Page 2 of 2 FirstFirst 12
Results 11 to 17 of 17
  1. Collapse Details
    #11
    Senior Member Mike Krumlauf's Avatar
    Join Date
    Apr 2006
    Location
    OG from Chicago. Currently in Denver, CO
    Posts
    1,161
    Default
    Quote Originally Posted by QuickHitRecord View Post
    Thank you both for the useful insights. I think you might be onto something with these older ENG cameras. There is definitely a look and feel to the images I've seen coming out of them (Mike, I looked through a bunch of your YouTube videos today).
    Hope you liked what you saw haha. Yes, the older digi cinema cameras are the best! I have sworn by them for years.
    Mike Krumlauf
    JSAV A/V Technician
    Denver Tech Center

    GEAR
    _________________________________
    Sony F23 / SRW1-SRPC1 Recorder
    Canon YJ19x9 SD B4 Lens
    Apple Mac Pro 8 Core 2008 W/ AJA Kona 3 Dual-Link 4:4:4 Capture Card
    Apple Macbook Pro 15-inch 2007
    Final Cut Studio 3


    Reply With Quote
     

  2. Collapse Details
    #12
    Senior Member Mike Krumlauf's Avatar
    Join Date
    Apr 2006
    Location
    OG from Chicago. Currently in Denver, CO
    Posts
    1,161
    Default
    Quote Originally Posted by Run&Gun View Post
    Something else that these cameras have that our current gen s35’s don’t: 3x CCD’s. No flash banding or skew and full rez color(no Bayer pattern).

    Aaaand superior ergonomics, at least in my opinion.
    agree with everything said here.
    Mike Krumlauf
    JSAV A/V Technician
    Denver Tech Center

    GEAR
    _________________________________
    Sony F23 / SRW1-SRPC1 Recorder
    Canon YJ19x9 SD B4 Lens
    Apple Mac Pro 8 Core 2008 W/ AJA Kona 3 Dual-Link 4:4:4 Capture Card
    Apple Macbook Pro 15-inch 2007
    Final Cut Studio 3


    Reply With Quote
     

  3. Collapse Details
    #13
    Senior Member
    Join Date
    Dec 2003
    Location
    South Orange County area
    Posts
    1,344
    Default
    Hi Mike,

    Did you also notice the street light artifact/vertical line smearing on the HDC27H shooting ProRes? -> (HDC27H going out the HD-SDI spigot into the Ki Pro Mini recording ProRes). I'm going to test this out as soon as I get a Gold Mount battery. Thanks.

    BTW, while the HPX3700 has true LOG 4:4:4 RGB from its HDSDI, you lose out on the variable frame rates as it was not included in this model and not sure why they also called it a Varicam. ;)
    Last edited by boo; 05-04-2019 at 07:35 AM.


    Reply With Quote
     

  4. Collapse Details
    #14
    Senior Member Run&Gun's Avatar
    Join Date
    Jan 2014
    Location
    NC
    Posts
    3,436
    Default
    Quote Originally Posted by boo View Post
    Hi Mike,

    Did you also notice the street light artifact/vertical line smearing on the HDC27H shooting ProRes? -> (HDC27H going out the HD-SDI spigot into the Ki Pro Mini recording ProRes). I'm going to test this out as soon as I get a Gold Mount battery. Thanks.

    BTW, while the HPX3700 has true LOG 4:4:4 RGB from its HDSDI, you lose out on the variable frame rates as it was not included in this model and not sure why they also called it a Varicam. ;)
    It's a true VariCam that does have variable frame rates just like the 27 and 2700. Its just that the 3700 tops out at 30fps instead of 60fps like the other two 720p models, so it's variable range is 1-30fps at 1080.


    Reply With Quote
     

  5. Collapse Details
    #15
    Senior Member Mike Krumlauf's Avatar
    Join Date
    Apr 2006
    Location
    OG from Chicago. Currently in Denver, CO
    Posts
    1,161
    Default
    Quote Originally Posted by boo View Post
    Hi Mike,

    Did you also notice the street light artifact/vertical line smearing on the HDC27H shooting ProRes? -> (HDC27H going out the HD-SDI spigot into the Ki Pro Mini recording ProRes). I'm going to test this out as soon as I get a Gold Mount battery. Thanks.

    BTW, while the HPX3700 has true LOG 4:4:4 RGB from its HDSDI, you lose out on the variable frame rates as it was not included in this model and not sure why they also called it a Varicam. ;)
    I did notice it when I went back to footage shot on it while trying to figure out the F900. its what lead me to realize its just how the cameras are built. I will say that its barely noticeable in the Varicam H, probably due to the 720p. This strange anomaly can be seen in professional films done on the F900 like A Prairie Home Companion (pay attention to the lights outside the theater in the beginning as kevin kline is walking in), Coppola's youth without youth (a scene mid film with a big cargo airplane, its on the airplanes lights) and collateral (the scene where the guy falls on the cab, its noticeable in a few frames but you have to pause it. Its a very minimal issue and if professional filmmakers like coppola, mann and altman can look past it . The big thing was I just personally grew tired of going the external route which means added weight and cables and i was tired of video tape and having to play back the tape in realtime via HD SDI to digitize.
    Mike Krumlauf
    JSAV A/V Technician
    Denver Tech Center

    GEAR
    _________________________________
    Sony F23 / SRW1-SRPC1 Recorder
    Canon YJ19x9 SD B4 Lens
    Apple Mac Pro 8 Core 2008 W/ AJA Kona 3 Dual-Link 4:4:4 Capture Card
    Apple Macbook Pro 15-inch 2007
    Final Cut Studio 3


    Reply With Quote
     

  6. Collapse Details
    #16
    Senior Member Mike Krumlauf's Avatar
    Join Date
    Apr 2006
    Location
    OG from Chicago. Currently in Denver, CO
    Posts
    1,161
    Default
    Screen Shot 2019-05-05 at 1.41.30 AM.jpg

    Here is a shot from the Varicam where it is present. Its on that right light in the distance on the boat as well as on the lights inside the two sides of the lake shore drive bridge. You can barely make it out. The issue is a bigger problem when trying to get 10bit from an F900.
    Mike Krumlauf
    JSAV A/V Technician
    Denver Tech Center

    GEAR
    _________________________________
    Sony F23 / SRW1-SRPC1 Recorder
    Canon YJ19x9 SD B4 Lens
    Apple Mac Pro 8 Core 2008 W/ AJA Kona 3 Dual-Link 4:4:4 Capture Card
    Apple Macbook Pro 15-inch 2007
    Final Cut Studio 3


    Reply With Quote
     

  7. Collapse Details
    #17
    Senior Member Mike Krumlauf's Avatar
    Join Date
    Apr 2006
    Location
    OG from Chicago. Currently in Denver, CO
    Posts
    1,161
    Default
    dgf.jpg

    Here is a close up of the artifact from an F900 so you can visually see whats going on. Those half circle lines to the right of the light. Some people early on thought it was CCD Clock Noise but I came to the conclussion that nothing is wrong with the camera, its the sensor transmitting 8bits worth of information in a 10bit space and loosing signal in high areas where it doesnt know what to do, kind of like blowing up a low res jpeg.. just because you blew it up doesnt mean its sharper. When i shot on tape with the F900 and those lines were gone it all made sense to me. Now again, this problem DOES exist as i looked back on the varicam but its no where near as bad and im sure it has to do with resolution. I shot SDI with the kipro from an SDX900 for 10bit 480p and the problem was not there at all. So while the Varicam H and F900 CAN give you a true 10bit signal, the sensor and boards leading down the pipline to the SDI are not built to handle 10bit as a recording medium. back then these cameras were being used with their SDI as a monitor feed.

    And per film history, many people have shot SDI out with the tape varicam and F900 including high end filmmakers.. the problem is in their films and they dont seem to make light or care about it. If you are finding it in your footage and its really bugging you badly, just shoot DVCPRO HD tape and log the tape into the KiPro in realtime.. its what I did on the F900 and for web based stuff and the minimal amount of color correction i was doing, the 8bit vs 10bit thing wasnt an issue.

    Edit: I have no idea why the varicam picture uploaded again.
    Attached Images Attached Images
    Last edited by Mike Krumlauf; 05-05-2019 at 12:59 AM.
    Mike Krumlauf
    JSAV A/V Technician
    Denver Tech Center

    GEAR
    _________________________________
    Sony F23 / SRW1-SRPC1 Recorder
    Canon YJ19x9 SD B4 Lens
    Apple Mac Pro 8 Core 2008 W/ AJA Kona 3 Dual-Link 4:4:4 Capture Card
    Apple Macbook Pro 15-inch 2007
    Final Cut Studio 3


    Reply With Quote
     

Page 2 of 2 FirstFirst 12

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •