Pete Burger
Forum Replies Created
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With any other Canon VDSLR you could use Magic Lantern which provides live view histogram in videomode, but with the 7D it’s still not possible… 🙁
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“Tragedy is a close-up; comedy, a long shot.” – Buster Keatonhttps://twitter.com/FastFoodVideo (english/german)
https://fastfoodvideo.tumblr.com (german) -
Which camera are you working with?
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“Tragedy is a close-up; comedy, a long shot.” – Buster Keatonhttps://twitter.com/FastFoodVideo (english/german)
https://fastfoodvideo.tumblr.com (german) -
First thing you should consider: Every microphone that’s on the camera (either built-in or on the hot-shoe) will not give you decent quality since the microphone is where the camera is and not where the sound comes from. So if you want to make movies (shortfilms, features, documentaries, …) you’d best put your microphone on a boom pole.
Next thing to consider: If you want to plug your mic into the camera, you’ll have sync’ed sound. That’s a good thing. But the built-in preamps of the Canons are not the best, and setting the sound levels right through the camera-menu is cumbersome.
Recording sound with an external device like the recorders of the ZOOM series (H1 costs about 100 bucks, the H2 about 160, the H4 about 300) with a decent microphone will give you much better sound. Downside is: you’d have to sync sound in post which is not too hard, especially when using plugins like pluraleyes… but even “by hand” it’s not rocket-sience…
BTW: The Rode mic is ok. And with an external sound recorder it’ll improve the quality of your films a lot
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“Tragedy is a close-up; comedy, a long shot.” – Buster Keatonhttps://twitter.com/FastFoodVideo (english/german)
https://fastfoodvideo.tumblr.com (german) -
I’d also say it’s a typical moiré issue. Like Phil wrote, slight shifts of focus and/or camera movement can make them occur or disappear.
Especially on those next-to horizontal lines like those on the cupboard.One way to reduce those problems in post without any third-party-plugins would be to blur the colour-channels (and *just* the colour-channels) a bit. If you have access to After Effects, put an adjustment-layer on top of the footage, add a blur filter (median works best IMHO), set the transfer mode of the adjustment layer to color and tweak the blurring until the artifacts diasppear…
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“Tragedy is a close-up; comedy, a long shot.” – Buster Keatonhttps://twitter.com/FastFoodVideo (english/german)
https://fastfoodvideo.tumblr.com (german) -
There are about a thousand ways to get the results you’re aiming for.
What software are you working with?——————————————
“Tragedy is a close-up; comedy, a long shot.” – Buster Keatonhttps://twitter.com/FastFoodVideo (english/german)
https://fastfoodvideo.tumblr.com (german) -
[Phil Balsdon] “If you want smooth slow motion choosing a shutter speed of 1/1000th is wrong (…) “This causes a strobe like jump in the action as it moves in time from one, extremely sharp frame (if viewed as a freeze frame) (…) A bit of motion blur will help your images “blend” smoothly from one frame to the next. “
Sorry, to disagree in parts, Phil!
1/1000th is quite high, I agree. But I wouldn’t say it’s *wrong* per se. It is apparently too high for the shooting conditions, hence the too dark picture.
When just re-conforming to a slower framerate you’ll get a strobing (unusable) clip because of the lack of motion blur, just as you wrote.
*But*, when using plugins like Twixtor or the Pixel-Motion technology of After Effects to create slowmotion in post, the less motion blur you have, the better results you’ll get. Motion blur will most definitly create weird artifacts when using those plugins.
Depending on the motion you’re about to capture and the lighting conditions a shutterspeed of 400-600 should give you quite usable results. For some motion you’ll get away with slower speeds, for others you need higher shutterspeeds to get proper results.
We did a lot of slowmotion videos and I have to agree 100% that *real* slomotion can be only achieved with highspeed cameras. We once had a Typhoon HD5 that recorded with 500fps in HD (it’s capable of up to 1000fps if I remember correctly), which was quite impressive. No way you can get those results with a common DSLR or camcorder.
Just my two cents.
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“Tragedy is a close-up; comedy, a long shot.” – Buster Keatonhttps://twitter.com/FastFoodVideo (english/german)
https://fastfoodvideo.tumblr.com (german) -
[Caleb Trevatt] “In movie mode, the autofocus is quite slow, it is noisy and judders.”
Don’t know this exact lens, but experienced that problem with other glass too. From what I know, autofocus is not that fast and doesn’t work that accurate in Live-View mode because of a different way the camera tries to set focus.
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“Tragedy is a close-up; comedy, a long shot.” – Buster Keatonhttps://twitter.com/FastFoodVideo (english/german)
https://fastfoodvideo.tumblr.com (german) -
[Joel Cotlhorpe] “I honestly was totally unaware that sharpening in post was a common process.” (…) “Would it be fair to say though that this sharpening business is more unique to DSLR workflows than the higher end stuff?”
I’d say sharpening in post is a common thing, when shooting flat. Nothing unique to DSLR shooting.
You can shot flat with any kind of equipment, but with the more high-end stuff it’s not that necessary, as with the more consumer or prosumer type of cameras.My training dates back to the time when HD wasn’t common, so we worked a lot with SD stuff from SD Betacams and DV… and for us sharpening in post was kind of common. Not in all cases necessary, but kind of common…
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“Tragedy is a close-up; comedy, a long shot.” – Buster Keatonhttps://twitter.com/FastFoodVideo (english/german)
https://fastfoodvideo.tumblr.com (german) -
[Joel Cotlhorpe] “I don’t see why anyone would want to leave an image as soft as what I get with this sharpness setting on ‘0’.”
The idea behind that is, that you’ll have
a) more control over the sharpening (strenght and quality – an NLE has better algorithms and doesn’t have to do it in real-time)
b) if your camera does the sharpening and then does this heavy H.264 compression, a lot of picture artifacts are created.So: No sharpening in-camera –> less picture artifacts –> sharpening in post to just what the picture needs
[Joel Cotlhorpe] “Also, do any of you video guys actually use sharpening in post as a routine exercise with your dslr video footage? If so, what do you use to do the sharpening?”
I do. 🙂 I use the unsharp mask filter, like described here:
https://forums.creativecow.net/readpost/280/8447
Edit:
[Joel Cotlhorpe] how come I don’t hear just as many posts on the web about “post sharpening” because I’d assume this would have to be a routine part of the process if none is used in camera?
I don’t know why, but I’d guess that’s because sharpening of footage in general is such an “every day thing”, like adjusting contrast etc. but seemingly as easy as applying “just one filter”… In my training as an editor, it was kind of: “Yeah and as a last step you adjust sharpness.”
People seem not to want to waste a word about that “simple step”…My guess…
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“Tragedy is a close-up; comedy, a long shot.” – Buster Keatonhttps://twitter.com/FastFoodVideo (english/german)
https://fastfoodvideo.tumblr.com (german) -
[Casey Petersen] “Are there any good tutorials out there for sharpening in post?”
I don’t know any sharpening tutorials especially intended for video, but I found this one quite useful:
https://www.cambridgeincolour.com/tutorials/image-sharpening.htmI like to use the unsharp mask filter, which has three sliders: strenght, radius and threshold.
My first step is to set the strenght very high, just to see which parts of the picture are affected.
With the threshold settings you define, “when” the filter attacks. This means: “how bright or dark has pixel to be, to be affected”. With lower values you’d get more extreme results.
Radius defines how intense darkening or brightening will be. Higher values lead to more extreme results.
After setting up threshold and radius, I reduce strenght to what looks good to me (something between 20%-50% in many cases).
When sharpening I often like to go as extreme as possible without producing halos.
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“Tragedy is a close-up; comedy, a long shot.” – Buster Keatonhttps://twitter.com/FastFoodVideo (english/german)
https://fastfoodvideo.tumblr.com (german)