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kye

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  1. Like
    kye got a reaction from tweak in Why limitations are a good thing   
    Happy to be of service!!
  2. Like
    kye got a reaction from ghostwind in Canon gear advice for pro photographer getting into videography   
    The GH5 has many many modes with different frame rates and bit depths, those are just the ones I chose.  The 200Mbps 1080 is great because it's ALL-I so is much better to edit with.  The GH5 also offers a 400Mbps 4K ALL-I mode, but it requires UHS-II SD cards that are ridiculously expensive, so I don't bother with that mode.  But as you say, 200Mbps 1080 is overkill, and for what I do so are many of the modes.  I guess that's like RAW for most people as well.
    I know that getting a C100mkII wasn't what you really wanted, but given Canons market strategy, it's probably your best bet.  I think that you may end up changing to Sony or Panasonic in a few years time when your needs are likely still not met, but you can cross that bridge when you come to it, and a C100 is a good interim option.  
    You may have to experiment with how well the 1080 scales up for vertical video for social media (and what resolution is required for vertical video - 1080 x 600 might be sufficient).  Should you still want to get a higher resolution and need to rotate the camera I would suggest that you invest in Area-Swiss style QR plates and have them on the bottom of every piece of equipment and on top of every mount so they are all interchangeable.  By doing this, you can get an L bracket and put two QR mounts on it and you will quickly be able to take the camera off the tripod, put the L-bracket on the camera and put the L-bracket onto the tripod and quickly be able to rotate the camera for any vertical video shots that you need for social media.  
    I'd also suggest hiring one and doing a mock shoot and see how well it goes and how the footage grades for you.  C100 footage is fine but if you want to push-pull it a lot then it might require a change in how you light in order to get it closer in-camera to how you do things now with RAW image processing with your stills work.
  3. Haha
    kye reacted to User in Why limitations are a good thing   
    I had concerns about opening this thread, fortunately this comment surmounted those concerns 😂
     
     
  4. Like
    kye reacted to ghostwind in Canon gear advice for pro photographer getting into videography   
    @kye Yes, you are correct. In your post you had said 150Mpbs for the 4K, but yeah, the 4K should be 4x the compression of the 1080p to look properly better. I say in general because there are other things at play in compression, but yeah. Perhaps it would have been better to have a 400Mpbs 4K and a 100Mbps 1080p on the GH5, because if done right, 100Mbps 1080p is quite excellent and no need for more really unless 12bit 444.
    It's always a trick what to use, how to implement the compression, etc. And I believe it's also a marketing thing, in the case of Canon, a way to separate their model lineup. This is why the C300MKII is attractive, as it has many options. And the C200 is really meant for RAW/CRL, which I also believe is the future as @mrtreve also believes. But the future is not Cfast cards unfortunately, so that was not a good decision. C500MKII got it right with the cards.
    In the end, I may just get the C100MKII and wait things out, as I believe now the next C300, will have CRL and even perhaps FF - two of the things where the industry is heading, as I said in my post above. FF and RAW for the "masses", meaning at $10K and under. Yes we'll have the Arris and others, and also the smaller Super35, M43, etc. sensors, just like we still have FF and APS-C in DSLRs, but FF needs to be more affordable in cinema cameras, and RAW the norm. 
     
  5. Haha
    kye got a reaction from User in Why limitations are a good thing   
    Video files are just data.  Every operating system has a software tool that you can enter in any machine language data you like.
    So according to your logic, I don't need a camera, crew, lighting, sound equipment or anything - I should just start typing away, then hit save on Masterpiece.MOV and I'm done!
    What's that?  Having to understand and memorise the MOV container is cramping your ability to get convincing dialogue?  Understanding the header flags on codec container formats in HEX when converting from long_integer binary encoded data shells distracting you from getting good wardrobe?  You said it yourself....
    You are forgetting that film-making isn't just about using a camera.  It's about many many many things, and if the camera can do something for me then maybe that means that I can take my finite capacity and concentrate on something I wasn't able to put my attention to.
    I understand your sentiment, but randomly assuming that limitations you're able to compensate for should be accepted by other people just because you say so is pretty arrogant, and also pretty ignorant and just tells me you don't know shit about real film-making or how other people do it.
  6. Like
    kye got a reaction from Jrsisson in Why limitations are a good thing   
    Video files are just data.  Every operating system has a software tool that you can enter in any machine language data you like.
    So according to your logic, I don't need a camera, crew, lighting, sound equipment or anything - I should just start typing away, then hit save on Masterpiece.MOV and I'm done!
    What's that?  Having to understand and memorise the MOV container is cramping your ability to get convincing dialogue?  Understanding the header flags on codec container formats in HEX when converting from long_integer binary encoded data shells distracting you from getting good wardrobe?  You said it yourself....
    You are forgetting that film-making isn't just about using a camera.  It's about many many many things, and if the camera can do something for me then maybe that means that I can take my finite capacity and concentrate on something I wasn't able to put my attention to.
    I understand your sentiment, but randomly assuming that limitations you're able to compensate for should be accepted by other people just because you say so is pretty arrogant, and also pretty ignorant and just tells me you don't know shit about real film-making or how other people do it.
  7. Like
    kye got a reaction from User in Canon gear advice for pro photographer getting into videography   
    Think about it like this, to get the 200Mbps 1080 file, what happens is:
    Camera captures a 5K image Camera downscales the 5K image to 1080 Camera compresses 1080 to 200Mbps That's not that different to this workflow:
    Camera captures a 5K image Camera downscales the 5K image to 4K Camera compresses 4K to 200Mbps Person downscales the 4K to 1080 in post Both of these image pipelines start with 5K, both are limited to broadly similar levels of compression.  We know that a 200Mbps 4K image won't be as great at 100% as a 200Mbps 1080 image at 100%, but when you downscale the 4K to 1080, it takes 4 pixels from the 4K image to make 1 pixel in the 1080 image, so the amount of data per 1080 pixel is broadly the same.  There's also the point of diminishing returns with this stuff - try encoding a h264 file at something decent and then try at double or triple that bitrate and see what differences there are.   You may find they're less than you think.
  8. Like
    kye got a reaction from User in Canon gear advice for pro photographer getting into videography   
    I think it depends.  Partly because the compression may not treat each mode equally (4K has 4x the number of pixels as 2K, but may not have 4x the bitrate), plus other factors.
    I shoot with the GH5, which downsamples everything from a 5K signal, so I've played in this space and recently did a resolution/detail comparison on that camera between the 5K 200Mbps h265, the 4K 150Mbps h264, and the 1080 200Mbps ALL-I h264 modes (all 25fps and 10-bit) and I found that there was no visible differences between the 5K and 4K, and when downsampled to 1080 there was no visible differences between the three modes.  This test was with real-world lenses and wasn't in lab conditions, so it was imperfect, but it was of a real person in real conditions so it was applicable to what I do.
    In the end I chose to shoot 4K because h264 is easier to edit than the h265 codec (my main computer is a laptop), the framing on the 4K is easier to use for me in-camera, and even if posted in 1080, it would still be advantageous to me to shoot in 4K because I do a lot of stabilisation in post, so the extra resolution can help with this.  Also, if I'm recording in 4K and processing in 4K then I might as well publish in 4K so that I'm kind of future-proofing my projects.  As I record my family history there is a chance that these videos will still have some usefulness in years or decades, when 25K-3D-VR-AI-recreation-immersion-whatever will be a thing, so 4K won't be a "but can you see any difference" question anymore.
    I'd suggest just trying them and seeing what you see.
  9. Haha
    kye reacted to IronFilm in Black bars makes everything more "cinematic"   
    @kaylee , you took the pic at the wrong moment. 

    A second later you'd see the plane flying in from the right..... 

    Edit:

    Ehhh, maybe my comment there should be ignored!

    Because 9/11 jokes are just plane wrong. 
     
  10. Haha
    kye reacted to Shell64 in Black bars makes everything more "cinematic"   
    I personally use the hexagon aspect ratio. It allows up to 6X better footage because it has 6X the amount of black bars. 
  11. Like
    kye reacted to BTM_Pix in Blackmagic refreshes their Video Assist line   
    A Komode might be more apt as when you see the price of the FP you might well shit yourself.
    However...
    We have just been back to have a longer chat with them and something caught our eye on it that might cause a re-think in a good way.
    More from @Andrew Reid on that upcoming tomorrow or Monday.
  12. Like
    kye reacted to kaylee in GH4 in Low Light 2019   
    fantastic info guys, thank you SO much~! ill go over this at length tomorrow~!!!! 🔥💙💙💙💙
  13. Like
    kye got a reaction from Geoff CB in Blackmagic IBC Announcement   
    Both of these are really useful and will be really great..  my GH5 isn't that wonderful in low light, so better NR would be great.  
    and of course the GH5 needs AI superscaling because it's only 5K and everyone knows you need FF 8K, so that probably means that I need MFT 16K to not be completely kicked off the internet!!  😂😂😂
  14. Like
    kye got a reaction from kaylee in GH4 in Low Light 2019   
    Small LED lights like the Aputure AL-M9 aren't expensive and put out a high CRI light, so maybe a few of those might be good if you need to stay ultra-portable.  Obviously wall powered lights would be better though.
  15. Like
    kye got a reaction from ghostwind in Canon gear advice for pro photographer getting into videography   
    I think it depends.  Partly because the compression may not treat each mode equally (4K has 4x the number of pixels as 2K, but may not have 4x the bitrate), plus other factors.
    I shoot with the GH5, which downsamples everything from a 5K signal, so I've played in this space and recently did a resolution/detail comparison on that camera between the 5K 200Mbps h265, the 4K 150Mbps h264, and the 1080 200Mbps ALL-I h264 modes (all 25fps and 10-bit) and I found that there was no visible differences between the 5K and 4K, and when downsampled to 1080 there was no visible differences between the three modes.  This test was with real-world lenses and wasn't in lab conditions, so it was imperfect, but it was of a real person in real conditions so it was applicable to what I do.
    In the end I chose to shoot 4K because h264 is easier to edit than the h265 codec (my main computer is a laptop), the framing on the 4K is easier to use for me in-camera, and even if posted in 1080, it would still be advantageous to me to shoot in 4K because I do a lot of stabilisation in post, so the extra resolution can help with this.  Also, if I'm recording in 4K and processing in 4K then I might as well publish in 4K so that I'm kind of future-proofing my projects.  As I record my family history there is a chance that these videos will still have some usefulness in years or decades, when 25K-3D-VR-AI-recreation-immersion-whatever will be a thing, so 4K won't be a "but can you see any difference" question anymore.
    I'd suggest just trying them and seeing what you see.
  16. Haha
    kye got a reaction from User in When is Slo-mo Cheating?   
    This sentence is rich with things to ponder...  EOSHD forums are The Pub, but now I hear there's a couch recliner??  and that it's possible to leave here as a better adjusted member of society???
    I guess you learn something every day!
  17. Like
    kye reacted to ghostwind in Canon gear advice for pro photographer getting into videography   
    I did look it up, and for those interested this is a great place to read about it with links to sources: 
    https://www.provideocoalition.com/can-4k-4-2-0-8-bit-become-1080p-4-4-4-10-bit-does-it-matter/
    What it comes down to (besides the math and all) is that it's always best to shoot in the highest format your camera offers, and downsample later in post if needed. I think we all know and agree on this.
    My question has to do with Canon and their 1080p internal downsampling algorithms, that seem to make it soft on several of their cameras. In this case, is shooting 4K YCC422 10bit on the C300MKII and converting to 2K/1080p in post better than shooting in 2K/1080p RGB444 12bit? I will assume shooting in 2K/1080p RGB444 12bit should be better. Just as I assume the 2K/1080p RGB444 12bit from the C300MKII should be better than shooting 4K YCC420 8bit on the C200 and converting to 2K/1080p 444 8-10bit in post (in theory per the above) .
     
  18. Like
    kye reacted to Vision in GH5 and f4   
    Not stupid question at all, are u in manual mode? Go into main menu and have look if you are not in aperture priority or any other mode
  19. Like
    kye reacted to sanveer in Blackmagic refreshes their Video Assist line   
    I wouldn't mind paying $100 for BRAW on the GH5 (and GH6 when it releases). 
  20. Haha
    kye reacted to User in When is Slo-mo Cheating?   
    - What's the dish... distilled water?
    I guess it's all about the project and the way slo-mo is being the used and what's motivating it... but I do see that in some cultures and genres of media (ie. fashion industry/ music videos) it's almost expected. I guess I just find myself at odds with it when it is used as a stylized gimmick for no other reason than to bring some kind to drama to an otherwise boring shot/ project.
    - Anyway, thank you to everyone for their insights... I'll now pick myself up from the EOSHD sofa recliner, take a deep breath (in slo-mo), and gently leave this discussion as a slightly better(?) adjusted member of society
    Onward!
  21. Like
    kye reacted to currensheldon in Blackmagic IBC Announcement   
    These new recorders are HUGE, in my opinion. Black Magic Raw is perhaps the best codec currently available that isn't made by Red. Beautiful 12-bit raw footage that can actually take up less space than ProRes LT or All-I 10-bit H264. I have almost bought Black Magic cameras many times just for the codec, but I edit in Premiere and don't particularly love their cameras.
    With today's update, I can continue to use the EVA-1 or C300 Mark II, record everything in the amazing BM Raw AND still edit in Premiere (though I should just switch to Da Vinci)! These recorders breathe some serious life back into cameras like the EVA-1 and C300II. 
    Pretty amazing that Black Magic would do this. They are really working to get people into their full workflow and using some part of their tools. They will sell a lot of these recorders, probably at the expense of a few Ursas and Pockets, but they will have a lot more people in their ecosystem now.
    Hats off, BMD. This is amazing. 
  22. Thanks
    kye got a reaction from User in Canon gear advice for pro photographer getting into videography   
    When you down convert 4K 8-bit down to 1080 you get 4:4:4 colour space and depending on a bunch of different factors, you will get a result that is somewhere between 8-bit and 10-bit.
    Going into the technicalities of why this occurs will derail the thread somewhat so I'd suggest looking it up and reading about it to anyone that questions this.  
  23. Like
    kye got a reaction from ghostwind in Canon gear advice for pro photographer getting into videography   
    We've all been there!  You might have noticed the vitriol earlier in the thread about Canon crippling it's lineup.  I don't know if you've ever seen the RAW footage from a Canon camera with the Magic Lantern hack, but it really is something quite special, so there is no technical reason that Canon couldn't have taken a good quality 1080 readout (at 10 or even 12-bit) and put it through a nice h264 compression to give a lovely image.  Of course, is having an 80D with DPAF in video, great CS and a wonderful and robust image a good business idea for them?  Well....
    I own a Canon XC10 and it outputs the kind of image the C100 gives, only it does it in 4K at 305Mbps.  It's a wonderful camera, except for the fixed lens which limits creative choice in that department.
  24. Haha
    kye got a reaction from heart0less in Don't buy another camera, buy everything else instead   
    The T2i codec was probably better quality than the YT 1080 level of compression, so maybe it would be more similar than you might think!!  😂😂😂
  25. Like
    kye reacted to IronFilm in Fujifilm X-A7   
    As an X-A3 owner I welcome the price drops on the X-A5 caused by the announcement of the X-A7, as that is what I'll get next once I lose my X-A3 
     
     
     
     
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