jgharding
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Everything posted by jgharding
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For nature, you can't beat 14-bit colour, no compression. If you have the kit to handle processing it all, fire away. You could feasibly upscale then lay 4K grain samples over the top to interpolate it nicely.
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My favourite was the C100 + Ninja in this particular test, though as I say, I think they could have got more dynamic range from the GH4, but here GH4 looks really sharp and contrasty and is blowing out all over the place with very hard clipping. I do like the way the C series record super whites, you can setup levels to record a quite a lot of detail over to pull back if needs be, that's a way to great rollofs
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Interesting! They probably could have flattened the GH4 a lot more, since you could push shadows up and highlights down more. As it is it's very contrasty at the settings used here. Essentially the same method is being used to get 1080p, just that C100 does it in camera, GH4 you do it yourself in post. GH4 appears a lot sharper than red or Alexa even at low sharpness to me, I'm not sure if that's a positive though... Maybe it will be once we all have 4K screens.
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Three recommendations: Led Z Mini Par, about 500 for two. Tiny portable, punchy, weigh nothing. Not cheap though... http://www.led-z.com/minipar.htm Then the cheap portable and bright ones: http://www.ebay.co.uk/itm/Yongnuo-YN-300-LED-Video-Light-Lamp-Camera-DV-Camcorder-Canon-Nikon-Control-/181042232654?pt=UK_Camera_Video_Lights&hash=item2a26f53d4e and this http://www.ebay.co.uk/itm/Polaroid-312-Ultra-High-Powered-Super-Bright-LED-Camera-Camcorder-Video-Light-/161308549577?pt=UK_Photography_DigitalCamAccess_RL&hash=item258ebd21c9
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That costs more than a 600LED panel with ten times the output, plus some gels. You could buy three small 300 LED panels for that and some gels. The iOS control is the novelty that you're paying for, but if someone really needs a wirelessly controlled tiny light that does any colour, i suppose it's cool. Personally i no longer use anything that demands iOS, because Apple are fickle and like to discontinue things. You can't discontinue plastic gels or white lights.
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I don't use FCPX (I've only had about 30 minutes on it) so I should leave that answer to others. I do know that it will give you access to comprehensive editing tools that iMovie is unlikely to, but as I say, best ask an expert in FCP X.
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The video is compressed by you camera when captured, then compressed again when you export, then compressed again by Vimeo or YouTube. With each generation of compression, the dark area get worse. You can control this to some degree by exporting from your edit software at very high bitrates. To be honest, iMovie is made for the basics, I have no clue how its engine works, it's probably transcoding on import, adding a fourth compression stage.
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Are you on PC or Mac? I've known Macs to do this kind of thing with Quicktime-based files...
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Let me clarify: Clog requires very very tight workflow in post to actually get the benefit. The slightest deviation or screw-up and you're defeating the point and likely getting a worse result than shooting Wide DR or Cine. Also, even once you do nail the workflow, you still end up with a lot more codec noise if you're trying to squeeze and unpack a scene with very high dynamic range, so you don't get a "free lunch". You have to deal with super whites perfectly and use the LUT in a smart way. Sometimes levels need setting pre-LUT anbd so on, depending on setup level. As it is, I use for emergency more than continuous use. Wide DR is a better starting point most of the time. Log is there if you need it, but with AVCHD it's tough to get the most out of, without a strange looking result. I'm sure with a Ninja it's quite different. There's a lot of videos knocking around that are very flat with weird over saturated colours... That's not a look I'm into for the most part
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Yes, I use it but alongside other colour correction, not on its own. Log is the widest dynamic range mode, but the gamma is so shunted it can end up quite anaemic.If you don't get skin at just the right exposure point, you can end up in trouble, things can look dead Wide-DR is great... Basically you combine and gamma with any colour matrix, then edit that matrix also... Except Canon log. For some reason you can't use Canon Log with a different matrix. But you can edit the log mitrix. You can however use Cine 1 gamma with Log matrix and so on. The best way to grasp is to spend a lot of time experimenting. I must be up to about 20 hours of playing with it, and I feel I'm getting there
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Here's me testing and explaining the profiles I'm developing Zuiko 21mm f2 @ f5.6 ISO2000 password is test
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Worth watching the hour... very interesting and quite useful...
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Not yet, I've not got the 600D at the moment, but I will do...
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What I don't say is just as important as what I do.... aaaaaahhh :ph34r:
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With every post i read, I feel I unlearn a little If this carries on I'm dusting off the Sony Z1 -
It's a fair point, I switched to VisionColor because CineStyle was too flat for the camera to handle really...
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I've been using C100 recnetly, and have found applying a little fast blur makes it look nicer than when it's super sharp, even with sharpness off it's too sharp
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I'm still trying to decide if I'll use a GH4 or not by playing with lots of native footage I wouldn't use it without speed booster though, since it turns it into an APS-C sensor, which is great. The extra light allows you to use less gain too and cleans it up, so yes, for all intents and purposes it becomes Super 35. Some cameras are Super without a speed booster though.... The only thing that doesn't impress me that much so far on the GH4 is colour. I also currently playing with a C100 and colour is wonderful on it. Like it or not, when footage is compressed, the colour response at the sensor and in the digital processing matters an awful lot. Even if it weren't compressed, even if it were raw, it would still matter. It's where a lot of the character comes from. Without colour matrix control, or some kind of picture style editor, I can't reprogram GH4 to my tastes. Do these exist for Panasonic?
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It won't be too cheap, but it shouldn't be more than metabones due to Sigma's higher manufacturing capacity
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Perhaps try using technicolor cinestyle on the 6D, and match the C100 to that?
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Here's a link: http://www.ebay.co.uk/itm/161200313938?_trksid=p2055119.m1438.l2649&ssPageName=STRK%3AMEBIDX%3AIT
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you got it!
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A simplified chines 4 bank, not ripping off Kino, just a cheaper daylight fluoro that takes the osram tubes a similar size kino is nearly a thousand
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I'm hunting for some original 4K (or UHD) GH4 rushes if anyone can help, straight from camera like. Specifically I'd like a nice daylight lit portrait with some nice shadow on face and bokeh. Something to try skintones, secondaries, shifts and hard grades and so on. Can anybody help me? I'm sure many would be interested to grade them too...
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Me too, I've been tempted to a 200 quid budget kino, no dimmer but switchable banks... if i get it I'll let you know how it is. I've heard the knock-off HMIs aren't worth the danger!!
