Robbie Carman
Forum Replies Created
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Don’t get me wrong Noah and Ryan I agree with both of you 100% about the quality of REDCODE – 100%. It’s just that I see so many people talking about RED RAW saying that its the same thing as RAW still photography – and its not that was really my point.
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 Orr] “which means virtually no compression,”
This is simply untrue. RED footage is hugely compressed-big time! Because its wavelet based it gives it several advantages in quality compared to codecs like H.264 and flexibility like extracting proxies and things like like being able to support RAW data RGB data from the same scheme but it is still lossy. In fact I think RED themselves saw its visually lossless but mathematically there is still loss.
Don’t get me wrong I think the brilliance of the RED system is all in REDCODE. Sure the bodies and gigantic sensors are cool but REDCODE is very neat indeed – but it is compressed.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
yeah 1/50th which shooting 24 is what you’d normally want sometimes you’ll have to break the rules on situations like fluorescent consumer lighting
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
sounds like power cycle flicker to me from the lights. Although in theory those lights should cycle at 60hz in reality not always the case. I was recently grading some concert footage that was light under house lights ( low quality HMI’s maybe a diva mixed in) and there was noticeable flicker even though the team was shooting at 1/60th to match that power cycle
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
does the original footage exhibit this shift? Where you shooting 720p60? I’ve never seen it on my cameras but the other day I was helping a client who had shot probably about 50min of 720p60 on the 7D all with in a little of an hour and the camera got the temperature warning several times. Lo and behold the footage had the shift you were are talking about.
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
your most likely seeing the result of electronic aperture control employed by the camera. Unlike a lens with manual aperture control you’ll often get stepping as you point out on a lens with a variable aperture. Not sure of what the mm points are for that lens but there are specific points along the focal range that the aperture has to be so again thats why you’re seeing that snap to an aperture.
With photos this is no big deal cause you’ll zoom take a photo and zoom again and take another photo and you’ll never notice it. But if you’re zooming while recording video you’ll most certainly notice it.
Your best choice as Lance points out is to get a constant aperture lens. Even if you don’t want to step up to the 70-200mm F/2.8 the 70-200mm f/4 and f/4 IS are also fantastic.
If thats not an option you could also find a an old nikor lens that has manual aperture control. Or don’t zoom!
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
Haven’t heard of anyone doing that but doesn’t seem worth it for several reasons.
1. You’ll probably get a crazy amount of vignetting do the fact that those lenses are at most trying to focus onto a 2/3″ chip and not the much bigger ones found in even cropped image sensors of DSLRs.
2. Photo lenses from nikon or canon and cinema style lenses from companies like Cook can resolve a lot more resolution then an ENG lens.
3. Even if you could adapt it the advantages of autofocus, servo zooming etc of a broadcast camera lens would no doubt be lost during the process.
Might be worth it to sell to someone like broadcastbaron.com or even put them up on Ebay
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
yikes I too would be very careful with freezer packs. Condensation in electronic gear is a killer.
Are you recording 720p60? Thats the only time I’ve ever had the issue on 7D
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion -
lars is 100% correct! Plural Eyes is fantastic! And saves so much time. You just need to be sure you also record audio on the camera as well as to your H4N. Its the combo of these two audio sources that Plural Eyes uses to sync
After its done syncing you simply delete the camera audio link the the H4N audio with your video. Its seamless really
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 have knock off as well and it works fantastic! I think mine is an opteka or a satcheti or something like that
Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
Apple Pro Training Series DVDSP
From Still To Motion