tellure

Can anyone comment on whether editing XAVCS h264 is any faster on Premiere Pro CC 2017? Still wishing we could get instant scrubbing / play head placement. I do see this in the features: Accelerated Dynamic Link Faster performance reduces the need for intermediate rendering and delivers higher frame rates during playback.

Does anyone know if on the A6500 the screen (when set to the brightest setting) dims when recording in 4K? This is still my least favorite 'feature' of my A7R2.

Yeah I find the A7R2 in FF mode to be pretty good in good light, and being able to get an extra 50% zoom whenever you need it by going to S35 is great. Speaking of switching from FF to S35, I've been testing out the 24-70mm 2.8 GM with the A7R2 recently and it sure is awesome having a 24-105mm range at f/2.8 all in one lens. And of course the image quality is great. Almost makes up for the huge size and weight. Here's a 4K screengrab at 24mm FF f/2.8. Sorry for the exposure.. didn't have ND filters at this point. And at 70mm FF f/2.8: A few other thoughts on this lens for video, since it is full-frame and gives a pretty good full frame look IMO: The size and weight make handheld shooting much more stable than my smaller/lighter e-mount lenses, especially when using the viewfinder for a third point of stability. The physical AF/MF button is pretty handy if you like to use AF sometimes, but occasionally want to quickly switch to MF without giving up one of the other custom buttons The programmable button on the side of the lens is also pretty useful. I think by default it's set to focus hold, which is good for using AF to lock focus on something, reframe on a different subject, release focus hold and get a smooth focus transition to the new subject.

Awesome idea! I'd never heard of it before, thanks for posting. A couple probably stupid questions (I'm pretty inexperienced with polarizers): what kind of test pattern do you use on your monitor to create the vertical / horizontal position, and what situations do you want to use the vertical or horizontal setting?

My current settings, very basic, which I think have been pretty successful for me. I'm not super experienced with color grading so I haven't delved into SLOG yet. PP6 Black Level +3 Gamma Cine4 Black Gamma - Defaults Knee - Defaults Color Mode Cinema Saturation 0 Color Phase 0 Color Depth - Defaults Detail --> Level: -3 This gives a pretty flat / somewhat low-contrast / low-saturation image that you can push or pull different ways. Here's an example of ungraded (top) and some basic contrast / saturation tweaks [contrast +19, saturation 147] in Premiere Pro Lumetri Color where I was just aiming to get the skin tones looking natural like they looked to me in person:

Serious jello going on in that dog video. Sure do love the Canon colors though..they still have that nailed. As an A7R2 owner I was surprised how bad it looked in the Northrup comparison video. Definitely agree with the earlier poster about the Canon having much higher noise but a much less compression artifacts. Just check out Tony's face on the A7R2 compared to the Canon. (Gotta remember to switch to S35 for any high ISO work). Guess that lack of inter-frame compression on MJPEG isn't just pure file size bloat, it does reduce compression artifacts. Of course if any camera could compress H264 at 500Mbps I'm sure it would look just as good. Given that you can't though it does give the 5DMkIV's high-ISO performance something beneficial.

I'm a huge Camille Marotte fan too. Interesting note about the shutter speed, I don't think I ever consciously realized he was shooting at such high shutter speeds. It is interesting that there isn't that there isn't a lot of motion in his shots. I like the idea of not having to depend on ND's at all but I'm not sure a shot of someone walking through a busy market at 1/4000 would have the cinematic quality he usually delivers. I agree it is personal preference, it's just going to be much more of an obviously newer / digital / video look when you can very clearly tell you're shooting at super high shutters.

I always keep my A7R2 in M for recording video. It's especially useful for shooting in bright sunlight because the horrible 'feature' where the viewfinder brightness dims when recording 4K video only kicks in in M mode after you start recording, so you can frame a shot before losing visibility. In movie mode it pre-dims the viewfinder even before you hit record.

Thanks again funkyou86. So why do you think there are almost no flares in the A7R video you posted?

Thanks, really appreciate the video! Great to see some actual samples with the lens I have (and the FE 35mm 2.8 which I was considering given that 35mm is the lowest you can go on full-frame). I have to say though the quality in the video didn't impress much. Obviously it's HD from an A7R so the video is not up to current 4K standards but even just the anamorphic features I was hoping to see like some nice lens flares seem absent (e.g. in the night street scenes). Compared to this video shot on the A7S w/ Canon 50mm 1.8 II which has tons of flares. Maybe because he's shooting at f/2.8 - f/4?

Thanks, should have RTFM I guess :). So anyone use the Anamorphot 1.33 with the FE 55mm 1.8 then?

Very nice.. the framing and color grading reminds me of the epic films of the 60's, especially the landscape shots.

Does anyone have experience using the SLR Magic Anamorphot 1.33x 50 with a Sony A7R2 (or any recent A7 series camera) and any of the following lenses: Zeiss 24mm 1.8 (APS-C) Sony 10-18mm f/4 (APS-C) Sony FE55mm 1.8 (full-frame) I'm considering picking up the Anamorphot 1.33 50 for an upcoming trip but from what I've read the pairing between the anamorphot and the lens is quite important so I'm wondering if anyone has experience with any of the above lenses. Thanks for any help!

Curious if anyone has managed to get realtime scrubbing and instant updates when jumping to a new position on the timeline in Premiere Pro with 4K XAVC-S files. I was hoping to hear that Premiere Pro 2015.3 with the Intel video acceleration would be the solution but all the reports I've read of 2015.3 is that the performance is even worse than before.

Yeah I agree the lighting has harsher shadows and a more severe angle. I was trying to make do with what I had on scene so I didn't have much ability to get it as close to the original as I had hoped. Appreciate the critique.

Just wanted to follow up and say thanks for the advice from the community. I bought an Aputure Amaran H198C (small handheld LED light) and I was able to use it to get some shots similar to the above. Here's one screencap of such a shot. In testing this light I found it was too harsh on its own so I needed a diffuser of some kind but I was going all handheld and didn't have a lot of space for gear so I just used a floor lamp and shone the light through its lampshade. Seemed to work pretty well. Full video is here: https://vimeo.com/174464993/03b9aafdbb

990g will be is fine for the Beholder DS1 (1700g payload) or PilotFly H2 (2200g payload). You could probably get by with the ligher-payload gimbals like the Pilotfly H1+ (1200g), Came-TV Single (1200g) or the newer Z1 Crane 3 (1200g, EOSHD thread here) but since you're close to the payload limit you might have more issues getting it balanced / be using up more battery as the motors work harder. In terms of running with the recorder at 1512g, the H2 should be able to do it in theory but I've yet to find people running a rig this heavy (I've been asking on the PilotFly Facebook group because I'm considering using my A7R2 with a heavy lens on my H2). Should be possible but it might take a fair bit of work / time getting it balanced and tuning the PID settings.

Forgot to mention that Andrew also reviewed the LG 31MU97-B here on the site, and liked it a lot: http://www.eoshd.com/2015/04/lg-31mu97-dci-4k-display-review-10bit-4096x2160-ips/ I got mine today and it's pretty amazing. Screen real estate is just insane.. I'm currently working on a project in Premiere pro that's intended for 1080p output and now I can have a full 1920x1080 preview pane in the same screen space I had a 50% preview before. The timeline is soooooo wide.. way less zooming in and out now. Text is super small but clear (I'm running native res with no upscaling). The only issue so far was that I was noticing some weird varying brightness on certain pixels, like the ends of certain letters in text, but it turned out it was just a monitor setting ("Super Resolution+") that adds sharpening and is intended to be used with upscaled content. Once I turned that off everything got super accurate and sharp. Looking forward to reworking my Premiere layout to take advantage of all this space.

I was just shopping for a big new monitor myself yesterday, especially to help with editing. I was after 4K and 28" or larger screen size, so my two top picks were: Samsung U28E590D: 28", 4K, non-IPS, $400 on Amazon (recommended by Andrew Reid here on his blog) http://4k.com/monitor/a-review-of-the-samsung-4k-uhd-qhd-ue590-28-inch-screen-u28e590d-led-lit-monitor/ LG 31MU97-B: 31", IPS, $877 on Amazon (price seems to have just gone up, it was $790 yesterday from a different supplier, although I ordered an open-box one for $700) http://4k.com/monitor/a-review-of-the-lg-electronics-ips-digital-cinema-31mu97-b-31-0-inch-screen-led-lit-monitor/ I briefly checked out some of the non-4K monitors like the 34" LG that Dave Dugdale uses but it seemed like such a waste to do a big upgrade and not have 4K resolution. 1440 vertical resolution also seemed like not enough of an upgrade from my current 1920x1200 24" monitor (only an extra 220 lines? hrmm). Although Dave Dugdale talks about fonts and icons being too small on 4K monitors at common viewing distances, which is one reason he went with a non-4K monitor, I'd like to see it for myself I guess and try the OS scaling if it's an issue. In the end I went with the LG, mainly because I really want to see how much the huge screen real estate helps. It's also 17:9 aspect ratio so it's a bit wider than normal HD. It's supposed to get here tomorrow and I'm pretty stoked!

Wow, very interesting.. so you literally just take a shot, pick up the tripod and move it 6 inches, repeat? Again pardon my ignorance here but how do you get the framing to match? Are you using a wider angle lens so you have room to crop/stabilize in post?

Great video, some really impressive hyperlapses, and the drone shots were awesome. Pardon my ignorance, but how do you get such long / rotating shots (there are tons of them in your video, but just to choose two examples, 0:25 and 0:30).

Payload is one of the most important things - you need to choose a gimbal that is ideally rated for a fair bit higher weight than your setup. When you add up the weight of all those components what does it come out to?

Thanks for the info, definitely interesting to see how the 3-axis market evolves. The most curious thing about this gimbal to me is the way they're all holding it.. with the handle at a 45-degree angle. Seems like the motors would have to be working hard to stabilize in that position compared with the normal vertical or inverted position. Slightly off-topic I'm hopeful that eventually we'll see the 4th axis stabilized within the handle, like a shock absorber, so we don't need a huge rig to get rid of the bob.

Has anyone gotten the accelerated Intel h264 decoding to work? I'm super interested in this update if it means you can now scrub and instantly start playback anywhere on the timeline with 100Mbps 4K XAVCS files (from the A7R2 in my case).

It plays back smoothly but you can't scrub smoothly or quickly move the play head to a new position and have it start playing back instantly.