spinkscapes
Well-known member
Got examples?
Kimmy - 1DX mark II 4K video
- Thread starter Ezella
- Start date
Got examples?
Spartacus
Veteran
I guess he had to bring up SOMETHING, because - all the legalities aside of filming and publishing without permit/licensing at top events like Champions League and such - who would pixel peep under such circumstances?
It's not like the 1DXII is completely useless in 4K video mode...
"That victory goal may be in 4K and slo-mo, but it sure looks like some kind of sharpening was applied to the image, we can't use that..."
"So true! And I wish we could have shot it in C-Log, I would love to do some having grading, to make it look more film like!"
AndreeOnline
Veteran
Let me first say that I don't necessarily stand behind these statements or think that is the main reason. I just relayed the information, well aware that this essentially becomes one of those "I know a guy who knows a guy…"
Even if what he said is a poor attempt at spin, the reason for it being an issue is not subjective quality of the footage. In order for your footage to be eligible for sale to some broadcasters you'd have to adhere to a certain formal quality standard (tick box exercise). I can see a scenario where the organizers (stakeholders) want to control (charge) people bringing cameras that shoot video footage of said quality.
Basically, all I'm saying is I can see that the management/sale of footage rights on major events can get complicated like that—and that I hadn't considered this prior to my rep bringing it up.
Spartacus
Veteran
André, I know you where talking about the "acquisition tiers".
But in order for a broadcaster to acquire footage (your scenario), having rights or not is of first concern, technical aspects come second.
Following your argument, your basically saying a broadcaster would buy unlicensed footage, just because it meets technical broadcast standards.
On the other hand, if you cash out the dough for the license to broadcast a main event, you won't bother with lower tier equipment.
The "organizers (stakeholders)" won't care if you shoot on a iPhone - as long as you pay the licensing fees...
Most likely it is about protection market segments, but I still call BS on "organizers (stakeholders)" influencing Canons decision on leaving out Slog on the 1DXII
NorBro
Major Contributor
There are plenty you can find on Vimeo and YouTube, but if I had to post one here, it would be one of mine.
I shot this in late 2014. 4K/80p and it was actually the first day 80p was available from one of BM's famous firmware updates. The 4K/120p Version 2 sensor wasn't out yet.
Not for everyone, but I remember being so pumped about this camera, lol.
https://vimeo.com/112412323
(playback available in 4K)
One thing the bmc's have always done is provide a beautiful image with ample detail and color resolution! What camera do you own now Norbro? Most of my paid work is just not tailored for these cameras but I have been toying with the idea of picking up an ursa mini or something for a few personal projects I have coming up.
NorBro
Major Contributor
I actually have a really nice 4K URSA Mini bundle with tons of accessories for sale if interested in chatting more...
I am in between cameras right now and mostly rent depending on the project. I will definitely be picking up a 1DX Mark II though for my own personal projects just like you're thinking about the Mini.
I am in between cameras right now and mostly rent depending on the project. I will definitely be picking up a 1DX Mark II though for my own personal projects just like you're thinking about the Mini.
hey, I agree with both of you!... Most likely it is about protection market segments, but I still call BS on "organizers (stakeholders)" influencing Canons decision on leaving out Slog on the 1DXII
FWIW, the biggest problem for the licensed broadcasters are the illegal/unauthorized live streams of full matches (it can be soccer, the NBA or even the NFL) and the proliferation of the YouTube type sites that are legally under the control of a non-law-abiding state. In other words, if Borat uploads the highlights of Liverpool-Dortmund on a video site with a Kazakhstan URL domain, then there's essentially nothing a licensed broadcaster can do. The only prevention and counter-action the broadcaster has in his hands is to publish the required highlights himself and in higher quality to boot.
PS. I recall fans uploading horribly pixelated clips to file sharing sites around 2004 because, at the time, it was next to impossible for a US based soccer fan to see highlights without subscribing to a soccer specific cable/satellite channel. By 2007 or so, people began to upload high quality clips directly onto YouTube, with the copyright holders successfully removing them within hours. Then the various YouTube copycats got into the game - pardon the pun - and clips with the commentary in Arabic or Russian became attainable. And now, it's basically a free-for-all.
If anything I'll be looking at the 4.6k model but thanks for the offer.. Just sold my 1dx mk I last week and should be receiving mk II shortly!
NorBro
Major Contributor
ISO Test - https://www.youtube.com/watch?v=jVfByHkFpig
If no NR was applied, I think the camera holds up really well without losing too much detail.
If no NR was applied, I think the camera holds up really well without losing too much detail.
Scott Freestyle
Well-known member
Thanks, that was interesting. I should be receiving mine this week or early next week, can't wait to start using it.
Fun fact!!...I was just doing the maths the other day, the 1DX mark 2 shoots 16 frames per second and has a shutter that has been tested to work for 400,000 shutter actuation. That means that if the shutter was pressed and held on the 1DX mark 2, it could reach this limit in under 7 hours....
I just saw this video and I was pretty astonished. I thought I would post it here as I have not seen it referenced.
Canon 1DX II 4K Video – Mo Ming’s Hong Kong biker short:
Some things I noted:
Low-light performance and the low noise level are off the charts: 1DC was already very good, but this might be even better, despite the slightly smaller pixel pitch
4K 60FPS is usable at night with very little street lighting; it also provides for very smooth motion and a high retention of detail
Rolling Shutter, which was a significant problem with the 1DC footage, is barely visible on the 1DX II: they must have increased the sensor refresh rate enough to minimize skew
Ability to resolve fine detail is consistent with 1DC 4K footage
Dynamic range, while probably not on the level that it would be with the addition of Canon Log, is very impressive in most of the footage: it appears close to the 1DC in Log
Highlight roll off is creamy as it usually is with Canon
Night footage looks very rich in color and not desaturated as it can be with much of 8-bit footage, which has a tendency to go “thin” in low light
Competing cinema cameras in this price range such as the Ursa Mini 4.6k, Raven, and FS7 would struggle to capture footage of this quality given these lighting conditions. Consider also the form factor, Auto Focus capabilities, lower cost, and a lower crop factor for native Canon glass and you have a phenomenal camera in the palm of your hand.
Canon 1DX II 4K Video – Mo Ming’s Hong Kong biker short:
Some things I noted:
Low-light performance and the low noise level are off the charts: 1DC was already very good, but this might be even better, despite the slightly smaller pixel pitch
4K 60FPS is usable at night with very little street lighting; it also provides for very smooth motion and a high retention of detail
Rolling Shutter, which was a significant problem with the 1DC footage, is barely visible on the 1DX II: they must have increased the sensor refresh rate enough to minimize skew
Ability to resolve fine detail is consistent with 1DC 4K footage
Dynamic range, while probably not on the level that it would be with the addition of Canon Log, is very impressive in most of the footage: it appears close to the 1DC in Log
Highlight roll off is creamy as it usually is with Canon
Night footage looks very rich in color and not desaturated as it can be with much of 8-bit footage, which has a tendency to go “thin” in low light
Competing cinema cameras in this price range such as the Ursa Mini 4.6k, Raven, and FS7 would struggle to capture footage of this quality given these lighting conditions. Consider also the form factor, Auto Focus capabilities, lower cost, and a lower crop factor for native Canon glass and you have a phenomenal camera in the palm of your hand.
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Sorry about the quality of the screen grabs. The website is reducing their size on the upload for some reason. All I can say is that they look amazing on my computer. I can't believe what I'm seeing out of this camera! Not to hype it or anything, but it feels like the 5D II and 1DC all over again . . . the DSLR is back!
ectobuilder
Veteran
The D800 had a similar launch video called "Joy Ride". Night and day difference!
ectobuilder
Veteran
I'm assuming you shot in MJPEG? Looks very nice. Question though, are there any Long Gop options for recording up to 4K 60p? I'm thinking using this more for documentaries...etc.
Bassman2003
Veteran
We can only hope the 5DMKIV will be able to produce images like this. The new sensor in the 1D is getting good press about its dynamic range. Is Canon ready to throw down in the DSLR category? We will see.
ReelWorksMedia
Well-known member
My hope is that the 5D4 will surpass the 1DXII as it was never really intended to leverage its video capabilities. The 5D4, I hope, will be more video centric. If we can get LOG in it...I would choose it over the 1DXII.
This is, of course, if Canon doesn't F it up....which I also kinda expect....but we will see.