Ryan Loetscher
Forum Replies Created
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You don’t have to color correct first. Just make proxies, do your edit and when you send your XML’s to your color grading software, just reconnect to the RAW files.
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its 29.97… its seemingly fine everywhere. Causing no problems. I slowed down some fast movement, looks progressive (ghosting, fields)… so, its probably fine, just kinda bothers me that it reads it as upper. Not sure if that’s going to affect my compression settings
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I appreciate your feedback, though it is a little disappointing to come to some of these realizations. I got this camera very excited about my cinema work because it looks so incredibly superior in controlled environments to anything else I can get… in my excitement I sold the idea of using it at work and convinced my boss to replace the Canon XL-A1, and now I’ve got to make these things look better. I do think getting some lower contrast lenses would help the situation, but I can’t afford any. CU of thing on these cameras still look superior, but the expansive vistas and bright sunny days are killing me.
I did notice I was losing a lot of color in the highlights, which seems counter-intuitive for me since more information is stored there. I’ll try out the technicolor settings, and will have to really work around the limitations. No going back now.
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… Also, on an opposing viewpoint. I was talking to the Black Magic guys at NAB and also had a chance to talk to the colorist from The Social Network, and they all seemed to be of the opinion that you should bake in your look with these cameras… the colorist actually said “I can’t believe I’m saying this but…” They just felt there wasn’t enough room on these codec to play with to go that flat with it… any thoughts about that?
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Awesome! I’ll check that out! I’ve also realized that I’ve overlooked a few things… The midday shooting I think causes a lot of issue with the dynamic range of highlight to shadow… but I’m also shooting at 24mm with the 24-105 at F/11 on full frame… that’s going to cause some softness and chromatic aberration issues. I’ll have to get to know my lenses better than ever before and just really be on top of it!
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I keep on saying t2i… that’s the old model… 60D
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I have to agree with what the Richard’s said… the added all the draw backs I did not mention in my post below. Like I said… I ADORE my 5D. But I think you would be wasting your money. The 5D was created for photography and the video was an add on that started a revolution… the 7D was built with video in mind. The new features out way the extra shallow DOP (which some feel is over the top) and the wider angles… if you think conversely, its more expensive to get into the 300mm range with quality and on the 7D or other cropped sensors, you can get a cheaper 200mm lens that looks better and have it be a 320mm.
If I had to do it over given my current situation, I would have bought two t2i’s and got additional lenses with the left over money.
The lenses are more important then the camera to a certain extent… the camera is the stereo system and the cameras are the speakers… so you have a bad ass stereo, great, but if your speakers are shitty little dollar store speakers, you aren’t going to get the best out of the stereo.
You may not feel as cool, but you’ll definitely be investing your money better.
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I haven’t read through everyone’s posts, just thought I’d send a suggestion… You aren’t going to get your list with the 5D on 4k… I spent 5K for my camera with the 24-105mm f/4L kit lens, the $99 50mm mk1 f/1.8 prime and various accessories. It really is all about the lenses. If you can do with out the extra landscape of the full frame sensor, I would get the 7D (which also gives you 60p, yum) and get better lenses, and accessories.
ONLY buy IS lenses unless you have minimal movement on a tripod. Even on a tripod non IS lenses shake. If you need zoom, ONLY get USM lenses or your zooms will be terrible (if you need such a camera move). And I only get L series lenses, they really are worth the value.
The 25-105mm f/4L IS USM to me is a MUST have for video: $1400
I got a used 100-200m f/2.8L IS USM II for 2k… BAD ASS LENS! Gorgeous and worth every penny.
50mm f/1.8 is one of those rare crap lenses that is actually awesome! Sharp as a tac and having 1.8 at that price level is awesome… if you can, find the mk1 version. Much more solid build than the plastic mkII version.
Get yourself a variable ND Filter… IMPORTANT and under rated… and, depending on what your doing, a graduated filter. You should always get the basics like a polarizer and a UV filter. Tac on the battery handle with extra batteries, chargers, bag… you’re getting up there in a hurry.
The lenses i have cover a lot of my range… but I wish I had the extra money for the 100mm f/2.8 Macro, a wide/fast prime and a lens in the 300 range. But I spent the extra money on the extra sensor real estate… which gets you shallower depth of field and more expansive wide shots… but lets be honest, that’s still not really a problem for the 7D.
I ADORE my 5D… phenomenal… but if you don’t need the DOF and wide shot benefits of it, you’re better off with the 7D and investing in lenses and the other things listed. Hell, if it doesn’t need to be in rugged situations and the “sexy” factor isn’t in play on your ego, the t2i has the same visual quality for video as the 7D for half the price. Literally the difference between the t2i and 7D is the build and the photographic features.
One other suggestion, if you know you want to upgrade to the 5D at some point, I wouldn’t buy any EF-s lenses… the EF tend to be better quality anyway, and you can use them on any of the cameras.
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Is it only useable in Avid though?
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Well, Bob, I appreciate the input, but I don’t know if that’s really the right solution. Regardless of rendering, I’d never edit with an h.264 native file. Really bad for color correcting and compositing. And exporting from a timeline for conversations is kind of a ridiculous workflow. I was thinking about mpeg streamclip, but I hadn’t thought about uncompressed, it might be too big of a file for our storage… and I’m not upgrading anything at this point.
Since I don’t have avid, so far it sounds like cineform might be my best option. I could always to DVCproHD… any thoughts on that?