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Messages - Axilrod

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46
EOS Bodies / Re: 5D Mk III RAW Video test in beautiful Big Sur
« on: June 03, 2013, 12:35:25 PM »
Nice, but after "Meet Me in Big Sur" on the BMCC you had a tough act to follow:
https://vimeo.com/58045466

47
EOS Bodies / Re: 5D Mark III Optimal Video Settings
« on: June 03, 2013, 12:32:16 PM »
So a guy asks for good setting for incam work with no intention of post work and you guys start recommending post work.  ???

Did you even read any of the responses or just skim over them?  Several people mentioned internal camera settings, there just isn't much too it.  After a few people answered his question some decided to take it a step further and mention a post-workflow (but that's just additional information). 

Camera settings:
1/50 for 24fps, 1/60 shutter for 30fps
Highlight tone priority, auto lighting optimizer, noise reduction off
Use ISO's in multiples of 160

Picture profile (as mentioned in my first post)
Faithful or Neutral
Sharpness +1
Contrast -2 to -4
Saturation -2 to -4

OP never complained about what we told him, why are you?  I mean seriously we give the guy all the information he wants and then some and you're complaining? 

48
Lenses / Re: Are there custom lens hoods for canon L lenses??
« on: June 03, 2013, 12:27:57 PM »
A lens hood is a functional object, it's not really meant to be something people marvel over the design of.

+1, the 85L II is an amazing lens and everyone knows it, I don't think anyone cares about what the lens hood looks like.  you want to see a crap lens hood?  Check out the lens hood for a 50mm f/1.8.  But like holmes said, it's a functional piece, not cosmetic.  I think you could probably get a camouflage wrap for the 85mm if you're really set on changing the appearance.

Or you could go buy some Louis Vuitton and Burberry stickers and stick them on here and there.

49
Are you talking mac or pc?

50
EOS Bodies - For Video / Re: Stills photographer Doing some video
« on: May 28, 2013, 12:31:18 PM »
I know you had a lot of questions and a lot of them have been answered, but one thing stuck out to me, the Dynamic Perception dolly.  I have to say, if you are going to be shooting your first production and want to use the Stage Zero in addition to everything else, DO NOT do that, the Stage Zero can be very confusing if you aren't experienced with it and the last thing you want to do is spend a bunch of time fumbling around with that thing.  If you are set on using it, make sure you experiment with it a good bit before you try to use it professionally, but if you do get it down it's pretty easy to set it and forget it, just don't take it out if it's your first time using it. 

You should be fine transitioning from stills to motion, the rules of composition and lighting stay the same you are just ALWAYS recording instead of there just being a frame here and there.  It sounds like you are good in terms of gear, just make sure you get the proper stability gear (tripod, rig, slider, etc.).


Couple of other things:

Rhino Slider - This is a must (or some kind of slider), slider shots add a TON of professionalism to your videos.

Matte Box - I would say this isn't really necessary, I have $30k+ in gear and in the hundreds of shoots I've done in the past few years I've never thought "man I really wish I had a matte box."

Atomos Ninja - This is probably the least necessary of everything on the list, using an external recorder with the 5D3 does nothing for image quality, it just gives you a more edit-friendly format. You should be able to edit the IPB H.264 files natively no problem with a halfway fast computer.  Or you can shoot ALL-I for an internal "edit-friendly" format.

Kessler crane - Great product, but I think it may be overkill for you.  Make sure you really want to continue with video before you buy gear like that.  Also, this is something that would require an extra crew member on shoots, keep in mind it's tough to set up, use, and break down all this gear by yourself. 

Zacuto EVF I love this thing, it has peaking, zebra stripes, and lots of other cool features, I noticed my footage was consistently in focus more when I used this over my monitors.  Regardless of whether you choose an EVF or monitor, you NEED something external to monitor on, don't try to use the screen on the back, that's asking for trouble.  The LCD is so small that it makes everything look better than it really does, I can't tell you how many times I've seen people "think they had the shoot," only to pull it up on a big screen and it looks like crap. 

I would say most important stuff would be:
Good tripod with fluid head
Monitor
Couple of articulating arms
Slider

Least necessary:
Mattebox
Atomos Ninja
Crane

I think you're good on audio and don't need anything more than that.

51
EOS Bodies - For Video / Re: Canon X-Video Picture Style
« on: May 28, 2013, 12:28:34 PM »
Anybody downloaded?

Are you using it in preference to any of the other flat styles?

I would use it but am just getting my head around LUTs etc.  How are you processing the X-Video footage?  Is there a LUT I should be using?

Cheers

Hey Paulie, I did download it but have yet to try it, it almost looks like Cinestyle but a little less drastic.  I haven't seen any LUTs specifically for it, and they are usually pretty vocal about those when they are available.  From what I can tell the changes aren't big enough to warrant having a LUT for it.  I'm going to try it out in the future, I've just been so wrapped up in the ML raw I haven't had a chance to mess with it.  Hope all is well overseas buddy!

52
I finally pried the 5D Mark III out of my wife's hands long enough to play around with raw video.

I threw together a quick resolution chart comparison. There is a link on this Video's description to a similar test shot with my Blackmagic Cinema Camera, for anyone interested.

5D Mark III Resolution: Canon Firmware vs. Magic Lantern Raw on Vimeo


Nice Jason, I didn't even need to shoot charts to be able to tell the difference is night and day, but the most exciting moment was when I pulled down the highlights to reveal a perfectly blue sky, man raw is awesome.  But man I saw the resolution tests on the BMCC and it looks like that thing has pretty bad moire!  But some of the color coming out of that thing is astoundingly beautiful, not sure if you've seen "Meet Me At Big Sur" but I was super impressed with it.  Can't wait for the Production Cam in July!

53
EOS Bodies - For Video / Re: Stills photographer Doing some video
« on: May 28, 2013, 12:23:55 PM »
Here is the problem with some rail systems and follow focus: If you will be switching lenses between 24-105 and 70-200, those require two different mount points. With 24-105 and smaller lenses you typically mount to the camera base. With 70-200 and larger you usually mount to the lens body via a ring. If a geared follow focus is mounted, this complicates switching lenses. If someone has a solution or suggestions, I'd like to hear it.

I just gear up all the lenses that I'm going to be using and my RedRock rig adjust accordingly, but that all depends on what kind of setup you have.  But traditionally I've never had problems swapping lenses on the rig.

54
Lenses / Re: Zeiss 100 f/2 vs. Canon 85 f/1.2 II vs. Canon 135 f/2
« on: May 28, 2013, 12:21:03 PM »
I have all 3 of the mentioned lenses, and that's a tough choice (Since they are all my favorite lenses pretty much).

85L - Amazing bokeh, not much better out there for portriats, AF is a bit slow as you've been told, but hey at least it has AF (which the ZE 100 doesn't.)

ZE 100 - I love this thing, it is absolutely insanely sharp and has excellent contrast/micro contrast, the focus ring is smooth as butter, hard stops at Infinity and Macro, but I have to say I am biased towards this one since I shoot video and don't need AF.  It does have focus confirmation, so the point lights up and it beeps when you have the focus right, and it's much easier to shoot manual focus with Zeiss lenses since the throw is much longer than on Canon lenses.  I had the 100L before this and loved that one as well, it's 1/2 the price and you get IS and AF (although the AF is pretty darn slow on the 100L).  If you need AF I'd go with the 100L, it's much cheaper.  If you want the best, go with the Zeiss.

135L - I don't think anyone has anything bad to say about this one, it's one of Canon's sharpest lenses and the AF is super fast.  It is a bit long to not have IS, but that's never been an issue for me.  It's the cheapest of the bunch by a long shot.

I'd consider maybe picking up the 135L and then getting an 85mm f/1.8 to see how you like the 85mm focal length.  For $300 the 85 1.8 is an amazing lens.  Or if you can only get one maybe the 100L, it's a tough choice, but that's the most versatile of the bunch and fits all the needs you mentioned.

Hope this helps.

55
I can't see the vid now, but I don't think it's necessary to do a comparison between these two, the raw is crushing it.

56

2. There are no 'guides' with everything you need to know about running the nightlies so you can play with the RAW video. YOu basically have to read through the long forum threads and take notes. ON some of those threads I saw links to outside sites where people have tried to put it all together into one guide, but if you're not familiar with a bit of coding, or more intricate computing methods, you might just want to wait till they have a more stable candidate.



What about this: http://www.cinema5d.com/news/?p=17898 and the one that EOSHD did?

57
EOS Bodies - For Video / Re: ALL-I or IPB?
« on: May 21, 2013, 04:49:01 PM »
Yeah I would go with an external recorder if you are trying to get 4:2:2 and need prores files.  The only advantage ALL-I has over IPB is that it runs more smoothly in your NLE, it's more "edit-friendly," but so is prores.  Aside from that the files are way, way bigger, but there is no discernible difference in image quality, I've tested and tested and wanted ALL-I to be better so badly, but it just isn't.  I've shot hundreds of vids in the last year in IPB and haven't had any issues at all.

58
Or do Canon just ignore it?

But for some reason, I can't see how they can... once professionals see the difference in the output, they're going to be going back to Canon for a "tell me why I can't do this with what you sell me for $12,000", Canon is going to need to come up with an answer.

I don't know, that's a good question.  It would be really awesome if they embraced it and worked with ML to stabilize it and make it work flawlessly, but I don't see that happening.  I do understand why the feature wasn't included in the first place, the 5D3 is a stills camera that happens to shoot good video, but it's a still camera first (and a damn good one at that), video second. 

59
Canon don't need an answer as it's a hack. They will simply state that the 5D III was not designed to be used in that way, wether it can or not. It's like modifiying a car engine to go faster. The car manufacturer doesn't have to answer to those mods so why does Canon? I bet you could make a 5D III do all sorts of things if you really tried!

I do wonder about their higher end video cameras though. Though doesn't this hack only let you record for a short period of time? Most working pros wouldn't really care for that would they? I hardly see the BBC (or whoever uses that expensive stuff) going out to buy a bunch of 5D IIIs for their film crew and then hacking them with ML.

Someone also mentioned ergonomics in a similar post. Plenty of reasons Canon won't be bothered much by this. They'll sell more 5D 3 and maybe one or two less C100s.  End of the day they'll still be making bank and laugh about their profits!

+1, well put.  I think plenty of people will ignore this hack and carry on with cameras that are designed for video, even if the Mark III produces better images it doesn't mean the others produce bad images.  Everyone I know is in love with the C300, and it's ergonomics/video features make it much more appealing to documentary/run and gun people.  I think major productions will ignore it for the most part, I mean the GH2 shot incredible looking video but you only really see lower-budget productions using it.

The hack is still in it's infancy, just a couple weeks ago they were saying they weren't sure they'd be able to get it to record continuously, that changed quick.  This isn't even an alpha build, it's just experimental, but I think once they get this to work with an external recorder it could be really awesome.

As for the 5D3 ergonomics, people have spent lots of money making rigs and making DSLR's feel like video cameras, there are plenty of solutions out there for that. 

60
EOS Bodies / Re: 5D Mark III with Continuous RAW Video Recording
« on: May 21, 2013, 04:36:51 PM »
How do you go about color grading/correcting THAT many images?

Do you select a bunch of them at a time, that appear to be 'similar' for some things?  I was just thinking that it would be nigh impossible to do a lot of layer masks on a bunch of images, etc...since things would be moving and you'd have to do it frame by frame...?

I could see in bulk doing a mass change in global things, like total contrast, white balance, etc...but if you had say, a blown out window, that would take a lot of work to restore that frame by frame wouldn't it?

If you could get that footage, still raw where Davinci could do it, then you could use their tools to have tracking done for you on that window, etc....

So, just curious can you give some more in depth on what all changes you manage with PS and the like? I like the idea, but can't imagine the workflow...

Thanks in advance!!

cayenne

Yeah if you're just doing global stuff you can make adjustments to one image and then copy and paste the attributes to all of the other ones.  As for doing a blown out window, I'd add a mask to an adjustment layer and then keyframe from there, simple as that.  Well not really simple if you don't know what you're doing, but it's an "easy" solution that may get overlooked.

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