Rob Manning
Forum Replies Created
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Had dinner with my DP friend, he’s going on a corporate shoot next week to Silicon Valley, big CEO promo for a computer company.
Using the FS100, but, he just back from Japan where he perused the largest camera store, and has decided to sell the FS100 and buy the D-800.
He’s a Japanese native, and based upon the engineering he was reading about in the literature plus his peers over there, he feels that the D-800 will be a better choice because of lenses, 4.2.2 etc.
Too deep for my blood in technical terms, but I learn a lot whenever I ask a question about such idioms.
Point taken then.
To each his own.
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Yep, real shoots, 10 BIT and S-log.
Ive just finished a short piece from the NAMM show, at Fender’s suite of a set.
Crowd made it impossible to execute anything but static takes, some AF built in moments which are overlaid with history of brand, and player, and yes the video looks very, very good!
Only mistake, was upping ISO during the set, once in edit, the 400 ISO was fine making flesh tones just about perfect, lots of orange and red in the stage area so I boosted the ISO two clicks, and now have more saturation tweaks to match first part of takes.
Otherwise, the 24-70 f2.8, did admirably well in a stage lit, darkened and over hued room.
The D800 and D4 loom, to be sure.
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Too soon to tell about the claims as to improved, or reduced moire/rolling shutter.
Nikon’s PR suggests CPU, low-light focus, capture and OS (Ex-speed) are mitigating that, plus or minus?
The promo (ad) and the behind scenes, are fairly interesting as the subject is on a speed bike, with a lot of static focus on the machine, rider, long and short shots as it negotiates Chicago at night.
I like the off camera uncompressed HD capture (4.2.2) versus the h.264 on card, and also the live view is active during that, unlike the D4 which is as much a change, with 18MP before DX crop but twice the cost.
My question, remains unanswered by the denizens around a few forums, as to if or what improvements are gained (not gain per se) by having a more dense array of photo-sites, in the nominal 2MP frame captures?
Will that be compelling and improved enough to change the paradigm?
We shall see.
Rob
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My pal, a DP who also is on a permanent crew shooting RED Epics around the globe, replaced his 7D and Nikons with the FS100.
If Video is the goal, that’s a great choice although, he still is welcome to use my Nikon glass.
We were at Mono Lake, in the late fall, frost and fog at dawn, pink pre sunrise and sunup, also the next day at Alabama Hills and Mt. Whitney, I haven’t seen the decoded takes but the files in camera, were stunning, plus all of the in/out configurations, pretty hard to beat the machine at that price.
I’m signed up for a D4 and a D800, so we’ll see if the Nikon hype is real.
Have fun,
Rob
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Both Canon and Nikon have new machines announced, the D800 and D4 from Nikon and the 1DX from Canon.
I was on a shoot with a DP who had jettisoned his N and C gear for the FS100, because of the lens and pro features.
He also bought the crop DSLR Sony to use concurrently, he’s delighted with the FS100 and disappointed with the DSLR.
You might wait until the new gear is on the market and test driven beyond the ringers hired by N and C to sex up the promos.
I am impressed with Nikons HDMI uncompressed out however as 4.2.2 and the 36MP sensor on the D800 which according to hype, has reduced moire and rolling shutter etc. because of CPU advances.
A lot is up in the air right now.
Rob
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Cool, I’ll check it out, thanks Chris.
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Thanks,
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I also typed D$ on another forum, appropriate nonetheless.
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John,
Is HDMI directly out, less compressed than h.264 via the CPU?
If so, what format is that, or, is it an iteration of h.264?
Many thanks,
Rob
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Nigel thanks,
I guess gain is gain and for the time being, the D7K does suffer slightly as compared to Canon, but the video here done with Howard Shore score, testifies that technique and skill can work just fine thank you.
Yes, a round of Red Epics bartender, for everyone but for mere mortals I’ll stick to Nikon regardless.
Besides, as a cinematographer, your eye will always see beyond the peer norm, and it’s also that eye which places you as the director etc. on spot with clients, good job on the viscosity takes BTW.
The ProRes bookend is CineForm for we of the PC persuasion.
Thanks for the reply.
Rob