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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

ISO 25,600! fom 5D Mark II

While the 25,600 ISO number is really cool... The picture doesn't tell me much of anything. :meh: What sort of lighting setup? How was it processed? It's a pic of another camera sitting on a row of crappy office chairs.
 
If you have lens that is fast f/2.8 or T3 then you would need even ASA 30.000 to get things visible in a low available light as you want.

Simply get faster lenses as you can afford.

Also for RED Team about lens collection:

Work on design of fastest lenses in the industry.

You already have a great chip that is Mysterium.
 
January for California? Anyone know the situation for Europe, London by chance?
I was about to preorder one but i will move into another country probably in january..



v*
 
The Third Man said:
If you have lens that is fast f/2.8 or T3 then you would need even ASA 30.000 to get things visible in a low available light as you want.

Simply get faster lenses as you can afford.

Also for RED Team about lens collection:

Work on design of fastest lenses in the industry.

You already have a great chip that is Mysterium.
Click to expand...

This isn´t entirely true sanjin, because more often than not, you wouldn´t WANT to stop down under f/2.8, because the blur becomes completely undecipherable, which in many cases defeats the purpose of selective focussing. In my book selective focussing means that the viewer has SOME idea about the surrounding people and objects, but chooses to concentrate on the one in focus. If you shoot at f/1.2 you will hardly be able to tell anything in the background.
 
Steve Sanacore said:
Just ordered a 5D MK2 from my Canon connection, (always puts me on the short list), and he told me not to expect it until January. Looks interesting for sure.
Click to expand...

Try Adorama or wait for amazon. Also, these are on ebay right now, though the sellers are trying to pocket about a $500 USD premium.
 
Eddie said:
This isn´t entirely true sanjin, because more often than not, you wouldn´t WANT to stop down under f/2.8, because the blur becomes completely undecipherable, which in many cases defeats the purpose of selective focussing. In my book selective focussing means that the viewer has SOME idea about the surrounding people and objects, but chooses to concentrate on the one in focus. If you shoot at f/1.2 you will hardly be able to tell anything in the background.
Click to expand...

Eddie,

I would say that your math is wrong or you did not experience any fast lens at f/1.2 or even faster at wide open.

Example, what a background!?:

Canon50mmFDLf1-2_01.jpg

Shot on RED1 with Canon 50mm FD L f/1.2 @wide open f/1.2. (Bamboo Garden in "Botanischer Garten der Universität Wien, Schloss Belvedere, Wien").
 
Our 5D mkII (switzerland) should arrive this week...

If so I'll definitly make some tests footage, charts, nature, lowlight, high ASA, and push the 264 codec to see how it handles post.

Patrick
 
I get your point sanjin.
But I think your might have misunderstood mine. I didn´t mean to say that you could never find a shot at f/1.2 where the background was decipherable. off course you can. I was talking in rules of thumb.
In a way your picture is a typical example of an exception confirming this rule. Because without the bamboo sticks in the foreground being in focus, the rest of the bamboos would not be easy to recognise as such, and would therefor only yield a surreal effect or bokeh-fetish which often times a cinematographer would not desire.

but it was lovely shot anyway!
 
I was taking about Canon vs Nikon to a press photographer this week. He uses Canon because his organization requires it - and provides the equipment. But he gets to play with everything. His opinion is that Nikon glass is better, and in particular the manufacturing tolerances are much higher. He says they have to send back Canon lenses all the time (L lenses) and often even after being adjusted they only focus properly on the camera they were adjusted for. He says this doesn't happen with Nikon. Anyone else have experience with this? I'm not trying to start a Canon vs Nikon war, BTW, just address this particular issue.
 
adaml said:
He says they have to send back Canon lenses all the time (L lenses) and often even after being adjusted they only focus properly on the camera they were adjusted for. He says this doesn't happen with Nikon. Anyone else have experience with this?
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A friend of mine is working for AFP. He was set up with all Canon from the best. He does mainly sport World Championship... They changed all equipment for Nikon (perhaps there was also a commercial deal...) He told me that Canon have a big issue with focus. (not our backfocus problem). Focusing on a object while moving, let's take a 100m sprinter coming straight toward the 400mm lens Nikon has all photos sharp Canon don't.

Patrick
 
The Beijing night footage is much better than the previous daytime footage I've seen. This Canon camera's strength seems to be low light. I don't believe it's as pleasing in sunlight.

I also can't be sure if the motion is smooth, or if Vimeo is the cause of the jumpiness. That is one area I would be cautious about.

It might be a good night time B-Camera option for low budget shoots.
 
This camera is going to be fantastic for the reporter and i expect to see lot's of 5d II footage on TV after his launch.. While waiting for the second level off course..

Someone said Scarlet? :)

v*
 
Canon 5D mk II custom settings 1080 video

Canon 5D mk II custom settings 1080 video

Hello,

Last night, I shot some charts to see how the Canon handles colors, DR and artefacts in the movie mode 1080x1920 30p.

Canon 5D mk II
Lens Leica summilux 1,4 80 with adapter.
Iso 160 60/sec. (estimate)
5400k
"neutral" setting 0,0,0,0

The h264 blocking are most visible in the last visible stop (1 stop darker than Neutral Gray). Colors are too saturated and not natural. The shadows drop too fastly too deep darks. The picture is soft.

The 5D mk II handles better brighter values (+Neutral Gray) than darker values (- Neutral Gray). -3/+4 Stops in "Neutral" setting.

After some testing I've got to the conclustion that brightening the image by overexposing 1/3 stop and diminishing contrast at setting -2 gives a better rendition of DR and gives some more headroom to handle blocking that could appear in the darks (tested with FCP/Color workflow). The overall lighter picture can be easely darken in post diminishing in some extend the blocking issue. Overexposing by 1 stop caused colors to get funky and loosing the subtile values.

Concerning the sharpening setting, I thought we could kill the aliasing by using the 0 value (the less sharp we can set) but 0 value did not take the aliasing artefacts but over softened the overall look (I used a Putora chart http://www.filmtools.com/pushinty7a9.html ). There always will be some aliasing but in a real life shooting, sharp edges and patterns are less common... :innocent:

Adobe RVB or sRVB didn't change color rendition but Adobe RVB was a bit lighter (like +0.2 stops) I would choose this setting though I don't know really what other implications it could have...

My almost ideal custom setting are +3 (sharpening) -2 (contrast) -1 (saturation) 0 (Hue/tint).


In general I'm very impressed by the narrow depth of field of the 5D, and I'm confident about the choice RED took to go FF.

The Canon is also a really cheap solution to shoot and to make a film. I can also tell that a great European director based in Switzerland took this camera as the A camera for his next feature.

Any comments about my approach are highly wellcome!

Now let's start to tell stories :sarcasm:

Patrick Tresch
 
On my 40d, I create color profiles and upload them for User Defined 1-3. I still shoot RAW, but can apply the profile either in camera or in Digital Photo Professional. (as I'm sure many of you do.)

Does anyone know if it would be possible to create a profile and apply it to the video of the 5d, like an LUT?
 
Tico said:
Patrick, how do you manage to override the settings in movie mode?

Thanks in advance.
Click to expand...

You can preset the camera with your settings on C1/C2/C3.

Switch to one of these C modes. Then go to menu, enter second tab from left. Make changes. Then go to the 6th or 7th tab where you can save user presets. Save to your C preset. Without saving you'll loose your settings.

While shooting video you can push * to hold exposure and with the back side wheel you can change exposure if you need (in steps).

Hope I understood and answered your question?:sarcasm:


Liquidigital, I never used color profiles software. Perhaps there is possibility to make more changes?

Patrick
 
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