[Pete Burger]

When an HDMI cable is attached, the camera switches off the lcd-screen on the cam but will record video to the card.

[Pete Burger]

One way to tackle the problem with Premiere CS3 and footage from a Canon VDSLR is to transcode the footage with MPEGStreamclip into the free AVID DNxHD codec (with the corresponding settings) and then edit with an “XDCAM EX 1080p” preset.

Works for me quite fine.

hth

[Pete Burger]

The Canon VDSLRs are known for their problems with moiré and aliasing. Most people agree that the best method to reduce the problem is to turn the internal sharpening down completely and reintroduce sharpness (if needed) in post.

[Pete Burger]

[Danny Grizzle] “How would the T3i intercut with 5D Mk II footage”

Worked with footage of the 5DMkII, 7D and T2i on the same projects and to my experience, the only big difference between footage of the various canon VDSLRs is different noise with higher ISOs. Everything else can be adjusted in post with absolutely no effort.
So watch for noise, use good lenses on all cameras and shoot 😉

[Pete Burger]

*lol* Yeah, 6’5″ should be big enough 😉

Problem is, software solutions are just guessing when they try to create frames that are not in the original footage.
Those warping artifacts are a result of this “guessing-method”.

When I wrote “small moving objects” then I didn’t refer to you as moving object in the first place, but to all the little details, even those in the background, shadows etc. The software doesn’t know, which part of the footage is the “essential” part (i.e. “you”), it just recognizes diffences between frames. So higher shutterspeeds create a better “contrast” between frames and makes it easier for the software to guess.

1/250 is quite high – so could be enough. Or not. 😉 The faster the motion, the higher the shutterspeed for better results.

And of course there is a limit. Slowing down 100% should be no big deal. Even 150% is possible sometimes. To my experience 200% or slower introduces artifacs. But this differs from footage to footage.

One solution might be treat background and foreground differently, so to roto the moving object (i.e. you), save the clip uncompressed with an alpha channel and slow this “foreground element” down and then comp it with a cleaned-up and slowed down (mybe just a still?) background element. Will be time consuming, but might work.

hth

[Pete Burger]

What shutter-speed did you shoot with?
When slowing down footage with software like After Effects, Twixtor, etc. to my experience, the higher the shutter-speed of the source footage, the better the result, since those software solutions don’t deal too well with motion blur.
Another thing, that they “don’t like” are small moving objects.
Both sometimes leads to those strange warping artifacts.

hth

[Pete Burger]

Ever thought of the T2i (550D)? It’s much cheaper than the 5DMkII or the 7D and has – if you have the Magic Lantern Firmware installed – a lot more video-features than the 7D. Very handy things like: focus peaking, manual audio, rack focussing etc… Almost “feels” like a camcorder 😉

Picture quality is almost the same as of the 7D (the 550D is a bit noisier with high ISOs).

We work a lot with the 7D and the 550D and I really find the 550D (with Magic Lantern) a lot more useful in video-mode than the 7D.

Another benefit: You’d have left a bit of money for good lenses and other gear, that you’ll definitly need when working with a DSLR.

Just my two cents.

[Pete Burger]

Thanks David, for your input. Much appreciated!

That was my workflow til now (except, that I most of the time work with Premiere instead of AVID): Keeping RGB throughout the whole editig and postproduction process.

So, conversion to 709 while transcoding won’t give me any advantages i.e. in After Effects?

I’m a bit confused since a vfx-guy told me recently to absolutely use 709 in the transcoding process of canon footage for best results (and of course to use 709 in After Effects).

[Pete Burger]

[Phil Huizen] “Is a kit lens the lens you get with the camera standard? And what is exactly the problem with the not constant aperture while shooting video by them? I couldn’t understand that part.”

Yes, the kit lens is the standard lens, you get with the camera.

Problem with lenses, that don’t have constant aperture is, that the lens has different maximum aperture on the wider end than on the zoomed-in end.

This means, you can’t use the maximum aperture the lens provides, when zoomed-in.

So your picture might get darker, while zooming.

[Pete Burger]

Haven’t built one myself, but very good resources for all kinds of DIY stuff:

https://dvrebellion.com/diy-2/
https://cheesycam.com/

hth