External HardDrive

[Adeeb Oberoi]

I was hoping o fix the depth of field by using good lights and a high aperture setting.

I love the HDSR look but I really dislike the H264, can hardly do any color correction without distortion.

[Adeeb Oberoi]

Yep looks like, no free lunch, I tried all the cams you suggested in different production shoots, all are fine. Even tried the Red Cam which is of course super for post (Raw Red files).

I just love the dslr look and they are in expensive, seems that they purposely use h264, if they had a raw format… pfffff, would be super.

[Adeeb Oberoi]

I was hoping o fix the depth of field by using good lights and a high aperture setting.

I love the HDSR look but I really dislike the H264, can hardly do any color correction without distortion.

[Steve Crow]

Are you shooting using a “flat” picture profile setting? Those are designed to give you maximum latitude for color correction and is what most of the pros are using (not all, not all). If you have no idea what I am talking about look up in this forum or on the Google for Philip Bloom Picture Profile settings or simply flat picture profile.

Steve Crow
Crow Digital Media
http://www.CrowDigitalMedia.com

[Adeeb Oberoi]

thx, I am not shooting this production as yet, will be soon though.

Was thinking of buying a new cam, like the scarlet. Thought a dslr would be a great option if not for the format. It is way less expensive then the scarlet and has the cinematic look as well, opposed to normal video cams.

[Phil Balsdon]

If a Scarlet is in your price range and you like the HDSLR “look” then you might also consider the Canon C300. It’s less expensive than the Scarlet, when you’ve added all the necessary extras to get through a day of shooting. The testing I’ve done on mine so far shows that the onboard CF card MXF 4.2.2 recording gives an excellent chroma key.

Gone also are the moiree, aliasing, 12 minute per shot record limit, and it records full PCM audio.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/

[Adeeb Oberoi]

This is great, NIKON is the king. The first uncompressed video through hdmi to an external HD (I will use a terabite).

Exactly what I was looking for. For this price its the very best available. color spacing of 4.2.2 uncompressed. Man for me this is great, half the price of the scarlet.

I have delivered several cinema productions to theaters and they all broadcast at 2k, even 4k films are down scaled to 2k. 2k is basically 1080. I really dont see the benefit in a camera that shoots 4k but has a h264 or h265 format. I would prefer 1080 uncompressed. (needless to say, to anything I prefer 4k uncompressed of course).
A good production shot and edited 1080p will still look very good on a 4k screen.

Thank you very much for this information on the Nikons…. great for any cinematographer!

[Shian Storm]

There are options to record the hdmi out on the Panasonic GH2 HDSLR in prores. It is a clean uncompressed, 8bit 1080 signal. The Atomos Ninja will record it as prores and the results are fantastic.

But with the new hack developments on the GH2, it’s kinda a moot point as you can now record at 150Mb/s on the cards which is a faster data rate than DVCPROHD, and approaching ProRes 422 HQ.

Check out https://www.personal-view.com for details on hack developments, etc. (the site is a forum so it takes a little getting used to how everything is listed before you are able to follow the threads) The latest developments are Orion and Sedna.