1. Can ULTRA 2k sharpened 20% rival the GH4's 4k reduced to 2k? - (Sharpen +20 test 2015Aug09 3S4C6997)


    from Fletch Murray/CineBootCamps Added 12 0 0

    I had to see with my own eyes if sharpening would improve the ULTRA 2k to be as good as the GH4's 4k when it is downsized to 2k. It doesn't. It just adds degrades the image. Conclusion: Panasonic's GH4 4k video squeezed down to 2k looks sharper than ULTRA 2k sharpened 20%. Thanks to Luke Neumann for the video footage.

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    • Canon 5D M3 with Magic Lantern versus Panasonic GH4 (LukeNeumann's DNG upconverted by FM to 3840K)


      from Fletch Murray/CineBootCamps Added 120 1 0

      Shane Hurlbut says, "You learn from failures." (You can download the original Ultra 4K experiment.) Here's a failed experiment. But I had to find out for myself. Luke Neumann shot the scene with GH4 in 4k and with Canon 5D M3 with Magic Lantern. I wanted to experiment to see if I 1) rendered Luke's DNGs to 3840 x 2160 TIFFs (instead of the usual 1920 by 1080 TIFFs), and 2) laid those TIFFs on a 3840 timeline,would I get close to the GH4's 4k output resolution of the same scene. This is because the Magic Lantern-enabled DNGs have 8 times the information as the normal h.264 the Canon 5D M3 normally records. Close but no cigar. Even though the color space is 14 bit and the dynamic range is broader (check out the sky, which doesn't burn out in the 5D M3's Magic Lantern Raw video) it just isn't enough to match the GH4's sensor which though half as big, produces twice as large a picture. So, I learned that the 5D M3 sensor with Magic Lantern can't make the leap to 4k, and I learned what an awesome achievement Panasonic packed into their GH4. Check out the resolution coming off a 4/3 sensor that is half the size of the Canon's full frame sensor. Impressive. So, I learned that the GH4 has earned a place on my shelf of cameras as the new king of 4k video. I now wish that Panasonic can make it noise-free above ISO 1000. Not to worry. I'm sure the "perfect" camera for 4k video is just around the corner. Of course that corner may be three years long. But isn't it fascinating how nobody seems to have to perfect camera. It's like these engineers realize that if they gave us everything we wanted, they'd have nothing for the marketing department to sell next year. Hmmm.

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      • Panasonic GH4 vs Canon 5D Mark III (with Magic Lantern RAW video) - 3S4C6997 GH4 4kto2k Neumann FM150713


        from Fletch Murray/CineBootCamps Added 2,116 2 2

        (If you don't want to go to 4k video yet, consider ULTRA 2k. What's ULTRA 2K? It's a term I made up August 8, 2015 to stand for what the Canon 5D M3's sensor can output when unleashed by Magic Lantern, i.e. 14 bit, 4:2:2 instead of h.264's 8 bit, 4:2:0. I did this GH4 vs 5D M3 ULTRA 2k comparison test because I had to see with my own eyes that the GH4 is better at 4k squeezed down to 2k than Canon's 5D M3 in ULTRA 2k.) SITUATION: I don't want to sell my 2k camera yet because cable won't be ready for it for years. Still, I always want the sharpest picture in the 2k world we live in now. So, I needed two answers before converting to 4k. QUESTION ONE: In the 2k world does is the Panasonic GH4 (4k downsized to 2k) as good as or better than my Canon 5D Mark III with Magic Lantern? QUESTION TWO: Does Premiere Pro struggle with Panasonic's 4k downsizing it to 2k? BACKSTORY: Luke Neumann* shot a similar test but he compared the two cameras at 4k (he expanded the 5D M3's RAW video to 4k). I wanted the opposite. So I downloaded Luke's uncompressed footage and laid it up on a 2k timeline in Adobe Premiere Pro. See the amazing results. Can a 4/3 sensor beat the pants off the 5D M3 running Magic Lantern? (Epilogue - Even though the GH4 did beat the ULTRA 2k Canon, I'm sticking with my ULTRA 2k Canon 5D M3 for now. The 5D M3 beats the GH4 in high ISO filming, in shallow depth of field and in correct color balance. Read more about this at www.cinebootcamps.com ) *You can see Luke's video test here - https://youtu.be/8kwMWb2KPB4 You can see the blog about it here - http://nofilmschool.com/2014/05/4k-camera-test-panasonic-gh4-red-epic-mx

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        • Jose Vargas becomes a filmmaker


          from Fletch Murray/CineBootCamps Added 41 0 0

          Jose Vargas flew out from New York City to our Hollywood studio to do a "triple-header workshop", which includes three days - one day on DSLR Filmmaking, one day on Lighting and one day on Editing in Premiere Pro. Jose wants to leave the 9 to 5 job he's got and film stories with his Canon T3i. Here's his interview and a behind the scenes look at how he progressed as a filmmaker...moving from fear of the camera to confidence he can get it done without breaking the bank. The highly-popular, private one-on-one training has surpassed our group CineBootCamp workshop. Here's a behind the scenes look at his progress as a filmmaker and his comments on the one-on-one training he received at our CineBootCamps. Filmmakers like Jose are why we do the CineBootCamps.

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          • Tamron SP 24-70mm f/2.8 Di VC USD lens test (MVI 9721)


            from Fletch Murray/CineBootCamps Added 77 2 1

            Students ask me what to buy. I suggest before you plunk down $1000+ on a handheld rig, try Tamron's Vibration Cancelling 24-70mm lens Even if you have one of the sharpest lenses they make, once you move off the tripod to handheld scenario, chances are your shots will be blurry. Why? Because the shutter speed range you've got to work with in film is normally between 1/30 to 1/50th. Unlike still photographers, who can up their shutter speeds to 1/250th to cancel out handheld blurring, filmmakers are constrained to relatively slow shutter speeds. Tamron's 24-70mm lens has a feature that others in this range just don't offer - Vibration Cancellation. It smoothes out "body jitter" so shots look great. And of course, it has a solid f/2.8 and ultra-silent operation. It's my go-to lens for handheld work. Check out the tests and judge for yourself.

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            • Shootout 7dMk2 vs 70D test 2


              from Fletch Murray/CineBootCamps Added 101 3 3

              Our filmmakers ask us which camera they should buy, the 70D or the 7D Mk 2. We did some tests to see if the 7D Mk 2 was $600. better for filmmakers. We saw very little difference in quality of film image. The huge difference is that the 7D Mk2 doesn't allow you to touch focus during filming. The 70D does. This solves the number one problem of filmmakers, i.e. being in focus in run and gun situations like documentary and "outside-the-studio" filming. The 70D also has the fold out viewfinder, enabling you to shoot high and low angles from a monopod and see your shot without having to buy an external monitor and a support cage to hold it. Unless you have a focus puller, we recommend you buy the 70D and use the $600. to invest in a nice Canon lens, unless you need a titanium body, 10 frames a second still shooting capability and a weather-sealed body.

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              • Nite Fountain Shootout - Canon's 5D M3 vs 70D


                from Fletch Murray/CineBootCamps Added 173 1 0

                How well does the 70D perform against the Canon 5D Mark III? We filmed a fountain at ISO 1250, 24 frames per second, at f/3.5 to find out. Check out the results for yourself. In our view, the 70D held up quite well, and though it'll never surpass the 5D Mark III in quality, it has a number of advanced features not on the 5D (fold out screen, auto focus, touch sensitive screen to bypass the clunky menus, and razor sharp kit lenses) that make this Super 35 sensor-equipped camera a contender unmatched at the price point of $999. for the body, and $1,299. at box stores with two lenses and a case.

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                • CineBootCamps Test Film - Night shootout Canon 5D Mark III with Magic Lantern Hardware add-on


                  from Fletch Murray/CineBootCamps Added 79 1 0

                  If you love seeing the heights the Canon 5D Mark III's sensor can achieve, checkout this short film. Using the Magic Lantern hardware add-on I'm achieving 14-bit instead of 8-bit and twelve stops of dynamic range. You can see the difference. It's like having a RED One MX. In fact, I did a low light test and the 5D Mark III was better than the RED. (see https://vimeo.com/77719173 and "Blonde Ambition" at https://vimeo.com/77716328 ) This unleashing of the power of Canon's sensor via Magic Lantern means the individual frame's data sizes are 8 times larger than the same frame in h.264. In effect, it's RAW video. Judge for yourself. If you're interested in a Magic Lantern workshop email me at fletch@cinebootcamps.com or check the website regularly. Magic Lantern was all the rage in September of 2013, which is when I made the leap and tried it out, shooting glaciers in Alaska. It's never failed me and always takes my breath away when I film with it. Here's a fresh comparison I shot recently.

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                  • CANON PREMIERE 12/13/14 - HARVEST


                    from Fletch Murray/CineBootCamps Added 179 0 0

                    This is the heartfelt story of the Kranick Cranberry farm which will become a century farm in 2017. A century farm is a farm owned by the same family for one hundred years. Fletch Murray took his CineBootCamps filmmakers to Dave Kranick's Ocean Spray cranberry farm in Bandon, Oregon to capture 2014 Cranberry Harvest. In this beautiful mini-doc you'll see the process and the story of the oldest family-owned cranberry farm in Oregon. The documentary was filmed with Canon EOS cameras - the 5D Mark3, 7D, 60D and 70D.

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                    • CineBootCamps Film "EDEN" - premiered at Canon Hollywood Technical Support Center


                      from Fletch Murray/CineBootCamps Added 81 0 2

                      A man recalls falling in love and the intense loneliness he feels now that his wife is gone. His granddaughter pulls him out of his depression and beckons him to continue the dance of life.

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