QuickHitRecord
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Thanks, everybody.
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I am trying to get in the habit of exposing to the right with my 5D Mark III raw footage. But how far to the right? Below is a contact sheet made up of screen grabs I've taken in Resolve from untouched DNGs. I set the exposure for the first image using the false color function on my SmallHD monitor (which works great for exposing H264/AVCHD footage, but here it actually looks quite underexposed) and then I upped the exposure in one stop increments. I am hoping that someone more experienced with raw footage than I can give me an idea of which of these would contain the most recoverable data (click to enlarge image):
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I'm just floored that Canon have made one of the most accessible cinema cameras out there -- and they weren't even trying. -
Monitoring seems to be the same from what I have seen. There are white guide boxes that appear as overlays with ML raw unfortunately. I have not been able to turn them off. Unfortunately audio cannot be recorded alongside raw vide at present. Proxy generation time will depend on your computer. I recently exported 51 minutes of 1080P footage on my 2013 iMac. I walked away and wasn't timing it, but I think that it took between one and two hours. Letting it run overnight should be plenty of time.
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short scene with Iscorama 36 + Blackmagic Pocket
QuickHitRecord replied to elubes's topic in Cameras
Looks great. Nice work! -
Amen!
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I find that the aspect ratio fits narrative action better and gives the characters more room to move. I was reminded of this a little while ago, before I was even shooting with anamorphic lenses, when a client came in asking for interviews shot at 4:3 rather than the usual 16:9. I used to shoot 4:3 all the time, but it was weird going back and it was difficult to frame the subjects in a way that I felt good about. Now I feel the same way shooting in 16:9 during my day job rather than 2.35:1 or 2.55:1. I think that for most people like myself who go through the trouble of shooting with anamorphic lenses, it's less about aspect ratio and more about aesthetic. There's simply nothing else that looks quite like it (well, Rich's FlareFactory lenses do come pretty darn close but I don't think of them as anamorphic; they are something else entirely). Not everyone will be able to tell the difference between spherical footage and anamorphic footage. But for me, once I was able to spot it, I was hooked. Also, I certainly don't mind the ability to shoot at higher resolutions while taking up less card/disk space.
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Anamorphic cinema is timeless. It is not going anywhere.
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I like Sam Morgan Moore's system: http://halfinchrails.com/rigs-and-kits/dove-camera-mount It's extremely practical and the build quality is excellent. Rods and lens supports (look up "lens collar") can be had for cheap from many different sellers on eBay.
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I like them both for different situations. It's nice to have choices.
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I just did a test recording and can confirm that I am able to record continuously on the 5D Mark III at 1280x960 (4:3) for 20:41 on a Lexar 64GB 1000x card.
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I need to make an amendment. I think that the last lens that I tried out was old and needed a good cleaning. I have been able to use the crop mode very successfully while shooting anamorphic with the 5Diii. It's macro on any lens with the touch of a button. EDIT: For stuff that is bound for Vimeo, 1280x960 (4:3) seems like a good starting point for use with 2x lenses. Final resolution will be 2560x960, and then that can be conformed to 1920x720 for upload to Vimeo. A 40% reduction in file size is also welcome, allowing 64GB cards to record about 20 minutes of footage (VS 12 minutes at 1920x1080).
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Full frame kaleidoscopic video with the Sony RX1
QuickHitRecord replied to Andrew Reid's topic in Cameras
Wow. That is a really neat look. -
I just ordered a 5D as my indie film camera, but I'm keeping my FS100 for paying gigs. That way I have the best of both worlds.
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This was in-camera. With an external recorder the histogram is much smoother.
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I have been shooting raw with the 5D that we have at work and I love the results. I'd like to have the same package at home but if I price out everything that I need to get up and running (CF cards, batteries), I'm looking at around $4,000. That's more than I can spend right now. I'm hoping that ML can work out some of the bugs with the EOS-M. 720P raw would be a nice platform for anamorphic work, and it's a $275 camera body that takes cheaper SDXC cards and could be moire-free at a 3x crop.
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It does pretty well! The camera grades better with the use of an external recorder (and the scopes are much cleaner). I wish that I had mine when I was doing this test.
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I have not seen this comparison yet so I decided to test it out. I tried to match the shots and then colors as closely as possible, setting the look with the raw footage (starting from BMD Color Space) and then trying to conform the AVCHD to it. The severity of the grade was moderate: 5D Mark III (Raw DNG) FS100 (w/ Frank Glencairn's G-Log Ultimate) And here is where the codecs really show their differences: 5D Mark III Sony FS100
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If you are still looking for a place to go, consider taking a stroll through Chinatown. Lots of uncommon, colorful visuals.
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In depth test - 5D Mark III and 7D Raw vs Blackmagic Pocket vs GH3
QuickHitRecord replied to Andrew Reid's topic in Cameras
Thanks for the tests, Andrew. I like the 5D for this as well. I like being able to shoot in raw and then also have the option to compress down to some really nice-looking ProRes 4444, ProRes HQ or even ProRes 422 clips. 12-bit, 10-bit, 8-bit -- it's all available if I need it. Pretty nifty. -
Nice footage. I also use the Skier O-Ring rig. It's perfect for this kind of work, and will work on just about any camera.
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Here's my test (skip to about the 2 minute mark): https://vimeo.com/60401188 I found it to be usable at f5.6 and smaller.
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My god, what is that?!
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I've featured a Sea Knight helicopter in one of my pieces. It was in a training film for the Marine Corps, and even that was a struggle. The military has to document and justify every flight plan so unless you are doing something for them, or you have enough political influence, or you are a member of the press doing a ride-along, I think that it's unlikely that you're going to get that kind of cooperation from them. They have more important things to do. I'm not sure where you are based, but if you have the money for it, there is a company outside of LA (or perhaps as far away as the Mojave Desert; I can't remember) that has some land in the desert and a bunch of military vehicles that you can rent for use in your films. But I'm not sure if they have helicopters, and even if they do, it won't be cheap. Third option would be to setup your camera with a telephoto lens near a base and try to get those shots on the sly. I wouldn't recommend being close to the actual base perimeter, but you can figure out the general flight paths that they are using and position yourself accordingly. And of course, there is always stock footage.
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This video caught my attention. The last time that I worked with the ML raw module (about two months ago, I think), the recorded focus assist version only allowed for a 5x crop and a 10x crop, but this video makes several references to a 3x crop, which would be much more useful. Has this been changed? EDIT: Looking around a bit more, it appears that it is actually a 3x crop rather than a 5x crop. Not sure what the greater crop amounts to though...