Відео

If you increase the aperture you loose depth of field. Depth of field means that the foreground is sharp and the background isn’t. If that’s ok for your composition, then your method is fine.

Strange, I created several music videos with Final Cut, I had no issue with syncing audio and video. If you try resolve: Start from scratch and don’t try to set it up as Final Cut or premiere. It has it’s own workflow which is great until you got used to it. It’s such a powerful tool in the hands of a good editor.

@@RonaldKasper The magnetic timeline was a huge problem for me. Somehow strange lines appeared, which then connected completely unconnected clips and when I would move one, everything would move without me noticing, so I would lose the whole sync. I spoke to their engineers a few times on the phone and they had no idea of how to correct it. It seems to work very well for those doing a different type of work, but if you work like me, who views the video like a puzzle and adds bits here and there and needs all clips to be free and to be able to fit them where I want, that didn't work at all. I still don't grasp how the free Resolve works. When I opened it and saw that the timeline actually started half way the screen, that was very odd. What I want is on the top the screen for the video, on the side all my downloads, which I then bring down one by ones and cut bits I don't like and am not going to use. And the synced clips stay synced even if I cut bits in the middle, like a puzzle where I take one piece out and that bit stays empty. First layer I have the audio, on the top of it is where I assemble the video and all the timelines above that have my takes. I think that this is the classical way video editors work and it suits me fine. Said to have a quite recent version of FCP and not being able to use it. Great to have that magnetic timeline they are so proud of, but it should have an option to turn it off. The solution my husband found was that he edited the video from the beginning until the end. My brain does not function like that. Sometimes I know exactly what I want to include in a certain part of the video but not in others. I am not a linear kind of person, I suppose? And those coloured lines linking bits of completely unrelated cut slips were a nightmare! We badly fell out over FCP.

Hi! Yes I‘m still using the Pergear cards, they work great and I really can’t see a reason why I should spend so much more money on Sony cards. The transfer speed of cf express is phenomenal so I don’t use SD cards anymore.

@@RonaldKasper thanks for your thoughts! I’m surprised that some reviews on UA-cam claim the write speeds are as slow as sd cards which doesn’t seem consistent with advertised speeds

Hi! That’s not true at all. These cards are multiple times faster than sd cards, as you can see in my video. I still use them on a daily basis.

No, I had a look at your channel. Your face is fine 😉

Thanks for your comment!

Thanks for your comment! Appreciate it!

Yes, exactly.

Hi! I‘m not sure if I understand what you mean. If I had the amount of light to raise up the exposure that much, so that I didn’t have to use ISO 12.800 bit the lower ISO 640, of course that would be the better option. Bit between these two ISO values are more than 4 stops of light, so you would need a lot of light to brighten your whole scene like that. Especially if you’re outdoors.

In a wide angle lens where the distortion is much more (because of the glass itself and the distance to the camera as well) it really makes a difference if the subject is in the center of the frame or not. You‘ll get a lot of distortion with some wide angle lenses at the edge of the frame

Inside of the marked range on the filter-ring, there is not X-sign at all. Outside, it can happen when you really far outside of the valid range. And yes, the filter should be fine for a 16mm 1.4, it's only problematic with long lenses (like an 85 or 100 mm)

@@RonaldKasper Fine! Thank you for clearing my doubt 👍

Well you expose like you would without Cine EI. In the video I showed that I expose for the target values, so the values when my footage will be brought down in postproduction. You can achieve this when you set the "MLUT" setting in the HDMI-Output of the camera. That way you see the waveform for the endresult, so with the applied LUT for darkening the footage. Think of "cine ei" as exposure LUTS that you can use inside of the camera, same as you would use them in your external monitor to bring down the footage. OR you can set "SLOG3" in the MDI-Output of the FX6. Then your waveform always shows the values for the SLOG3 signal. If you change the EI value (=the exposure LUTS on the screen) nothing will change because as I showed in the video, the SLOG3 signal is NEVER changed when you change the CI value. So you can decide which method you like more. For me, it's clearly the first version.

Basically yes. But that doesn’t sound as cool as „Cine EI“ so they created this new name for it 😂

You‘re welcome, thanks for your message!

I‘m happy you watch my videos!

Thanks! 😂 people take it way top serious when you say bad things about their software

You‘re welcome! 👍

Thanks a lot! Have fun with this effect

Hi! No, an embedded LUT is baked into the footage and is not removable in post.

PolarPro builds nice filters that are a combination of ND filters and polarizers. You can dial in both independently, maybe one of these would be a good idea for you.

@@RonaldKasper Thank you ronald…

Yes, that’s correct!

Sorry but I assumed everybody already knows how to find the custom white balance menu in the camera. Here’s some information about that: canoncanada.custhelp.com/app/answers/answer_view/a_id/1020848/~/setting-custom-white-balance-%28eos-5ds-%2F-eos-5ds-r%29

You can’t control exposure with a single Rec709 LUT. Unless of course you have LUTs with different exposure corrections (-1 stop, -2 stops). Then you can do it that way as well. But why? Sony has this functionality built in.

@@RonaldKasper Maybe I still don't understand. I thought the whole point of your video was saying you're not controlling exposure with Cine EI; You're just previewing what your video will look like after you bring down the exposure in post. Wouldn't a rec 709 lut do that? It might not be able to show you various stops of exposure, but it'll give you a ballpark idea. So is Cine EI just a more tuned in, precise version of that or am I missing something?

@@bryanwendland235 maybe we’re talking about the same thing already, but I try it in different words. Yes you’re right, cine EI lets you view the image like it will look like after you brought it down in post. So you can record it one or two stops brighter to get less noise but you already see how your result will look like. How would you do that with a rec709 LUT that shows you the same exposure as the one you are recording right now?

​@@RonaldKasper a rec.709 lut would not show you the same exposure as what you're looking at in slog 3. A proper slog3 to rec.709 lut will show your slog footage (relatively) "properly" exposed. *EDIT* Sony's own video about their own rec.709 LUT say this, too, so it's not just me. *EDIT* To me it seems like the benefit of Cine EI is just the control you have over how many stops of underexposure you're previewing vs a LUT.

@@bryanwendland235 yes of course a conversion LUT shows the correct exposure, but just the same exposure as what you record. Cine EI is about recording a DIFFERENT exposure than what you see on screen.

Yes UA-cam is a great source for solving most problems. Have fun with Resolve!

Therre surely is one that you can use with other cameras, the FX6 has cine ei for that purpose

Yes, and for everything else. It just doesn’t work well for long lenses (from 80mm on)

@@RonaldKasper So,it isn't good for my Sigma 135 mm 1.8

@@dandanu2526 no, I wouldn’t use it with that

@@RonaldKasper Thank you so much!

You‘re welcome!

Yes I‘ve heard from others in the comments of this video that they have the same problem with long lenses. On my 24-70 I didn’t notice any issue and I don’t have a longer lens.

@@RonaldKasper just message their office in indonesia. Lets see what the say about this. Just little concideration for the others who want to buy this knf for tele lens 🙂 thank you !

Hi! You can change this in the "monitoring" section of the menu. Set "SDI/HDMI" to Slog3 and set "VF" to "MLUT". That way, the lut is only applied for the internal camera monitor and your EI-values change the monitor exposure. But on the SDI/HDMI outputs, the SLOG3 signal is sent so this exposure doesn't change.

You‘re welcome, thanks for your comment!

Yes, or even easier: it’s like an exposure lut.

@@RonaldKasper Coming from a Panasonic GH5 I am going through hell right now with the menu's and clarity on what is going on with my shot and settings... Seriously considering selling the FX30 again for a S5IIX. Hope it gets easier.

It’s the same when I have a Panasonic in my hands 😉

Sorry, I don’t know that at all. It could be that the base ISOs for photos are different than for video. Depends on the shooting mode and the used picture profile

Sorry, I haven’t tested this one until now.

Thanks! Are you talking about what is shown on the screen at 1:49? I suggested the plugin „neat video“ here, although I switched to Davinci Resolve in the meanwhile where noise reduction can be made pretty easily in the studio version. So I didn’t mean that I made an own video about noise reduction.

@@RonaldKasper Ohh I see, thank you for your suggestion! Also have you made any videos explaining why you switched? I'm very curious!

thanks! Switched to what? Sony? I just thought it was the better camera when the A7siii came out, it hat 10 bit instead of 8 and now I live my FX6 that I use in combination. So at the moment, I‘m a Sony guy. Until the next best thing comes out from another brand 😂 And if you mean Davinci, yes I made a own video about it: ua-cam.com/video/A54l_vQJJX4/v-deo.htmlsi=arKMWdI2KQ38rdVq

Hi Steven! Thanks for your comment! Yes I agree there are workarounds in FCPX and it’s not a bad NLE at all. But in Resolve you really have all the tools at your fingertips and the workflow just feels easier and more professional to me. The audio mixer is so great and the integrated effects suite (Fusion) really adds value as well. In general I feel that the Resolve community is growing like hell and FCPX doesn’t seem to get big updates. But use what you are happy with, it doesn’t depend on the NLE whether you make great videos or not 😉

Hi! Definitely stay at 12.800 and bring in more light whenever possible. I wouldn’t raise the ISO to 25600, I think you even get better results when you expose normally at 12.800 and use a little bit of noise reduction in your editing software.

Wow! Thanks for the fast answer. I still have one more question. What would you do in a non-ideal light situation like wedding reception where there is no way to control the lights? Is it better to raise the ISO to overexpose let’s say 2 stops and introduce more grain in camera but then lower the exposure in post or is it better to stay at zero? Considering that you shoot in S-log 3. Thank you very much for the answer😊

in this case I would overexpose by one stop and bring it down a bit in post. The problem is that brightening dark footage in post will give you bad results when parts of the footage are in the noise floor. Which means the almost black areas. Lifting the signal up from there doesn’t work well. So to be on the safe side, film it one stop brighter.

Thanks a lot!!

Thanks for your comment! Of course it always depends on the project, bit for me it were the effect shots that made it worth to shoot horizontally. I couldn’t figure out how to do this properly with a vertical FX6

That‘s enough for most situations 😉

Since I didn’t want to risk overheating anyone’s brain, I decided to not talk about shutter speed and it’s relation to Fstop, iso and nd in this video. 😉 I‘ll think about your video suggestion, thanks!

Thanks Jeff! Yes you're right of course, to make it less complex I based my example on the assumption that we work with a constant focal length.

I'm not a 100 percent sure, but I think you can't switch noise reduction off completely on the FX3. Only on the FX6. Your noise problem in the highlights is strange. Do you manipulate the colors of the image a lot? And could it be that you use incorrect color- or luminance qualifiers for that? That way, some pixels could be ignored by the qualifier and if you turn your sky blue, the others remain like originally shot. Just an idea.

Well it’s good glass. I agree Sigma makes lenses for half the price and I own a sigma 24-70 that I use a lot with my Sony Cameras. But there are a lot of expensive lenses, not only canon. I mean buy a G-Master, it’s the same price category. Not even talking about cinema lenses.

@@RonaldKasper A sony 24 70 f2.8 GM is cheaper than 1700, there are certain discounts, full price 1700 euros. The canon variant is 2100 euros. I doubt that Canon is clearly superior and deserves the difference. If we are talking about Sigma, it is 1500 euros. Canon is more expensive by over 300,400 euros for premium lenses. Just because they are Canon. Sony 70 700 f2.8 it is 2000 euros, Canon 2500 wtf.