Nice, but after "Meet Me in Big Sur" on the BMCC you had a tough act to follow:
This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.
So a guy asks for good setting for incam work with no intention of post work and you guys start recommending post work.
A lens hood is a functional object, it's not really meant to be something people marvel over the design of.
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?
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
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.
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.
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.
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!
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!!