nofilmschool
Sony FS100
August/31/12 12:46 Filed in: Video Cameras
This is some interesting footage.
http://nofilmschool.com/2012/08/sony-fs100-vs-blackmagic-cinema-camera-low-light-showdown/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+nofilmschool+%28NoFilmSchool%29
Unfortunately, it reminds me somewhat of the first Zacuto Shootout, where they set up a really difficult-to-image scene so you could see where the cameras/codecs broke. It doesn't tell you a whole lot more than that. In this situation, they both look pretty bad - except that you can see that RAW has a lot more latitude than the other codecs (no surprise there).
Based on this and other footage I've seen from the FS100, I would want to record to an external recorder. I still haven't seen anything really great from it even though it has a big sensor. But it seems like people are always posting torture tests or bad grades, and we're supposed to figure out what the cameras can do from that? That was what was so interesting about the recent Shootout, where they let people who work with the various cameras every day do what is necessary to make it look good. And they pretty much ALL looked good.
So it seems to me the biggest factors when buying a camera now are: What's it REALLY going to cost you to do the workflow the camera sets you up for, and does the camera have the functionality you need for working with it all day to do the type of shooting you do?
I would not want to give up all the standard, pro-camera type controls you get on a unit from one of the major manufacturers for the promise of potentially better images. Functionality is a big deal. As an example, a (former Oprah) guy that works for me on occasion, who does a lot of run-n-gun is bummed that all these cool cameras coming out are not standard broadcast-shoulder-mount style cameras. He just can't see having to put together some sort of rig just to be able to use it on his shoulder - and then he probably couldn't one-hand it!
Most of the new cameras are intended for cinema-style shooting. They are large-sensors to compete with DSLRs. That's why it's nice to see stuff like the PMW-200. Though it's not like the Sonys of the world have stopped making old-school cameras. It's that the technology in the new cameras is not immediately showing up in a familiar form.
http://nofilmschool.com/2012/08/sony-fs100-vs-blackmagic-cinema-camera-low-light-showdown/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+nofilmschool+%28NoFilmSchool%29
Unfortunately, it reminds me somewhat of the first Zacuto Shootout, where they set up a really difficult-to-image scene so you could see where the cameras/codecs broke. It doesn't tell you a whole lot more than that. In this situation, they both look pretty bad - except that you can see that RAW has a lot more latitude than the other codecs (no surprise there).
Based on this and other footage I've seen from the FS100, I would want to record to an external recorder. I still haven't seen anything really great from it even though it has a big sensor. But it seems like people are always posting torture tests or bad grades, and we're supposed to figure out what the cameras can do from that? That was what was so interesting about the recent Shootout, where they let people who work with the various cameras every day do what is necessary to make it look good. And they pretty much ALL looked good.
So it seems to me the biggest factors when buying a camera now are: What's it REALLY going to cost you to do the workflow the camera sets you up for, and does the camera have the functionality you need for working with it all day to do the type of shooting you do?
I would not want to give up all the standard, pro-camera type controls you get on a unit from one of the major manufacturers for the promise of potentially better images. Functionality is a big deal. As an example, a (former Oprah) guy that works for me on occasion, who does a lot of run-n-gun is bummed that all these cool cameras coming out are not standard broadcast-shoulder-mount style cameras. He just can't see having to put together some sort of rig just to be able to use it on his shoulder - and then he probably couldn't one-hand it!
Most of the new cameras are intended for cinema-style shooting. They are large-sensors to compete with DSLRs. That's why it's nice to see stuff like the PMW-200. Though it's not like the Sonys of the world have stopped making old-school cameras. It's that the technology in the new cameras is not immediately showing up in a familiar form.
Comments
Film stock emulation
October/03/12 12:35 Filed in: Final Cut Pro X
A look at film stock emulation software
http://nofilmschool.com/2012/09/filmconvert-emulating-film-stocks-using-color-information-of-digital-sensors
Kinda cool. Hard to really say how much practical use it would be. As some point out in the comments, the Wow effect they get is by showing you a log-type flat image which they then color correct and put grain on. It's not like the original RED footage would ever be shown to anyone without color correction of some sort applied.
Also it's apparently supposed to be best on RAW footage. I downloaded the FCPX demo (for use on MOV files), and it's an OK plugin, but it's not the first or only one out there. Not really useful for the kind of stuff I'm doing at the moment.
One cool idea is from Cine Grain - www.cinegrain.com - they’ll sell you a hard drive with actual scanned film grains and distressed and light-leaked stock. Kinda like running your digital audio through an analog chain to “warm” it up.
http://nofilmschool.com/2012/09/filmconvert-emulating-film-stocks-using-color-information-of-digital-sensors
Kinda cool. Hard to really say how much practical use it would be. As some point out in the comments, the Wow effect they get is by showing you a log-type flat image which they then color correct and put grain on. It's not like the original RED footage would ever be shown to anyone without color correction of some sort applied.
Also it's apparently supposed to be best on RAW footage. I downloaded the FCPX demo (for use on MOV files), and it's an OK plugin, but it's not the first or only one out there. Not really useful for the kind of stuff I'm doing at the moment.
One cool idea is from Cine Grain - www.cinegrain.com - they’ll sell you a hard drive with actual scanned film grains and distressed and light-leaked stock. Kinda like running your digital audio through an analog chain to “warm” it up.