As a 'pro' Videographer, or Cinematographer, and Ex-Broadcast Camera and Live Director, let me address some points, and quote back some comments.
First up, AF and SR are irrelevant to 99% of professional work, and are the second and third items turned off on any camera.
The first thing turned off are the chimes and beeps.
We use focus rigs, we use manual lenses, and if the focus needs to change during a shot, the 1AC will pull focus if the D.o.P. doesn't want to do it themselves.
Broadcast Cameras are not equipped with AF units in 95% of cases. News camera's never have AF, even the best AF is slower then an ENG Camera operator.
Turning Off the SR reduces the Jello/Rolling Shutter Artifact/Flag-Waving Effect to very minimal level, you just have to be able to hold and move the camera smoothly, preferably when using the widest lens effective for the application.
The only SR you will ever see used in Broadcast, is done in the lens.
Quote:
Originally posted by Alizarine
This is the crippling thing about HDSLRs, which is not present in mirrorless cameras (e.g.
K-01). I do think there could be an extension to this time limit in the K-3, given the more durable shutter mechanism (which may be a hint of an upgraded mirror mechanism too). I'm not a video expert, but if the K-01 can do it without the sensor overheating, then it's not really the sensor itself that overheats... but something else.
The only pro that need longer than 20 min are event videographers who do weddings, performances and meetings. Other types of "pros" those who shoot commercials, training, corporates, narrative etc usually only record short sections at a time that are edited into longer pieces later on. So a dslr could be viable option for them. So far no dslr from any mfg has been a good choice for long recording times mostly due to overheating issues and poor audio work flow.
The
k01 will overheat -- I've done it along with the k7, 5dii, 7d and a few others.
No, it won't, and no, that's not what the time limit is about.
I have personally recorded for about 3 hours straight with my K-01. There are no overheating issues with the K-01 used within manufacturers specifications of operational environmental conditions.
The time limit is purely there because the camera us SD cards formatted in FAT32, which has a maximum file size limitation. If any of these cameras could run ExFAT, there would no longer be a file size limitation, and then the camera's could record until the cards space was filled.
Yes, it is Event Videographers who primarily record long durations, so do Documentarions, and those recording long format interviews, such as 60 Minutes or 48 Hours do, which are then cut down to shorter sections.
Microphones off camera - This is Normal in film making. The sound will be recorded by a Sound Recordist on a dedicated device, and may be fed to the camera as well, for ease of syncing footage to sound in Post-Production.
External Mic's like the Rode Video Mic that are mounted to the hotshoe are acoustically insulated from the noises in the camera body.
External hand-held mics can also be fed directly in to the K3, the 48kHz sample rate should make this sound more useable, for the times when you're working with a reporter.
The best thing for all of us Pentaxian film-makers, would be uncompressed HDMI clean feed output, and Compressed CinemaDNG with 'raw' dynamic range, recorded to ExFAT formatted UHS-1 SD cards.
I shoot with guys who have Alphas, Nikons and Canons, and believe me, they hate how good a product we get at price points their brands don't match.
And for them, hearing that the K3 does 50i @ 1080, is like a kick in the nuts.
On the subject of 'Raw'.
RedCode is not RAW in the sense that stills raw is. RedCode is Wavelet compressed video with the full dynamic range of the Red sensors.
Raw from ML hacked Canons in CinemaDNG, is a series of RAW stills played as video.
Raw from the BMD-PC is Compressed CinemaDNG, which is the raw dynamic range, played as a series of stills, where the files (not the CoDec data) has been compressed.
Quote: For example, the Digital Bolex has been designed with a global shutter, but it's not incredibly famous.
So does the 4K BMD-Production Camera, but it uses a different sensor to the other two BMD's, the Rolling shutter sensor has 13 stops dynamic range (about the same as the K-01,..
) but the global shutter sensor has only 12 stops.
Quote: At this point I think that all we can do is wait for some video-oriented testers to get their hands on the K-3 and really put it through its paces.
Quite happy to volunteer if you can get me a sample in Melbourne - I'm on a live-streamed shoot on Monday, feeding bands to the web via an ATEM switcher from the Basement Apes Live website.
Quote: 5D Mark III = 90Mbps (I frame)
That's not what Quicktime movie inspector show - it says 45Mbps for the 5D3
Quote: But the real new kid on the block below $1000 is the 10 Bit ProRes codec for video, such as offered by the Blackmagic pocket cinema camera. Another opportunity missed by Pentax.
That doesn't include lenses, or an MFT to Brand X adapter. Call it $1300 minimum to shoot with whatever lens you already own, and $1500 if you have to by an MFT lens.
And yes, ProRes would be almost as much of a killer feature as Compressed CinemaDNG.
Bass:
Quote: do you think the A35-105 would be a good choice?
It's a good start. You'll use the wide end more often then the narrow end. The Sigma 18-35 t1.8 on APS-c will be just about be the perfect Video lens for DSLR/MILC
Quote: Does
K-01 have face detection?
Yes.
Quote: You must have a different K-01 to mine because you cannot refocus during video recording with a half press.
Unless I have totally missed a setting I didn't know about..
Yes,... You can alter the function of the AE-lock button to AF in video mode.
Pheo:
Quote: Audio metering etc during record seems to work well. Need to try the audio pass through to headphones properly tomorrow
Whats the Noise Floor like? lower then the K-01?
Mutters:
Quote: I find it quite hilarious, and disturbing, that people are saying that no-one will use the K-3 for pro video.
Funny that. Must stop billing for my work then.
Ditto here, but mines a K-01, done live bands, short film, photo shoots for publicity of bands, nudes, motorsport, and been loved by the clients.
Bolt:
Quote: When you deactivate SR in video mode, does the image return to a non-cropped field of view or does it stay partially cropped but not stabilise?
Stays cropped in a bit - see the K-01 firmware wishlist thread.
Vylen: Thanks for the sample uploads!
Sledger: very similar to where my K-01 picture style lives.
Lastly, on the subject of MJPEG. It is not an 'obsolete' CoDec, in fact, everything you watch on TV, shot and broadcast in SD or HD, has been passed through the broadcast system as MJPEG.
Admittedly, MJPEG at SDI and HD-SDI data rates, which is sometimes referred to as 3G, shortened from 3Gbps (not related to 3G cell phone systems,..)
Yup, 3 Gbps, or around 280 Megabytes (not Mega Bits like our h.264 cameras).
MJPEG is the worldwide standard for sending TV signals anywhere and everywhere, and it's not until the signal reaches the transmitter that it becomes the 720x576 (PAL) or 1440x1080 (HD) Mpeg2 or Mpeg4 that you receive and watch at home.