Blaise Douros
Forum Replies Created
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Okay Micolli, I’m going to say what we’re all thinking:
This is a dumb test to do if you want to learn anything about the lens.
You will learn only one thing, and I’m going to save you the trouble: lenses project the exact same light on every sensor. The picture will look different on each camera. These differences will be because the CAMERAS are different. The distortion, flare, and all the lens attributes, will look exactly the same, because a lens’ physical characteristics do not change when you put a lens on a different camera. The image will look slightly different because every camera manufacturer uses different color science. But all of the things you named, like distortion, vignetting, chromatic aberration…they are because of physics. The lens bends the light a certain way, and focuses it on the sensor; the same light, including the same distortion, vignetting, chromatic aberration, etc, will hit the C300 sensor and the FS7 sensor.
Let me repeat, for clarity: the lens will perform exactly the same on the C300 and the FS7. You will only be measuring the difference between two cameras’ color science and gamma.
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What is the format and codec of the footage you’re shooting on the FS7? If you’re using the XAVC-L codec, you’ll find that it is much more processor intensive than the XAVC-I.
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Autofocus on video DSLRs sucks. Period. You should not use it, basically ever. Especially on a green screen shoot! If it hunts for focus in the middle of your shot, you’re going to have trouble with the key separation, and it could potentially ruin your shot.
Also, the 8-bit 4:2:0 h.264 is not going to lend itself to good keying anyway. So you need to focus manually to ensure you have control of your results–get a follow focus, or hire an experienced focus puller. Don’t let autofocus ruin this for you!
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Sounds like you want Premiere to do something it doesn’t do. Set your In and Out points, and press the “C” key to enable the razor tool, and cut the clip at the in and out points. Press V, and drag the clip where you want to go.
That’s really the only way to do what you want to do in the sequence. Otherwise, you should set your ins and outs in the clip monitor.
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It’s probably both, to be honest. The VideoMic is really noisy, especially at higher gain levels, and so is the t2i’s preamp. It’s a bad combination of equipment.
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More than a tiny bit confusing–very confusing, since none of the attributes (the lens resolution, lens contracts[what is this?], chromatic aberration, barrel and pin cushion distortion and vignetting) have anything to do with the camera. Also, Micolli, we can’t tell you about our lens tests if you don’t tell us what lenses you’re looking at.
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Yes, Sony’s mirrorless cameras will give you the best bang for your buck. In particular, if you don’t care to move to full frame, check out the a6500. Add the K2M XLR attachment, a Metabones EF-to-E adapter (so you can keep all your Canon glass), and a few extra batteries, and you’ve got a VERY capable little video system.
Canon’s DSLRs have not sufficiently evolved their video capabilities–they’ve been careful to protect the high-end features of their C-series. Thus, to get equivalent features in Canon, you’ll pay a lot more money for a C100 mkII or similar.
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There’s no way to import it as native 23.976. If I remember correctly from my FCP7 days, you have the option to run a 3:2 pulldown on the sequence when you create it, so that it correctly reads the PF24 frames and shows up correctly. You also might be able to transcode it with CinemaTools, which I used to do, too. Or it might be that you edit at 60i and then the 3:2 pulldown happens on final export to a 23.976 file. I haven’t used FCP7 in nearly six years now, so I’m having trouble remembering how that workflow used to go. The bottom line, though, is that you import to a sequence at the native framerate and apply a 3:2 pulldown either to the sequence or to the export.
Frankly, you’d be best off looking up Canon’s recommendations for an XA10 PF24 workflow, and trying to implement it–most of the people around here have moved away from FCP7, and like me, will be too rusty to give good advice.
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Transcoding clips wipes out their timecode.
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The FS7 is my favorite camera I have used, bar none–I highly, highly recommend it. I’m shooting mostly to web, but have documentaries in the hopper for (hopefully) theatrical. I know several DPs that are using the FS7 for TV, corporate, and indie cinema. They’re all really happy with it.
The color learning curve is a little steeper than with C300 if you’re shooting Slog3, but I think in the end the footage is a bit more gradeable. The C300 probably has a slightly nicer out-of-the-box look, while the FS7 will let you do a bit more in post.
Here’s a short piece I shot last year on the FS7. I shot the interviews in 4K and punched in as needed, and the rest in 1080.