Report in EX users!
- Thread starter Fohdeesha
- Start date
Fohdeesha
Well-known member
yeah, the transcend is pretty reliable, a lot more so than the offbrand PNY or kingston cards.
I test a constant (not peak) write speed to it of 16.7MB/s (132mbits/sec). that gives you a solid 45mbits/sec of headroom when the ex1 is shooting out full overcrank (87mbits/sec)
never had an issue with overcranking or lost footage. Just make sure you only format the card in the camera and not with a computer.
I test a constant (not peak) write speed to it of 16.7MB/s (132mbits/sec). that gives you a solid 45mbits/sec of headroom when the ex1 is shooting out full overcrank (87mbits/sec)
never had an issue with overcranking or lost footage. Just make sure you only format the card in the camera and not with a computer.
basspig
Veteran
Seeing EX1 or EX3 footage on the Big Screen is loving these cameras. Every time I look at well-shot footage from these cameras, I am reminded that there is nothing else like it for the warmth of the color, the vivid-yet natural tones, the clarity and detail of the picture (and this is to SxS--I have seen frame grabs of HD-SDI out of this camera which is even better under large screen conditions) as well as the fantastic audio.
The workflow is the best yet, and that includes not having to record and synch separate audio (as is the case with most other video cameras, whose audio is inexcusibly awful).
I thought that shooting RAW on my Nikon D7000 would run circles around the EX3, but when I got home and tweaked the D7K image in Photoshop camera raw, I couldn't touch the warmth and dynamic range of the frame grab from the EX3 that shot the same scene of a group of shops and a bar at night. Any attempt to achieve close to the EX3's dynamic range just produces blueish snow in the dark areas of the picture. As for the EX3, I didn't have to tweak the frame I captured from the video at all. It was theatrically perfect right out the SxS card.
Once this shallow DoF fad passes (like the 3D fad), shooters will once again realize that the EX series is where it's at. It won't be obsolete until standards change to super high def.. maybe one day we'll be shooting 32 megapixels at 2000 fps, but until that day arrives, it's EX1/3 for shooters that deliver the content.
The workflow is the best yet, and that includes not having to record and synch separate audio (as is the case with most other video cameras, whose audio is inexcusibly awful).
I thought that shooting RAW on my Nikon D7000 would run circles around the EX3, but when I got home and tweaked the D7K image in Photoshop camera raw, I couldn't touch the warmth and dynamic range of the frame grab from the EX3 that shot the same scene of a group of shops and a bar at night. Any attempt to achieve close to the EX3's dynamic range just produces blueish snow in the dark areas of the picture. As for the EX3, I didn't have to tweak the frame I captured from the video at all. It was theatrically perfect right out the SxS card.
Once this shallow DoF fad passes (like the 3D fad), shooters will once again realize that the EX series is where it's at. It won't be obsolete until standards change to super high def.. maybe one day we'll be shooting 32 megapixels at 2000 fps, but until that day arrives, it's EX1/3 for shooters that deliver the content.