

8 hours ago, MrSMW said:

Actually, that is pretty good.

Why are all cameras black (or silver?).

Canon make white lenses so in regard to these overheating beasts, out in direct sunlight, a white body is going to reflect more direct heat than a black body.

They're black so they don't show up in reflections or cause color casts on set. Same reason I always wear black/gray on set.

12 hours ago, Robert Collins said:

As a Sony user, I can say that it has been pretty easy to overheat the last 3 Sony A7 cameras I have bought - particularly the A7r3 - when shooting 4k 30p video for any length of time. As such, the A7siii seems to be something of an improvement from what I have read even though it clearly does overheat in some instances. Sony were clearly asking for trouble though by stating that that it wouldnt overheat.

Overall though my theory is that Sony didnt really take the 'high road' but the Canon decided to take the 'low road'. Canon probably reasoned that if Sony can put out cameras that 'overheat' and still sell boatloads why cant they do the same?

Counter to your point, I shot regularly with the A7III and A7RIII on race tracks in full sun, and never experienced an overheat. (Corporate shoots for Subaru of America.) One day in Ohio we hit 120° and I just left the cameras out in direct sun (there was no shade) and no issues shooting a combination of photos and video non-stop. 
Historically, I have had issues with Sony cameras overheating: A99II, NEX7 and others, but the III generation cams were rock stars for me. 

That said, I switched to the BMPCC4K earlier this year and I like BRAW so much, I just bought an Ursa 4.6k G2. Lol. 

34 minutes ago, Andrew Reid said:

Interesting move.

This is partly because Canon's mirrorless camera system is so late in the game. And Nikon's mirrorless system is mainly aimed at consumers.

Sony could learn a lot from the AP use of their fleet. The A9 II should really get S-LOG now in a firmware update. I expect the photographers, some kitted out with A7R IV and some with A9 II to have the same colour science and video formats available between them.

I don't see journalists needing SLog. News reporting is for fast turn-around. They aren't going to want to play with color. Same reason why many sports journalists shoot JPG and not RAW. Faster is better in breaking news. 

Sony PR said their NAB Announcements will now be done on April 20th with a live stream event at 9am PST / Noon EST.

On 4/5/2020 at 2:05 PM, mcnoodles said:I would really appreciate any advice or direction on the following:can not afford to spend a fortune, though I also understand you only get what you pay for.

If anyone can get me a little closer to a solution or have an idea on how to set up I would greatly appreciate it.

Set up OBS to output a 4-camera multiview shot (without it titles and other overlays). Live stream the multi shot view to YouTube or Vimeo. Save recording and share with students. Easy one and done. 
 

I haven’t used OBS much so I can’t confirm if it can do that, but I know Wirecast and Livestream Studio 6 can and OBS is free so it’s worth checking that first. 
 

Alternatively you can use the same software to just film it as a 4-up 4K multi cam shot and record that to a file. From that you can extract 4x HD angles if you want to edit something with a single view or let people watch it as-is. 

I was supposed to be flying to the Geneva  Auto Show tomorrow, but it was just cancelled this morning due to Covid-19. I expect that most major events will probably be cancelled until a more effective treatment is in place.