|
Does anyone in here have any experience with the Canon XF305? I do in house corporate stuff and we're finally going HD for everything this year. We're looking for an all around camera that has to have HD-SDI out, XLR input, decent low light performance, and output that meets TV minimum standards for HD broadcast. Camera will both be used for broadcasting over our closed circuit network via the HD-SDI out, and for recording various meetings, making training videos, and other things of that nature. We were originally planning to go with something like a Sony PMW-350 + a ki-pro or nanoflash, but the Canon seems to hit all of our points and is both a fuckload less expensive and doesn't require an off camera recorder. The reviews I've read have been favorable, but there aren't a lot of them and I was wondering if anyone here had any hands on.
|
#
¿
Jun 21, 2011 02:33
|
|
|
|
| # ¿ Apr 19, 2024 19:41 |
|
|
Mostly a Sony DSR-370.
|
|
#
¿
Jun 25, 2011 02:56
|
|
|
Mozzie posted:Just loving rent for christ sakes. Insurance isn't an excuse most low end video places will let you buy their insurance. If your talking about renting to try it, yeah we'll do that. If your talking about renting instead of buying, not going to work in our environment. I realize that lower and middle end pro poo poo like this Canon, or Sony XDCAM aren't as sexy as an Alexa, but we've got specific needs and we have to have a camera on site ready to go at all times. If we need something like an Alexa or an Epic we'd have no problem with getting one, but it's overkill for the tasks I am shopping for.
|
|
#
¿
Jun 29, 2011 02:39
|
|
|
Yeah, think more ENG with us, the film style cameras are nice though. The F3 would almost work, but they don't sell a long enough zoom lens for our needs. Low light performance isn't the end all, I just don't want something that falls apart if conditions are less than perfect. There's only one place I can't set up more lights, and it's acceptably well lit for any modern camera. Going to have to call around and find some test mules to rent.
|
|
#
¿
Jun 30, 2011 03:36
|
|
|
Can any of you tell me how the Kino BarFly 400 stacks up to the Diva-Lite 401? We're looking to add to our lighting kit and the BarFly's intrigued me, but there is no where local where I can take a look at one. It'll mainly be for mobile talking head interview type shoots, lots of small offices and conference rooms.
|
|
#
¿
Aug 6, 2013 13:56
|
|
|
We have the US version, the 370. It is finicky as hell with focus, the one bit of advice I have is it works better if you keep it open, if you've got too much light just up the ND filter. Anything past f/5.6 or so and it starts to get really soft.
|
|
#
¿
Aug 7, 2013 11:53
|
|
|
The Amira looks perfect for what I do, if it comes in under 30K it'll probably be where we go next camera upgrade.
|
|
#
¿
Oct 20, 2013 00:24
|
|
|
Is fixed pattern noise still an issue on BMD's newer cameras or did they eventually figure that out?
|
|
#
¿
Mar 23, 2017 21:06
|
|
|
frytechnician posted:Nice! Can I ask what lenses you'll be using on your BMPCC4K? I'm thinking about pulling the trigger on one later in December mainly for short form doco making / talking heads type stuff. Still waiting on the camera to actually arrive, but we picked up the Olympus M.Zuiko Digital ED 40-150mm f/2.8 and Olympus M.Zuiko Digital ED 12-40mm f/2.8 for ours. Once the drat thing actually ships I'll post my impressions. I'll mostly be using it as a B camera on interviews, or when we need something quicker and more informal than setting up a couple of Ursa Mini Pros. VoodooXT posted:Probably doesn’t matter to most of you but the 6.0 firmware for the Ursa Mini Pro came out today and it is glorious. Nice, I was trying out the 6.0 beta to play around with .braw, I liked what I saw so far with that, I'll definitely be putting 6.0 on ASAP.
|
|
#
¿
Nov 14, 2018 22:59
|
|
|
Just got the shipping notice today, looks like our Pocket 4K will get here early next week, looking forward to testing it out. Hopefully the adaptor plate for the gimbal comes in as well so I can try that out.
|
|
#
¿
Nov 29, 2018 22:07
|
|
|
So now that I've had a couple of days to play around with the BMPCC4K I have to say, I really like it. It's not perfect, but it's going to be real good for a lot of uses. First my (minor) complaints: 1) The touchscreen being fixed is a bit annoying, though small on camera monitors are so cheap now that you can buy a 5"-7" one if you are doing something like solo travel vlogging and still come out spending less than the other cameras this is competing with . 2) No continuous autofocus, it's not a problem for what I do, but I know it's an absolute deal breaker for some people. 3) The on board audio is meh (to be fair all on board camera audio sucks), the microphones are also positioned in a really awkward spot, if you're hand holding the camera you've got to be really careful not to brush up against them. They also pick up the sounds from using the control knobs and the lens hitting the end of its zoom travel. 4) Battery life could be better. I get about 45 minutes out of a Canon LP-E6, a bit less out of a generic one. LP-E6 are dirt cheap though, which mitigates it a bit. Also, the Canon branded ones give me an actual % of life remaining, the generic that came with the camera just show a battery pictogram at various levels of fullness so it's harder to tell when that one is going to run out. For the type of shooting I do none of these are an issue. The good stuff: 1) The image looks nice. Blackmagic have done a good job with their colors and I don't think anything in this price range comes close. It's going to be really easy to match this with the Ursa mini pro. 2) Low light performance is pretty good, best for a Blackmagic camera so far. I'd be fine using 3200, and 6400 is bit grainy/noisy for my taste but it's usable especially for something documentary style (it cleans up decently with a denoise too). Higher than that is there, and if you absolutely have to get something recorded and have no light it'll do. I was playing around with 25600 in my office with the lights turned off and the only illumination coming from my computer monitor and it produce a usable, if very grainy, image. One quirk, because of how the dual native ISO work, 1250 is actually cleaner than 1000. 3) The touchscreen is real nice (other than the not swiveling thing). Bright, clear, and the user interface is great. Blackmagic have killed it with their user interface, everything is easy to find, makes sense, and nothing is buried 4 layers deep in some obscure sub-menu. 4) It's a good size and weight. If I were shooting something like a wedding reception or a corporate party I wouldn't mind carrying it around for a few hours. One caveat, it's wide, if you want to use it on a gimbal you're probably going to need an extra tripod quick release and plate so you can offset it. Some new gimbals claim to fit it (Moza air 2, Ronin-S). It's also a good size for tight locations like car interiors, or something like a car hood mount. 5) It's pretty drat flexible with recording media and gives you plenty of codec and framerate options. One warning here, I haven't found anything that will let you do uncompressed raw 4K at 60fps, I can do 30fps with my Cfast cards (550 MB/s Anglebirds) but 60 drops frames. I can do 60 fps in ProRes HQ or Raw 3:1 though. Not even the USB-C Samsung T5 can handle it. On the topic of the USB-C port, it's a nice addition, we sometimes have to record these 8 hour training seminars (it is as boring as it sounds) and the 500GB SSD will record 556 minutes at 1080p in ProRes 422. It's supposed to get .braw in a firmware update which I'm looking forward to, I've been using .braw on the Ursa mini pro and I like it a lot. For lenses we picked up the Olympus M.Zuiko Digital ED 12-40mm f/2.8 and Olympus M.Zuiko Digital ED 40-150mm f/2.8. I've mostly used the 12-40 so far and I've been quite happy with it, sharp throughout its zoom range, focuses smoothly. A touch heavy, but feels very well constructed. If I had to get just one general purpose lens this is where I'd start. I think the BMPCC4K is going to end up very popular. Almost any situation where you see someone using a stills camera for video this is probably going to be better. Corporate, documentaries, weddings, low budget commercials, music videos, indy/student films. I wouldn't be surprised to see it become the dominant camera in the corporate space. I've rambled enough, if you've got any specific questions let me know and I'll try to answer them.
|
|
#
¿
Dec 7, 2018 05:25
|
|
|
I do manually focus for each shot, but the Olympus 12-40 can do some really deep focus so it shouldn’t be too hard to find a nice sweet spot for gimbal work. I’ll know more once the drat adaptor plate arrives and I can do some testing. EDIT: Just so no one else has to waste time trying to find it, if you need the serial number on a BMPCC4K for whatever reason it's inside the battery compartment. I'd write it down, the sticker it's on is going to get worn out pretty quickly with constant insertion and removal of batteries. Gunjin fucked around with this message at 17:22 on Dec 7, 2018 |
|
#
¿
Dec 7, 2018 13:08
|
|
|
How are you handling your .braw? Editing straight in Resolve, proxies, or just transcoding everything? I'm a big fan of .braw as a codec so far, but I just cannot get into editing with Resolve at all so I've been doing proxies, but it seems like such a step backwards after years of just importing everything straight into Premiere.
|
|
#
¿
Feb 11, 2019 19:54
|
|
|
I actually saw that just after I posted, but I’ll have to wait until they release an OSX version. I'd like to think with the popularity of Blackmagic cameras Adobe will natively support it one day, but Adobe and good decisions don't always go hand in hand so we'll see. Clunky is a good word for it. Love Resolve for grading, but not for anything else. Gunjin fucked around with this message at 21:15 on Feb 11, 2019 |
|
#
¿
Feb 11, 2019 21:03
|
|
|
Maybe my Resolve install is hosed up, but not only did the Premiere setting not match Premiere, when I went in and manually set the shortcuts to what Premiere's default is they didn't work. It's not even the shortcuts really, as much as how Resolve handles certain things, I don't like its trim tool, especially how it handles ripples. I also find it's a more limiting when it comes to exporting than Adobe Media Encoder. That said, if you want free, it's the best deal out there, and if you want to get into grading it's pretty much the standard (seriously, does anyone use Baselight or Quantel anymore?). I'm making an effort to learn it, if for no other reason than no company lasts forever, Adobe included, and it never hurts to have another skill, but it's slow going.
|
|
#
¿
Feb 21, 2019 16:03
|
|
|
powderific posted:the way it scales the tracks in the GUI is somehow extremely space inefficient so I'm always zooming in and out, and then the zooming itself is annoying. This.
|
|
#
¿
Feb 21, 2019 16:18
|
|
|
Blackmagic camera update 6.2 is out now, bringing .braw to the pocket 4k. One word of warning, updating to 6.2 removes the CinemaDNG codec from any camera that you update (including URSAs), so finish up any projects using that before you update.
|
|
#
¿
Mar 8, 2019 18:33
|
|
|
powderific posted:I’m mildly interested in one or the 4K as a b-cam to my Ursa Mini, but lately I’ve been giving a hard look at the S1 as I think it’d be nice to use when I’ve got lower paying video journalism gigs that benefit from rolling really light. From experience, the 4K makes a great B cam for our Ursa Mini Pros. It travels pretty light, I've put together a kit that has everything I need for quick 1 person talking head type scenarios that fits in a Pelican 1650 + a tripod bag.  powderific posted:I haven't actually tried it yet but there's a plugin you can buy to use natively in Premiere: https://autokroma.com/BRAW_Studio/index.html So I went ahead and purchased this now that they have a Mac version. It works but there is a caveat, it causes dropped frames when working with 4K+ footage at native resolution, this on a 10 core iMac pro that has no problem playing ProRes 4444 files at the same resolution. It's not a big deal for my workflow, because while we shoot in 4-4.6K I do all my work in a 1080 timeline, which plays back fine, and use the extra resolution for reframing or adding moves in post. You can also just drop the playback resolution, 1/2 plays back fine. I also don't really mess around with its ability to change the raw parameters, I don't like to do anything grading related in Premiere. I just edit with the footage raw, XML to Resolve, grade it, then XML back to Premiere. If a client needs to preview the edit and can't deal with the raw look I just throw an adjustment layer overtop of everything with the Lumetri Neutral Start preset on it and while not perfect it's good enough for previewing.
|
|
#
¿
Aug 14, 2019 15:11
|
|
|
You don't need Autokroma any more, BMD has their own free plug-in for both Premiere and Avid, released last September with the 1.5 update to .BRAW. I cant ‘t speak for Avid but its pretty seamless in Adobe, works better than Autokroma did.
|
|
#
¿
Jul 18, 2020 01:30
|
|
|
powderific posted:For the last while the Adobe plugin has been crashing on me when I try to get into the master clip settings to adjust raw. I haven’t investigated it thoroughly yet as the only project I’m using Braw on isn’t at a stage where it matters, and I may just go into Resolve for color anyway, but curious if you’ve had any issues? Basically any clip I try to get into the master settings will crash Premiere on most recent version of Premiere and the plugin. To be honest I hadn't noticed this because I do all those adjustments in Resolve, but I just tested and it crashes for me as well, I know it didn't do that when they first released the plug-in so one of the recent updates must have broken it. VoodooXT posted:The BMD plugin doesn’t work if you need to roundtrip a project between Adobe and Resolve. The way Premiere handles timecode messes with the timecode in Braw files so you can’t create XML/AAF files because the timecode extends don’t match. What's it doing/not doing for you? I haven't had any issues with roundtripping myself, other than remembering to change the input scaling settings, but that's my failing not the software. I switched because the Autokroma plug-in would wreck the playback speed on my machine, I'd be getting like 12-15 fps on footage even dropping to 1/4, while the BMD plug-in plays back everything real time. Gunjin fucked around with this message at 16:36 on Jul 18, 2020 |
|
#
¿
Jul 18, 2020 16:33
|
|
|
VoodooXT posted:When outputting an XML or AAF to bring the project into Resolve, none of the footage with link because the timecode wasn't matching. Apparently it has to do with the way Adobe handles drop frame timecode and it tries to interpret the embedded timecode in Braw files as non-drop frame or something. It never got fixed AFAIK and it caused me a ton of headaches on several projects. That might explain why I don’t have an issue, for the work I do everything is 24 or very rarely 60 and I don’t ever mess with drop frame, but I also get to control the whole process from start to finish which I acknowledge is not usual for most people. Hopefully it’s something that gets fixed eventually. I have the Autokroma plug-in if I ever need it, but the performance hit was real noticeable.
|
|
#
¿
Jul 18, 2020 17:42
|
|
|
|
| # ¿ Apr 19, 2024 19:41 |
|
|
Sorry, I was using 24 as shorthand, but non-drop code either way. Not really a big deal for me, nothing I do will ever see broadcast, it's all internal corporate work. Reading an update on the Autokroma page it says Adobe fixed the .BRAW timecode issues in the 14.3 update which was less than a month ago, so maybe it works now?
Gunjin fucked around with this message at 19:51 on Jul 18, 2020 |
|
#
¿
Jul 18, 2020 19:36
|
|