1. Since I'm planning a short documentary, I've decided to make a comparisson between Vlog and my prefferable low light settings, which is Natural profile -5 and +10 master pedestal.
    Test in extreme low light, even at ISO 4000 it was underexposed by two stops. I don't have super fast lenses, this one is shot at 2.5, but still.
    Yes, Vlog looks like it can handle little bit more colors at these conditions, but I'm not sure if I even like it more.
    Vlog make no sense for underexposed images I guess.
    Denoiser applied.
    Well, now I'm thinking, should I get faster lenses (how faster can it be), or get A7s, at least for these particular location.
    What's your thoughs ?

    # vimeo.com/140529770 Uploaded 1,159 Plays 5 Comments
  2. This is a tutorial that will walk you through turning your stills lenses into Cinema modded lenses. All links and info can be found here:
    dslrvideoshooter.com/convert-photo-lenses-cinema-lenses/

    # vimeo.com/92667944 Uploaded 5,563 Plays 7 Comments
  3. Hosted by Marco Solorio of OneRiver Media, this video compares the Blackmagic Design Cinema Camera and the Canon 5D Mark III in several tests. This includes dynamic range, sharpness, pushing levels, banding, artifacts, rolling shutter, chromakeying, wide/telephoto lengths, DOF (depth of field), low light, macro blocking, contrast, and more.

    NEW! Check out our new eBook "Ultimate Comparison Guide to the URSA & CION" at onerivermedia.com/ebooks

    Check out our follow-up video to this one:
    "Comparing the Cinema Camera: Part 2, The Impact of 12-bit RAW"
    vimeo.com/52269416

    After several DAYS of trying to upload this video to Vimeo, we've ultimately had to reduce the bit-rate compression down to 18mbps (Vimeo recommends 5mbps, ha!), which is down from our minimum quality level of 40mbps. This means the SOURCE file you can download will also inhibit some amount of compression blocking and smearing, even in the Cinema Camera footage, which doesn't originally exist in our ProRes master file. We've tried EVERYTHING, multiple types of uploads, different encoding methods, you name it.

    Although the downloadable source file is a little better than the streaming version, it still doesn't compare to the original ProRes source file which imposes no banding, compression artifacts, or chrominance sub-sampling (down from 4:4:4 to H.264's 4:2:0 space). Please keep this in mind when viewing.

    Unfortunately Vimeo only allows 100 downloads per day, so check back to download the 2GB file if the queue is filled. And remember to always watch in FULL 1080 HD or you will have added scaling and moiré issues on some of the tests than what is already been added by Vimeo and our horrid bit-rate restrictions.

    Thanks for watching. Hope this is as informative for you as it was for me making it.

    Twitter: twitter.com/OneRiverMedia
    Facebook: facebook.com/onerivermedia
    Blog: onerivermedia.com/blog
    Newsletter: onerivermedia.com/bmcc
    eBooks: onerivermedia.com/ebooks

    # vimeo.com/49875510 Uploaded 599K Plays 642 Comments
  4. Going a step closer with the Cinema Camera, Marco Solorio of OneRiver Media focuses on how 12-bit RAW compares in relation to 8-bit alternatives, including many camera solutions costing much more. The difference between “perceived dynamic range” and “available dynamic range” is explored in detail. Also covered is day-for-night, detail versus sharpness, and much more.

    NEW! Check out our new eBook "Ultimate Comparison Guide to the URSA & CION" at onerivermedia.com/ebooks

    Some questions have arisen as to why a LOG curve wasn't used (or if it would help) for the 8-bit source (amongst others), I created a blog post on the topic to answer any questions that might be regarding:
    onerivermedia.com/blog/?p=750

    For best results, view this video in FULL 1080 HD, and even better yet, download the original 15Mbps H.264 file with less compression artifacts.

    This video is a follow-up to the last video, “Comparing the Cinema Camera and 5D Mk III” found here:
    vimeo.com/49875510

    Twitter: twitter.com/OneRiverMedia
    Facebook: facebook.com/onerivermedia
    Blog: onerivermedia.com/blog
    Newsletter: onerivermedia.com/bmcc
    eBooks: onerivermedia.com/ebooks

    # vimeo.com/52269416 Uploaded 85.2K Plays 87 Comments
  5. Learn all about the D800 and D800e's video shooting capabilities and look at footage from this series of cameras. This video has relevant information for Nikon D4, D600 and D7100 camera users, as the video shooting settings are very similar. Please note: you can not change the Aperture in Live View Manual video mode on the D600 and D7100 cameras unless you use a lens with manual aperture on the lens, but you can on the D4 and D800/e. D600 and D7100 are wifi enabled (with an adaptor) for transferring files and controlling the camera remotely.

    Check out my video production blog for more tips and tricks: niceladyproductions.info

    Gear Shown:

    Nikon D800 (link to B&H Photo):
    bhpho.to/11DDpZN

    Nikon D800e (link to B&H Photo):
    bhpho.to/108y0qI

    X Rite Color Checker Passport (link to B&H Photo):
    bhpho.to/ZQvb02

    Bright Tangerine VIV Matte box:
    http://bit.ly/16TUeU2

    Atomos Ninja-2 (link to B&H Photo):
    bhpho.to/WRyC6x

    # vimeo.com/62571696 Uploaded 108K Plays 57 Comments

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