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Messages - Deadcode

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1
exit ML menu and press SET button to apply the changes

That was the missing part for me! Thank you! I was hitting the info button, and rebooting constantly...

2
I already bought the 700D yesterday, and i choose this becasuse of your 1x3 dual ISO video on youtube :D
I know the strong points of the Eos M, tried it several month ago, but i had to stick with dSLR form factor due to family requirements (My wife shoots with 600D which has very limited raw video capabilities and i wanted to upgrade "her" camera, and she didnt want much change)

As i can see the 2,5K 1:1 with corrected preview, the ana 4,5K and the regular raw mode are the most usable.

im still catching up about the correct settings for most of the modes, like
- is there a 2.8K mode with 10 bit? the 3K with 14 bit compressed limitation only shoots for about 60 frames
- with crop rec new it seem like i can shoot with 8-11 bit in high rez crop mode, but if i turn on fix preview it switches back to 14 bit. 1440p 1:1
- how can i shoot full widt anamorph 1x3
- are there any reason to shoot 3x1?

These are my first experiances about 2 hours of playing with the camera, you dont have to answere these questions :)

BTW: Im using a Canon 10-18 IS STM, and my goal is to shoot as beautiful images as Zeek does who shoot mostly 2.5K with his EosM



3
I need your help for lens recommendations.

Im going to buy a 700D, and i want to use it in crop mode.

What are the best cheap fast lenses for 3.24x crop which can reach infinity focus with the EF mount, without camera modification?

4
Camera-specific Development / Re: Canon 600D / T3i
« on: April 16, 2021, 11:14:21 AM »
Could please help me answering the following questions:
Does SD Card hack works on the 600D?
10 bit recording?
Compressed raw?
1x3 anamorphic?

As far as i know only 10 bit worked years ago, but if SD hack works now, the 600d could be a viable option to choose for MLRAW recording.

5
General Chat / Re: BMPCC 4K
« on: August 05, 2019, 01:22:03 AM »
Q: shallow DoF. I use 5D3 mainly with f/1.4 primes to obtain a good shallow DoF (I usually don't use wide lenses, so in my case, I'd use Speedbooster only for increasing the "speed").
Now, let say we have two scenario: 1. BMPCC4K + SpeedBooster + f/1.4 EF lens, 2. BMPCC4K + f/0.95 mFT lens. Which of these two options can go closer to the percentage of in-focus/out-of-focus of 5D3 + f/1.4 EF lens? Are the two options equally close?

BMPCC4K with 0.64x speedbooster can give you 1.19x crop over fullframe. Which means a 50mm F1.4 will look like a 60mm F1.7 with T0.95 brightness. So the answer is: yes, the look will be pretty close. As a sony user i can't imagine how hard can be to film a moving subject without AF @ wide open, but that's not my problem :D

6
General Chat / Re: BMPCC 4K
« on: August 05, 2019, 12:19:12 AM »
That's exactly my point: I'm sure that 5D3's FF sensor captures more light than a mFT sensor, that's obvious, BUT 5D3' sensor is less noisy only at low ISO (ideally 100, max 800), while BMPCC4K has native 400+3200 ISO that should mean that even if I need to push up the ISO to capture the same amount of light of 5D3, I should anyway obtain a less noisy image than 5D3. For example: let say that to obtain two images with the same amount of light, 5D3 is set at 1600 ISO, while BMPCC4K is set at 3200 ISO or even more, and the result should theoretically be that BMPCC4K captures less noise.

Could it be?

No. Both image will be equally bright with the same lens at same aperture with the same ISO with the same shutter speed. And dont forget, you can put a speedbooster to the BMPCC4K. In almost any technical way to BMPCC4K is superior. It's just much more fun to shoot with the 5D and there are a lot of pain in the a** dealing with the BMPCC4K shortcomings.

Theoretically yes, FF will capture 4 times more light than mFT sensor. But a 21Mp fullframe sensor from 2012  with pixel bining for video is no match to m43 sensor from 2018. For video of course.

Choose BMPCC4K for work, rig it up till 4000 usd price range, and you will have a mini-Alexa https://www.youtube.com/watch?v=bCT9k81vp-g
Or choose 5DIII for fun shooting experience + stills

7
Share Your Videos / Re: Canon 5DMk2 versus BlackMagic Pocket Cinema 4K
« on: April 20, 2019, 08:45:38 AM »
First of all, this is an insanely good result from 5D2 in 2019.





On the other hand it's ageing. The crispness (1080p timeline!), the noise, the rolling shutter (jello with the 5D).. it's a no comparison against a cinema camera. The colors are still flying but on this example i prefer de BMPCC4K in terms of color too.

8
Post-processing Workflow / Re: ACES in After Effects or/and davinci
« on: March 18, 2019, 07:34:10 AM »
Why do you want to work in arri log-c if you are using ACES?
If your colorgrade is all about using your favourite LUT-s, ACES will not give you any advantage over the "regular" workflow.

allemyr: thx for the Pre Tone Curve advice, i have never used it before, and it makes the image look like it was shoot incamera standard profile. But as i can see it's not compatible with ACES

9
Post-processing Workflow / Re: ACES in After Effects or/and davinci
« on: March 17, 2019, 09:58:13 PM »
DNG RAW files are in linear format. It does not matter what IDT you choose, you will always get the same results.

If you transcode your footage with MLV App to ProRes, that's a different story... but i would use Canon 5D IDT....




10
Post-processing Workflow / Re: ACES in After Effects or/and davinci
« on: March 17, 2019, 08:21:12 PM »
Yes, Color Space transform.
The timeline is in Linear, if you dont convert the REC709 back to linear you will see the following problem:





As a final step Resolve will convert the linear image to REC709 as you set it on the ACES page with the output device transform

11
Post-processing Workflow / Re: ACES in After Effects or/and davinci
« on: March 16, 2019, 08:00:42 PM »
In Resolve:
Aces:
No Input Device Transform
Rec709 Output device transform

Little exposure adjustements aaaaaand done, perfectly filmic

While using ACES you are unable to use filmconvert or any other stylistic LUTs, becase they are behaving completly differently due to the linear conversion.
However it is possible to use them with the following steps:
1st node: color space mapping: linear input rec709 output.
2nd node: LUT/Filmconvert
3rd node: color space mapping rec709 to linear

12
General Chat / Re: Panasonic GH5 or Canon 5D Mark III?
« on: October 10, 2018, 06:27:33 PM »
100% correct.
And everyone want the option to shoot raw. This is the reason why a lot of people want the new Blackmagic Pocket 4K. I want it too so baldly, but it dont fit my needs. Only my desire :D

Once i will have 5D(3) once again, just for fun. When it goes below 500 bucks :D

13
General Chat / Re: Panasonic GH5 or Canon 5D Mark III?
« on: October 10, 2018, 05:17:12 PM »
Kharak, Levas you are both right.

I loved to grade the footage straight from MLVFS to Resolve. RAW to final grade.

When you shoot for yourself this is awesome.
But when you shoot for clients where you have to shoot hours of footage week by week, raw is pain in the ass.
I had to shorten my workflow and lower the storage space consumption as much as i can to finish my work till the deadlines.
So i switched to Sony with SLOG2 workflow.
I got very nice results, but after few weeks i realised colorgrading slows me down a lot. Now im recording with fine tuned settings, and using my own correction LUT's to get
similar looking image what i have got from my 5D.

Dont blame sony for bad colors, blame those who dont know how to colorgrade properly.

And no, im not gonna link footage, i dont want to prove RAW is bad, because it's not. Just not suit for everybody/every job.

14
General Chat / Re: Panasonic GH5 or Canon 5D Mark III?
« on: October 10, 2018, 01:31:39 PM »
Actually i tested 5D Mark II against BMPCC and Sony A6300.
Both the BM and a6300 crushes the 5D in terms of dynamic range.
Noise on the a6300 is a lot lower than 5D2 Raw. And yes, all of the cameras was shoot by using ETTR.

Dual ISO is nice but it (was) is very slow in post process and aliasing heavy in the non-overlaped regions.

I'm talking about video, and i tried neat video on the 5D footage.
Im not gonna prove anything on a Canon related forum, because it's pointless. I just wrote down my experiences.

15
General Chat / Re: Panasonic GH5 or Canon 5D Mark III?
« on: October 10, 2018, 11:37:41 AM »
I think everyone should try shooting with a 5D raw.
The image is gorgeous. The feel is awesome.

After several month you want more. AF, better low light, more portability, more dynamic range.
After few another month you start to realise RAW is nice but the workflow is complicated and the files eats drive space for breakfast.

Then you switch to GH5/A7 III.

If you skip owning 5D, all you can think about it how good can it be.
If you owned a 5D, your remember the good old times, and you also remember why you stepped forward to another camera.

This is my story :D

16
Share Your Videos / Re: 5D Mark III - Shutter Social (REC2020 HDR10)
« on: August 06, 2018, 07:51:03 PM »
What was your workflow for HDR?
It seems like you dont have HDR display for colorgrading.

17
Camera-specific Development / Re: Canon 5D Mark II / 5D2
« on: March 27, 2018, 10:31:26 AM »
What is the difference between 1:1 mode and the "normal mode"? It sounds strange to me there are no moire/aliasing in full frame mode. Nice development anyway.

18
Hey, first post on the forum after a year using ML on a 5dMkiii.  Has changed my life!

If anyone has a minute, I'd love any recommendations on a desktop PC I need to build.  My workflow is:

- Film handheld 14-bit 1920x1080 uncompressed MLV
- Go home & transcode to 12-bit Cinelog DNxHD for storage
- Edit, stabilise, grade & render H264 in DaVinci Resolve 14

At the moment I am using an old i5 HTPC, grading in Premiere Pro. The problem: I have to leave it for a day to render the DNxHD and can't even play back while grading...

Any opinions on the best value DaVinci Resolve System for a sensible transcode and realtime render?

For 1080p footage you dont need beefy computer. Resolve use your resources much more effectively than Premiere and relies mostly on your GPU
I have and old i7 3770 + 7970 Ghz edition config and works like breeze with 1080p stuff, however it's not future proof, i can only edit 4K clips if i use Proxys
So my recommendation: Ryzen 1600 6/12 core, or i5 8600 with 6 core  with a GTX1060 or RX470. i7 8700K with GTX1070 is the golden choice for Davinci, but the price of the GPU's are insane nowdays, cryptomining 4eva!

Or simply upgrade your HTPC with a GTX1060 low profile edition.

19
Great job Levas!

Could you please do some tests with my 5D2 footage? You can download it from the following link:
https://wetransfer.com/downloads/7747cb1b86614e01dc1acb9bf11bd2a220171124170652/f7fd5be4b588f945da4898c6c41feb9e20171124170652/f83ff8

I think on this example "motion picture" means a totally different thing... This was my worst experience with moire/aliasing. Yes you can clean up a lot with chroma blur. i filmed this about a year ago, now im filming around F16 if im shooting with infinity focus, so now moire/aliasing is not that much of a problem. Im curious what can you do with this if you are using your method.

20
Awesome, thank you!

21
Hi all!

As i can see the buzz word HDR and HLG is "just" a properly tone-mapped 10 bit video nowdays.

As far as i know RAW contains wider color gamut then human eyes can see, so that will not be a problem, 11,7EV dynamic range may fall short behind the required 15 EV, but hey, even GH5 can do it! (with 12 EV dynamic range...) 10 bit output is not a problem either.

Could you please tell me what is the workflow to grade/color correct MLRAW in post to get proper HLG output for HDR displays? (In Davinci Resolve)

22
Post-processing Workflow / Re: never get ok results with filmconvert?
« on: August 18, 2017, 07:46:45 AM »
Filmconvert is designed to use with recommended settings, such as Canon Standard, Natural, Cinestyle, Marvel. These profiles are way undersaturated compared to raw processed ACR.
On the other hand, you can find color settings for Raw videos in filmconvert if you are using 5D Mark III profile (all of the canon cameras have the the same colour)
Unfortunetly if you want to use Filmconvert with it's ACR profile you have to process the files in ACR with a given preset.. (brightness +50...)
But if you do your process through Davinci Resolve with BMDFilm Log, there is a profile for that in filmconvert.

23
Raw Video / Re: 50d vs 5d3 raw quality
« on: August 17, 2017, 07:46:33 AM »
The colours are the same.

50D max resolution without crop mode 16:9: 1584x892
5D3 max resolution without crop mode 16:9: 1920x1080
% difference in resolution: 21%

50D max resolution in crop mode continous: 2000x1080
5D3 max resolution in crop mode continous: 3072x1320
% difference in resolution: 53% horizontal 22% vertical

Other key differences:
Low light is about 2 stop better on the 5D3
Dynamic Range is almost the same, but the shadow noise on the 50D is much worst

50D uses line skipping for video, which means lot's of moire and aliasing. If you have mosaic engineering VAF filter you can rid of it.
50D cannot record sound in camera
Fullframe vs APSC

For the price the 50D is awesome

For a casual viewer the difference between 50D + VAF raw vs 5D3 raw is marginal

24
I tested my new Feiyu MG V2 gimbal with my 5D Mark II + 24-105
It worked perfectly. The max load for the gimbal is 1630g, 5D2 + 24-105 is 1520g.
The point im posting it here, i used Ektar 100 LUT from hyalinejim. I still cant figure out how to use the advanced version properly but im improving with every grading session :D

https://www.youtube.com/watch?v=RF4hQ4WTHs0

25
Share Your Videos / Re: Audi Q3 Spec commercial - MK3 Raw
« on: July 13, 2017, 10:33:20 AM »
Awesome job! Could you please share a Prores LT file about one of the clips? I would like to try to colorgrade it myself. Im curious if i can do the same grade

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