kaylee

Has anyone had glitches when recording 100fps 1080P?

It only seems to happen within the first second of shooting, but it's like it misses a chunk of the middle vertical strip and stretches the remainder to compensate...

This is taking the 100fps MP4 into After Effects CS6, and interpreting it as 25.

Seems to do it when played via VLC as well though.

I've not seen it before today where I was shooting at a local comic con, card is a Lexar 64GB 1000x (150MB/Sec) Professional UHS-II SDXC Card, which is what I've been using before with no problems.

I've attached a rendered clip from after effects, but the source seems to have the same glitch.

Thanks,

Steve
 
C0002.mp4

Which Hoya NDs did you have? Their ProND line is very good. But their others, not so much. If you want a variable ND, I've have very good experiences with SLR Magic's. In this video I compared it to the Tiffen VariND.
 

I recently came across the below video and thought it looked pretty good. This was shot on the NX1. I think it shows that the NX1 can truly be as professional as you choose to make it. In the right hands it can produce very good results. For me this really does beg the question that I'm seeing popping up more and more... Is it worth it to spend $3k + for  a camera body when your story could be just as compelling being filmed on a more budget friendly option. And before anyone brings it up, yes yes yes I know about the transcoding from h.265 overhead, but I suspect the downside of h.265 will soon be an upside as support for the new standard becomes widespread. Indeed, in due time I have little doubt many will be seeking out h.265 cameras.

A video we just completed with NX1/NX500 for a label this week
 https://vimeo.com/brainstem/review/136679800/daa914d0aa

1D C keeps an astounding amount of colour information in the 500Mbit/s MJPEGs.
The weird thing compressed 8bit footage should not have that amount of colour information in it.
And of course it is 4:2:2 but I never see the same advantage on other cameras when switching from 4:2:0 to 4:2:2 over HDMI.
So either those other cameras are lying to us and simply wrapping 4:2:0 colour in a 4:2:2 ProRes file or the 1D C is doing something else that the specs don't hint at.
Fact is, 8bit 4:2:2 internal on the 1D C just looks WAY better than ALL my other cameras doing the same 8bit 4:2:2 over HDMI, hell it has better colour than the GH4 doing 10bit over HDMI.
You know when I shot with the 1D C and NX1 side by side, the NX1 ended up having a crazy amount of green and less info in the reds, yellows and blues...
If you look at the way 4:2:0 vs 4:2:2 colour sampling works, far more red and blue is thrown out in 4:2:0 but the green is kept...


Source: http://www.creativeplanetnetwork.com/news/news-articles/dv101-411-444-422-and-420-understanding-digital-cameras-and-color-dissemination/423608
But if that really had such a dramatic effect on the image and didn't just pixilate the edges of red highlights (the most visible 4:2:0 artefact I always see), why don't the reds and blues come back with a vengeance when switching to the 4:2:2 HDMI output? HUH?!
From a Canon white paper on XF100...
Sampling at 4:2:2 takes advantage of limitations in the human visual system to avoid transmission of unnecessary colour information. The human eye is more sensitive to black and white detail than colour. The 4:2:2 ratio refers to the ratio between black and white and colour. 4:2:2 sampling is especially useful where advanced video processing, such as compositing and colour correction, is required.
Both models in the XF100-series capture twice the colour detail of camcorders which use 4:2:0 sampling, and combined with Canon’s powerful DIGIC DV III processor and CMOS sensor, offer unrivalled image quality for camcorders in this category. 

thanks a lot for posting this shawn
i downloaded your clip –– an astounding amount of true detail and rich color
pulled the frame grab into photoshop to add a bit of magenta and yellow in the color balance..... wow at those canon skintones i gotta say. if i can ever get slog2 to do this ima start a blog lol
the subtle modulation in the faces of the five children closest to the camera definitely reminds me of canon raw.... amazing
 

 

 

thanks a lot for posting this shawn
i downloaded your clip –– an astounding amount of true detail and rich color
pulled the frame grab into photoshop to add a bit of magenta and yellow in the color balance..... wow at those canon skintones i gotta say. if i can ever get slog2 to do this ima start a blog lol
the subtle modulation in the faces of the five children closest to the camera definitely reminds me of canon raw.... amazing
 

 

 

yeah thats it. lumetri is a GREAT addition to premiere but it needs more options imo, like what youve mentioned and selective color and so on
speaking of which idk how into photoshop you are but if its something youre p familiar with making a quick lut w adjustment layers and bringing that into lumetri might help? works for me

Aye. Or set another Picture Profile to incorporate S-Log2 as Gamma.

Define the tonal ranges in a clip
The Luma Corrector, RGB Color Corrector, and Three-way Color Corrector effects let you define the tonal ranges for the shadows, midtones, and highlights so you can apply a color correction to a specific tonal range in an image. When used along with the Secondary Color Correction controls, defining a tonal range can help you apply adjustments to very specific elements in the image.
Select the clip you want to correct in a Timeline panel and apply either the Luma Corrector, RGB Color Corrector, or Three-way Color Corrector effect. In the Effect Controls panel, click the triangle to expand the Luma Corrector, RGB Color Corrector, or Three-way Color Corrector effect. Click the triangle to expand the Tonal Range Definition control. Tonal Range Definition control
A. Shadow threshold B. Shadow softness C. Highlight softness D. Highlight threshold  Drag the Shadow Threshold and Highlight Threshold sliders to define the shadow and highlight tonal ranges.It’s best if you make the adjustments while viewing the tritone Tonal Range display of the image.
Drag the Shadow Softness and Highlight Softness sliders to feather (soften) the boundaries between the tonal ranges.The amount of falloff depends on the image and how you want the color correction applied to it.
Note:
You can also define the tonal ranges by changing the numeric values or moving the sliders for the Shadow Threshold, Shadow Softness, Highlight Threshold, and Highlight Softness.
 
This doesn't do it?

To do this easily and accurately it's best to round trip with Speedgrade.
at the moment FCPX does this much more easily I'm afraid.
Adobe would be wise to just pull the whole of Speedgrade correction into Premiere as a plugin or panel.

over time, you develop an ear for this sort of thing. as a trailer editor, it's pretty much mandatory to be a good music editor. rather than relying on some plugin, looking at the waveform can help you make a picture or audio cut (or cuts) to the beat/percussion/etc. personally, i don't need to place markers because the waveform is right there.

Slow zoom and all!
http://www.engadget.com/2015/08/20/vhs-quality-videos-ios-app/

I don't see a separate control for saturation in highlights. Only normal HSL controls, and 3 way color wheels. In Magic Bullet Looks they have ranged saturation which has a saturation slider for Highs/Mids/Lows. Only problem with that is that it lumps in the highs on a broad spectrum. I'd like to tweak that spectrum to include specular or super bright highlights only.

Well gosh thanks a lot.  I thought I would get ridiculed off the boards for shooting family videos with a 1dc.  I'm just trying to get the best footage of my kids while they're young that I can afford.  I shot the 5d3 raw for almost 2 years - I'd have stayed with it but I wanted the ability to crop with 4k plus the 12 FPS for sports.  Plus of course the non-hacked reliability.

heh-heh...

Quick link.  I know this is simple home video type stuff, but to me I like the look.
4k 1dc file, built-in audio.
https://drive.google.com/file/d/0B3W9u9cu-URWd2N4LWZzY2NkcXc/view?usp=sharing
 
4k frame grab...

right?
so i finally saw The Master last night and that happens... a lot lol

have you guys seen this? v interesting photographically speaking
great work rich  
love the forbes 70 project!!!! wishing you all the best

right?
so i finally saw The Master last night and that happens... a lot lol

have you guys seen this? v interesting photographically speaking
great work rich  
love the forbes 70 project!!!! wishing you all the best

Just submitted a request for a return at B&H on this guy. I knew it was going to overheat after continuous use but WOW, not like this. 
I know its summer, but literally within seconds of being outside an 30 seconds of a single take in 4K, it overheats and shuts off. Same story in 1080p 120FPS. Even in 1080p 24p I've got the overheating indicator on the screen, this is just after minutes of use. Even indoors in close proximity to photoflood tungsten lights it gave me an overheat warning, and shut off in 4K mode. 
Battery life is also ridiculous. I had 3 batteries and still found myself wondering if I would make it through an evening of shooting. 
This is incredible disappointing since the image is really incredible in the right conditions. 

As you may have noticed by now, there's only Cine 1 and 2 on the RX10 II.

It's an attempt to mitigate the fact that unlike DLP and Plasma, LCD and OLED suck at handling motion. The pixels can't change fast enough to keep up with even 24p, so they're constantly in a state of transition, also known as motion blur (not to be confused with the normal motion blur from camera movement--this blur comes purely from the display). Watch a plasma and an LCD side by side and you'll see what I'm talking about. The only way they've found to mitigate the issue is BFI, black frame insertion, which "resets" your eyes to each frame by inserting a moment of black between each. It helps, but still doesn't look as good as plasma/DLP. BFI also takes a huge toll on image brightness, making my Sony W800B so dim it's nearly unwatchable. 

Sorry...you're opening the floodgates. I have a lot of opinions on display technology. 

That's not terrible