Oh I don't shoot docs. Narrative and commercial. That might be a different story in that scenario but at the same time, handheld all day on narrative can be a strain. I know i cramped out on the western after a full day.
Red One & 5D & AF100
- Thread starter Ticheli
- Start date
Oh I don't shoot docs. Narrative and commercial. That might be a different story in that scenario but at the same time, handheld all day on narrative can be a strain. I know i cramped out on the western after a full day.
Rolf Silber
Veteran
Hi Kholi,
we shot our last feature long movie with two Arri 416 - practically all the time both cameras rolling and hand held and shooting whole scenes in one go. The camera guys really had rubber in the legs after that... but: It was fun also.... even for them....
Hope you film goes well... best for the new year...
Alvise Tedesco
Well-known member
Why? Lenses have nothing to do with jittery dslr footage.
Me too I'm almost allergic to the jittery dslr footage after more than 1 year shooting with. Personally I'm very happy to just swap the camera and keep the very decent still primes set I started collecting time ago for dslr. Not that I prefer still to cine lenses.
Rather I'd be afraid to handhold AF100 without an external viewfinder. I will probably use the 5'6 SmallHD for handholding till those will be ready.
LoganMackay
Well-known member
I am guessing because master primes or big cinema zooms will add some weight to the AF100. It isn't a very heavy camera and shooting hand held stuff with it could quickly look like DSLR shakey cam footage unless you up the overall weight.
Thanks Logan! Good to see ya round!
Yessss I know the feeling. Haha. But it's rewarding in the end and so much fun.
Expect footage soon sir! We're half of the way there.
LoganMackay
Well-known member
Good to see you around too, thought you were gone hah.
Working on the project like crazy?
Cbrianchester
Carbonite Member
The 5D has many flaws, but DR is not one of them. Sure the value of luminance BETWEEN values is limited in range, due to the 8-bit encoding (i.e. poor latitude in post) But the ability to capture a large spectrum of light and dark areas is not. That is a trait inherent to the physical sensor itself. If you cannot see the similarities between 35mm and how the 5D captures shadows and dark areas then you're in the wrong industry... or lying to yourself. They're not exactly on par. But damn... they're close.
Think about this... the 5D is rated around 11 stops of DR for stills right? So go expose for something in stills mode... then switch to video. What happened? Nothing. If the 5D really had poor DR as everyone recently attributes to it (because of FUD), then you would need to re-expose every time you went into video mode. Which isn't so... it's just more important that you get it right, since there is no re-exposing (again this is latitude, not DR). But the point is... is that switching between modes on a camera does not change the sensors inherent ability to see a given spectrum of light levels. It DOES however, change how much information is captured in-between those levels. So if THAT is what you mean by low-dynamic range, then yes, it has low dynamic range. But if you are talking about the overall range of exposure that it has at one time, then you're very wrong. The 5D's large "ballpark" of light levels is what makes the footage look so much like film, even if they not adjustable in post.
William_Robinette
Shallow Member
Take a RAW still from a 5D, switch to video mode and roll off a couple seconds and then compare a still from that video clip to the still you snapped. If you are seeing the same amount of dynamic range I want some of what you are smoking.
Lol. Yeah buddy!
When you set the image settings, contrast to -7, yes you can "record" a wider lattitude, but the compression and artifacting gets multiplied when you recorrect for a more natural looking image.
If we could record the flatter image to a higher quality codec, like cineform 10bit 444 or prores 10bit 422, then perhaps we could take advantage of the incresed of information. The problem lies in recording the higher "lattitude" to the 8bit onboard codec. It muttles a lot of that detail, and it becomes unrecoverable.
Wish it were different. Shooting for look in a HDSLR is the way to go.
If we could record the flatter image to a higher quality codec, like cineform 10bit 444 or prores 10bit 422, then perhaps we could take advantage of the incresed of information. The problem lies in recording the higher "lattitude" to the 8bit onboard codec. It muttles a lot of that detail, and it becomes unrecoverable.
Wish it were different. Shooting for look in a HDSLR is the way to go.