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Author Topic: D800 footage  (Read 4466 times)
Bern Caughey
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« on: February 11, 2012, 01:24:40 PM »
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http://vimeo.com/36305675

www.youtube.com/watch?v=6IGMjim-Ieo
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fredjeang
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« Reply #1 on: February 11, 2012, 02:19:27 PM »
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Jesus C ! Am I right or the audio of the music clip is completly out of sync?
« Last Edit: February 11, 2012, 02:21:42 PM by fredjeang » Logged
ChristopherBarrett
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« Reply #2 on: February 11, 2012, 02:32:19 PM »
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I don't know if it was a stylistic choice, but there seemed to be no shadow detail...
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bcooter
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« Reply #3 on: February 12, 2012, 01:14:27 PM »
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I don't know if it was a stylistic choice, but there seemed to be no shadow detail...

I thought Sandro's piece was nice and a good camera demo.

Could have been cut shorter and with a little more zip, but still worked for me and I liked it.

Last night we went to Safe House and it's shot beautifully on film with an ArriCam. and DP'd by Oliver Wood.

It has more noise than a Lady Ga GA concert and blows the highlights and crushes the blacks faster than a old motorola flip phone, still it's beautiful and shot for effect.

The thing is if someone showed a clip from that movie on this forum, the tech heads would beat it to death.

IMO

BC
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fredjeang
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« Reply #4 on: February 12, 2012, 01:32:16 PM »
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Yep, I saw samples. The blown highlights jumped on my face more than the shadows but the look is great and done on purpose.

I think that when people see-smell that it's a deliberate choice it works.
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ChristopherBarrett
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« Reply #5 on: February 12, 2012, 08:17:30 PM »
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It seems like they did this huge night shoot to extoll the virtues of the sensor's low light capabilities... so... for me... to exhibit a piece that lacks any shadow detail just doesn't sell the camera.
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kers
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« Reply #6 on: February 13, 2012, 06:01:40 AM »
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It seems like they did this huge night shoot to extoll the virtues of the sensor's low light capabilities... so... for me... to exhibit a piece that lacks any shadow detail just doesn't sell the camera.
It is funny, this one screams to be shot with the d4 instead.The difference is two stops or so.
The d4 promo should have been shot with the d800... they made a mistake - like with the bad d800 sample photos
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Pieter Kers
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fredjeang
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« Reply #7 on: February 13, 2012, 06:47:18 AM »
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It seems like they did this huge night shoot to extoll the virtues of the sensor's low light capabilities... so... for me... to exhibit a piece that lacks any shadow detail just doesn't sell the camera.

Not only that but the banding issues will occur at one point or another, wich is even worst than less dr range,  unless and with no gurantee, that it's shot uncompressed on external recorder. In the end, those dslrs aren't that cheap if we want to extract the best possible footage and always delicate to grade.

Do you image shooting a glass building for a client where the subtle tones are posterized ?

I beleived, or wanted to beleive, for some time that the convergence was finally here, in fact it's here only in the marketing department dreams.

It's amazing. People say that the Red workflow is crap; but man, those dslrs use a really loosy codec with low bitrate wich oblige to more devices and cables and even heavier file size than the raw files, without the 4k, without the raw flexibility, without the pro-device factor and if you don't do that the post-prod is a real mess because those AVCHD aren't usable, so convertions, unsecure stability in the grading stage etc...

Yeah, convergence and great IQ at 3000 euros... it's not for today yet.

Oh well.
« Last Edit: February 13, 2012, 06:59:55 AM by fredjeang » Logged
ChristopherBarrett
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« Reply #8 on: February 13, 2012, 07:34:38 AM »
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mind you... if Nikon made a 17mm PC lens, I'd dump Canon in a heartbeat... for stills.  Really miss my D3  Sad
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KevinA
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« Reply #9 on: February 23, 2012, 03:49:40 AM »
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Lets face it the video was not made to say this is the camera you need to make video like this. It's there to sell the idea that with this camera come the weekend you can shoot the children, a Wedding, something for the bosses web site and have 36mp to do the landscape.
I have held the camera and it did feel like a pro camera, it will no doubt produce pro grade media if you treat it correctly, wether it would be first choice for lots of work is another debate.
From my ignorant position on video, if someone wanted to throw some money my way to make a short video like that which will mostly be viewed on the web, I would turn towards the 300c.
I can see how my brain thought process works regarding still video combo, I'm thinking the D4 would do the job nicely for me, then again the 800 has a lot of D4 in it at a lot less money. I also think, day to day I shoot mostly stills and if I had a D4 and a 800 in the bag and those 36mp work, would I bother getting the D4 out unless it was dark or moving quickly.
If video was my main stream of income I doubt I would look at a DSLR with all the latest dedicated video machines available. It's an oval peg with flattened ends we are hoping will fit in either round or square holes.

Kevin.
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Kevin.
fredjeang
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« Reply #10 on: February 23, 2012, 04:57:37 AM »
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It's quite frustrating. The old way doesn't want to die and resists.

We know that in fact the technology is there, absolutly, for a complete "convergence" light camera that would feature both stills and video pro-grade capabilities. But the big problem is that there is a resistance from manufacturers because they have their existing pro video market to protect in wich prices are like Avid and Da-Vinci resolve politics 10 years ago in wich any screw costs you 10.000 bucks.

The big boys, Panasonic, Sony, Canon etc...are perfectly capable of putting today on to the table a camera with a MF form factor with 30MP stills, pro conections, Raw video 12 bits, 4k, built on military standart, weather sealed, high DR, high speed, image sequence capability at 1/2 full res, built-in ND filter, High isos capable etc...in fact a camera that would be suitable for both demanding high-end still and video imagery with very little hassle and with lightweight-reduce size. And oh yeah...for less than 10.000...

But the problem is that they won't.

They still think 2.000 DSLRs-evils-cooldesigns for the wanabees and 80.000 3-trucks-10-assistants for the serious stuff.

Or...Red will force them?
« Last Edit: February 23, 2012, 07:02:43 AM by fredjeang » Logged
BernardLanguillier
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« Reply #11 on: February 23, 2012, 10:07:34 PM »
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The big boys, Panasonic, Sony, Canon etc...are perfectly capable of putting today on to the table a camera with a MF form factor with 30MP stills, pro conections, Raw video 12 bits, 4k, built on military standart, weather sealed, high DR, high speed, image sequence capability at 1/2 full res, built-in ND filter, High isos capable etc...in fact a camera that would be suitable for both demanding high-end still and video imagery with very little hassle and with lightweight-reduce size. And oh yeah...for less than 10.000...

But the problem is that they won't.

The pace at which technology is rolled out is a fascinating topic.

As an example, judging from how easily Sony and Nikon are releasing sensors every year with ground breaking DR and zero obvious defects... you can be pretty much sure that they already have internal designs with significantly higher performance still... but why release them now if they can make more money in the mid term by pacing the release of enhancements over several generations and still stay comfortably ahead of the competition?

Besides, for the optimists who think that companies always give it their best shot, is the rest of the eco-system available to enable a faster technological pacing (required components, peripherals, IT infra, people,...) is the required production equipment available at a reasonable cost,...?

In the end, the reality is that each segment of the industry works with more or less explicit agreements about the pace of technological release. There is no way Canon and Nikon could have released their first video enabled DSLR within days of each others without having either an agreement on their roadmap of a dependance on some common components that were not ready until then.

Cheers,
Bernard
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A few images online here!
Sareesh Sudhakaran
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« Reply #12 on: February 23, 2012, 10:15:12 PM »
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There's always the Chinese Kineraw 2K for $8,000!
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Get the Free Comprehensive Guide to Rigging ANY Camera - one guide to rig them all - DSLRs to the Arri Alexa.
fredjeang
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« Reply #13 on: February 24, 2012, 01:38:21 PM »
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http://vimeo.com/28233165

It only takes PL mount no?
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