Robbie Carman
Forum Replies Created
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nope because its not USB but ethernet based. Currently supported surfaces are Tangent Wave (USB) New Resolve Panel (also USB) and on LInux the older 2k style panels
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
I put this through some more tests tonight after my last post it does indeed seem that the 285 is offering better performance overall especially when it comes to parallel node chains, blur and mist. My earlier observation about more nodes (serial with simple corrections) before dropping playback frame rate still seems to be accurate with the 4800 vs 285 but when you get into the very intensive stuff 285 does seem to be working better.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
[Rohit Gupta] “The 285 is much faster than the 4800 as this point of time.”
Interesting. In my testing the seemed about the same.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
[Aless Flores] “I’m dying to know what difference in performance you find between the two cards, I hope the 285 wins because that’s the one I’ve got.”
I switched out cards last night and to be honest I’m getting the same playback performance. It was as darren pointed out because of more RAM I was able to get 1-3 additional nodes with the FX 4800 before playback slowed slightly, but in a real world grading situation I don’t think this is a huge deal. Rarely would I have 10,12… nodes on a shot. Both cards are great. The one thing I’ll try to test today is parallel nodes my test between the cards was all serial nodes. This was 1080p24 ProRes 4×4 I’m on an 8 Core 2.93
And just one other observation. The tracker is truly amazing. in the 30 sec I did what would take me 5min with keyframes and processing in Apple Color – Thats huge!
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
[Darin Wooldridge] “I’m playing 2k dpx 10 bit log frames in an hd time line, 6 nodes of color correction, input lut, 5 windows all playing @ 24fps. Window tracking at 11 fps”
Similar awesome performance I’m getting here. 1080p24 (23.98) ProRes 4×4 I stopped at 10 nodes (couldn’t think of anything else to do in the clip 🙂 ) couple trackers hasn’t moved off of 23.98 for playback (although like drop for tracking)
This is all with GTX 285 hoping I see and even more awesome boost with the FX4800 I have sitting here
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
I pushed pretty hard last night on EDL and scene detection. Both worked very well with EDL being the best option. However I was really really pleased with scene detection. We get a lot of shows that are in FCP as single quicktimes and normally we cut those up and send to Color but just to test it I left as a whole quicktime and did scene detection. The awesome thing about the resolve is that it will give you a graph of sorts showing you were edit points were made and the confidence of that point. You can message the edit points as needed but on a whole it did a very very good job.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
Gotta agree Darin about the system so far. Just got everything installed over here and now starting bang on the system. Tonights test putting scene detection through its paces. So far very satisfied.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
thanks for the link bob. Of course I understand the monitor situation that is not the issue. I’m just in short supply of rack space in our machine room and would rather a 2u setup then the sliding shelf. I actually have a couple of the middle atlantic 1626s in the rack already. Macs are free standing vertically at the bottom of the rack.
Thanks again
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
You won’t be disappointed with 1.4. I’ve owned all 3 50’s at one point or another. I currently have the 1.4 and the 1.2. To be honest for video work I end up using the 1.4 more. I think its a touch sharper then 1.2 and trying to get accurate focus at 1.2 is very very hard. The only “bad” thing I can say about the 1.4 compared to the 1.2 is the focus ring isn’t nearly as smooth (think heavy and dampened with the 1.2) but the 1.2 costs the same as 3 1.4s (ouuuuch)
The only thing I would caution with any of the 50s on a 7D is how you frame it as with the crop factor its going to be about 80mm which is nice for portrait work like interviews but you might need to back a way a touch.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
What are the lighting environments you’ll be in? You mention weddings so its all over the place but you also mentioned commercial production which to me means controlled constant lighting. So try to get something to fit both those bills can be challenging.
I had for a number of years the 100-400 but recently sold it. And for a couple reasons I wouldn’t add it to your kit for video.
1. Variable aperture 4.5-5.6. no biggie shooting photos sans flash and no big deal in studio environments were f/4 to f/5.6 could be just fine (although limiting your DOF possibilities). But should you do any zooms while shooting video with this lens you’ll get a noticeable brightness shift. Shooting video I would if at all possible stay away from variable aperture lenses unless you know you won’t be zooming during a shot and even then keep in mind you’ll need to adjust after the zoom.
2. Push pull zoom is a pain in the ass!. Even though you can adjust the tension for it I spent half my time messing with the tension.
I think an option you should consider is the 70-200mm 2.8 IS (either the new or old one) or the 70-200 f/4 IS (slightly slower but sharper in my opinion) and couple it with a 1.4x extender (I’m not a fan of the 2x) On the 70-200 f/2.8 on a 5DMKII you’ll get 98 – 280mm f/4 and on the 70-200 f/4 same focal range but f/5.6 still doable in ok light.
My last point is just something to think about. If reach is your issue how about consider a crop image sensor like the 7D. While I won’t argue that the larger sensor on the 5DMKII allows for a slightly greater depth of field possibility, the 7D at 1.6 crop is like having the extender I mention above built in. Also if you’ll be doing any photo work with the camera I think you’ll find the 7D autofocus system superior to that of the 5D …and yes I own both cameras.
Anyway food for thought
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion