Robbie Carman
Forum Replies Created
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[Uli Plank] “ut in other scenes I found the very shallow DOF a bit distracting, just a tad too much. “
I agree but its funny to me because its not like when they’re shooting normally they’re working with slow lenses and can’t create shallow DOF. Seems like they wanted to push and as you said Uli create that look
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
[Ryan Mast] “I don’t understand color science enough to tell you why, but I don’t notice the banding as much when I grade in Color as when I grade using the 3-way color corrector in Final Cut.”
Part of this issue is that FCP works in Y’CbCr space or generically known as YUV (although technically incorrect) while color works in RGB space.
But one question I have for the original post. You’re trying to enlarge the 5D footage to 2k right? While the blow up isn’t that big its still a blow up. Its to be expected to see some artifacting with that. I’m a colorist (as my day gig!) and I just completed a feature doc that was shot RED and 5D as well. Finished at 2k. While we had pretty good results with Compressor doing the enlargement ultimately what we decided to do was layback the 5D footage to HDCAM SR and then re-ingest using our KONA 3 to 2k. The hardware scaling did a much better job then software. But not sure if you can do something like that in your budget
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
interesting. I have some of those cards and use them in a 7D among others and never had the buffer. WHere you shooting 60fps?
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
+1 on the Z Finder although I preferred the old snap on design.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
+1 on the Transcend cards. Never had a problem.
The thing you need to understand is the actual data rate of the card and what the data rates of the 5D actually are. Card manufactures chose to use 150 KB/sec as the base value for CF cards. So when a card is rated say at 133x that really means 133 x 150 KB/sec which translates to 19950 KB/sec or roughly 20MB a second. A new fast 533x card for example can record at up to (rounded up) 80 MB/sec. The Canon cameras depending on frame rate and size you shoot at have a data rate of between 3-6MB/sec
So the slower cards will work just fine just make sure they’re UDMA rated. Also just be aware the the downside of the slower card is slower transfer off the card to your backup device or computer.
Personally I save the faster cards for doing burst still shooting
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’d agree with Rich, The thing about the HVX is that DVCPRO HD is 4:2:2 to begin with, when your trancoding the 5D footage to ProRes you’ll end up with a file thats 4:2:2 but you can’t “make up” additional color data as the 5D is 4:2:0 to begin with so thats why the HVX between the to makes more sense. But to be fair I’ve just completed a project that all the interviews where shot on a 5D and pulling a key was less difficult then I thought it would be.
As always with any green screen situation proper lighting, and separation are key (pardon the pun). Also planning the shot is essential i.e. clothing the person wears etc
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 think Ron summed it up pretty well! Ron Film Sys already have the new panel in??????????
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
would love to see the JL Coopers supported and to a lesser degree the Euphonix panel.
Where are you based? Would love to attend a Resolve training class as I’ve been away from the DaVinci world for a number of years and this summer once released going to jump back in with the Mac version and the new panel
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
[David Sikes] “So, is there no manual control of the iris when shooting video with the t2i?”
Well be careful about this as its a bit tricky. No canon lens currently has manual aperture control on the lens its done all electronically on the body. This is a big issue especially if you’re shooting in variable lighting environments. Take the following example
Shooting 1080p24
So following the 180 degree shutter rule your shutter is at 1/50 which is where it should stay (consider shutter when shooting video to fixed)
You shoot with a constant aperture lens lets just say F/4
You start a shot inside but walk with a subject outside. Inside F/4 was fine but now outside its letting way to much light into the camera so you use the aperture/iris control on the camera but as I said this electronic so you’ll notice a hard “click” or “step” as you adjust the aperture in the footage. Some people HATE this.
This is one of the main reasons people love shooting with older Nikon glass adapted to a Canon body (although you might have to pay to de-click the aperture control on those lenses) or invest in Cinema style lenses as the aperture control is on the lens in makes doing splits or stepping through the aperture range of lens much much more smooth and organic looking
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
Marco
I have the 100mm L Macro and I’m absolutly in love with it. I bought it the day it came out so I paid a little more but the extra $ is worth in my opinion. I feel its sharper then the 100 non L and of course it has IS. Just keep in mind that as you get closer to 1 to 1 on the lens the effects of the IS are less so like all macro work having a very steady platform helps.
I don’t just use this lens for macro work though, it makes a beautiful med telephoto and great for portrait work etc.
As for you question about going with the regular 100 macro if you’re going to do any hand held work macro or not the IS is worth it and as I said I feel the L is sharper in my subjective tests (I used to own the non L)
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion