Liam Hall
Forum Replies Created
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[Rafael Amador] “[Liam Hall] “I’m not not sure what point you are making??”
The point is that when david wrote :
“I honestly can’t imagine why anyone would pick either camera over a Sony F3.
hi was replaying me about shooting plain HD (1080i50/60,p24/25… etc).
I’m sure David wouldn’t try to shot 300fps or 4K with an F3.[Liam Hall] “That said, the F3 supports fast workflows and is a great camera for 1080p”
Right that.
rafael“
I saw your comment. I thought David was making a general comment on purchasing the F3 over a Scarlet or C300 since he was pushing the F3 earlier in the thread. Either way, the ability to use EF lenses on Scarlet, take advantage of 4k capture and build a range of accessories that integrate with Epic make it a very attractive proposition for 1080 delivery.
Liam Hall
Director/DoP/Editor
http://www.liamhall.net -
I missed your earlier comment Rafael…
[Rafael Amador] “To work with a picture bigger than the delivery size just complicates things and the only thing that justify that is the possibilities to zoom/pan or reframe.
I don’t know AVID and PP, but at least in FCP/FCPX there is not any decent downscaling tool.
I keep using SHAKE just for downscaling.”There are other benefits; stabilizing footage, better keying, ability to export high resolution stills to name a few.
To downscale with ease just use REDCineX.
Yes, RED is overkill for many productions and it can add an additional layer of complexity, but I grew up in the film world, so it’s nothing unusual when ultimate quality is your goal. For faster workflows there are better solutions, no doubt about that.
Liam Hall
Director/DoP/Editor
http://www.liamhall.net -
[Rafael Amador] “[Liam Hall] “Try shooting 300 frames per second on that F3…
That said, the F3 supports fast workflows and is a great camera for 1080p.”
David was talking about standard HD.
rafael
“I’m not not sure what point you are making??
Liam Hall
Director/DoP/Editor
http://www.liamhall.net -
[David Roth Weiss] “I honestly can’t imagine why anyone would pick either camera over a Sony F3.
“I can…
Firstly, Electronic EF mount, not a dumb mount like on the F3. Being able to properly use my L series lenses is a big deal, a very big deal. You can even use AF on Scarlet but not on the C300…
DSMC. I shoot stills and video. Like DSLRs, I only need one system to do that with Scarlet.
Swappable mounts. Being a able to swap from EF to PL mount in a couple of minutes is also very attractive.
Affordable 4K projection is coming soon. Affordable 4k monitors are coming soon. 1080p won’t cut it…
RAW workflow offers unparalleled versatility.
It’s also a good choice for anyone wanting to build a system that takes advantage of the same accessories as Epic – buy Scarlet, rent Epic is a very good way to go for many people. Try shooting 300 frames per second on that F3…
That said, the F3 supports fast workflows and is a great camera for 1080p. I may still buy one. I’m not convinced by the Canon even though it has a BBC approved codec, but I guess they had to let their video engineers release it before the photographic R&D team clean-up with the release of the 5DmkIII or whatever EOS Cinema moniker they decide to give it.
Liam Hall
Director/DoP/Editor
http://www.liamhall.net -
There are three clear winners; Mastercard, American Express and Visa.
Liam Hall
Director/DoP/Editor
http://www.liamhall.net -
What is going on is a lack of dynamic range. That’s why many of us shoot with super flat settings to maintain as much detail as possible, then fix the contrast in the grade.
Short of using a camera with greater dynamic range, you could put up some lights or use a reflector to bounce some light into the shadows. You could expose for the highlights to create a little drama or simply choose an angle that works better for you.
Liam Hall
Director/DoP/Editor
http://www.liamhall.net -
[Steve Crow] “On the higher end models like the 7D, it seems like you can be both in a movie mode and yet still select something like TV or AV which is interesting. In that situation I can see how you might be able to tell the exposure compensation function what to adjust and what to leave alone.
HOWEVER, hmmmm….doing that on the 7D would mean (it sounds like) that I would be giving up full manual control, right?….you see ideally I want the best of both worlds, being able to set aperture, shutter speed and ISO the way I want it AND being able to do quick adjustments with the semi automatic exposure compensation function with the caveat that it doesn’t touch my shutter speed (or frankly my ISO either ideally)”
Yes, that’s what I’m trying (badly) to describe:)
On 7D/5D, if you use TV mode and ISO is not set to auto it will only adjust aperture. You dial in compensation with the main command dial. I can’t speak for the T2i as I’ve never used one.
Liam Hall
Director/DoP/Editor
http://www.liamhall.net -
Lol, I have two 5Ds and two 7Ds…
But I realise I gave you a bum steer as I should have written TV mode to maintain to shutter speed with Exposure compensation. AV mode maintains aperture. I always use manual mode for video but often use AV mode for stills. The exposure compensation is dialled into the camera on the main command dial – you can see how much on the meter – it’s all very simple.
Liam Hall
Director/DoP/Editor
http://www.liamhall.net -
I guess if Canon packed all the features into the T2i, they’d be little reason to buy the 7D…
I’ve not used the T2i, can’t you simply turn auto exposure off?
Liam Hall
Director/DoP/Editor
http://www.liamhall.net -
You can use AV mode on the 7D/5D. Though a better option would be to use manual mode and an ND or a fader ND.
Liam Hall
Director/DoP/Editor
http://www.liamhall.net