Extremely Impressive Screen Grabs

cowpunk52

cowpunk52

Veteran
Just came across these, and was thoroughly impressed: http://bit.ly/Hu1jeC

To bad it's just an 8-bit camera, though, and it's not in 4k. I don't want to fool anybody into thinking this is actually decent production tool! :evil:
 
Very nice shots.
Just came from a shoot with the London Symphony Orchestra and, boy, does the C300 rock! :-)
 
cowpunk52 said:
To bad it's just an 8-bit camera, though, and it's not in 4k. I don't want to fool anybody into thinking this is actually decent production tool! :evil:
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Haha! We're reaching a point with technology where paper specs will have less and less meaning. Quality footage is all that matters.
 
Longley shot my fav documentary - Iraq In Fragments - and got amazing shots from a DVX. Figures he's getting killer images with a C300, can't wait to see the film.
 
Some of those shots are just fantastic. That said, I guess color-shift highlights are here to stay. I'm noticing them more and more on all new cameras. (Like the cyan in the band shots on the lights). I think the difference now is in the transitions between the color shift which is NOT the same on all cameras. Interesting to think about.
 
Rick Burnett said:
Some of those shots are just fantastic. That said, I guess color-shift highlights are here to stay. I'm noticing them more and more on all new cameras. (Like the cyan in the band shots on the lights). I think the difference now is in the transitions between the color shift which is NOT the same on all cameras. Interesting to think about.
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Those were high-powered blue LED's blasting through the stage most of those grabs, and I was on a tungsten WB - that's why you're seeing cyan in highlights. The color does go to white when clipping, though.
 
cowpunk52 said:
Those were high-powered blue LED's blasting through the stage most of those grabs, and I was on a tungsten WB - that's why you're seeing cyan in highlights. The color does go to white when clipping, though.
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When those shifts occur are a lot different, and how they go in and out of the shifts, is what to me makes the biggest difference. For instance, I've seen plenty of Alexa stuff now that color shifts as well, but, compared to say my FS100, the transition between real color, the shift, and then white makes a HUGE difference. It's definitely NOT as pretty on the FS100 out of the box.

With the C300, I think the shifts look WAY better obviously. I am still undecided if I like them at all, but, given I am seeing them on all cameras right now, it looks like something people are just going to get used to seeing.

The math involved with deciding to go white is interesting. It's almost something I'd like an adjustable setting in the camera that I could set myself. Basically, I want if ANY of the channels is approaching clip, I want to ramp the input of the other 2 channels so they all hit clip at the same time. How deep into the highlight that ramps starts is what I'd like to control. You DEFINITELY give up some highlight detail when you do this on highlights that are very single color dominated, but I think it's okay to do that).

I was trying to do this in post, but on 4:2:0 it's just not working well. The contamination in high contrast areas due to the lower chroma sampling is making it not easy because the transition from say cyan to white is a hard clip and now a gradual transition like you see on the C300/Alexa. THIS is what is important to me most of all.
 
Rick Burnett said:
When those shifts occur are a lot different, and how they go in and out of the shifts, is what to me makes the biggest difference. For instance, I've seen plenty of Alexa stuff now that color shifts as well, but, compared to say my FS100, the transition between real color, the shift, and then white makes a HUGE difference. It's definitely NOT as pretty on the FS100 out of the box.

With the C300, I think the shifts look WAY better obviously. I am still undecided if I like them at all, but, given I am seeing them on all cameras right now, it looks like something people are just going to get used to seeing.

The math involved with deciding to go white is interesting. It's almost something I'd like an adjustable setting in the camera that I could set myself. Basically, I want if ANY of the channels is approaching clip, I want to ramp the input of the other 2 channels so they all hit clip at the same time. How deep into the highlight that ramps starts is what I'd like to control. You DEFINITELY give up some highlight detail when you do this on highlights that are very single color dominated, but I think it's okay to do that).

I was trying to do this in post, but on 4:2:0 it's just not working well. The contamination in high contrast areas due to the lower chroma sampling is making it not easy because the transition from say cyan to white is a hard clip and now a gradual transition like you see on the C300/Alexa. THIS is what is important to me most of all.
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You have an extremely keen eye for highlights rendition - respect.
 
Haha, I am not sure this is something I want :) Now EVERY TIME I watch something I am staring at highlights and not the actual whole image. It's almost a curse!! Of course, when editors cut boring scenes it at least gives me something to do when waiting for something to happen :)
 
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