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Messages - JasonATL

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EOS Bodies - For Video / Re: Upgrading...Canon 60D to...GH3
« on: April 16, 2013, 07:44:04 AM »
For anyone considering a GH3, I would also suggest considering the Blackmagic Pocket Cinema Camera

As someone who has used hacked Canon DSLRs to achieve higher bitrates, I can say that shooting in 4:2:2 ProRes was exactly what I was trying to achieve. Even better is the ability to shoot in raw.

Blackmagic Pocket Cinema Camera Key Features
• High resolution 1080HD Super 16mm sized sensor with superior handing of image detail.
• Super wide 13 stops of dynamic range allows capture of increased details for feature film look.
• Compatible with extremely high quality Micro Four Thirds lenses. Compatible with other mounts via common third party adapters such as PL mount and Super 16 cine lenses.
• Built in SD card allows long duration recording with easy to use media.
• Open file formats compatible with popular NLE software such as ProRes 422 (HQ) and lossless compressed CinemaDNG 12 bit RAW. No custom file formats.
• Features all standard connections, including mini jack mic/line audio in, micro HDMI output for monitoring with camera status graphic overlay, headphone mini jack, LANC remote control and standard DC 12 power connection.
• Built in LCD for camera settings via easy to use menus.  
• Supports 1080HD resolution capture in 23.98, 24, 25, 29.97 and 30 fps.
• Compatible with DaVinci Resolve Lite color grading software.

Availability and Price
Blackmagic Pocket Cinema Camera is available in July for US$995 from Blackmagic Design resellers worldwide.

With Blackmagic Design's various camera options (the Cinema Camera is available now and Pocket Camera and the Production Camera at 4k are due in July), I'm hard pressed to recommend serious video shooters to go with any DSLR. While DSLRs' flexibility and all-around features are hard to beat, with the ability to shoot photos being their strongest suit, the video quality just doesn't compare, in my opinion.

Otherwise, I understand the GH3 to be a very nice camera.

EOS Bodies - For Video / Re: ND filters for video? Suggestions?
« on: April 15, 2013, 08:06:59 PM »
I can confirm the X as you approach max with the Lightcraft Workshop variable ND. My variable ND also has a dark spot on the top right corner of the frame which may not be present in all, but that problem isn't the only problem I have with the variable ND. My recommendation is to just buy a set of fixed at the largest filter size and then use some step up rings for your other lenses.

The set of Tiffen's I mentioned above are 77mm (since my Canon L lenses are 77mm). I use step downs to fit my 72mm and 58mm filter threads. The only drawback is that the hood then doesn't fit. So, I have two (cheap) flexible hoods with 77mm threads (one for wides and another for normal) that work quite well.

The variable ND is nice for its flexibility and the results can be fine - also have a 77mm one. The footage from the following video used a variable ND for all of the footage from 2:12 to 5:20.

Sorry - I tried posting the link without the huge video window, but couldn't.
Weekend at the Lake on Vimeo
Don't bother with the rest of the video, as the video was more of a personal project). The footage in that time is from a 90 minute boat ride, with changing light, shot with the Canon 24mm 1.4L and a T3i/600D. I was able to ride the variable ND to manage exposure using my desired aperture. Given that we were on a boat and I didn't want to carry anything other than the camera, changing the ND would have been nearly impossible. So, variable ND's have their utility. In a set shot, I wouldn't use it in favor of fixed ND's. For flexibility, I'm glad I have one in my kit.

EOS Bodies - For Video / Re: ND filters for video? Suggestions?
« on: April 15, 2013, 05:02:07 PM »
I have a set of Tiffen NDs (.3, .6, and 1.2) that seem to work quite well without being too expensive. I generally favor B&W filters, but opted for the Tiffens for cost reasons and have not found a reason to regret it, yet.

I have had issues with variable ND's negatively affecting the image on a DSLR when used on the Canon 70-200mm. Thus, I try to stick with fixed ND's, if I can get away with it.

EOS Bodies - For Video / Re: Canon 5D Mark iii HDMI Clean Output?
« on: April 12, 2013, 05:19:17 PM »
Yah, I just jumped ship to the BMCC. I ordered from Adorama last night, and i already got a notice that it is shipping this week. I guess they've figures out their supply issues.

I waited as long as I could for Canon to give me something with raw that was affordable. I like to grade my video like i grade my pictures, and there was no way i could do this with Canon.

Hopefully they'll come around soon.

Congratulations! I suspect that you will like it and produce some very nice moving images with it.

Third Party Manufacturers / Re: The Blackmagic Production Camera 4K
« on: April 12, 2013, 08:07:13 AM »
The Blackmagic Design cameras are pretty awesome for what they are and how they've burst onto the video market, but for us Windows-based PC owners without a brand new Thunderbolt input device, they're useless. I don't even think that a stand-alone SSD reader exists, so that puts the kibosh on my interest. As if I have the cash-ola to spend anyways!  ::)

I'm a Windows-only user at the moment and have no problems working with my Blackmagic Design Cinema Camera (BMCC). You can read ProRes in Windows. BMD's DaVinci Resolve is on Windows. My BMCC uses exFat-formatted SSD drives. Thunderbolt is only used for monitoring and scopes while recording and is not necessary (or even used) for ingesting video from the camera.

All the praise of the BMCC and the anticipated new cameras that I'm reading here is well-deserved. My wife has a 5D Mark III for stills shooting. I borrowed it for video shooting quite a bit and was about ready to buy one until I started fancying a BMCC. I'm very glad I didn't buy another 5D Mark III. The BMCC is so far beyond a DSLR that I don't know if I'll ever pick up a DSLR for video again, especially after my BM Pocket Camera arrives.

As someone said earlier, ask a stills photog if they would ever give up raw. Once you have it in video, you won't want to either.

And, the 4:2:2 modes on the BMCC blow away my Canons in resolution and color.

I've ordered both new cameras, but will probably cancel the 4k. I really don't have a need for it. The Pocket cam will solve one issue that I don't like about the BMCC vs. a DSLR: the BMCC's form factor is not "handheld-friendly". Like Cayenne, I plan to buy one MFT lens (the Panny 12-35 with IS) and use the cam as a "walking around" cam. If an active-MFT to active-EF adapter comes out, all the better so I can use all my EF-mount glass.

A correction to something in this thread. The BMCC does suffer from moire. However, because it resolves so much detail, it is actually possible to reduce the effects of the moire and clean it up nicely, mostly through chroma blur. In doing so, the moire isn't bothersome to me on this camera, when it was something I just hated about some DSLRs.

There is a reason that BMD has stolen the show at NAB two years in a row. They're delivering what people want.

The next traditional companies that need to start worrying are the Adobe's and Apple's: BMD's DaVinci Resolve might end up replacing their post tools. Resolve is amazing.

EOS Bodies - For Video / Re: New 5D3 Firmware Spotted!!!!!!!
« on: April 10, 2013, 02:02:42 PM »
Interesting (to me) tidbits in the video, none of which is really surprising
- Embedded timecode
- 8-bit 4:2:2

I'm looking forward to getting the new firmware and trying it out on my wife's 5D3 and my Hyperdeck Shuttle. But, now that I have my BMCC, I'm not sure I'll ever shoot video with a Canon DSLR again, especially not after the Pocket Cam version is released.

The camera handles like crap, it's really heavy and even with the handles didn't feel great.  Rent one and check it out, but make sure you try to edit some of the footage, even 60 seconds of footage and you'll see really quick what a pain it is.  Believe me I was as pumped about this camera as anyone and mine actually came in last week but I passed on it.  Might get the MFT in the future but there are just too many issues with the EF.

And some of the posters are giving excellent feedback on the camera itself, but I'm looking at the camera AND what you'll be using it for (which is arguably more important).  You're not doing occasional studio shoots, you're doing real estate videos, which means you'll be shooting a lot and very frequently.  Battery life would also be a big issue in your case, since the internal battery lasts maybe an hour.  Also consider that you won't be shooting real estate videos in 2.5K RAW, it's just going to slow you down way too much, so try and take that spec out of the equation and look at it as just 1080p ProRes.

Fair points, all. I don't find raw as cumbersome as you seemed to. Perhaps my two-year-old machine is faster than the one you had available. The dynamic range of this camera still shows in the 10-bit 4:2:2 encoded files. Again, ProRes or DNxHD puts little extra burden on the workflow than the C100. Perhaps a bit more storage space, but with a benefit.

You point about the camera handling different than a proper video cam or a DSLR is also fair. It is clunky. A shoulder rig, slider, or tripod are a must. Whether Cgdillan uses these anyway is something he must consider.

Curious as to what issues the MFT version overcomes for you, given the issues you claim of the camera? None of those issues are changed in the MFT version. Is it just that the extra benefits of the MFT lenses (e.g., wider and/or faster) helps to further justify putting up with the costs you cite? I can understand that. Otherwise, you seemed very negative on the camera for certain reasons, only then to say that you might get one again in the future when none of those issues will be addressed.

In the end, I agree with you Axilrod. For a day-in, day-out workhorse (perhaps closer to run'n'gun), these issues might outweigh the image. A camera must be practical for its purpose. That's why my initial reaction to the OP was quite negative on the issue. Until I saw what I saw on my monitor. I'm just in love with the image this camera produces.

EOS Bodies - For Video / Re: No 30fps in the video menu in my 5d3
« on: March 20, 2013, 07:35:36 AM »
Check the country settings. What are they?
What framerates do you have available?

Cgdillan - here's what you requested. I set the iris on the BMCC so that the outdoors were not clipping (i.e., I exposed for the out-the-window shot). I raised the shadows in Resolve. My skills and bringing up the shadows and making this look decent aren't great, but perhaps this will help you decide whether to rent the cam to see for yourself.

That doesn't sound too bad. You just confused my decision a little bit more. haha. How do you feel the camera handles? picking your f/stop and shutter and ISO? Is it not as bad as some have made it sound? I really want to see a shot a bright sunny day with al the lights on indoor in any room, and in post, push the shadows way up and bring the highlights way down. I imagine I would expose more for the interior as its most important, but still under expose to be able to capture the exterior. If you were able to do that, that would really be awesome. do you think it's a camera that could be used on hand held glide cam? or is it too heavy? I will likely be renting one soon after hearing your thoughts. any suggestions on workflow for if/or when I rent it?

Cgdillan - check your PM box. I rendered out my video from a few days back. I didn't want to post the quick video publicly, as it was of my messy kitchen!

I don't have any issues with how the camera handles as far as functionality. My understanding of this camera is that, unlike DSLRs, it effectively has only ISO 800. That is, it gets its full dynamic range at ISO 800 and the other ISO's push/pull from there, losing a stop of DR for each ISO. The other ISO choices (400, 1600, and 3200) do not affect the raw file (their only stored as metadata). Therefore, choice of ISO only affects how the image is interpreted before being compressed in the compressed formats (ProRes and DNxHD). Therefore, I don't plan on ever changing the ISO for raw shooting and will be reluctant to do so when shooting DNxHD.

I was pleasantly surprised by how easy it is to change f-stops. I think I was surprised because, prior to the latest firmware, the original release of the camera did not report the f-stop. The current firmware does report the f-stop (for all of my lenses, at least) and never failed. You just push + or - to adjust. There is an iris button that opens the aperture to the widest point before clipping the highlights. This is useful, since this camera benefits from exposing as "bright" (i.e., open, wide, much to the right,...) as possible, then pulling down the exposure in post to what you want it to be. This gives the cleanest image. Shutter is in angle (not speed), so it is a bit cumbersome. I use it at 180, but it is easy to change by going into the menu (not with buttons). Note: ISO and shutter are in the menu, f-stop is by hard buttons.

I haven't put it on my glidecam yet. If you have one that has a harness/body support, then it probably isn't too heavy. If you're strong, it probably isn't too heavy. But, it is heavy. I bet it would be fine on a glider with a lightweight lens (e.g., the Tokina 11-16) for short shots.

Workflow: I'm working this out myself. The workflow with DNxHD or ProRes are no different than what you'd do with DSLR footage. With raw, your first stop is something that handles the .dng files. Photoshop, Lightroom, After Effects, Premier Pro, or Resolve (others?). I've used Resolve and Photoshop. Resolve Lite is free and it handles these files fine. Open in Resolve, adjust levels and color correct, then render it out to a compressed format to cut/edit just as you would any other camera's files. The nice thing is, you can choose different formats (even 10-bit 4:2:2 or 4:4:4), allowing more color correction in your NLE, if you don't want to come back to Resolve. You can round trip back to Resolve if you like, giving you access to the raw files again. This is easy in Premiere Pro and Final Cut. Resolve is great and very powerful. I use Sony Vegas Pro, so I'm still working out some kinks (due to Vegas, I think). So, at best, there is one extra step in "developing" the raw files. You can add more steps for more fine adjustments or to suit your objectives. Having this flexibility is why I wanted and love this camera. And yes, you need SSD's and lots of storage. 5 MB per frame. A reasonably fast computer helps, too. Resolve Lite seemed faster on my machine than the full version of Resolve.

Just my thoughts after less than a week with the camera (and 6 months of anticipation).

I just received my BMCC earlier this week (thanks, Adorama!). I thought I'd revisit this thread with some thoughts after playing around with the camera and its files a little. These are still quite initial impressions - so it is FWIW, as always.

First, I am blown away at the dynamic range. Just playing around with the camera, I was taking a few shots of my wife in our kitchen during midday. The kitchen had no lights on - just what was coming in through the windows. I exposed to for the highlights (out the window) and indoor details were still discernible. Not well-exposed, mind you. But, discernible. Far better than I'd ever get with the 5D3. So, I think this might accomplish what the OP intended with regard to having both out-the-window detail and (some) indoor detail. Cgdillan - if there are any specific shots you'd like me to try, I can do so (I learn more every time I use the camera).

Second, the color is just amazing. Colors are so spot on compared to what I'm used to with Canon DSLRs. Not that I hate the colors of the DSLRs. It is just that the skin tones and colors are more natural on this camera. Add to that the flexibility of the color grading using raw, and it really is great if you can stomach/afford the workflow.

Finally, the camera is heavy and bulky compared to even the 5D3. The "bulky" statement comes from the feeling that the camera is just not as balanced as I'm used to with the 5D3. But, it isn't meant to be. It is a cinema camera.

For the OP's question, my suggestion would be to rent one and try it. I know that Lensrentals carries it.


If I understand your problem, it is that you had a lower shutter speed than you would have liked. My assumption is that you got more motion blur than you would like. So, your question amounts to, "Can I remove motion blur?" As far as I know, the answer is no. You can try using a sharpen or unsharp mask filter in your NLE to try to get some sharpness back. However, the sharpness and detail isn't there in the first place, so I doubt this will help.

EOS Bodies - For Video / Re: Highest ISO for good quality video?
« on: March 07, 2013, 10:31:33 PM »
Please forgive the noob question..what does HTP stand for?

Highlight Tone Priority

It is supposed to add a bit of latitude in the highlights. The cost comes in noise. I tried it once and the result was just horrible. Never touched it again!

The dynamic range of the BMCC is what I'm really excited about. I have a BMCC on order since the fall. However, axilrod brings up the key issues that I would be concerned with for real estate. Also, the wait with the BMCC is becoming quite frustrating. What has become clear to me is that they simply are not producing the BMCC in large quantities. Unless their production increases significantly over what it has been over the last 4 months, it seems that it might be a long-long time before people who order today receive their cameras.

You said that you are mainly concerned about the high DR shots in which you have plenty of time to set it up. Here's an off-the-wall idea. Get a slider (you probably have one already) with a very good motion control unit. Shoot the same shot at two exposures with your 5D3. Edit the footage together to have the "out the window" shot from the lower exposure and the interior from the higher exposure. HDR video.

EOS Bodies - For Video / Re: Highest ISO for good quality video?
« on: March 06, 2013, 05:27:48 PM »
No, the same rules of ISO for stills do not apply exactly to video. First, the 160 rule only applies to video. Second, the noise reduction in video can be altogether different. The resolution of video is so much smaller than that of stills, that the image doesn't start looking bad until much higher ISO's, in my experience. Finally, it depends on the resolution that you will finally deliver the video. If you deliver web-based 720p, then you can get by with quite a bit of ISO noise before it becomes too detrimental to the picture, depending on the content, of course.

With the 5D Mark III, I have found ISO up to 640 to be very clean and ISO 320 and ISO 160 are totally indistinguishable to me. I don't even think twice about ISO 640. Beyond 640, I'll use 1250 and 1600 without worrying about it much, if at all; and I have used 3200 in really low light. If I'm lighting it, then I have had no problem getting enough light to use 160, 320, or 640 (if I want a high f-stop for deep depth of field).

Here's a "test" (not really a test in that it isn't a realistic shooting situation) showing the character of the ISO noise: 5D Mark III ISO Noise on Vimeo

Here's a video that I shot with the 5D Mark III (mostly cooking). I didn't add any lighting. The bulk of the video was shot at ISO 640. Some shots were at 160, some at 320, and some at 1250. Can you tell which ones? I couldn't. I had to look at DPP. Looking at the original ISO 1250 clips, they look perfect to me. The key is getting good exposure.

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