October 21, 2014, 12:58:24 PM

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Messages - leGreve

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Single hard drive and max 8GB memory is not my dream. Nice display, but all in ones still feel to me like immobile laptops.

That's the minimum config.  You can upgrade to 32Gb memory and a 1Tb SSD drive.  Also has two thunderbolt ports and 4 USB 3 ports.  You would typically add a thunderbolt RAID for your photo storage, leaving the internal for the OS and applications. 

This would be similar to what you would do with  a maxed out MacPro that contains 12 cores, 64Gb, a 1Tb internal drive, 6 thunderbolt ports and 4 USB 3 ports that can handle 3 4K displays or 6 thunderbolt displays.

Ah, I read "up to 8GB."

Regardless, one internal drive with a built in display kills it for me. YMMV

We have 10 iMacs in the studio..... They are completely reliable workhorses and none of us would rather sit at a laptop with an even smaller screen and weaker config.

I'd pay for this if I had the money right now... I wouldnt pay for a Pro unless I had to work on a feature of some kind and needed raw power to shorten render times etc.

EOS Bodies / Re: \
« on: October 14, 2014, 12:29:52 AM »
Funny how the review brings out the "soft focus transition" because the 7D now has a build in focus pull...... something that Magic Lantern made available quite some time ago. I wonder if Canon bought some of the ideas.....

Canon General / Re: seeimpossible.usa.canon.com?
« on: October 07, 2014, 08:05:53 AM »
Ιn 1 hour we see the impossible!!!
 :D  :D  :D

The website is already up and running.

Canon General / Re: seeimpossible.usa.canon.com?
« on: October 07, 2014, 07:58:12 AM »
Well.... with all the lenses I have and still slightly hanging on to my 5D3, I consider myself a Canon customer.... but that website.... that's just BS with BS on top.

Seriously, I'm not buying gear because ms or mr A and B are using said gear for whatever.

Canon should have ridden that train harder when they had the chance with Bloom and LaForet.
Now, all I care about is what's inside the product and what they can produce.

The idea of romanticising the use of gear belongs before the crisis. Now efficiency and technique is all that matters along with the ability to deliver great footage to go along with the ideas and eye one has for the story at hand.

Instead of trying to boost what they already have Canon should be out there innovating the business still.
Bring out that extreme low light sensor that does 60fps true 4K and has great DR.
Stop micro adjusting cameras every year to give us a little upgrade here and a little upgrade there.

The latter will kill them in the long haul, because people in the end will realise that Canon has been reduced to being a "name" or a brand that signifies nothing, other than profit. No innovation, no guts and glory.

Really too bad.

Canon General / Re: seeimpossible.usa.canon.com?
« on: October 07, 2014, 07:22:46 AM »
Bleh... this is of course also a pretty good explanation.

So, an attempt to win people over by showing them stuff they don't really care about... Maybe it's just me but I'm completely immune to the "I use this *Smile* and you should to....." campaigns.


EOS Bodies - For Video / Re: Video Editing Work Flow?
« on: October 07, 2014, 07:16:39 AM »
Thanks guys.

From reading, I will go towards these direction:
    . Research and study about Adobe Premiere
    . Use external mic with recorder: I only found this: http://www.bhphotovideo.com/c/product/966010-REG/shure_vp83f_condenser_shotgun_mic.html - Shure VP83F. Is there any cheaper alternative than this.

    . I think camera slide and crane does not suit.. I need to do some testing, if glide really is needed in contrast to hand held only..

what do you think guys? Do I really need glide?

You don't NEED to use glide or slide or jib. These are all gear that can boost production value in specific situations.
Just like hand held also isn't the natural choice.... it comes down to style as well as what you are trying to communicate.

Fx, if you are doing an interview where the subject is sitting down, a handheld camera will most likely look like S___, because it gives the impression that you are interrogating the subject or you are being impatient ready to move on.
But in an interview walking down the street, handheld just might be the thing to do.
Learn to do handheld well.... it can be done not so pretty and pretty, all boils down to experience.

In terms of sound.... if you plan to do interviews the classic way, that Shure mic or Røde Videomic Pro for that matter, will not give you proper sound... it will give you better sync sound.
A mic like that is suitable for one situation and that is run & gun.

If you want proper sound in terms of interviews, you should:

A. Hire a proper sound guy (yes I know.... expensive, but I had to place it on top, because that is the best way to record sound)
B. Buy a micro port kit and lav up the subject.
C. Buy a light stand, a boom buddy and a boom and a shotgun mic like fx. AT4053b or Røde NTG-3.

The micro port kit has its place. I think a lot of people end up using them, because it takes a lot out of the equation... less gear to worry about since you just plug the micro port receiver into the camera. Disable auto gain and adjust the sound properly. But it is also versatile because you can use it pretty much anywhere...

The boom option is obviously best when you have the time and the setting to do it properly, but has a better sound than a lav. One could argue though that lava can end up sounding better because mic placement is paramount in any situation. The closer to the subject the better..... which is also why a mic on a camera is a baaaaad option.

Dialog is mono by the way, so don't use stereo mics for anything other than environment recordings and so on.

Video editing workflow
If you are going the Premiere way, then you could start with getting ClipWrap to wrap the clips in a ProRes codec instead. .h264 is demanding on system resources. ProRes less so....

Bring in the clips in Premiere.

Open each in the source window and trim them roughly and drag them to the time line.

Once you have done it with all of them, you can start organising the flow of the movie.
Maybe some clips need to be shorter, maybe you want to put something back into them. Maybe this clip needs to go before that clip.... that is all just dragging around.

The sound will most likely determine how you story goes along. Once that is in place, you can start putting fill shots on top of the main video (which could be a sit down interview) and then cut to those shots now and again for some dynamics.

Once you edited the movie the way you are happy with it, lock it down mentally, and start looking at the colours, contrast, white balance and so on.

The reason you wait with that part is because adding filters also puts stress on the system resources. So might as well add them to the trimmed clips instead of the full length clips.

Then go research about managing sound. Of course being a photographer you won't be an expert at this. But learn the basics to clean up the sound a bit... like removing noise and so on.

When sound is done, then export it out in a small size. I normally do a 720p version to review my work and to send to the client. I prefer using either our workplace's Vimeo Pro account, since it's a nice way to not give them the concrete file but let them see what they can expect and send feed back on.

To deliver, we use WeTransfer Pro, because that will give us download confirmations and is WAY faster than fx. DropBox.

Best of luck...

OH.... about the sound.... an old saying is that sound is 50% of any movie.
You can save poor footage with great sound, but great footage will never save poor sound.

Canon General / Re: seeimpossible.usa.canon.com?
« on: October 07, 2014, 03:55:17 AM »
Well... at least we can keep guessing.....

The other thread that was posted with a clip of extreme low light captures was actually uploaded just a month or so before the domain canonseeimpossible.com was registered.

Conincidence? Could be.... I just think they were planning ahead, because they knew they were up to something great.

So which camera would get a sensor like this? All of them? The Cinema line? The D line?

If they are smart, they would use it as a general sensor in all their cameras, that would make it a competitor to Sony and Panasonic.

Canon General / Re: seeimpossible.usa.canon.com?
« on: October 07, 2014, 03:14:35 AM »
Now that's a company that is bad at its own marketing skills..... seriously. If you are going to be so bold as to put a timer on a website, you should be damn well sure that something actually happens when the timer reaches 0.

This is like standing on new years eve at 2400 and realising that your fireworks got wet.

Canon General / Re: seeimpossible.usa.canon.com?
« on: October 07, 2014, 02:37:23 AM »
Can someone please calculate at what time will the timer go off according to EST time, so we can adjust :)

Edit: OK, AUGS answered while I was writing, thanks

in 20 minutes........

Canon General / Re: seeimpossible.usa.canon.com?
« on: October 07, 2014, 02:17:00 AM »
Yes.....this will be it. I remember seeing that announcement last year or so.

Imagine a 5D with that sensitivity and raw capable..... Who needs film lights :-D
I mean, a camera like that would enable all indie film makers to light like Deakins.

I think they have to make announce something that can actually compete with the Sony products, otherwise they will have lost the race completely in a couple of generations of cameras.

Canon General / Re: seeimpossible.usa.canon.com?
« on: October 07, 2014, 12:04:06 AM »

This is a website that talks about seeing impossible colors because a few people have an extra cone to receive light in the eyes.

I believe Canon has managed to create a chip that will both increase dynamic range and color rendition.

We will know at 9 oclock cet...

Canon General / Re: seeimpossible.usa.canon.com?
« on: October 06, 2014, 11:46:59 AM »
Lets hope they can top Sony.... Otherwise this will become embarressing

Just to see how far I could push things, here a couple more versions, not particularly "realistic", but still a good demonstration of what's possible and how the raw data reacts. No interpretation of the data needed here...5D III totally falls apart. A7r...noisy...but manageable.
Interestingly, I don't really see any significant difference between them, even in the +5 ones (calling the 5D3 one "falling apart" is totally ridiculous, it's a perfectly usable picture). Admittedly my eyes are old and I'm looking at the pictures with a relatively lowly monitor, but that's what I'd mostly do anyway. I guess it means the DR difference isn't a good reason to go for Sony, *for me* - your mileage may vary.


The +5 ones are from a professional standpoint completely unusable compared to the Sony shot.... look how the chair is muddying up on the side.
The Sony retains the detail to a degree where even the shadows are somewhat acceptable. The Canon shot... I would never present that to a client and pretend that it would be ok.

Third Party Manufacturers / GoPro can deliver 30 FPS for 1/2/3 seconds...
« on: September 26, 2014, 09:54:25 AM »
…and besides that burst, they now offer full manual exposure and better dynamic range.

It also sports 4K video at 30fps, HD at 120fps and now has a touch screen display on the back.

Now, why is it a cool little company like GoPro can offer all that in such a small package for such a low price and we are still content with these half ass improvements Canon keep offering at every line up.

Business of Photography/Videography / Re: 4K, 5K, 6K and Up Video
« on: September 25, 2014, 02:16:25 PM »
awww sigh….. the same old bullshit as when HD arrived and people felt forced to go out and buy HD tvs.
Now don't we just love HD?

You will all love 4K the same way.

Now about the whole not ready for 4K thing. We are pretty close… .h265 will make 4K a lot easier to manage.
Sony have had 4K cameras out for years. RED also.

4K tvs are beginning to arrive at prices that are closer to reasonable. NetFlix will be ready for 4K streaming once the codecs, tvs and ISP come together in a glorious fashion.

Another reason to love 4K in HD land is due to increased colordepth when you downsample. Scream reframing. If you need 4K to reframe for HD you shouldn't be shooting in the first place.

And then….. you will all forget this thread.

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