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    • So I looked at the output for the R5 and found this article:

      The quotes that stood out at me are:

      If there is one compelling reason to look at the EOS R5 it is that it can record fully oversampled 4K footage taken from an 8K source. This alone means that 4K recorded with it gives a multitude of benefits over native 4K recordings taken from lower resolution sensors.

      And:

      There's no ProRes RAW output from the new EOS cameras. It's conjecture as to whether this is even possible. However the EOS R5 and R6 are unique in Canon's lineup in that they are the first mirrorless cameras that the company has produced that will output a clean full-frame, full sensor width readout 4K 10-bit 4:2:2 video signal at up to 59.94p over HDMI.

      Someone said in the comments that the Atomos helps with the potential cooling problem on the R5 too. Now the question is should I be recording 10-bit 4:2:2 RAW at (usually) 24 fps? That's a lot of storage and processing for my laptop.

    • Yeah - it all depends on what your target res is going to be.

      I'm making Social Media content that will probably be deployed and viewed at 720 at best. So even 4K is mostly overkill, but my iMac deals with crunching Prores files just fine.

      Storage is a bit more problematic, but didn't you just buy a gazillion terabytes?

      The other thing is that recording ProRes requires a bit more work colour grading in post. But you do have more depth to work with obviously.

      You need to apply a LUT - there's another research topic for you.

    • I've posted a few times in this thread and then deleted - because I learned some more things about ProRes recording over the course of the day.

      Here's some footage in my courtyard recorded in 10 Bit 4K ProRes 422 and rendered with that same Codec.

      On the left is the ProRes footage as it comes out of the Atomos. The right is with the LUT applied in Premiere - or FCP. Similar result. Premiere is generally better for colour grading, but the Colour wheels in FCP are more intuitive.

      The thing is ... all this HQ is 'somewhat' moot because as soon as you upload it to You Tube it gets crunched to AVC or VP9 anyway.

      You could put it on Vimeo maybe - but you have to pay for more than 500mb files there.

      The source file is 42 seconds long and is a 3.14Gb file in ProRes 422.

    • If you right click on the YT video and select 'Stats for Nerds' it shows what Codec it's being deployed with.

      At 1080 it uses AVC1

    • Beautiful once graded. 👏 I have a big dilemma wrt LUTs: when I edit in Premiere on my Mac, it can look washed after exporting. I took a deep dive on that and found a LUT Adobe created to solve the problem which you can apply on export after color grading. Wonderful.

      Except sometimes. Then it looks too over-saturated, especially skin tones for people who already have a lot of color in their faces. Argh. So I find myself sometimes applying it and sometimes not. Wtf?

      Trying this next:

    • Cool - I should have known you'd be across LUTs.
      The trick I learned the hard way is to install the .cube file on the Ninja V - apply it and view and adjust camera settings for/by the LUT - not the camera display.

    • Good tip, thanks. The best piece of kit for me lately is this audio interface that lets me get studio-quality sound by linking my analogue sound processor to my digital camera. Up to now, I recorded sound on a sound recorder and had to sync. Painful.

    • I just bought Transcriptive for Premiere. Oh my God, life saver. It indexes the words in your videos and lets you search. Perfect for me because I have so much dialog, like with the Charley Boorman interview.

    • Nice. Different functionality, but I use 'Simon Says' plug-in for transcribing sub-titles - Premiere or FCP. Upload - cut - paste - format - edit.

      Most of my clients want subs for playing on Farcebook. Saves so much fiddle.

    • Hellrig II

      I bought a Smallrig cage for the Z6. Shooting some real estate on Sunday. This will work.

      I wish the damn 70-200 f/2.8 would &#$&^*$#%ing get here though. Grrrrr.

    • Yeah - I like the Lume cubes. Best use for them is as additional fill-flash units - they will work off an optical trigger. Although can be a bit flakey.

      You couldn't use them on people the way I have them mounted on the cage here - squint city - but they are good for rooms and objects to give more bam.

      They work pretty good as back and fill lighting for interviews too. SO easy to deploy.

    • They give around 25 minutes of battery life at 100% Brightness - which is surprisingly bright, but isn't much time on a video shoot.

      So typically I rig them with a power bank and haven't run out of juice yet. You can always USB power them of mains as well, but ... like I need more power cords running around a location.

      This works - plonk 'em anywhere: