Guy Mcloughlin
Forum Replies Created
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This is moiré, which can be tricky to get rid of.
It’s a common problem with Canon DSLRs which use line-skipping to reduce the full sensor image down to 1080 HD.
The Panasonic GH2 uses pixel-binning to reduce the full sensor image, so it has very little moiré when shooting video.
The new Canon EOS Cine cameras ( C100 / C300 / C500 ) also show very little moiré with the video they record.
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Considering your budget I would recommend you take a look at the new Nikon 5200 camera, which is a big improvement over Nikon’s older DSLRs when shooting video.
I would generally recommend avoiding most of the low cost Canon DSLRs when it comes to video, as Canon hasn’t really updated the video hardware of their T2i/T3i/T4i/T5i line of cameras in several years.
New Canon T5i/700D Fail to Excite
Even Canon’s $3000 5D Mk3 barely outperforms the $700 Nikon D5200 when it comes to video…
Nikon D5200 vs Canon 5D Mark III
You also might look at the new Panasonic GH3, which is generally considered to be one of the best DSLR cameras for video (sells for $1,300), and can use almost any lens ever made. ( Canon, Nikon, Olympus, Cine PL lenses, etc… )
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Panasonic GH3
– High resolution 1080 HD image
– 1080 24p/30p/60p frame rates
– 50 Mbps .H264 recording format
– Full manual control while filming
– Touch screen focus pulling while filming
– Clean HDMI output
– Low noise uncompressed audio ( LPCM format )
– Can mount almost any lens ever made with an adapter ( all Nikon, Canon, Canon FD, PL mount, ect lenses )
– Can shoot a single take as long as your battery/memory card lasts ( single 12 hour take is possible ) -
[Dave Andrade] “Would the same happen filming a blue sky in the sunlight?”
No, this is completely different. Regular fluorescent lights have a “pulse” that gives you that ugly black banding if you don’t shoot with a shutter speed to match the frequency rate of the electrical system. So in North America you would always shoot at 1/60 sec, where in Europe you would be shooting at 1/50 sec.
The problem with the blue-sky banding has to do with most DSLRs recording in 8-bit color space, which may not be enough for fine color gradients, like subtle blue-sky colors. Dedicated video cameras will often dither the color range that it can’t store normally, so that banding won’t happen.
With the Panasonic GH2 DLSR their is a very good patch called FlowMotion ver 2.02 by Lee Powell that helps to control banding problems, by actually modifying the algorithm the camera uses to generate it’s 8-bit files.
Short of this, you will have to use a camera that can record in 10-bit color space, which pretty much eliminates all of the low cost cameras. I think the Blackmagic cameras are the cheapest cameras that can record 10-bit color. ( A new $995 Blackmagic Pocket video camera was announced yesterday, that uses the same lens mount as the Panasonic GH2 / GH3 cameras )
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[Carlos E. Martinez] “How do I import it from Avid then?”
The Vegas import utility will access all of the AVCHD file pieces plus meta-data from your SD card and generate a single .MTS video file that can be as large as the memory card you shot with.
For example I’ve shot a 90 minute orchestral performance using my GH2 camera that has the FlowMotion patch installed, which comes close to filling up an entire 64GB SDXC memory card. I then use the Vegas import utility to generate a single 64GB AVCHD video file on my hard-drive. ( the file has the .MTS extension )
You can now either try to import the .MTS file into your AVID software, or you can load it up into Vegas and render it out as an AVID 10-bit 4:2:2 DNxHD video file, which should open directly in your AVID software.
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>>>>Sorry, Guy, I run a PC, which I specified on my first thread.
Sorry, I had assumed that you were a Mac user. ( most AVCHD problems seem to be Mac related )
In this case I would recommend using different PC software to import your AVCHD files.
The least expensive way to go would be something like the consumer version of Sony Vegas which has no problems importing AVCHD files, which you could either keep as native .MTS files or export to another CODEC like AVID’s DNxHD formats.
You can download a free trial to see if this is a solution for you, just remember to import your AVCHD files using the built-in “Device Explorer” utility found under the “View” menu.
There may be other AVCHD import utilities for PC, but I don’t know of any myself.
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I think you’re going to have issues with almost any AVCHD modifications, so what you want to do is find better Mac software to ingest AVCHD files.
One popular solution is the ClipWrap utility software…
Divergent Media ClipWrap Software
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This is likely a software issue. FCP7 also has problems with AVCHD files, but FCPX and Adobe Premiere CS6 has no problem.
I edit using Sony Vegas Pro, which has never had any problems with high bit-rate GH2 footage.
As for GH2 hacks, the one I have standardized on for the past 8 months is Lee Powell’s FlowMotion ver 2.02, which has proven to be very bullet-proof. Great detail, smooth motion, etc…
GH2 100Mbps Flow Motion v2 Patch – Banding & Blocking Be Gone!
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The Sennheiser G2 100 wireless UHF audio system be used with a wide variety of cameras and recorders, BUT you have to know how to set up the output signal strength relative to each camera or recorder.
I don’t know what the optimal input signal strength is for a Canon T4i camera is, but with my Panasonic GH3 camera it’s 0 dB with the camera audio level set to 1.
You will likely have to experiment with both the output signal strength of your T4i and the camera’s audio level control. ( assuming the T4i enables you to control audio level )