[Tim Crowe]

Hi Stephanie,

I’ve used Cinestyle on a number of occasions and one thing to be mindful of is the fact that it adds noise to the footage. If you use it, it becomes crucially important to use the native ISOs of your camera to reduce the addition of noise. You’ll notice that Cinestyle does add a bit of dynamic range to the camera, but I was able to get nearly the same results when comparing a color corrected Neutral profile clip and a corrected Cinestyle clip of the same subject.

In my experiences, the Cinestyle profile performs better in well lit situations. If there is ever an instance where you’ve slightly blown your highlights, then Cinestyle is great for pulling it back to a useable image. However in low light when using higher ISOs is the only option, you’re going to experience more noise and a negligible difference in, and maybe even worse, performance as compared to a Neutral profile.

Also, this profile is suited best for the 5D Mark 2 and 3 because they simply have better noise performance than the 7D and 60D.

I do like Cinestyle, but I only use it in well lit situations. In a situation where light is hard to come by, I use a Neutral color profile. With this combo, I end up with cleaner images after everything is corrected.

Hope this helps,

Tim

[Tim Crowe]

Hi Shaun,

We had a similar problem on a shot we did going from the bright and sunny outdoors to a heavily shaded front porch, then into the lower light of the entry way and house. You can see it here: https://www.youtube.com/watch?v=mqYQJiGEpzE. It’s the first sequence and what ended up doing to get around it was a series of cut shots to allow the transition of camera settings. For us, it was the only option. DSLRs and cameras with similar sensors just don’t have the dynamic range necessary to handle lighting transitions like this.

Until we can afford a better dynamic range camera like the RED Scarlet or a Canon C300, we’ll have to make due.

Tim

[Tim Crowe]

Hi Richard,

My best guess would be that they used a combo that’s popular among professionals. The first one would be a Canon 24-70mm f2.8. This is perhaps the best lens for DSLR videographers. It allows wide angle, shallow depth of field (If you like it), and a great zoom range with a constant aperture. The second would be a Canon 70-200mm f2.8. This is a great lens because, like the 24-70mm, it has the same constant aperture throughout a great zoom range and you could also get a nice this shallow depth of field with this if you wanted to. Another cool thing with the 70-200mm is its internal zoom. So the lens stays the same length at all focal lengths. If I had to choose one though, it would be the 24-70mm. Considering that they were traveling to Machu Picchu, they probably wanted to travel light and the 24-70mm would be best for that.

Tim

[Tim Crowe]

You can use the Teradek Cube in a number of ways. First, you could attach the Cube to your camera, stream to a wireless router of some sort, then send the signal from the router to an iPad. This solution gives you a range of about 300 meters. You could also use the cube to send the video stream of your camera directly to the internet, then view the stream from a remote, internet connected computer. This solution would allow you to view your camera’s video stream from any distance you wanted.

Tim