Etiquette, expectations, entitlement...@autoexec_bin | #magiclantern | Discord | Reddit | Server issues
Started by Andy600, May 22, 2013, 03:40:57 PM
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Quote from: tmte on October 07, 2013, 12:09:41 AMHey guys! Just joined to forum to say thanks to the guys who've been working so hard on the hacks. The developments are honestly amazing, I just sold me t3i and will be scooping up a 50d with some MF glass pretty soon. I downloaded a 50d movie earlier called "kiss" off vimeo and played around with the CC to see what I could do. Even after compression the flexibility is nuts.Here's the original https://vimeo.com/67351221
Quote from: araucaria on October 07, 2013, 12:17:58 AMI actually think that has more to do with the weather the video was shot (plus the not over graded footage). If you are fine with that kind of grading you could go with a panasonic gh2 or g6 and save yourself a lot of trouble.
Quote from: maxotics on October 07, 2013, 12:57:31 AM@araucaria Please don't take this the wrong way. I am not knocking the GH2, GH3 or any other consumer H.264 video camera. I have a couple. For many types of situations they are perfect. However, there are many people who have only shot with a GH2 and don't understand how RAW video is different, much different. Each frame of the 50D is say 1728x972, or 1,679,616 pixels. Each pixel (red, green or blue) has a value of 256, 1 byte. There are 24 frames a second, or 40 megabytes per second. That is all real color information. Even when the GH2 is running the highest bitrate hack, it's at 175Mbits, that's BITs not BYTES. In bytes that 175/8 or 22 Megabytes.How can a camera that saves 22 megabytes of color data per second match a 40 megabyte camera? There are many people that would argue that those numbers are distorted (the 50D can actually go quite higher). In any case, no one would question the dynamic range difference between the cameras.Again, I'm not saying one can't shoot great video with the GH2. Many have. But it's dis-information to say one can get the same dynamic range with a GH2 over a 50D. You can't grade in color data that just isn't there. This is obvious to anyone who has shot both. Again, not saying your advice, in general, isn't good. It may be the best advice for that reader.
QuoteBut it's dis-information to say one can get the same dynamic range with a GH2 over a 50D
Quote from: 1% on October 07, 2013, 02:13:35 AMHa ha, yea, don't compare with H264 anything... should be 50D vs ari, red, bmcc, etc.. maybe some 4:2:2 or 4:4:4 broadcast cams if you really wanna check vs compressed formats.
Quote from: D.L. Watson on October 07, 2013, 02:40:57 AMHonestly, this GH3 footage I shot looks better in sharpness and dynamic range than anything I've gotten out of my RAW enabled 50D.
Quote from: maxotics on October 07, 2013, 02:53:15 AMFirst D.L., very nice video. What I'm pointing out is a technical fact, not an aesthetic judgment. I agree, shooting RAW is difficult and time consuming and often, just NOT worth it. But a scene in that video would be a case in point, about the difference in dynamic range between a GH3 and 50D RAW
Quote from: maxotics on October 07, 2013, 03:28:23 AMHowever, the film about the mechanic, shown in a movie theater, would look fantastic. If shot on GH3, I think the contrast would dilute the emotional feel of the piece. Just my 2-cents.
QuoteWhat I'm pointing out is a technical fact, not an aesthetic judgment. I agree, shooting RAW is difficult and time consuming and often, just NOT worth it.
Quotesomething that will write metadata for white-balance settings
QuoteIf I invested into RAW for an extra stop and half of latitude and post-white balance - I wouldn't have enough money to make my little indie shorts.
Quote from: LEVISDAVIS on October 07, 2013, 10:52:59 AMNo new news from Mosaic Engineering. Left a voice message last Friday the 4th offering my assistance and/or just to simply touch base and find out about the progress of the filter.... Been following 50D ML Forum and reading what other users have asked about Mosaic Engineering. Here is a link to DNGs featuring the VAF and a $10 Promaster UV filter and also no VAF with the same $10 Promaster Filter. Looks like the moire is nearly completely eliminated (95 - 97%). https://copy.com/hjxaDziN02ae... The last two Fridays in a row I've left a voice message with Mosaic in an attempt to touch base... Still no new news.
Quote from: LEVISDAVIS on October 07, 2013, 11:31:33 AMWill make time for a test for sure...Here is a color corrected image from the VAF filter test with the Promaster UV filter in place using Capture 1 trail version to export flat 16-bit Tiff image and then applied Color Correction in AE with Synthetic Aperture to create this look... (Take notice to the detail and the lack of moire! Obviously the color is jumping out in a great way, right?)
Quote from: maxotics on October 07, 2013, 02:53:15 AMas for a pixel having value of 0 to 255, instead of 16384. I'm talking about before de-bayering which is what the camera records to RAW in, either red, green or blue values.
Quote from: rockfallfilms on October 07, 2013, 11:11:10 AMThat extra dynamic range could be the difference between blowing out the windows or not, definitely worth it in my opinion.
Quote from: D.L. Watson on October 07, 2013, 05:49:03 PMUnfortunately, in the case for my 50D short, in order to expose correctly for my subjects, blown out windows is something I had to contend with. While the 50D has more dynamic range, it's not 14 stops. Even so, the 50D is a great RAW machine.
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