Shell64

Don’t forget the Peter McKinnon cinematic lut pack!

So then do you only have to be very specific about your exposure levels when shooting in a controlled scene or in a log profile?  Cause I always hear people say for s-log “2 stops over exposed.”  So how do I get to the perfect exposure?  Or do you just try to get a good exposure and not worry about it being perfect?

Get the z6 unless you can really benefit from the higher resolution stills. The z6 will give you better lowlight, more dr (especially with an external recorder) future external raw video, and better af with Nikon glass. God bless you also. 

On 9/2/2019 at 8:12 PM, kye said:

Setup a test scene with some shadows/highlights, some bright colours (a test chart is great but not needed), and some skin tones.  Film it with your camera at varying exposures, I'd suggest "properly" exposed and +1, +2, +3, -1, -2, and -3 stops.  Then in post process the footage so that it's all the same brightness and then look at the images, notice what it does to colour, skin tones, and highlights/shadows.  

This is what professional cinematographers do to "learn" a new camera or film-stock.  They often talk about how a particular camera is a -1 stop camera because they've done the tests and that gives the nicest skin tones or colour or whatever.

I'd also suggest that you play with the colour profile to test things like lowering the contrast (most normal profiles have too much contrast for my tastes) and for each change you make you should repeat the above test.  You will eventually find that you prefer a profile with a certain contrast, a certain saturation, and a certain exposure level.

It's a lot of work, but if it wasn't required then every home video that dad made with a camcorder would be breathtakingly beautiful, and that is obviously not the case.  

I’m going to try this. Honestly though I’m still new to this. How do you determine the “proper” exposure?  I don’t have access to a gray card at the moment. 

Thanks. I will try ETTR. I’ve heard good things about this method. 

@mercer thanks for the advice!  

Do you guys rely on. The histogram or exposure meter more?

I usually rely on my histogram and set zebras to either 100% or 70% for skin. I don’t really rely on my exposure meter. 

9 minutes ago, thephoenix said:

to me it is the main wickness of this camera, you cannot claim it is a cinema camera and not let fully control the settings

No the new Sony’s have wickness. They implement a candle wick to prevent overheating

How do you guys nail exposure when shooting in a standard or “flat” picture profile that is not log? I am trying to find the best way to expose when shooting cined or natural on my g7. 

Do you guys rely more on the histogram, exposure meter, zebras?  

Thanks everyone. 

Please don’t sell your kidney!  I hope you are joking about it. If a laptop is worth it so much that you are willing to put your health at risk you have issues...

Honestly full sensor normal raw mode on the 5d mark II is super cinematic, even with the moire and aliasing. I actually prefer the image to my g7 4K output.  The only reason I’m not shooting on 5d mark II with ML is because while the raw video looks really cinematic, the h264 image is crap. To get even decent IQ I would have to go through the RAW workflow, while my g7 in 4K or 1080 gives a good image without crazy file sizes or a long, lengthy workflow. 

1 minute ago, heart0less said:

@kye, I share many of your views on cinematography (sometimes I'm even scared to see just how alike we think ? ), but right now, in my humble opinion, you're digging deep into the search of a holy grail.

Sure - every time I get a new lens, I take it out and shoot dozens of photos wide open, only to see if I like its character.
Then I come back to my PC, examine every RAW file thoroughly (pixel peeping FTW) and decide whether I've got a keeper.

And more often than not, I'm happy with my purchase.
Though, I have to admit I spend hours on research before buying anything.

 

Like I said before, I'm more a photographer than a videographer (80/20% I'd say) - and that's why I firstly look at lens's qualities in photo mode.  If I enjoy it, then I'm 100% sure I'll have no issues with its rendering during video shooting.

Right now, my most expensive lens is Minolta Rokkor 58/1.4, which I bought for ~100$. The second one is newly acquired Nikkor 35/1.8 DX - 90$..
All my lenses are fully manual, lol.

My most expensive lens is a Meike 25mm 1.8 MFT for $80. Lol. 

3 hours ago, GiM_6x said:

@ Shell64

A codec is a set of rules, I do not think you can have high-quality or low-quality codec licenses.
Once you have to apply these rules (which are mathematical calculs), it should be irrelevant if 720p or 8k, if 12fps or 240fps...

Finally, you have it or not.

I was being sarcastic lol. I really don’t buy your guys’ license agreement explanation. Canon crippled this deliberately. Clear as day this is the answer. 

1 hour ago, newfoundmass said:

What a hill to die on. 

Paid canon representatives trying to change EOSHD viewers opinions!  A hill to die in indeed!

2 hours ago, newfoundmass said:

Canon should just shoot in 480i and really save everyone some money!

Unfortunately canon has already been using 480i in the canon t2i through the canon 80d. This has been “interpolated” to full hd. To truly save money canon could very well perform a 240p sensor readout and then upscale to 1080p. Fortunately, this leaves enough money for the encoder to process 24 frames per second in h264 compression, but moire and aliasing is generated as a result of canon not paying for the high quality h264 license and so they have to use a low quality codec. This however is the only way they can afford 24fps. 

Mokora, how do you keep doing this argument when ALL of the evidence is against you?  Canon really must’ve lost a ton of money on the t2i. 

Exactly. Huge respect to you Andrew for giving such honest camera reviews. They are my favorite. And there is some really good information on this forum, which is why I’m glad to be here. 

22 minutes ago, Cliff Totten said:

It is my understanding that Sony's 5k and 6k full pixel readout and scaling to 4k video...is dont at the A/D conversion level. The sensor does that proprietary scaling right on the sensor and feeds that final 4k image to whatever video processor your camera has.

Why does this matter? Because all of the readout and scaling engine is on the chip itself. Your image processor doesnt have to do that work!

Anybody who buys a Sony sensor has access to the scaling readout modes. So when Canon buys 1 inch Sony sensors,...bang!...they got Sony-style full pixel readout. Since Canon makes their own FF and APSC sensors,...they dont have that scaling engine onboard! Their DIGIC processor has to collect and scale that readout by itself!

CLEARLY.....Canon has NOT figured out how to do 4k with anything more than a 1:1 deBayer or a 1:1 assembly using binning or line skipping!!

Canon is literly 10 years behind Sony in sensor readout and image assembly mathematics!

My God....wow.

Excellent explanation. This is why every camera that uses a Sony sensor can do full pixel readout no problem. Even an $800 xt30!

It’s that canons technical flaws are disappearing so canon has to give people a reason to go higher 

11 minutes ago, KnightsFan said:

The small hole is actually to reduce the amount of material required, thus saving 0.23 cents/unit on manufacturing costs. It's the compromise they made in order to afford the 24p license.

The canon t1i saves even more money. It had an all plastic body PLUS only 720p at 24fps, which must have been substantially more cost effective than to compress 1080p at 24 frames every second. Of coarse canon decided to take a risk and lose some money in order to be innovative once again, so they added 1080p 24 to the t2i. Sadly this cost canon so much money that they nearly went bankrupt, and so they unfortunately had to remove 24p from the M6 II. Then scientists discovered that the earth isn’t round, nor flat, but actually is shaped like an octagon. We just don’t realize this because alien nebula waves in the earth’s atmosphere inject pathogens into our brain to trick us into believing this false view of a round or flat earth. 

I turned “TruMotion” off on my LG tv and didn’t say anything. No one complained about it. It’s honestly hilarious how companies try to sell consumers on “this tv will do fake 240fps in 28K, which is why it’s better.”  Same with, “Canon is used by NFL sports photographers and Peter McKinnon and Potato Jet told me to buy a Canon T7 instead of a Panasonic g7!  Canon must be the best.”

13 minutes ago, thephoenix said:

xpro 3 should be an xt3 with ibis ? maybe some 6k ?

looks like fuji is the brand to follow now. i was disapointed with the S1h, looking forward to see what's gonna be the xpro 3

The s1h is amazing except the price tag (s1 with vlog is also really good.). Fuji is leading the way with innovation. Sony is becoming canon, canon is desperately trying not to become Sony, and Blackmagic somehow gave their cameras a video look. Weird world. 

If the a6100 was around the price of my g7 it would be really nice even without s-log (my g7 has no log but is still awesome.). The actual price is pathetic. Sony is doing the same thing canon did in 2011 when they recycled the 7d sensor for 4 years in a row. 

@Mokara said this:

“The 5D series have an additional processor in them to handle focusing/exposure for example,which the 6D lacks. That means the 6D has tohandle those functions with it's primary processor, and that in turn affects performance when it comes to things the primary processor normally does. Presumably the codec options are one of those things impacted by that difference. That is in fact an example of how cost saving measures (one processor instead of two) has a direct impact on specs.”

Here’s the thing. All-I is SIGNIFICANTLY LESS PROCESSOR INTENSIVE than IPB compression. The encoder can simply save the entire frame instead of trying to detect every difference and synthesize the difference with non-changing areas of the scene. Sorry bro but your logic makes no sense. 

@Mokara I respect your opinion but you sound like a canon sales person right now. Canon is removing 24p to protect their eos r and cinema eos cameras. There is an abundance of evidence to prove THIS is why canon removes features. Why did the 6d mark II have no All-I codec?  Why did the M50 have no DPAF in 4K?  Why did the 5d mark iii have no MJPEG 4K when the sensor can read windowed 4K?  

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