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Playing catch-up with a lively discussion,....
Quote: 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.
Quote: 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.
Quote: with steadicam, you basically zoom with your feet :-)
"Sneaker-Zoom"
Quote: 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.
Quote: 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
Quote: 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.