I haven't had much experience with the Odyssey and shoot slo-mo. Playing around with it this passed weekend, I was shooting some humming birds in my back yards. Fun stuff. Anyway, the footage is very grainy/noisy. shutter speed at 750. No added gain. It was a bright sunny day. Pretty straight forward. So, is there a secret to this? I also shot some footage at 4K2HD on these little hummers, and it came out beautiful. anyway..........
Noisy footage 2k 240fps with Odyssey 7Q
- Thread starter rawnster
- Start date
Ebrahim Saadawi
Carbonite Member
No experience with the fs700, but 1/750 shutter is very high and you should expect some noise. How is the exposure? Try using 180 degree shutter maybe?
1/750 isn't that high for 240fps. the 180º equivalent would be 1/480 (closest the FS700 does is 1/500). Also, a high shutter speed does not cause noise. Underexposure (or added gain) can make noise more apparent (or add it, in the case of gain).
rawnster, what were the other settings? Aperture of the lens? I assume you didn't use ND. Typically when I shoot with the 7Q, I ride my exposure a little high and make sure I'm not clipping the highlights.
If you're shooting on a bright but overcast day, it's not uncommon that you'd need to shoot at f/4 or f/2.8 with a shutter speed of 1/750 to get proper exposure at 240fps. It can be a light hog.
Josh, yes, you're right. I used no nd filter. I believe the fstop was around 5.6. Can't remember exactly. I was using a Sigma 50-150 ef mount lens...metabones adapter. It's got me a little perplexed because I don't think I was doing anything to induce noise. It should have been very clean. In fact, when I shot the 4k2hd, all I changed was the frame rate, 24, shutter, 48, added nd filter bring the exposure under control.
Right. Are you shooting Slog2? Because the base ISO is 2000, and you don't want to underexpose. So if your shot was a bit more on the dark side, you are just making the native noise more apparent. I do have to say though, I find the noise of the FS700 when shooting RAW and 10-bit ProRes to be pretty nice. It's not blocky and ugly like compressed video noise. But like I said, overexposing slightly and bringing your shadows/mids down in post will help keep the noise under control.
Colinelves
Well-known member
Sounds like you were exposing using the LUT as a guide - I would avoid that. Either that or you were exposing as if the camera's ISO was really 2000, I'd avoid that too. Expose as Josh suggests, protect your shadows! You've got more highlight resolution in Raw than you can usefully use in most displays, so overexpose the shot then bring it down in camera Raw. If you want to be consistent, expose the Slog2 image so it looks nice and bright and you should be fine.
ssvet
Active member
I've shot a Gillette spec spot using the FS700 with the r5 recorder to get RAW out of it at 240fps. It was a bit noisy and some slight aliasing in the image. Turns out the reason for this is because of the low pass filter on the fs700. It's optimized for 4k and not 2k. The same happens on the f5/f55 when shooting 2k Raw, but you can swap the lo-pass filter to get rid of that. On the FS-700 unfortunately you can't.
The 4k mode on the fs700 looks great (although you can only shoot 4sec), but there's no proper downscaling when shooting 2k, but there is proper scaling when shooting HD (avchd). So yeah, 2k Raw mode is half assed.
The attached photo does not show it as a still, and has been slightly graded, but in the RAW mode you can see slight noise and aliasing (particularly in the beard and fabric)
The 4k mode on the fs700 looks great (although you can only shoot 4sec), but there's no proper downscaling when shooting 2k, but there is proper scaling when shooting HD (avchd). So yeah, 2k Raw mode is half assed.
The attached photo does not show it as a still, and has been slightly graded, but in the RAW mode you can see slight noise and aliasing (particularly in the beard and fabric)
You're saying the 4sec limit is with the R5? It can't do 4K at the standard frame rates? You can roll 4K 24, 30, and 60 on the Odyssey7Q. And it looks incredible. I'm sure you have to be able to capture this with the R5.
Colinelves
Well-known member
He means the 120fps 4K burst is only 4 Sec. You can record continuous 4K @ 60fps to the R5 same as the Odyssey (only more compressed).
ssvet
Active member
Correct. I believe we couldn't shoot 240fps at 4k RAW with the r5.
slipstrea808
Well-known member
Doesn't matter the recorder, the camera cannot do 240fps in 4K. That's a camera thing.
And the info is in threads on here but because it is "12 bit LINEAR RAW" there is more information in the highlights than down low. So never use the LUT in the Odyssey 7Q (it is completely off) and just clip the highlights with some intelligent ETTR. Once you figure out how you like your skin tones to expose and what sort of noise reduction you find you like you can expose as you want. Til then... overexpose for the image you see.
And the info is in threads on here but because it is "12 bit LINEAR RAW" there is more information in the highlights than down low. So never use the LUT in the Odyssey 7Q (it is completely off) and just clip the highlights with some intelligent ETTR. Once you figure out how you like your skin tones to expose and what sort of noise reduction you find you like you can expose as you want. Til then... overexpose for the image you see.
This is exactly what I was doing. :-(
Do you have any examples you can post?
No, I don't. I deleted them. However, I'll do some more testing after work today and post those images.
Timo Flink
Active member
As I total newbie to all this, C7Q shows IRE from 0-109. What do you mean as overexposure? I thought going over 109 will clip the image. So what would be the safe area? 30-90?
abreu-canedo
Well-known member
If you're going to shoot outdoors at 240 (or200)fps, then you'll have the sun as your light source...which is amazing!! 
i I think you're doing the right thing by using a faster shutter speed, since for some slow motion it actually looks appealing to not have as much motion blur. Not always, but sometimes. However, doing this will sacrifice some light. I don't think you have to worry about that, though.
What folks are saying about "overexposed" is really asking you to expose so that your histogram signal is pushed to the right of the histogram, without clipping. Of course, with limited dynamic range and shooting outdoors, you might find that there are some highlights you might have to let go and clip, in service of getting more important information exposed to your liking. Again, not always, but be mindful of that.
Generally speaking, I consider anything above 90IRE to not be important information, and when possible, that's where my highlights and super-whites go. When I say that, I don't mean highlights on faces or main subjects. I mean, highlights on metal surfaces that are getting hit directly by the sun...or things like that. Also, I know I'll generally either crush, or apply heavier noise reduction to anything below 10-15IRE. Generally I'll also take an 18% grey card and expose it around the mid 30's to high 40's IRE. This depends on the project and the scene, but can even go up a bit higher if you can/need. False color on the 7Q is one of my favorite tools.
Do some of your own testing, at different F/T stops, then grade them to see what gives you the best color rendition and latitude according to your tastes and needs.
i I think you're doing the right thing by using a faster shutter speed, since for some slow motion it actually looks appealing to not have as much motion blur. Not always, but sometimes. However, doing this will sacrifice some light. I don't think you have to worry about that, though.
What folks are saying about "overexposed" is really asking you to expose so that your histogram signal is pushed to the right of the histogram, without clipping. Of course, with limited dynamic range and shooting outdoors, you might find that there are some highlights you might have to let go and clip, in service of getting more important information exposed to your liking. Again, not always, but be mindful of that.
Generally speaking, I consider anything above 90IRE to not be important information, and when possible, that's where my highlights and super-whites go. When I say that, I don't mean highlights on faces or main subjects. I mean, highlights on metal surfaces that are getting hit directly by the sun...or things like that. Also, I know I'll generally either crush, or apply heavier noise reduction to anything below 10-15IRE. Generally I'll also take an 18% grey card and expose it around the mid 30's to high 40's IRE. This depends on the project and the scene, but can even go up a bit higher if you can/need. False color on the 7Q is one of my favorite tools.
Do some of your own testing, at different F/T stops, then grade them to see what gives you the best color rendition and latitude according to your tastes and needs.