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Axel

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  1. Axel
    This is what I wanted to add too. As mpeg4 (H.264) VDSLR the 7D never was near FullHD. Not an unpleasant image, but very soft (many said muddy), and where not soft, quickly showing moire. Nevertheless, some great TV docs have been shot with the 7D, but other EOS DSLRs seem to be better for that.
  2. Axel
    @cantsin As you know, I only reluctantly admit any advantage of Premiere over FCP X. But full support of raw would be indeed great. What does it mean? Can you open your native Premiere timeline in Speedgrade? With Resolve, there is yet another problem with imported edits from 3d-party NLEs: It doesn't read retiming. Whereas with ProRes it is no problem to bake in the changes before XML export, with raw you'd have to grade first and then apply the speed mapping later. For a television show, you may not need retiming, but for cinema, it's essential, basic. I am not sure, if Premiere allows to bake in the time changes with DNG. Anyway, I hope so for you. And of course, it's just about time for FCP X to fully support the format. Playback alone doesn't help. On system requirements: It doesn't seem to be too hard to play back raw. With editing, the data rate and the file sizes become bottlenecks, and I fear, everybody who really wants a 'native' workflow will need insanely fast machines.
  3. Axel
    I bet at the end of the year there will be raw fitting on SD-cards. I read somewhere that some Sony 95 MB/s cards (64 GB ~ 60 €) work best. In the meantime, the haters can hate some more, and I have more to look forward.
  4. Axel
    Took me a while. Because I thought you meant that FCP X changes the original names of the clips, which it doesn't. Per default - at least as long as you work with original media - the clip names in the event browser show the date. But it's just a read-out of metadata that can be changed at every time and has no influence on, say 'clip-037.mts'. You can batch-rename clips by choosing them and clicking the gear-icon in info (lower right). There you can apply rules of numbering and renaming and also 'original name'. The latter option, however, won't display any non-QT-extension, because even with native AVCHD you will have mov-rewrapped copies that FCP X refers to.
  5. Axel
    Yes, seems that simple and fast calibration did the trick. A very attractive 10-bit-codec, resolution much better than expected, with a promise to get raw some day, for under 1000 bucks - and still lamenting? Reminds me of a song from the 90's. I just can't get enough ...
  6. Axel
    Found the venice clip. Compare it to DSLR footage of the same location by searching for 'venice 5D' on youtube, and you won't find any comparable DR - it's all clippy, at least in bright sunshine. I'm not sure how the Mark III raw would do under the circumstance, but it's another price tag already and definitely needs more add-ons. http://m.youtube.com/watch?v=pnNn0059ltI&desktop_uri=%2Fwatch%3Fv%3DpnNn0059ltI
  7. Axel
    Because, many who own the BMCC (and were aware of it's, er, challenges) don't stop praising it. And from day one, they produced images, not possible with any other camera for a roughly comparable price. Because even now, a few weeks after the first shots of the Pocket were published (some of which showed no orbs, making the calibration theory somewhat believable), you can as well see the limitations as well as the potential. No one can produce a camera like this for this price and have no issues. Of cause, smart people lean back and wait until the worst issues are cleared.
  8. Axel
    Many marry because they are convinced they found 'the one'. To some extend, appearance and social status play a role, but the core of everything is fixation. Have you seen A.I., where Monica is warned that the procedure of 'imprinting', a series of seemingly meaningless words, makes the robot boy irreversibly bound to her as his mother? One has to know what key moment makes them think they can endure each other for life. I listen to everything the pair tells me, I look at their home and what kind of hope for the future it reflects. I see what colors they combine. I ask for favourite songs (of which I often use a karaoke version, very subtly as muzak for the mood), and try to understand their emotional motto. Weddings are also family events. The older generations are very often more religious. This gives a perfect addional weight to the whole ceremony, just have grandma say 'God bless you' (or sth., not my native language). And children. I capture their wide open eyes, they are very important. All the pomp of the wedding, filmed with really good images, will not cause tears if one fails to get the mood right. But if one succeeds, it's no question that only the bride and the mothers-in-law cry, but also the men are moved. If it's authentic, 'the real thing', then (film quotation quiz) it's beyond my control ....
  9. Axel
    Read my general approach here.   About me: Bad photographer, good storyteller. Find your personal strength and make it your unique feature, work on your weaknesses. For example, I like to propose to reenact the proposal (or the situation when the lovers first met). This is fun, the clients will allow you to direct many things afterwards, whereas otherwise they feel they hired a magician who makes their bush-league wedding look like the Venice film festival. Some videographers can.   Facts: > Few weddings in winter > If you want publish excerpts to advertise your business you have to be aware of personal rights and music asf. > Shit happens: http://www.youtube.com/watch?v=ocqB6_y71xE
  10. Axel
    Chinese products (I buy them too, sometimes) are junk. They let our key economies die on the long run. I own nothing more from Zacuto but a 15 $ rubber eyepiece for my GH2, but that's enough to show me how good the stuff is.
  11. Axel
        Both. In one way or other, video pros seem to hate other video pros, either because they are too precocious but lack experience or they are too experienced assholes and think of you as precocious unexperienced asshole.    Experience seems to make the difference. You know what to be aware of by reading about the troubles others shot. On the ground of that you can make own experiences.   Now we all know, there are quite some problems to consider: > Need a tripod or very good rig! > Need to learn how to grade.   The white orbs almost seem like a minor issue in comparison.     I saw a few clips shot with the 17,5mm on GH2/3, and I always thought the DoF didn't fit to the wide angle. Here I like it very much. Changing the focus also changes perspective ever so slightly, almost looks like an anamorphotic shot transition. And: Overall definition looks satisfying, not much RS jello.   There is, however, a problem with sharpness. Not caused by the sensor debayering, not softness, but clearly focus. Look at 0'45" for example. The people in the absolute foreground are in crisp focus, everything else is not sharp, but not unsharp enough to look intentionally.   This is the third main problem, and perhaps the most difficult.
  12. Axel
      Allegedly there is a good chance to get rid of the white orbs with a firmware update, because it has more to do with quantization than with pixels overflowing their neighborhood with charge. We'll now in a few weeks presumably.   In the meantime, I wonder why there are no natural looking videos available. Must be a new grading hype to let everything look as if some slides had been lying in the sun for a few decades ...
  13. Axel
    I am somewhat surprised that no one mentioned Hiding Place, although it is already three days old: http://vimeo.com/72996911   I understand, Bloom had fallen from grace. The more relentlessly we can pull the clip to pieces. But actually, despite it is sepia sunset again, I find it quite nice.   In the german SlashCam forum they have a Pocket already, and right after there were reports in the BM forum about grisly artifacts, they made own tests. The effect is called sensor blooming or white orbs or black hole sun phenomenon. Maybe a sensor problem, that would be bad. Maybe software, maybe the codec.   http://www.youtube.com/watch?v=stCTphrtqfo   Easy to reproduce: Parts of the image that really clip tend to 'bloom'. If the clipping is very heavy, the center of the white area turns black.
  14. Axel
    Looks good.
  15. Axel
    The usability of a rig has less to do with it's built quality (which you can only guess is related somehow to the price). There are three aspects: 1. Does the rig allow to get the viewfinder or external monitor in exactly the right position for my eye(s)? 2. Can I easily reach the focus ring of the lens or the follow focus (the latter a device that only should be needed for bigger DSLRs or the BMCC) 3. Is everything built ergonomically around my body? Do I have to balance the weight with my hands? Do I have to move my neck? Do I need to keep my arms and hands in awkward angles? This Revo seems to neglect point 3. May 'only' cause pain or send you to the chiropracter. May also cause rotated images. Use the grids for control. The good old broadcast camcorders, the beta shoulder cams, had the right approach. You could hold them for hours, the hands (wrists never bent) didn't hold weight, the arms were neither strechted out too much nor forced into an uncomfortable position. The viewfinder was left of the camera, moveable, reaching out for your right eye.
  16. Axel
    Strange. How do you get them to change their names? Describe your procedure. There are a lot of options in FCP X how to import clips. I am eager to learn a new one.
  17. Axel
    Strange. How do you get them to change their names? Describe your procedure. There are a lot of options in FCP X how to import clips. I am eager to learn a new one.
  18. Axel
    For mpeg4, you can install the free Quicktime-component "x.264", which appears in QT's or preferably MpegStreamclip's 'H.264' or 'mp4" -Export. Of the five best-known software-encoders it proved to be the fastest and the second best in quality (beaten by AME), whereas Quicktimes own encoder (working with all apps, including MSC and Compressor) was slow and the worst in quality. My recommendation: Export your final project from FCP as ProResHQ. Open this huge mov with MpegStreamclip, choose >export >as mpeg4 >x264. Depending on the plugin you get a few pages of 'options' But they are, er, optional, it' s enough to determin the right data rate and hit 'Go!'
  19. Axel
    Reasonable. Also the part with the re-imported masters. I don't find it backward, I just wanted to contradict the 'can't edit with AVCHD.'
  20. Axel
      Mountain Lion costs 16 €, I'm not sure how many Dollars. Since the upgrade, AVCHD is played natively by QT-Player. If you *import* it into FCP X, which I recommend without optimized media (ProRes) checked in preferences, it will be wrapped fullyautomatically, secretly in the background. If you are unsure, if 1080 60p is accepted as such, look at the info window, I bet it is.   FCP X was terrible in Snowleo, it was better in Lion, now it's really good. Always wait two months before upgrading your OS for bug experiences of others. Never wait a year, or you can as well change to Windows.   FCP X isn't a very CPU-oriented software. It eats RAM to seamlessly skim over a giant event, it eats VRAM to perform in realtime. It is faster than Premiere on the same Mac and *almost* as stable.   If your Mac is fast enough, don't use ProRes as intermediate. If it has enough realtime-performance, disable background rendering. Use ProRes as online-codec, then use ProResHQ.
  21. Axel
      And? Doesn't it look as if from a standard, even not very good camcorder?   The sensor size is neither fish nor fowl. Most of the time the image will look as if it had total depth of field. But it hasn't. It actually has over 90 % of the image very slightly out of focus. I guess this is one factor for the poor sharpness.    Bruno:     I don't know. I had a 16mm camera once, at a time, when there was no such thing as cinematic look or a shallow DoF hype. I didn't have fast lenses, I jused Tri X Pan, further deepening the field (misleadingly labelled ISO 400, which actually is not comparable to 'iso 400' on any digital camera). So what I had was almost a fixed focus. Most of the time, if I had guessed the distance roughly, I got everything in focus.   There is another aspect: The circle of confusion for a camera of > this sensor size. > this amount of pixels.   Because with every other camera with a sensor of roughly comparable size, you have several pixels debayered and interpolated to one ('binning'). I don't know how this affects the depth of field, but it has to. Watch the clips we know so far just for their depth of field, find the sharpest layer, and think about this.
  22. Axel
    Makes no sense. To use a too high shutter speed could have resulted in a strobo-like jerkiness, but this jumps perhaps three times a second, almost as if it was bad frame rate changing. And if it wasn't in the original, this is what it may be. 50p to youtubes 30p, perhaps. But why does anyone who uses a $15000 rig upload it then, so that the key feature of the video, showing off movement perfection, gets lost? Or is this an ED 209 kind of movement, caused by the MoVI? Unconceivable.
  23. Axel
      You mean the extreme stuttering between 2'06" and 2'32"? Didn't you have the sound on? It has the rhythm, I bet it's intentional. Anyone an idea how this was done (if it is intentional)?   I think it has a blueish cast and lacks contrast. Is it meant to? What do you think?
  24. Axel
      What everybody does by grading the BMPCC footage for vimeo/youtube is reducing any 10-bit-DR to that of the 8-bit world most of us live in. Video is believing one's eyes, but it's hard to decide, whether the DR (visible then in highlights not blown out, 8-bit-monitors begin to show shadow details only way over 16 anyway) or the impression of better resolution wins. I postpone any judgment for myself before there are more reports from othesr. Until then, I believe my experience with the camera I own and know to be more important.
  25. Axel
      Very good. Esp. the match color view. Thanks!
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