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Old October 19th, 2009, 11:03 PM   #16
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Here are the Actual TL Sequences

Quote:
Originally Posted by Mark Job View Post
Hi Aaron:
I'm editing the footage now. I should have it up late tonight. Yah, sorry about that.
......Here are the actual time lapse sequences. Unfortunately they are not useable due to the timelapse interval being to great.
Please Stand By
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Old October 25th, 2009, 10:32 PM   #17
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I was bored so I made a timelapse this afternoon


Since my boredom was also combined with laziness, I only ventured about a thousand yards from my house to get this footage of some cars driving by. One of these days, I'll shoot something interesting.

There is an hour's worth of timelapse to start the clip. About 40 seconds on playback. Then there are some random clips at the end of the sequence. I just grabbed them as I started packing up the rig to head back home. Some of them are with fast shutter.

I started color correcting but I only got as far as "good enough". As always on vimeo, you can download the full HD original. 36MB.
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Old October 26th, 2009, 10:13 AM   #18
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The Viper is So Increadibly Sharp !

Hi Aaron:
Even with the smoothing effrect of the average Vimeo Post, your footage out of the XDR and your Viper is increadibly sharp. What was your time lapse settings ? (I use the 220 I-Frame mode exclusively). Your slow mo stuff looked great, only, I noticed the vehicles close to the camera looked ever so slightly stroboscopic in their motion. In other words, the temporal fluidity at distances looked normal, but less so at closer ranges.
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Old October 26th, 2009, 10:25 AM   #19
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Hi Mark. I think the XDR fixes all timelapse at 220/I-frame.

The final segment was shot 720/60p then conformed to 24p for 2.5x slomo. The clip is on the fcp timeline at 800% for a few moments then finishes at 50%. The motion blur as the cars ge close is pretty big. Shutter was fast as possible. The strobing you see is optical flow creating new frames using heavily blurred frames as the source.
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Old October 26th, 2009, 04:19 PM   #20
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Hi again Mark. I just watched the video on vimeo and on my system. The strobing effect is definitely exaggerated on the vimeo video compared to the original here.
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Old October 26th, 2009, 05:51 PM   #21
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Vimeo Colors Effect Result

Hi Aaron: OK. Good to know. Aaron, what do you think of the new Sony SRW 9000 Camcorder ? It does all the way up to uncompressed HDCAM *SR* @ 4:4:4 I wonder what this looks like from that camera ?
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Old October 26th, 2009, 06:19 PM   #22
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Quote:
Originally Posted by Mark Job View Post
Hi Aaron: OK. Good to know. Aaron, what do you think of the new Sony SRW 9000 Camcorder ? It does all the way up to uncompressed HDCAM *SR* @ 4:4:4 I wonder what this looks like from that camera ?
Hi Mark. I just went to Sony's site and read all the specs for this camera. It looks like a VERY sweet rig. I'm not sure I understand the hype though, unless you're doing live, broadcast or other quick turnaround work. For cinema applications, the Sony F35 still seems like a better option.

The S-log Gamma feature seems interesting but it still seems like there is no way to get an unprocessed signal out of the camera. The RGB modes are processed signal. It's also a little disappointing that the 4:4:4 RGB and other advanced modes require extra boards.

You can bet though that the picture out of an SRW 9000 will look very very good. Uncompressed HDCAM SR 4:4:4 would look very good.

My camera also shoots all the frame rates as that camera, except 1080p60. I like my physical shutter like a real film camera too (until the motor stops working someday). My camera can also do 4:4:4 RGB (which is a processed signal) like the SRW-9000 but my camera can also do 4:4:4 FilmStream, which is an unprocessed signal (raw sensor data). In Filmstream mode, there is no gamma curve applied to the sensor data, no white balance, no color matrix, no knee, no detail, no gain, I mean really, no processing. When shooting FilmStream mode there is no way to set any of those settings because they don't apply. Only raw sensor data is recorded 4:4:4, 10bit log. Focus, lens aperture, shutter speed, composition of picture. That's it. Think about it.

Oh yeah, Viper shoots cinemascope with standard lenses, using nearly the FULL sensor (unlike Red, which crops the sensor).

I'd love to have either one of the SRW-9000 or an F35 though. I could hire myself out at thousands of dollars per week.

Unfortunately the Viper market is shrinking. The biggest Viper rental company in LA dumped all the Vipers and the ones I know still rent the Viper aren't getting much money for it.
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Old October 26th, 2009, 11:51 PM   #23
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No Work for a 27 Megapixel Camera :-(

Hi Aaron:
It's sad to know you can't get much work with what is a flawless 27 megapixel camera ! However, with your Nano mounted slant back on your custom mount to the Viper, it's just like it's own camcorder of sorts. (??) I checked out the specs of the SRW 9000 this past weekend and it looks like the next cmera we need to buy. Just think, I could have the SRW 9000 as the *A* camera, and my XL H1 with the XDR attached recording in full 10 bit uncompressed as the *B* camera. Perfect ! ;-) No ? Yeah ! I could even by a duplicate lens like the one on the SRW 9000 and with an adaptor put that on the H1. :-) P.S. I wonder if the viewfinder on the SRW 9000 is a little higher grade than the XL H1 ?
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Old October 27th, 2009, 09:57 AM   #24
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I think if you had an SRW-9000, you would make it the A, B and C camera unless you had to shoot live. I don't think your Canon would get much use unless you had to get small.

I don't have an XL H1 but I heard the viewfinder is not very good quality. My camera's viewfinder is ok and I can view any channel in the viewfinder and it's b&w too. I still find it tough to get critical focus on ANY viewfinder though.

I set the backfocus on my camera last night and I had to hook up a 24inch full raster LCD in order to get it just right. When there is no LCD available though, I have to set it by viewfinder though!
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Old October 27th, 2009, 10:42 AM   #25
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Hi Aaron:
I was being visicious about my XL H1 versus the SRW 9000 ;-) As good as my XL H1 is, and it is fantastic when used with the uncompressed HD-SDI out, I certainly cannot compare this solution to an SRW 9000. Notice how Sony chose to use CCD's versus CMOS sensors in this camera ? I am beginning to wonder if CCD's are better overall than CMOS sensors ? I'll have to do some more research on this.
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Old October 27th, 2009, 10:58 AM   #26
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I think that RED and the DSLR guys have proven that CMOS, engineered correctly can be VERY good technology. Heck, I believe the Phantom even uses CCD if I recall correctly.

However, I'm sticking with CCD. The cameras I lust after most are all CCD.

You joke abut the SRW-9000 just like I would have joked about the Viper years ago. That's the beauty of this business though, in a few years, an SRW-9000 can be had for next to nothing. I love seeing super expensive (when new) cameras pop up on ebay every now and then.

Now that they don't have moving parts,...
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Old October 27th, 2009, 02:41 PM   #27
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Another Time Lapse Shot for Ep 2 of Please Stand By

Hi Everyone:
Here's a time lapse shot that's a keeper for inclusion into the opening sequence of Episode 2 of Please Stand By. This scene was taken from atop of Mount Royal from the lookout section. It was so windy atop of the Mountain that the gusts grabbed at the Flash XDR which acted like a sail attached to the rear of my XL H1. The XDR is rather large, so this gave the forces of nature something to grab at and the camera began to move up and down on its tripod mount slightly.

I corrected the up and down movement in Avid to remove the extreme telephoto bounce I got with each wind gust. In the future, I will bolt the camera directly to the mounting plate on the tripod head and not place the Anton Bauer Elipse battery between the camera and tripod mount. Mounting the Elipse battery to the bottom of the XL H1 works perfectly well for hand held shooting, but is not suitable for tripod mount work, because there is too much play in the plastic quick mount system for the camera and the battery. Dan's engineered XDR mount for the XL H1 allows for mounting an Anton Bauer battery right on the plate which holds the XDR itself, so this may be a better solution ultimately.

This scene was shot on Automatic exposure with the 1/32 ND filter engaged using the stock 20X optical zoom Canon lens at -3 dB gain with the dailight filter on.

Test Double clicking on the video screen will give you full screen video viewing.

EDIT: The time lapse interval was 1 frame every second.
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Old October 27th, 2009, 09:07 PM   #28
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Hi Mark. I tried to look at it but it didn't work. I just get a blue screen that says test.

EDIT: Looks like it comes up in Windows.
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Old October 27th, 2009, 09:50 PM   #29
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Viewing My Tests

Hi Aaron:
I just checked out my test with my iMAC and it works fine, but you need to download the Flip for Mac pluggin for Safari and Quicktime Player. You need the very latest version of Flip for Mac as well (Version 2.3.0.14). I'm using Windows Media Video prpfessional 9 codec with the special HD1080p codec. I use this because it is absolutely faithful to the Grey Scale Values of the original footage corrected in Avid Media Composer. You can download the free player components for Quicktime Player on your Mac Telestream Flip4Mac WMV - Overview
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Old October 28th, 2009, 11:52 AM   #30
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Mark. Extremely nice time lapse work! Beautiful.

Can you provide all the details as to how you setup the XDR menus.
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