Blaise Douros
Forum Replies Created
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If this is embedded in the video file (confirm by looking at it on different players, like VLC), then there is no specific plugin to repair it. If it’s a player error, then you might be able to get away with recompressing the file.
You haven’t specified whether it’s just this frame, or if it’s continuous? If it’s continuous throughout the second half of the video, then I’m afraid there is no easy fix. It might be more practical to reshoot. If it’s just a few frames here and there, you could probably do some things to repair it.
One thing you might try is the After Effects Wire Removal plugin. It’s designed to remove wires from flight rigs, but could easily be positioned at the ends of your distortion to blur it out with the surrounding pixels; the thinner the glitched pixels, the better.
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These days, is it really necessary to transcode h.264 media? You don’t pull any more detail or color depth out of it, it takes up a lot of additional HD space, and almost any modern machine is more than capable of editing it without a hitch. The only exception to this is if you’re using heavy time-remapping, at which point the Long-GOP codec can be problematic. But in 99% of cases, I never transcode anymore, and haven’t since the days of FCP 7.
Sony’s Catalyst Browse might do what you need, or just plain ol’ MPEG Streamclip. Make sure you have the DNxHD codec installed, obviously, and Streamclip can transcode just about anything to anything.
But I’d try it without, first. No reason to over-complicate your workflow.
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If you’re shooting ambient light only, fast shutter will be your primary goal, with the secondary goal of not cranking your ISO too crazy high or having to go wide open so you miss focus. If they’ll allow you to use off-camera flash, you should, just make sure you have adequate flashes placed around the arena, out of the eyelines of the players. At that point, your shutter will go no higher than flash sync speed, and you can probably stop down a bit to have an easier time with focus. Forget everything but the long lens unless you’re going to be hanging out courtside, right in the action.
If you’re going to post-process the images, shoot RAW. If you’re just handing them over straight-out-of-camera, I guess you could shoot jpg since you won’t have to sort through all the bursts.
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18mm on APS-C should be more than wide enough for most unboxing videos, and you can set your aperture wherever you want. At 18mm and F8, you should have basically everything in focus. Do you have enough light to accommodate that?
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The question here is whether the video bitrate changes depending on your camera’s frame rate. If the camera has a maximum bitrate of say, 35 mbps, and both 30p and 60p video are encoded at 35mbps, then the 30p video will have more data allocated per frame. However, if the 60p video is encoded at 35mbps and the 30p video is encoded at 17.5 mbps, then they should each have about the same amount of data per frame, and would be of roughly equal quality.
But then we get into what “image quality” means. Does smoother motion equal better image quality? Does resolution? Dynamic range? Color? Depending on what’s important to you, you’ll have choices to make.
[Mike Gray] “I’m aware that there are certain scenarios where one is better for certain application. For instance higher frame rates are good for action shots. And lower frame rates are better in low lighting, due to shutter speed.”
You should NOT be shooting at different frame rates depending on the scene unless you plan to utilize varying frame rates to your advantage. If you’re planning on slowing your action down in post, shoot at a higher frame rate. But if you are not planning to do slow motion, do NOT shoot at a different frame rate. Movies =/= video games, where frame rates vary; your delivery format and delivery frame rate is what you should be shooting unless you have a technical reason (like slow motion, or timelapse) to shoot offspeed.
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Craig, sorry for the late response. The main useful thing I see in the FS7ii is the electronically variable ND. Setting exposure like that could be super useful. They also allow DOF-pulls which are a cool effect I would love to try. The other thing that will become tremendously useful is its ability to record in a Rec.2020 color space for HDR TVs. You can still shoot sLog3 and grade to this spec, but it’s also nice to be able to bake in the look for fast-turn projects.
The LUT system built-in to the camera is stellar, and incredibly useful. You can load any 3dLUT into the camera and bake a look into a shot; again, useful for quick-turn projects.
In general, the FS7ii is an incremental upgrade from the MkI, so if you don’t want to spend the extra money, just get a MkI and cry a little less. The HFR in particular on the FS7 has been life-changing for the kind of stuff I shoot; 180 fps in 1080p, fully gradeable, at 10-bit 4:2:2, is amazing. In most ways, the C300ii and FS7 MkI are very comparable, but the HFR on the Sony absolutely smokes the C300ii in every possible way. The Canon goes to 120 fps, and center crops the image (bye bye wide-angle slo-mo shots). The FS7 goes to 180 fps, and has the option of full scan or center crop (and that goes for both HFR and normal shooting modes: double your telephoto lens length, or shoot with S16 lenses at 2K).
Lastly, you can shoot up to 60p in 4K on the FS7, versus only 30P in 4K on the C300ii. I don’t shoot a lot of 4K currently, but it’s nice to have the option to shoot slow motion or high-frame-rate content in 4K if I need it.
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What happens when you apply your sLog3 LUT? If you’re just looking at the ungraded footage, you’ll see all sorts of problems that won’t exist once you’ve done your color correction.
I suspect that the noise is partially due to underexposure, but I’ll reserve judgement. sLog3 does NOT like to be underexposed, and gets noisy fast when you have to bring up shadows. I always try to expose a bit on the brighter side.
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I use the FS7 mki all the time. It’s one of my favorite cameras I’ve ever had. The built-in 10-bit 4:2:2 codec, coupled with sLog3, has been a huge game-changer for the look of my projects. Just based on the codec alone, I’d buy the mkii in a heartbeat. If I’m not mistaken, the Canon codec is only 8-bit 4:2:2, yeah? Also lens adaptability on the e-mount is amazing; I can use basically any glass ever made. With Canon’s EF mount, the C300ii will still be pretty adaptable, but not like an e-mount camera.
TL:DR – you should test them both, but damn if I don’t love my FS7.
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In your original document, if you fill each hex (or each line of hexes) with a different ascending or descending grayscale value, you could use a gradient wipe with the hexes as the source.
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In a word, yes. Log footage has almost double the dynamic range of Rec709.
For example, in a dark situation, with regular Rec709 gamma, you might see some noise in your shadows if you exposed the image right down the middle. So what you do is overexpose by one stop on set, to increase the amount of data you capture in the shadows. Then, in post, you drop the exposure by a stop, thus, crushing the shadows and reducing the amount of shadow noise. Because you have so much additional dynamic range, you also lose very little data from the highlights; with normal gamma, the highlights would have been too blown out to recover, but with the additional dynamic range of log, you still retain information there.
You can do the opposite when you have a very bright situation, and need to retain extra highlight detail.