Ryan Holmes
3
COW Coins
Forum Replies Created
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So let me get this straight – you want to mimic a look from a $40 million budgeted movie with your $500 camera? That movie was largely shot on the Arri Alexa, an $80K camera that is among one of the best currently on the market for low-light performance.
I’m not trying to be rude, but that’s just not realistic. Those scenes from the movie still underwent serious color grading as well as the benefit of having a whole movie crew out there to take advantage of all available light and hide any others deemed necessary.
Your t4i can shoot some good stuff in low light, but noise free ain’t gonna happen. Once you start pushing that camera into the 1600 ISO range and beyond you’re going to get noise. Plus you’re dealing with h.264 compression on capture which will crush your blacks making it harder to recover information in post.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Ohad Liberman] “I’ve tried mov, avi and mp4 files and none works. “
These are all wrappers. What you need to determine is what codec the wrapper is using. So the .mov file is just a wrapper. The codec inside can be ProRes, DNxHD, Animation, JPEG2000, DV, etc. Same for the other wrappers listed. I usually describe it like gum. A wrapper can hold any type of gum inside of it – Juicy Fruit, Spearmint, etc. The wrapper is just on the outside. What’s on the inside sometimes matters more.
Determine what type codec your files are using and then you can install those as needed and you’ll probably be good to go.
One additional thing to consider – what hard drive are your storing and playing back the media from. If you’re using the internal hard drive (that’s also running your OS and Premiere) then you’ll likely have further playback problems. Video editing typically needs its own dedicated media drive.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
NTSC runs at either 30 or 60fps while PAL runs at 25 or 50fps. If you are shooting for NTSC based countries then at 60 and adjust your slow-motion speed as needed. If you’re shooting for PAL based countries then shoot at 50fps and adjust your speed as needed. Just because you shoot at 60fps doesn’t mean you have to use all 60 frames to slow down your footage. You can experiment with it to adjust your slow-mo speed. Depending on the software this could be a couple of clicks or a matter of using variations and exporting a self-contained QuickTime (or MXF) file.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Austin Steele] “I thought you could conform 30p footage to 24p and as a result you will get mild slomotion footage.”
30p to 24p is going to net you a barely noticeable result. You’re only talking about a 16% speed change. That’s not much.
50p go 24p would be about a 50% slowdown and 60p to 24p would be slightly greater than that (about 2.5 times slower).
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
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Rolling Shutter looks like this (also known as jellocam) – not your problem:
https://vimeo.com/1945079Judder (or commonly called strobing), which looks like your problem, looks like this:
https://vimeo.com/1792533Some options for dealing with judder:
https://blog.abelcine.com/2012/01/10/24p-judder-and-60i-conversion/Ryan Holmes
http://www.ryanholmes.me
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It’s probably your SD card not being able to write data fast enough to the card. The camera has an internal buffer where it’ll store data as it’s being written to the card. But if the card isn’t fast enough, the buffer fills up. Once the buffer is full the camera terminates recording because it can’t hold any more data.
Solution: buy faster SD cards. Class 10 is a minimum. But the brand also matters. Companies like Transcend, KomputerBay are “value” brands and the quality control isn’t very strong. So the cards ability to read/write fluctuate wildly between cards. For my cameras for the last 5 years, I only buy Sandisk Extreme or Extreme Pro cards. Never had them fail on me. They always deliver the stated read/write speed they’re supposed to. Downside: they will always cost more than the value brand. Always. But because I can’t be messing around with cards on set, just hoping it’ll record this time I pay the money for better and consistent performance.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
[Craig Alan] “Is there a link where I can see the characteristics of each lens for this cam? Mainly the field of view of the different choices?”
You should be able to Google for something like this. With an APS-C sensor (7D, 60D, 70D, t4i, etc.) you’re looking at a 1.6x crop factor on whatever lens you stick on there compared to a full-frame sensor (5DIII, 6D, etc.). So on a crop sensor came a 24mm lens becomes a 38mm, 50mm becomes an 80mm lens, etc.
[Craig Alan] “Is auto focus worth considering or, as I assume, is manual focus the norm?
“I don’t think the 5DIII has a auto-focus driver for the video portion of the camera (I could be wrong). And even if it does I never use it! 🙂 I’m not a big fan of auto-focusing on DSLR’s.
[Craig Alan] “I’m debating cutting one of my Panasonic AG-HPX250 P2 HD Handheld “
The Panny’s are solid camears. P2 is an industry standard. They are rugged, built for ENG-style shooting, and ingest well into any modern NLE. I don’t think you’d go wrong using these cameras, but they are not cinematic in the interchangeable, shallow depth-of-field, larger sensor sort of way. These are small chip cameras (small by comparison to DSLR’s) and produce more of a video look. Not a bad thing….just know what you’re buying into to.[Craig Alan] “HDMI can be a pain during a shoot. “
Yes. HDMI is a pain. It wiggles free, doesn’t always handshake correctly, etc. It’s a consumer connection not meant for the professional video market. But it’s cheap, easy to license and compatible with a lot of external recorders/TVs, etc. So I understand why Canon used it. And remember, the 5DIII is a stills camera first and foremost. Video is still an afterthought on DSLR’s.
[Craig Alan] “Are these the L series you speak of?”
Yep. Anytime the lens states something like: EF 24mm f/1.4L II USM Lens – that means EF mount, the focal length of the lens (24mm), the fastest the lens can open up to (f/1.4), L is the high-end Canon series, and if you see a “II” that’s the second generation of that lens (usually released in the last 5 years then. I use the L-series glass everytime I shoot. I had some non-L glass but I sold it as it’s not as sharp and doesn’t have as nice of a focus ring on it (and they’re never as fast as L-series glass).
[Craig Alan] “How long does one battery last? “
I can shoot video for about 2-3 hours per battery. If you take a lot of stills having a battery grip is a smart move mostly for the added shutter button when in Portrait position.
[Craig Alan] “Between the two, how many minutes of video will this give us? “
One 32GB card will get you about 90 minutes of video.
[Craig Alan] “Plus I’m assuming you can delete bad shots as you go? “
You can. I usually just shoot, swap cards, keep shooting and toss footage back at the shop. It can be hard to judge how good/bad the shot is if you’re looking at a 3″ LCD in direct sunlight. Better to judge on a large monitor display a 1:1 pixel view.
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
Glad you got it to work!
I’d like to see the day when we ditch this 2GB file size limit junk. But until then….
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost -
I’d stick to CF cards as the controller that supports the CF cards is much faster than the controller supporting the SD card slot. This matters when you start shooting in burst mode for stills or for video. The faster the controller can write the data to card the less the buffer gets used. The less buffer used the cooler the camera. Cool cameras = happy cameras in my experience! 🙂
https://www.borrowlenses.com/blog/2013/01/tip-optimize-canon-5d-markiii-write-speeds-avoid-sd-cards/
Ryan Holmes
http://www.ryanholmes.me
@CutColorPost