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    #11
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    That does look pretty good. The whites are being handled better than what we often see on big league network sports broadcasts. Well done.


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    #12
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    Thanks. I experimented a lot which as you know is part of the process, but have to give credit to Greg as I had left the Video-REC gamma in the dust a long time ago.


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    #13
    Senior Member puredrifting's Avatar
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    I agree with Doug, that looks great for bright daylight with those football kids. Nice tuning.

    We've been exploring replacing our still usable but old technology Sony PXW-X70s that we use for live streaming when we need servo zoom lens cameras with the CX-350s.
    All we care about for live streaming are XLR inputs, SDI output, decent, but not large sensor low light capability. How does the CX-350 do on constrasty, lower light interiors?
    Still lit but lit with shadow and constrast, you know, nice lighting? I find these Sonys (they aren't mine, they are my livestream partners) are really sluggish with lighting,
    I'd rate them at perhaps ISO 320 native so I have to use kind of ridiculous amounts of light to get them to decent exposure and there is very little subtlety
    in the image as far as transition from whites to blacks. The Sonys do really well with gain though, they still look fine and usable with +12dB or even at times +18dB
    but the overall image is pretty crappy IMHO as they have the old school Sony unflattering skin tones.

    I prefer to use my three Fuji X-T3s for live streaming but no XLRs which means we have to bring audio audio mixer and play with the latency settings and no servo
    zooms, which for some live streams, can be handy. A S35 sensor though is so much easier to dial in lighting and exposure than a 1" or smaller sensor. But the CX-350 seems
    like a good choice for our live streaming needs for a servo zoom camera with Ethernet capability.
    It's a business first and a creative outlet second.
    G.A.S. destroys lives. Stop buying gear that doesn't make you money.


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    #14
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    Hey Dan,

    I think this camera is a great tool and value for money. It has a huge list of codecs and resolutions along with all of the outputs one can need. I think the noise is good up to 18db but as I show in the video, depending upon the gamma and settings, it is a little slower than my PX270 at times. (which is only good to 6db... but has a faster lens) The color is nice and accurate (with tweaking). My hangup is the highlights which is better than I have ever had it. The rear zoom is very nice now and the viewfinder is nice as well.

    I have made a little video of some scenes as I was working on my setup and matching to my PX270. I threw the GH5 in for context as well. The color of the GH5 is different but the two video cameras are quite close.

    Regarding highlights:

    The football video I posted was using the Video-Rec Gamma with an aggressive knee point. This really controls the highlights in high contrast situations but also eats away at color. I think I was at 40% during the football clip. So the 2nd half of the video shows a descending run of lower knee points using this gamma and using 500%. I have learned that the DRS (dynamic range stretch) has an impact on this gamma. Meaning that turning on DRS disables all of the gamma settings. As it turns out, I like the image a little more using DRS (power 3) than the aggressive knee. The 1st part of the video is with DRS on.

    I have updated the settings to reflect my changes and current setup. Hope this helps all of the CX350 users to see some more settings. I am pleased that this camera is pretty much spot on to my PX270 now give or take some minor highlight handling.

    https://youtu.be/5kApD0J45Fs


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    #15
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    Bassman, Thanks for the work you have done. As a 270 owner, I was really surprised how well the 270 footage held up in the clip compared to the 350. Not to judge tube video too critically, but I think the footage from the 270 and GH5 looked more pleasing than the 350. It is easy for me to rationalize that as a 270 owner; said with a sly grin.

    Question, in the first two clips, compared to the 270, was the 350 wide open, as it seems a bit under exposed? It also looked slightly softer compared to the 270 which was a surprise to me.

    Grant


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    #16
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    Yes, I agree. The CX350 has really nice color and is sharp but the overall image is a little, strained? The low end is a bit heavy and the highlights reach overexposure early if you have good color. So you are always trading something where the PX270 is solid on all fronts imho. That is what $2,000 more gets you... I gave the example of two CX350 clips in the first lighting setup to show the difference between the PX and the CX with regards to light gathering. The CX350 had 6db of gain in the full exposure (f.3.2) and then goes to wide open 0db of gain. The PX was at 0db and wide open (f1.8, slight zoom in). The CX looks under because its lens is slower, but it handles gain much better. So in the end, the CX probably has 1/2 to 1 stop better "clean" imagery than the PX270.

    As far as detail/sharpness goes, I have less dialed into the CX350 than the PX270 as when you film in 4k you really do not need any sharpening. (detail is at -22) So it might appear to be less sharp, but I think it is a nice lens with low distortion.


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    #17
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    Bassman, if you have a moment, could you give away your 270 scene file for the clip in the video. I'd like to compare your special sauce to my brown gravy. Seems like my challenge with the 270 has been to find a happy place with the blacks.

    Thanks Grant


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    #18
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    Hi Grant,

    It took a lot to get me to share these settings for the CX350 as I do think these are related to business success, but Greg started it! His generosity and the CX350 being a problem to solve camera for me led to the sharing. So I will not be sharing my PX270 full settings but will say the two cameras are similar in the major areas outside of the color correction values and the master pedestal which I have set to 13.

    If you want to try settings and discuss I am happy to do that.


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