Bruno
-
Posts
742 -
Joined
Content Type
Profiles
Forums
Articles
Everything posted by Bruno
-
I think this should be the worse it gets, I don't usually see ISO noise tests in highlights, or at least not that I remember. They would probably need to be done on highlights right before they blow up completely, no point doing it for overexposed burnt out white areas of the image, as those will probably show no noise at all. Noise is usually a problem in underexposed areas, not so much in properly exposed or overexposed ones.
-
Here's a comparison between 125 and 400 ISO. I pushed the 125 version one stop further than the 400 one, so they're equally bright when desaturated. It's definitely a different noise structure, but I seriously don't know what to make of it. 125 does seem cleaner, and keep in mind that it's been pushed further than the 400 ISO side. Looking at how good the 400 ISO version looks though, I wouldn't be surprised if it is indeed the camera's base ISO, but it does seem a bit high of an ISO for them to go with, on the other hand it could explain why this little sensor can do so well in low light. Also, if 400 ISO is in fact its base ISO, then they're doing a great job when pushing it to 125, much better than when pushing it to 200, which is somehow odd. This article (and most others I found) also claims that the base ISO is 125. http://www.imaging-resource.com/PRODS/sony-rx100/sony-rx100A.HTM
-
Most of these things can work really well, but it's a skill you gotta learn, it's not like you mount your camera on it and voila! Steadycam operator is a specific and valuable job, and the good ones are usually very sought after, but it takes them years to get to that level. Doing it with small DSLRs might be easier to master, but it still requires a lot of practice and invested time until you can "control" it the way you want it to. Also, prepare to calibrate it for every different lens you mount on it. Other than that, it should do the job.
-
Here's an ISO test. These are all the ISO modes available during video mode. 125 is the cleanest, it's been mentioned in a few places that it's this camera's base ISO and it does look that way. The only surprise here is that 400 ISO is actually less noisy than 200 ISO. But overall, unless you push it really hard, the noise is barely visible before 3200 ISO.
-
Maybe they were too busy trying to get shallow DOF shots? Maybe they were told they didn't have the latest build of the camera and expected some glitches. Or maybe there were not enough of them! Or the last maybe... Maybe it's not such a big issue and doesn't affect that many cameras... That's more of a 'hopefully'.
-
Fair enough, was in a bit of a hurry but thought I'd share the news. Have you noticed similar problems btw? Hope this doesn't slow them down again.
-
http://vimeo.com/59438541 From Dan Chung: "There is growing evidence that several owners’ production models of the Blackmagic Cinema Camera are experiencing serious issues with infinity focus on certain lenses. Initially, users identified the popular EOS fitTokina 11-16mm f2.8 as a problem lens, with an inability to focus anywhere near infinity when used with the BMCC. Now other users are reporting that other lenses are affected too." http://www.dslrnewsshooter.com/2013/02/13/the-blackmagic-cinema-camera-saga-continues-this-time-its-infinity-focus-issues/ (Edited the post - topics not allowed to consist of one URL and nothing else, and Dan was the original source for this info.)
-
Really cool look with the lady's shots, this camera is many notches above any video DSLR. Good job with the anamorphic, no noticeable skewing issues, which is very important, and even though I love wide aspect ratios, anything over 2.40:1 is too much for me, in this one you found a really good balance, and her framings are pretty good too. The boxer shots didn't do as much for me for some reason, they don't look bad though, just not as pleasing.
-
The Canon 'C50' and what Canon need to do to fix the prosumer video range
Bruno replied to Andrew Reid's topic in Cameras
I'd love to have cameras/products that last more than a couple years, but unfortunately the makers have no advantages whatsoever in doing so, and that might very well be a thing of the past. Unless it becomes somehow regulated, I don't think it's gonna happen. It's 2013!!! If any new video DSLRs or (especially) Cinema Cameras keep coming out without at least a 60fps mode, then things are way worse than we think they are, and we already think they're quite bad as it is. :) -
The voice over is great, not the typical TV documentary voice over, in this one he actually knows and loves what he's talking about for a change. The whole thing is very well done, never feels forced or rushed, anyone that likes film should watch it.
-
Yeah, it's really good, the whole thing is on Netflix in case you're interested, and on wiki you can find the list with all the films mentioned on each episode, which is great if you wanna go check them out afterwards.
-
The CP2 lenses are mechanically different than the ZF/ZE lenses, as you said they have at least one extra aperture blade, creating smoother bokeh, and the construction is obviously better and meant for cinema use, but it's up to you to decide if that's worth the price difference for you. You can get a really nice ZF/ZE lens kit for $5k, just a little more than one single CP2 lens.
-
And the RX100 is a very high mega pixel camera, especially considering the sensor size, so it's very likely that a new sensor could indeed be much better in low light, even with a higher megapixel count.
-
They have different sensors though, so it's very possible that their base ISOs are different. In the RX100 ISOs 80 and 100 are not proper ISOs, they're even marked differently. It's definitely worth testing though.
-
Did you try doing the same test with DRO off? Is it still noisier at 100 ISO? Btw, 100 ISO (and 80 ISO) is being pushed in post, 125 ISO should be the base one, and therefore offer cleaner results, have you tried that one instead?
-
Haven't tested it myself, most people seem to agree it's 125 though, also that's what's mentioned in the manual. Some people claim that the highest DR at 200 ISO only happen when shooting JPGs with noise reduction on, which would make the improvement a post effect kind of thing, and not a real improvement, was this the case with your tests?
-
The RED codec, with its simple quicktime proxies system, is pretty neat. CineForm could however be a good alternative to Cinema DNG, even if only for archival purposes, in case its workflow proves to be worse than Cinema DNG.
-
A compressed raw workflow is something BMD should really focus on as I said a few times before. It's probably even more important to have it on a cheaper camera than on a high end camera IMO. RED have a huge head start, but BMD doesn't need to start from scratch. Cineform would be a good alternative, but they'd have to pay for a license to use it in their cameras, which they might be avoiding (as they avoided HDMI). Same goes for Digital Bolex or any affordable camera that goes raw, an optimized workflow is extremely important. Btw, do you have a way of transcoding the BMCC footage into Cineform? I'd be curious to see how it compares and how big the file size differences are. EDIT: Apparently it is possible! http://vfx-rants.blogspot.com/2012/08/bmcc-raw-to-cineform-raw.html
-
Judging from these images I'd say the Color Space has no effect on the video mode :) I put both images one on top of the other and I don't think there's any difference. There's a slight angle change which can make a big difference on reflective surfaces such as the mug, but overall I don't see any change in color at all, not the kind of difference you'd see between sRGB and AdobeRGB at least. Might be worth shooting some stills too to see if the difference is more apparent, and then compare it to video footage of the same thing to find out which color space the camera is using on video mode.
- 153 replies
-
- 1
-
-
- rx100
- creative style
- (and 6 more)
-
I'm not sure about the RX100 as I haven't tested this yet, but on the Canons the color space does make a difference in video. Oddly enough you can't change the color space in video mode though, you have to do it in stills mode, but it will change the video's color space too! I had seen that Hurlbut post, no idea if AdobeRGB has the same effect on the RX100, but most people do say it gives you a flatter image and crams more color information into the same space. Regarding Color clipping I think it's REC709 yes.
- 153 replies
-
- 1
-
-
- rx100
- creative style
- (and 6 more)
-
Yeah I had read that, but I think he's talking mostly about ready to print images, and looking for the opposite of what we are looking for. For instance: "sRGB is the world standard for digital images, printing and the Internet. So long as you haven't screwed with anything, you and the world are shooting in sRGB." We're not looking at getting vibrant realistic colors, we're looking for a flat image that will give us more to work with in post, or at least I am! :) "Adobe RGB squeezes colors into a smaller range (makes them duller) before recording them to your file." This is a disadvantage for him, but an advantage to us, as it will give us a flatter image using and probably cram more information into the compressed codec.
-
I still want to test a few more things, like color space for instance, most people seem to agree that adobeRGB will store more colors than sRGB, especially in compressed formats, it usually also works better for skin tones, but I still haven't gotten round to test that yet.
-
I actually noticed that, but their (vague) documentation seemed to say that it worked at both ends, thanks for clarifying!
- 153 replies
-
- 1
-
-
- rx100
- creative style
- (and 6 more)
-
Did you find a way to turn peaking on and off with a button, while keeping it in manual focus mode? That would be handy!
- 153 replies
-
- 1
-
-
- rx100
- creative style
- (and 6 more)
-
I'm very satisfied with image quality for the camera it is. Make no mistakes though, this is not a 7D, this is a fragile little camera, if the lens decides to get stuck there's probably not much I'll be able to do about it on the spot, It'd be risky to use it even on a small production if have a team depending on it. The built in lens is great, especially at 28mm since it goes to 1.8, but more limited in longer focal lengths. The dealing with menus also feels more fiddly than dealing with Canon menus, there are more confirmation screens, consumer level alerts, it's not as "mechanical" and direct as with a Canon, and the buttons are tiny, and pressing a button will most likely cause the camera to move... Also, I never felt the sturdiness of a Canon 7D. I had no problem shooting under rain or snow with the 7D, I wouldn't even risk it with the RX100. There's also something about the Canon image quality that you just don't get, even if you get slightly more resolution with the RX100. But then again, these are all points that seemed obvious to me when I first got it, so no disappointment at all, it's an amazing pocket camera, and I'm thinking about shooting a small short with it, even considering all the risks.