External Recording Difference

[Jason R. Johnston]

Yeah, I spent half a year with everyone telling me I was imagining it and that no-one else could see it... I certainly hope this is being dealt with, but I'm doubting it somehow.

Your posts on the subject were informative. I didn't (and still don't) believe it's a deal-breaker since so much of the camera is wonderful. I could see the "ghosting" straight away, but if you don't starve the camera of light the client doesn't see it so it isn't a big deal. I wish Panasonic would give us some control over it, though.

 

[Jonny Gross]

Your posts on the subject were informative. I didn't (and still don't) believe it's a deal-breaker since so much of the camera is wonderful. I could see the "ghosting" straight away, but if you don't starve the camera of light the client doesn't see it so it isn't a big deal. I wish Panasonic would give us some control over it, though.

My dealer and camera "expert" couldn't see it and didn't understand what the problem was and of course, back then (like 7 months ago) no-one really did. Barry didn't even know entirely what it was. But a deal breaker it wasn't and as most of my work doesn't require bedroom night scenes, it's fine. And with regards to that, the client did backflips over the video I delivered him, so all is well... Even with a couple of small lights at an event I can manage without too much ghosting. But when buying a camera and seeing something like that for the first time, you kinda wig out! I'm sure there's a way to control it. Panasonic keep improving this camera, I think there's a couple of final touches to make it the perfect all-in-one. And I'd just finished directing and shooting inserts on the FS7, then editing that footage, so even though I knew I had to temper my expectations somewhat, I was still going "but damn the FS7 looks good!" But in all honesty, the Panny and I are getting along swimmingly.

 

[Jason R. Johnston]

most of my work doesn't require bedroom night scenes

I've done it...but like anything else, I expose properly (for a "dark" scene it might appear to be over-lit) and then achieve the final look in the grade. I don't shoot dark-for-dark. It's lit to achieve a T5.6 aperture for focus-pulling (equivalent DOF would be 2.8 on DVX200), maximize visual dynamic range and minimize digital grain or noise. In the grade you can make it blue and crush the shadows, etc. Add cricket noises lol. But I light like I'm working with film. I use a light meter, I take my time and I do it the right way. Of course, this is a controlled set I'm talking about. And this is any camera....digital or film.

I was still going "but damn the FS7 looks good!"

It does, but I've found its images to be noisier than the DVX200's. But, I bet it's because the FS7 isn't a camcorder and therefore can't have software that compensates for the kind of relationship the DVX200 sensor has with the lens and the rest of the body. That's a great draw for this kind of camera. FS7 is just fine, though...I think it and DVX200's 120fps IQ are comparable, actually. I've shot a music video with FS7 and that was fine. I've only used DVX200 for docu work, but I hope to use it on a narrative project soon...then I can treat it like a cinema camera.

 

[Jonny Gross]

I've done it...but like anything else, I expose properly (for a "dark" scene it might appear to be over-lit) and then achieve the final look in the grade. I don't shoot dark-for-dark. It's lit to achieve a T5.6 aperture for focus-pulling (equivalent DOF would be 2.8 on DVX200), maximize visual dynamic range and minimize digital grain or noise. In the grade you can make it blue and crush the shadows, etc. Add cricket noises lol. But I light like I'm working with film. I use a light meter, I take my time and I do it the right way. Of course, this is a controlled set I'm talking about. And this is any camera....digital or film.



It does, but I've found its images to be noisier than the DVX200's. But, I bet it's because the FS7 isn't a camcorder and therefore can't have software that compensates for the kind of relationship the DVX200 sensor has with the lens and the rest of the body. That's a great draw for this kind of camera. FS7 is just fine, though...I think it and DVX200's 120fps IQ are comparable, actually. I've shot a music video with FS7 and that was fine. I've only used DVX200 for docu work, but I hope to use it on a narrative project soon...then I can treat it like a cinema camera.

I did light fairly bright, but I think it needed more and we only had a few hours. I had to explain to our "actors" that the waiting time on an actual set is much longer! It came out ok though. Just a few spots of ghosting that I would have preferred weren't there, but that's just me being obsessive. The client didn't care or notice, even. But good tip there. Next time I'll light brighter.

I loved the FS7. We were using prime lenses and got some great stuff, but our shooter had no idea how to shoot log, so there was a lot of noise. He was a bit arrogant, wouldn't listen. And then he was our colorist, so I had to take matters into my own hands by the end.

I'm still astounded by some of the things I'm able to do with the DVX. Price point, fixed lens all taken into account. It opens up a bit more to me every time I shoot with it. Just need to have lights handy at all times!

 

[Jason R. Johnston]

First, a redaction: I read "FS7" but my brain understood "FS700" which is the correct camera I meant to say. I used the FS700 and found it to be noisier than the DVX200, but their undercranking to be on par. I have not yet used the FS7.

our shooter had no idea how to shoot log, so there was a lot of noise. He was a bit arrogant, wouldn't listen. And then he was our colorist, so I had to take matters into my own hands by the end.

I hate that. No reason for that kind of attitude on set. When you work together you become a family and everyone's working toward the same goal. Arrogance begets mediocrity, and those have no place on a set. Guy needs to find something else to do.

I'm still astounded by some of the things I'm able to do with the DVX. Price point, fixed lens all taken into account. It opens up a bit more to me every time I shoot with it. Just need to have lights handy at all times!

Absolutely. A solid camera for 90% of my work, much easier than using cinema rigs and needing a crew (but not having one!). In fact, 100% of my work this year has not required a cinema camera, though until I pulled the trigger on my DVX200, that and DSLR's is what I'd had to use. DVX200 is a breath of fresh air...reminds me of the DVX100 and HPX200 days...though I'm pretty sure DVX200 blows them both out of the water. I hadn't been this excited about owning a camera since I bought the original BMCC in 2013. It's great to be doing this professionaly...and at this price point, the cameras pay for themselves in a job or three.

I'll be experimenting with Vlog-L, the still-like (GH4) scene 4 setting and the Varicam35 Vlog to V709 LUT combination so I can become proficient and shoot something controlled with DVX200 soon. Some kind of short film or music video. DCI 4K @ 24p with log is one of the reasons I bought the camera...because that is something not anyone else is offering at that price. Combined with the camera's regular camcorder settings makes DVX200 incredibly robust. Go from shooting news in HD@29.97 to shooting a music video in DCI 4k@24 with a few button pushes. Very nice.

 

[diegocervo]

First, a redaction: I read "FS7" but my brain understood "FS700" which is the correct camera I meant to say. I used the FS700 and found it to be noisier than the DVX200, but their undercranking to be on par. I have not yet used the FS7.




I'll be experimenting with Vlog-L, the still-like (GH4) scene 4 setting and the Varicam35 Vlog to V709 LUT combination so I can become proficient and shoot something controlled with DVX200 soon. Some kind of short film or music video. DCI 4K @ 24p with log is one of the reasons I bought the camera...because that is something not anyone else is offering at that price. Combined with the camera's regular camcorder settings makes DVX200 incredibly robust. Go from shooting news in HD@29.97 to shooting a music video in DCI 4k@24 with a few button pushes. Very nice.

V-LOG + negative gain is an excellent combination. I found it pretty clear at ISO 250.

 

[Brad Forman]

My recorder has the ability to both display LUTs and record the LUT applied footage. Has anyone used this kind of workflow with log or raw footage?

 

[Vardalos]

First, a redaction: I read "FS7" but my brain understood "FS700" which is the correct camera I meant to say. I used the FS700 and found it to be noisier than the DVX200, but their undercranking to be on par. I have not yet used the FS7.



I hate that. No reason for that kind of attitude on set. When you work together you become a family and everyone's working toward the same goal. Arrogance begets mediocrity, and those have no place on a set. Guy needs to find something else to do.



Absolutely. A solid camera for 90% of my work, much easier than using cinema rigs and needing a crew (but not having one!). In fact, 100% of my work this year has not required a cinema camera, though until I pulled the trigger on my DVX200, that and DSLR's is what I'd had to use. DVX200 is a breath of fresh air...reminds me of the DVX100 and HPX200 days...though I'm pretty sure DVX200 blows them both out of the water. I hadn't been this excited about owning a camera since I bought the original BMCC in 2013. It's great to be doing this professionaly...and at this price point, the cameras pay for themselves in a job or three.

I'll be experimenting with Vlog-L, the still-like (GH4) scene 4 setting and the Varicam35 Vlog to V709 LUT combination so I can become proficient and shoot something controlled with DVX200 soon. Some kind of short film or music video. DCI 4K @ 24p with log is one of the reasons I bought the camera...because that is something not anyone else is offering at that price. Combined with the camera's regular camcorder settings makes DVX200 incredibly robust. Go from shooting news in HD@29.97 to shooting a music video in DCI 4k@24 with a few button pushes. Very nice.

Just in case you didn’t know and need 2 or more “Matching 4K Cameras” for a shoot, the DVX200 with the color pallet set to Natural and the Still-Like GH4 scene file, is a perfect match for the GH4 when it’s set to Photo Style Natural. This is a test that proves it. https://vimeo.com/167443202 the test was made at a recent Panasonic Camera Users Group meeting in Tampa.

 

[Jason R. Johnston]

Just in case you didn’t know and need 2 or more “Matching 4K Cameras” for a shoot, the DVX200 with the color pallet set to Natural and the Still-Like GH4 scene file, is a perfect match for the GH4 when it’s set to Photo Style Natural. This is a test that proves it. https://vimeo.com/167443202 the test was made at a recent Panasonic Camera Users Group meeting in Tampa.

Excellent. That is extremely helpful. Thank you.

 

[Vardalos]

Excellent. That is extremely helpful. Thank you.

Recording 10 Bit UHD externally to a PIX-E5 Recorder.

I seem to remember that If you want to record UHD externally, Barry Green commented, leave Remote Record Link turned off and instead assign AUTO REC to a user button. It will then operate as an independent record button, instead of using the camera's red record button.

Is this what your doing or do you just use the record button on the PIX-E5?

 

[Brad Forman]

That's correct. This is for any 10 bit output, including 1080p.

 

[Jason R. Johnston]

I have not yet recorded externally from the DVX200. All my User Buttons have been assigned to something I already like, but if Barry's suggestion is the best way then I'd just do that.

 

[Vardalos]

I have not yet recorded externally from the DVX200. All my User Buttons have been assigned to something I already like, but if Barry's suggestion is the best way then I'd just do that.

I made some UHD 10 Bit recordings this morning and just used the Record & Stop buttons on my PIX-E5 4K Recorder, that seemed to work fine for me and I didn’t need to assign anything to a user button.

BTW ………… Video Devices launched Firmware Version 3.00 for its PIX-E Series of 4K-compatible recording monitors, which adds the H.264 codec as well as the ability to simultaneously record a high-quality, edit-ready Apple® ProRes .mov file and a much smaller H.264 .mp4 file………. I also tested this and it works great, check out the Video Devices U Tube video. https://youtu.be/HAKf-ne09ow?list=PLKpAunZPiGRmmUM7DpwOM96oVKVp-eWEx

 

[Jason R. Johnston]

I made some UHD 10 Bit recordings this morning and just used the Record & Stop buttons on my PIX-E5 4K Recorder, that seemed to work fine for me and I didn’t need to assign anything to a user button.

BTW ………… Video Devices launched Firmware Version 3.00 for its PIX-E Series of 4K-compatible recording monitors, which adds the H.264 codec as well as the ability to simultaneously record a high-quality, edit-ready Apple® ProRes .mov file and a much smaller H.264 .mp4 file………. I also tested this and it works great, check out the Video Devices U Tube video. https://youtu.be/HAKf-ne09ow?list=PLKpAunZPiGRmmUM7DpwOM96oVKVp-eWEx

Outstanding! Thank you.

 

[Vardalos]

Outstanding! Thank you.

I installed the new PIX-E5 Firmware and this Morning and made a series of tests to see how it works. It works great, the obvious advantages are that we are now able to record 4K-10bit Pro Res HQ to our Speed Drive and at the same time a down converted HD H.264 copy to an SD Card. Previously if we wanted to record anything 10bit it precluded a copy.