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11-19-2013, 07:21 PM   #556
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QuoteOriginally posted by rdj92807 Quote
Can someone PLEASE just compare the jello effect in the new K-3 versus the K-01?????
Thanks.
Here's a start
https://www.pentaxforums.com/forums/172-pentax-k-3/243090-jello-k-3-v-k-01-a.html#post2585122

11-20-2013, 03:31 PM   #557
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thks for posting it Steve, it is a start, but we are not there yet
11-20-2013, 03:56 PM   #558
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Here is a VERY useful and relevant request. So simple. Take a K-3, use a lens with some telephoto like 200mm, turn on SR, and handhold and shoot a video of an object. Next, do the same with the K01 with SR on. With the K-01, SR on, you will see a strong jello effect (much worse than the K-5, for example). The question is: Did Pentax improve the SR on the K-3 versus the K01 (or K30)? Please take 5 minutes to compare. Everyone is trying to determine if the SR on the K-3 is better than the K-01 (and K30, etc), or is it just as BAD. Many times you have to shoot video HAND HELD, and with most cameras such as Panasonic, Sony, and Canon, the in camera stabilization is quite effective. We want to see if Pentax improved the SR on the K-3. Simple question. Simple test. Help!
11-20-2013, 04:10 PM   #559
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QuoteOriginally posted by rdj92807 Quote
Simple question. Simple test. Help!
thks mate!
don't wanna hear comments about putting it on a rig or this or that. many people shoot handheld, professionally or not and for many people this is a decisive "buy or not buy" issue.
eternal gratfullness (that all we can offer :-) to the one that can help us out!

11-21-2013, 03:10 AM   #560
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Playing catch-up with a lively discussion,....

QuoteQuote:
engineering an mjpeg encoder into the custom silicon that pentax designed, along with writing it's firmware, would have taken up space, and cost more money... that's why you typically only get one codec with a video camera.
I would prefer the option of different CoDecs rather then all the stills and video post-processing applications.
All the space that is taken up with code that allows for 'gimmick' functions could easily be retasked for 'Pro' use.

Imagine if we could choose what options we wanted from firmware modules, and only run them, end users could choose to tailor their camera to specific uses - fast burst, more buffer space, different metering options - your camera could be a stills only unit one day, then tweak it to be pure video the next, according to what job you're doing that day.

Thinking from the point of view of 'What would I put in there if I was designing the camera', code that mimics freeware photo processing apps would be last on the list, I'd prefer to give a customer a better application to install on their own computer.
After a better CoDec, Raw dynamic range, and 4.2.2 HDMI clean output, I'd put in properly customizable buttons, full time focus peaking and proper adjustable Zebra displays.

QuoteQuote:
c100($3.4k): 24Mbps MPEG-4 AVC/H.264
c300($14k): 8 Bit MPEG-2 *Long GOP* 50 Mbps (CBR) 4:2:2 422P@HL
IMHO, that whole 'EOS Cinema' rage is completely overpriced for the jobs they do.

QuoteQuote:
with steadicam, you basically zoom with your feet :-)
"Sneaker-Zoom"

QuoteQuote:
the point of all this drivel, lol, is that if you can't get quality video footage out of the k-3, it's probably not going to be the fault of the camera... imho.
Agreed !!
On moving with a SteadiCam, I try to ramp in and out to a speed, start slow and accelerate - think of it as the difference coming off the line at the traffic light, when you just ease in to the gas, compared to flattening the pedal.

You two blokes are probably aware, but for everyone else reading, SteadiCam rigs in Film and TV are usually a two person operation, with the main operator rigged up in the suit to carry the rig around and concentrate on framing the shot, while an assistant runs focus and exposure (and occasionally zoom) via a wireless UHF link.

In studio operation, Pedestal mounted cameras have a 'camera' operator how pushes the camera around, zoom, focuses and frames the shot, and a Camera Control Unit (CCU) Operator sitting in the back of the control room adjusting the exposure, knee, white and black balance and more, basically everything done in colour grading, as the camera is being used Live.


QuoteQuote:
Well, to be honest, i've been shooting that way ever since i started. A friend of mine told me i had to do it.
But i always used the 'bright' profile where i turned down saturation, contrast and sharpness.
Don't know whether it will make a lot of difference if i turn to the 'muted' profile in terms of grading in premiere...
Will give it a shot. It certainly even looks more dull on the lcd😊
Would there be a 'golden setting by the way?
I think there might be, for each lighting condition you shoot in, you just adjust until you find it

QuoteQuote:
using a dolly on rails (don't think some slide cam type setup, think dollying the camera around on a wheelchair except with a little more finesse ) leaves your hands pretty free
I like the type where you sit on the platform and run the camera, and a mate pushes the dolly back and forth -> You can build this sort of rig with parts from a hardware store, using PVC plumbing pipe for flexible rails, wooden sheet, and roller skate wheels.
11-21-2013, 03:12 AM   #561
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K-01 vs K3 video,.... Well, if anyone at CR Kennedy is reading this, I'll happily take the loan of a K3 for a weekend and shoot side by side with my K-01.
Could even rope in some mates to do a weekend short film shoot in Melbourne and see how we go.

Come to think of it, for a film shoot I built a rig we never used, to mount three cameras stacked vertically, so if we can find two matched lenses, I can shoot exactly the same shot with both, at the same time!

That film btw, is called 'MurderDrome', and has it's 'world' premiere at Cinema Nova in Melbourne tomorrow night, and 'may,..' have just been sold in to the US marketplace.
So, I was Gaffer / Key Grip on an Indie 'Roller Derby Slasher Horror Film'

Last edited by PiDicus Rex; 11-21-2013 at 03:22 AM.
11-21-2013, 03:33 AM   #562
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QuoteOriginally posted by PiDicus Rex Quote
Come to think of it, for a film shoot I built a rig we never used, to mount three cameras stacked vertically, so if we can find two matched lenses, I can shoot exactly the same shot with both, at the same time!
well, you are getting very close to eternal gr(e)atefullness! :-)
11-21-2013, 09:02 AM   #563
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QuoteOriginally posted by PiDicus Rex Quote
... I'll happily take the loan of a K3 for a weekend and shoot side by side with my K-01.
Like this ?

Metall Kamera Blitzschiene Blitzhalter für Canon Nikon Pentax Olympus Sony DSLR | eBay

11-21-2013, 09:04 AM   #564
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QuoteOriginally posted by PiDicus Rex Quote
K-01 vs K3 video,.... Well, if anyone at CR Kennedy is reading this, I'll happily take the loan of a K3 for a weekend and shoot side by side with my K-01.
Have you tried asking them? For something like this, they might do it as long as you mention the loaner is from them.
11-21-2013, 10:24 AM   #565
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QuoteOriginally posted by rdj92807 Quote
Many times you have to shoot video HAND HELD, and with most cameras such as Panasonic, Sony, and Canon, the in camera stabilization is quite effective. We want to see if Pentax improved the SR on the K-3. Simple question. Simple test. Help!
it would be good to see that tested, definitely... if I had a k-3 i'd be glad to test shoot it like it's a camcorder, even tho i'd never shoot it like that in real life.

you aren't going to want to hear this, but no camcorder/dslr in camera stabilization system is effective enough to use the camera without some kind of brace or mount, period.

full-size broadcast tv cameras never had lens stabilization... they had a padded area that sits on your shoulder.
11-21-2013, 10:46 AM   #566
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QuoteOriginally posted by osv Quote
full-size broadcast tv cameras never had lens stabilization... they had a padded area that sits on your shoulder.
no, we don't want to hear this :-)
but in all fairness, we are not talking about broadcast tv now. The K3 can be a professional and a consumer tool, as any dslr. Consumers are interested in camera stabilisation without additional gear.
I think we need to start differentiating type of users here.

It is such a simple test and digi SR vs mech. was one of the first questions that was brought up on this forum when K3 was announced. Regardless of how you or myself or others work, it seems an area of interest.
11-21-2013, 11:30 AM   #567
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QuoteOriginally posted by grispie Quote
no, we don't want to hear this :-)
I know, believe me, when I started shooting video, I didn't want to deal with it either

my point is, if you want quality footage you'll have to somehow brace the camera, regardless of how good the image stabilization is.

that said, those two videos that were posted clearly indicate that the comparison testing needs to be done by someone who knows how to shoot video.
11-21-2013, 11:55 AM   #568
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QuoteOriginally posted by osv Quote
those two videos that were posted clearly indicate that the comparison testing needs to be done by someone who knows how to shoot video.
what do you mean? Didn't you like my videos? ;-)
11-21-2013, 12:10 PM   #569
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did you shoot those? lol

we need a testing methodology... if you want to compare k-3 rolling shutter to a 7d and a 5dmkII, do it like it's done here, against the window, the camera settings are in the video:
11-21-2013, 12:37 PM   #570
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anyway, i ordered my (silver) K3 today. Could no longer resist.... I admit to be weak :-)
lets be honest, its santa time!
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