Rob Manning
Forum Replies Created
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Sally Hi,
Nope, same floor different department.
If the less resolute footage is at issue, you can creatively use another still, or a frame grab of the higher resolution as a still, or series of stills, going from B & W to some other shade, blurred etc. as a backdrop layer.
Or borrow the better footage without sound and blur that, called a comp (unlink the audio to use repetitive footage in more than one place) and insert the poor footage screen in screen.
Use the effects tab to reduce the size, make the poorly resolved clips smaller so that is looks better, then have it fade to zero, into the next clip of good footage, just about anything.
If it is repetitive (different takes) position it to go from left to right, dissolve slowly, turn from red to gold, back to as shot etc. eating up the time it plays over your newly created backdrop layer, or play over a comp so that the motion or effect creates an artistic distraction.
I’m sure you will come up with something.
Rob
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Hi Sally,
The typical upload will re-compress regardless.
Rule of thumb and referring to Richard Harrington’s and coauthor’s seminal book From Still to Motion, page 285, in chapter 18, about output, a blub on the bottom says:
“Start High, Finish Low”. Using a high-quality compression scheme for your master file ensures better-looking and cleaner outputs for the web. When compressing a file, if you start with a high-quality master file, you’ll have less quality loss in the final file than if you started with a heavily compressed file.”
Now that covers a lot of ground and my method may not be appropriate for everyone else but, I’m converting projects that matter to CineForm, (Competes with ProRes and DNxHD) upon ingest, and last week, I did the reverse from the h.264 files in the edited timelines to create the master file before recoding for the settings in AME for various destinations in the drop down, Apple TV, MP2DVD, Vimeo HD etc.
In a sense if the clip is 15 minutes long, and about 1GB initially as .mov H.264 from the D800, recoding it will make the files three or four times as large.
Doing it on the front end, allows latitude in post and I use I frames only, is what my edit pals always tell me to use.
One can convert output to CineForm, Apple Compressor etc. although it as a menu items might be because I bought the software, so I’m not sure it shows up as an option otherwise.
The other aspect, is file size limitations for servers used for YT etc.
Lower compression schemes, which reduce the files a lot, still will benefit from having started high and ending low. Of these h.264 is generally the best method, with various render choices for keeping acuity but with manageable files for up and down load.
Perhaps invest in that book, it’s a great tool for covering all aspects of a shoot, soup to nuts with various content on a DVD tutorial plus, chapter 18 grinds out the basic software tools one needs to burn content, and or upload.
Others may have additional suggestions.
HTHs
Rob Manning
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What are your needs, goals?
The Nikon folks (arguably) have the better dynamic range.
Canon, has the cachet and Technicolor profiles but the MK3 is slightly softer than the D800 Nikon.
Sony’s A99 does better than either Canon or Nikon for motion tracking.
They all have advantages but I use Nikons, I own a dozen plus lenses so I’m not jumping anytime soon because my DP pal, will lend me his A99/Zeiss glass if need be.
The D7100 is a great camera, and since I have the D800, I’ll sit out for a while.
BTW one of the Nikon guys bench tested the audio capture circuit on a newer camera and the op amp conversion is very robust. Likely used as well in the D7100.
Have fun,
Rob Manning
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Hi David, a snippet from the Nikonian’s forum on DSLR Video.
This user, had a slight learning curve although he is generally well versed for Nikon video on the iterations, D800 etc.
He did purchase the D7100 specifically for the HDMI out and 30FPS at 1080P.
“I nearly gave up on the new D7100.
I just now found the “trick” by hitting the info button just to see what was displayed in Video mode with Live View activated.
That removed all the camera information from the external monitor and put it on the camera LCD.
If you push the button enough times, it will cycle thru the displays.
What you get on the external monitor is what is recorded.This works the same in DX or 1/3 crop. And the image fills 100% of the external monitor screen.
I can now record 1080P at 30fps with my HyperDeck Shuttle II uninterrupted for two hours with my external Anker battery pack, before the In-camera battery dies.
That could probably be extended with a battery grip.
And after downloading the DNxHD codecs from AVID I can burn a DVD for TV in less than one hour with PowerDirector 11″
Thread here: https://www.nikonians.org/forums/dcboard.php?az=show_topic&forum=402&topic_id=1954&mesg_id=1954&page=
Parts of his discussions about the codec etc. are on other threads in that forum.
Have fun,
Rob
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Hi,
In manual mode on Nikons, that means using the focus ring to adjust the image. I’m sure it is the same for Sony. You should be able to set shutter speed and exposure and lock them with AF/AE buttons or a preset in the sub menu, then go back to AF mode.
The shutter speed, is determined in the menu as well, changing that during record has no effect on the capture frame rate, other than affecting the light. The footage is limited to the settings you use in movie choices.
This is for the D800/D7000 bodies, but I am willing to bet the same goes for the A57 and A99.
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I don’t know about the GH3, usually well spoken about but if you intend on using motion tracking the Canon and Nikon designs use in lens motors and by that aspect alone, are no match for the A99.
A DP came over to test drive my D800 for that purpose, took the clips then reviewed the work.
He ended up with the A99, and the Sony glass he also bought are made by Zeiss.
The pieces I’ve done, with the D800 have not suffered from moire and for landscape stills, the D800 is comparable (technique being acute) to a MF design.
We have a couple of friends both with the D800 for stills.
One does advert shoots for design houses, she dumped her MK3 last June when someone dropped off a D800 to test.
The other does private client portraits (that seems to be code for the word celebrity) and only uses Zeiss or seminal Nikkor primes.
There is also (arguably) the dynamic range of Nikon as being superior to Canon but I’m not expert and will let that be championed by more technical minds.
Lastly, HDMI to SSD or HD recording, if that is important or not to your work.
The low light considerations for video past say 3200, perhaps the D4 and MK3.
Rob Manning
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The A99 as noted does direct out HDMI.
That will record for as many hours (heat and battery being at issue) as needed.
There are other devices, from AJA, BMD and even a very high end CineForm codec HD device.
The Ninja 2, a screen, in addition to the A99, and uses inexpensive 2.5″‘ HDs if somewhat static shooting, versus SSDs.
That is a brilliant camera for motion, zones etc. and the CPU/sensor combo, make tracking, well, like a Sony video camera versus C and N where the snail motors are in the lens.
RM
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Hi David,
Some people alter the picture controls in each brand. GoPro has a set of Technicolor profiles, Red Giant has some tools etc. and many Canon users use the Technicolor patch for Canon as well or Tassin Flatt profiles.
For Nikon, I was advised by Ric Kasnoff to shoot neutral way back in the stone age of 2010 when the D7000 first arrived.
Ric is here and worth following for gear to geek stuff: https://vimeo.com/17225631 or https://vimeo.com/ricphoto
That being said, Alvaro Yus in the EU (Spain?) has an entire profile array for the D7000 and great video examples of deep tweak. He offers the profiles at no charge. Great stuff here: https://alvaroyus.com/
So far, shooting in neutral has been good enough for me however, I am looking at building a custom profile for the D800 when I want to experiment and have time. These can be loaded into the custom settings on both the D7K and D800.
The reason is we are (my associate has the A99/Zeiss) ramping up to get around the shark tank world of web promos, wish me luck, that means competing with design and photo grads from Brooks, Art Center, Otis and every college in between.
Opening up the range in a profile does allow better construct in post, to answer your question and shooting say a retail store opening, or party without a grip truck and lights means having latitude for reaching into the blacks or control of the white so yes that type of pre-shot adjustment can be very handy. It makes sense in ambient conditions, indoors at night.
We were at an APA seminar before Halloween and the instructor said shoot the profile which fits the subject matter because a profile on video, unlike a profile in raw, is burned in (arguably).
I disagree on that approach and prefer to have as much data availed after the fact without a color control choice (Landscape, Portrait, Standard etc.)
After all, if one owns an iJOBS or Google phone, loading in an incidence and color meter, slate, DOF chart etc. will get you into the set conditions that a DP would have a bead on.
This “science” is not something everyone does, but, the longer we are at it, the more edge we seem to gravitate to, in order to get our best results.
Up next, a couple of follow focus rigs.
Here is what I’ll get. I’ve been stalling on this for months (budget ‘doncha know) and I love the fact there is NO play: https://www.hondogarage.com/index.php/product/landing/follow-focus
If I can offer anything else, please let me know.
Best book: Rich Harrington and the lads, From Still to Motion.
HTH’s
Rob Manning
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Yes, yes and yes…
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Nikons typically have better DR than Canon.
They started the party with the D90, then let Canon run the table until the D7K, which would record for at least 20 minutes.
With proper technique, it becomes (Camera/lens) a Chevy, Ford, Buick, Chrysler issue.
Nikon also has arguably better glass across the range (not all).
If you are loading a flat picture control, outside of the usual moire and endemic artifacts in every HD enabled DSLR, Nikon does a great job. I never did use an off camera PC, haven’t needed it.
We have 2 D7K’s in the kit, one D800, one D3S for low light stills. My associate now has the A99 for (AF) based in the CPU which smokes Nikon and Canon’s lens motor slack.
We shot a concert last April, 2-D7K’s one T2I, one MK2, the footage is all good, but the D7K with a 24-70 f/2.8 was the choice for roam and close in on stage work because of DR. The Label released the DVD in December, and hits a world tour this weekend (merchandise kiosks at each venue).
No one cares which camera was what angle, except the operators who got line credit for their footage.
Whoever said the D7K is not good, may have had a bias.
The costs (used) may be headed down with the pending arrival of the D7100.
So, sure, Canon has a marketing edge, but there is no truth that the D7000, the D600, the D3100 are not up to the task, that sounds like uniformed opinion.
Rob Manning