I'd also like the same tests dome on the 12k 2024 camera. With the higher quality camera the color should be more stable and less noise should be evident in all shots.
@Goshjeyer2 күн бұрын
Great video! I wish I had found this sooner, for a long time I assumed that because everyone referred to 640 and 12,800 as 'Native' on the a7S III, the quality was the same. Just recently I switched to shooting almost exclusively at ISO 640 when I can, and I'm able to get much higher quality images in terms of sharpness and color.
@SquareDealProd9 күн бұрын
If you upgrade the firmware you have to create new presets. Ugh.
@CaleMcCollough15 күн бұрын
Excellent video. Thank you for showing the focus breathing. Please update your Title with focus breathing test for other people. Thanks. In the future, you want to do a shot where you are sitting and move forwards and backwards to see if there is any distracting focus breathing in the corners. Clearly you have to do this test 5-feet, 10-feet, ... back because the focus breathing up close is pretty bad, but that is extreme. We need to average real-world use cases.
@elcirculobahia16 күн бұрын
I have a question. After connecting the camera with the application I get the following message: "The connected device can't stream to this app for some reasons." Could you help me with this? Thank you so much
@deadendboredom16 күн бұрын
I haven't seen that message before. First, I would check the basics: camera firmware? Which app are you using? (CBM or M&C?)
@scentmystyle16 күн бұрын
Best breakdown on YT. Simple and straight to the point.
@brunomola.229317 күн бұрын
In 46 seconds you ended all my doubts. This is a perfect AF test.
@OnyxSoul25 күн бұрын
Tolles Video, dass du Deutsch als Muttersprache hast erkennt man in deinem Englisch sehr gut 😬✌🏻
@fluff1991Ай бұрын
Hi, do you know if the FX3 will stay in sync with the timecode after disconnecting for a 3 hour shoot? I need to use the sony multi port again after jam syncing as my field monitor plugs into that port for camera settings control and tap to focus etc.
@deadendboredomАй бұрын
Yes, it works, but sometimes you have to pay attention to a few small things. On the subject, I already have a video that is about multiple devices, but also about the FX3: kzread.info/dash/bejne/daJmuqlxltvOk7g.html
@rafaelrockifyАй бұрын
😍😍
@LWinkelhausenАй бұрын
can you connect multiple FX6s and monitor them side by side over the app?
@deadendboredomАй бұрын
Not that I know Update: Perhaps… There's a new multicam switch in the app. I assume it only works if all devices are connected to a router. I'll have to test that out sometime.
@jonasschnackkrogАй бұрын
How do you name a preset/setting?
@deadendboredomАй бұрын
I'm not aware that you can give custom names to the presets. As seen in the video, renaming the files doesn't work. It's possible that this has changed with the latest firmware, but I haven't tried since. EDIT: There is a possibility. See the answer below.
@jonasschnackkrogАй бұрын
@@deadendboredom Okay. This should be an option, because I use different settings with clients, and I just want to name them after the client. Anyway, could be super useful!
@deadendboredomАй бұрын
@@jonasschnackkrog I checked the menu again and found out how to name the presets: Before you set and save a preset, go to "All File" in the menu, then to "File ID," where you can assign a name. When you save the preset afterward, it will be displayed with the assigned name.
@jonasschnackkrogАй бұрын
@@deadendboredom thank you so much!
@olgaolgakkkАй бұрын
Thank you for the explanation, this worked for me.
@antonstafeyev3606Ай бұрын
Just ran a test myself, yeah there is blocking but nowhere near yours. longGOP look more like what you have recorder in XAVC-I
@deadendboredomАй бұрын
Are you sure that you selected the highest possible bitrate? Perhaps you used a scene with a lot of detail and movement for testing; in that case, XAVC-I is indeed better. Feel free to watch the second video, where I provide many more examples.
@antonstafeyev3606Ай бұрын
@@deadendboredom Looking at the video you are shooting with XAVC SI which is a h.264 wrapper. could be an issue, but it looks like something went wrong with the compression and it looks like a blocked noise which never accured. I have never visually seen such an artifact on my fx6 while shooting XAVC-i. And yeah coming from R3D or BRAW world this freaks me out when you sometimes spot a block on extreme grades. However, tracking this footage is meh... while keying is fine, still gona do mattes and stuff so compression will not be noticable there.
@gracesmith5021Ай бұрын
Have you tried recording 4k 120 fps in S&Q mode? It records at 1200 Mbps All intra. The image seems to be way better
@deadendboredomАй бұрын
I have, but the bitrate per frame remains the same, so the quality won't be much better. 300 Mbps at 30p and 1200 Mbps at 120p.
@ThorCaesАй бұрын
Which lens were you using on the FX6 for this test?
@deadendboredomАй бұрын
95% sure it was the Sigma 24-70 2.8
@NewGoalsNewDreamsАй бұрын
Hello, thank you for the great information. I would be grateful if you could explain how to use Tentacle Sync E for time code with a Sony FX6 when recording externally onto the Atomos Ninja V+ and using a MixPre 6 external audio recorder. I understand how to use the Tentacle with the FX6 while recording internally into the camera, but when recording externally to the Atomos it confuses me. Thanks for your time.
@deadendboredomАй бұрын
Basically, it doesn't matter which timecode device you use. Connect it to the FX6 and set HDMI TC Out to ON in the menu under TC/Media. This will pass the timecode over HDMI to the external recorder. Timecode is always passed over SDI, so you don't need to activate that separately. So you don't need to connect the Tentacle to the Atomos to record timecode. Did that answer your question, or is there something else i can help you with?
@NewGoalsNewDreamsАй бұрын
Thank you. That answered my question. I will connect the Tentacle Sync to the FX6 and jam timecode. The FX6 will feed timecode to the Ninja V+ via the SDI. I will connect a second Tentacle Sync to the MixPre 6ii and another to my second camera Sony A73. Timecode will be linked across devices, correct?
@NewGoalsNewDreamsАй бұрын
I just read your answer again. Do I need to use HDMI to the Atomos? I have the Ninja connected to my FX6 with SDI cable.
@deadendboredomАй бұрын
@@NewGoalsNewDreams The timecode signal should automatically be passed from the camera to the Atomos via SDI. If the timecode isn't showing up on the Atomos, you may need to configure the timecode settings in the Atomos. And yes, that's correct. As you described, you can later synchronize all the footage using the timecode.
@NewGoalsNewDreamsАй бұрын
You are awesome, my friend. Thanks so much.
@AndyBCornickАй бұрын
Might be being dense. So what this shows is, you can still use S35 lens on the FX6 but use the Clear Zoom function in 4K instead of changing to S35? How do the images compare to the full frame image in 4K? Terrible or useable for a 4K project?
@deadendboredomАй бұрын
Yes, using APS-C lenses, CIZ is a good way to capture a bit more detail vs s35. CIZ is sharper and more detailed compared to s35; you can see a few examples in the video starting at 0:58. 4K full frame naturally offers much more detail, but also a wider field of view, so it's not as comparable to s35 and CIZ. Whether high sharpness and a lot of detail are generally necessary is up to the viewer. Personally, I often find a slightly softer and more organic-looking image more pleasant than high-resolution and clinical images. A good HD image in a 4K timeline is sufficient for me, and I believe most people wouldn't notice a difference (of course, it also depends on what you're filming… a dialogue scene with close-ups of people doesn't require as much detail as nature shots and panorama shots).
@oupekha2 ай бұрын
Using FX6 in studio that has perfect lighting is it over built or too much? Or just FX3 is good enough? For grading
@deadendboredom2 ай бұрын
The two cameras have the same sensor, and the image is nearly identical. If you don't need the ND filter (which I assume Is the Case in a studio with controlled lighting), then the FX3 is a good choice. The FX3 even offers more codec options.
@oupekhaАй бұрын
@@deadendboredom Thanks a lot
@gothamindembaum2 ай бұрын
Where the hell is custom desqueeze are the people at SONY retarded? There are 1.6 and 1.8 lenses out in the wild. Why do they abuse their customers like this. It's ridiculous.
@oupekha2 ай бұрын
Wow very good information
@maxwelljacobs27152 ай бұрын
I am trying to do this and I do not have the setup for mobile app this what am I missing
@deadendboredom2 ай бұрын
My first assumption would be that the camera has an older firmware version and that an update is necessary to unlock this feature.
Awesome, thanks for the no BS, straightforward tutorial.
@solodagci2 ай бұрын
I think I found the sweetspot. 4K 24p XAVC-HS 100M 4:2:0 10 bit. There is a 4:2:2 option as well but choosing it means losing GPU accelerated decoding so I decided to go with 4:2:0. I'm not doing green screen anyways. This option provides identical quality (if not better based on your findings) compared to 240M bitrate ALL-I yet... it uses 2.5X less space and it is hardware accelerated by my Nvidia RTX 4080 Super. The playback is as smooth as ALL-I for me. With the ALL-I my 512GB V90 card can only record 4.5 hours, with XAVC-HS it's 10.5 hours. There is also another side to this story that you might have missed. Shooting ALL-I drains battery like hell. By staying with a relatively low bitrate Long GOP codec, you are not only saving space, but also battery as well. I shoot silent hiking videos. Mostly static shots on a tripod. I walk in front of camera with a nice scenery, then come back to pick it up. I think for this shooting scenario, a long gop has more quality advantages. My only gripe with XAVC-HS is that Sony arbitrarily removed 30p option. It's the most bizarre feature omission ever. No explanation given and no communication about the reason at all. It has been years and they released dozens of firmware updates, this has never been adressed. How come a codec cannot have the most widely used framerate option? There is 24p, 25p, 60p, 120p (combining both PAL and NTSC). But no 30p. Obviously it's not a technical limitation since they can offer 60p or 120p. Their firmware releases only have superficial benefits. They keep messing with that useless mobile app that nobody cares instead of adding actual useful functions their cameras. They even remove certain features to stifle competition and to make few more bucks at the expense of their customers. My non-Sony branded batteries were showing percentage, but after recent update Sony actually used its engineering time and effort to find a method to recognize these batteries, nag me at every camera start with a pop-up message and then disable the battery percentage monitoring. They are like Electronic Arts of camera companies. Electronic Arts puts features behind paywalls and Sony paywalls their breathing compensation, by only enabling it if you buy a Sony lens. And they even added micro transactions a.k.a custom grid lines, a paid feature.
@jaalves002 ай бұрын
What app are you using? and how is it connected to the crane? is it via wifi and the image transmitter? or is it something else?
@deadendboredom2 ай бұрын
I use the official ZY Play app to connect both with the gimbal and the transmitter.
@olr_vancouver2 ай бұрын
Does FX33 updated clear image zoom AF(eye tracking display)
@deadendboredom2 ай бұрын
I don't quite understand the question. Are you asking whether the FX3 displays eye tracking after the latest update when clear image zoom is activated?
@rudahsilva20742 ай бұрын
Nice vídeo. I came from a problem that i spotted: my ursa mini pro g1 can only read time code when the mini jack on deity device is barely plugged in. If I put the cable all the way in it no show the “ext” on lcd screen. If I put just a little (the 3.5mm side) it shows the “ext” flag on lcd. Does anybody knows what could be? I’ve tried with 3 different time code box
@deadendboredom2 ай бұрын
Strange. What I can imagine is: with most timecode generators, there are different modes in which the timecode can be output. Either normal for timecode, or at microphone level (to record it on an audio track), or even on one channel at microphone level and on the other channel (as with the TC1) the integrated reference microphone. I'm not exactly sure how the URSA G1 would handle this with its timecode input if there's a microphone level on one channel and a microphone input on the other, and maybe it only works if the plug is halfway in and only the correct channel is received. But if the TC1 is set to "L-OUT" and the problem still persists, then, apart from a defect, I can't think of any reason why these issues would occur.
@tevryan2 ай бұрын
Thanks for the helpful video. Can you explain what the Ext Audio Clock Sync setting does on the F8n? I've been searching everywhere, and can't figure it out. Thanks
@deadendboredom2 ай бұрын
The manual doesn't provide much information on this, but it seems more relevant if you want to output the timecode of the F8n and use it on another device. If you're feeding timecode into the F8n, I would leave it set to 'off'.
@studiorjp3 ай бұрын
The recent update finally supports TC input & VMC-BNCM1 cable for a7s3 ・・・・ best camera ever!
@marioivanlopezcota34753 ай бұрын
is it works for A7iv too?
@studiorjp3 ай бұрын
@@marioivanlopezcota3475 I checked the update information and it appears that A7iv does not support timecode entry.
@marioivanlopezcota34753 ай бұрын
the Deity C23 Timecode Cable For Sony Mirrorless
@ctcwired3 ай бұрын
Curious how you corrected WB on the non-raw shots. Was it using the Chromatic Adaptation OFX? Thanks, Great video.
@deadendboredom3 ай бұрын
For the white balance and color matching of non-RAW clips, I used the built-in Color Match function in Davinci, which utilizes the Color Checker to bring each color patch to a consistent baseline value. For me, this seemed to be the best way to not only adjust the white balance but also to get the colors as closely matched as possible. Making adjustments solely based on visuals would likely result in larger discrepancies, not accurately representing which colors can or cannot be restored. By the way, the color fringing with strong white balance adjustments in All-I clips is always present, regardless of how you adjust the white balance. P.S. With the All-I clips from the FX6, it's even possible to adjust the white balance in the RAW tab as if it were a RAW clip.
@ctcwired3 ай бұрын
@@deadendboredom Ahh okay makes sense. I'm not sure if the Color Match function just does linearization and 3x3 matrix or if it has other fancy stuff going on under the hood. I should play with that feature more. Yeah it's cool the RAW tab works on Sony non-raw clips. They must include the necessary metadata to pull it off in their files which is cool of them. Wish more manufacturers did this. The ability to accurately adjust white balance on RAW (or any image really) just comes down to having the necessary 3x3 matrices to adjust linear gains in camera observer native RGB space based on how it acts under known illuminants (not SGamut3.cine, but wherever the bayer spectral filters land in XYZ). The main reason RAW formats feels so magical is simply because it forces users through the manufacturer's SDK where they've implemented that, when really if you use the right tooling with log footage it's all the same. In that regard, It's refreshing to see someone do a camera comparison on KZread using ACES, so thanks for that. :p I think the artifacts shown in your video mostly just come down to flaws in the compression codec being pushed that hard which is interesting to see. Wavelet compression vs DCT, whether the debayer sharpening algorithm occurs before or after the WB adjustment, etc. Slightly unrelated, but I've had strange results with the free ProRes RAW cDNG conversion utility that's around in various app stores. Had much more accurate results with Assimilate Scratch (or just Adobe Media Converter / FCP for going to regular ProRes). I think that free utility is messing up or ignoring a colorspace conversion somewhere, at least with the cameras I've tested.
@deadendboredom3 ай бұрын
@@ctcwired Yes, the pixel blocks definitely come from the All-I compression, which I've addressed in several videos before. But what's also interesting is how much color information gets lost in it. In one shot from the boat, for example, the yellow edge of the concrete pillar or the red railing of the ship is only properly visible in RAW. I assume that's where the low bitrate All-I compression meets the 422 colors and makes the colors disappear in small details.Do you know the name of the cDNG conversion tool? I use RawConvertor, and initially, I also had some strange deviations, but it ultimately turned out to be a bug in Resolve and that I didn't set the material up correctly.
@ctcwired3 ай бұрын
@@deadendboredom Yeah it was “RawConverter”. Kept noticing the colors would look off in Resolve compared to FCP, or just XAVC clips. Tried doing the conversion with a trial of Assimilate Play Pro instead and then everything matched. So I think RawConverter is doing something wrong to the metadata. I didn’t want to buy Assimiliate though so these days I just use Adobe Media Converter or FCP to debayer to ProRes 4444 if I have to.
@guyprolly3 ай бұрын
Incredibly helpful video. Many thanks.
@Theaaronchris3 ай бұрын
Isn’t long gop codec on the fx6 8bit when filiming in 4K though? And All I is 10bit.
@deadendboredom3 ай бұрын
You're not the first person to notice this, and you're right. I was surprised myself, as I wouldn't have seen the difference without knowing it and looking for it specifically. Unlike the FX3, there was no indication of this in the FX6 menu, and without challenging scenes recorded plus an assessment on a 10-bit display, the difference between 8-bit and 10-bit is surprisingly small in my opinion.
@chadterpstra3 ай бұрын
I’ve found in my tests of the FX3/6 cameras much more chroma blocking and loss of detail in the All-I recordings vs RAW. FWIW
@mkcreativemediaNYC3 ай бұрын
Loved this. Very useful. Thanks!
@scottclark14553 ай бұрын
Perfect test, most reviews spend two seconds on video performance and most of those don't even do proximity tests like this, which is super important. Thanks!
@Frimpeezzy3 ай бұрын
my rode wireless pro which has timecode didnt work with my sony a7iii and a7iv. will the deity tc1 work with them?
@deadendboredom3 ай бұрын
Doesn't the Rode Pro also offer the option to output timecode as an audio signal? That's the only way to record timecode on the cameras you mentioned, and it definitely works with the TC1, but it should also work with the Rode. Which devices do you plan to synchronize later via time code?
@Frimpeezzy3 ай бұрын
@@deadendboredom yes it does. I guess I need to figure out how to convert/transcribe the audio and video file in premiere. Do you mind making a video on that. Will appreciate it
@deadendboredom3 ай бұрын
@@Frimpeezzy I don't use Premiere unfortunately, but there should be a similar way: Right-click all video files in the Media Pool and select “Update Timecode from Audio Track”
@mikeyama72774 ай бұрын
this is so stu^&* so how can you delete old footage without deleting all your saved setting presets, Sony guys are reta%&s older cameras didnt have this issue!!
@xarisathos4 ай бұрын
Hi there and thank you for the targeted review of the actual workflow. I am awaiting my TC-1 3-kit to connect it with my mirrorless Lumix S5IIX, external recorder Tascam X8, Deity Theos UHF 2-channel, Audio Technica AT4053b with XLR into X8 (I need the 32bit/192Khz recording). Also purchased the Lumix S5IIX's DMW-XLR1 audio interface, in order to get 4-audio channels (.mov video file) baked into the video itself. The channels are: 1+2 via XLR is the 2x Deity Theos' Lavs, 3rd channel the Line-Out from X8 transmitted wirelessly and the 4th channel the TC-1 Timecode audio signal. I am using Davinci Resolve Studio and I need an answer because I am new to this timecode workflow. The pencil condenser XLR 48V mic will be connected via XLR cable onto Tascam X8 to record 32bit/192Hz sound and the Line-Output of X8 will be send wirelessly to the Lumix S5IIX's DMW-XLR1, for 4-channel audio into .mov file. The question is about the proper connection setup/workflow to achieve synced audio with a timecode channel baked into the final video file. Deity D2RX (stereo receiver) will be connected via 2* XLR-Link cables to DMW-XLR1, and via 3.5mm jack the wireless Line-out Signal from Tascam X8 and the 4th channel (Right Stereo) for timecode signal of TC-1. My questions are: 1. Do you leave the limiter on? Wouldn’t that lead to a reduction in the volume of the LTC signal when the other channel receives a very loud noise? 2. Should I use DF or non DF timecode for the LUMIX? When I input files into DaVinci Resolve the clips show up as DF. I am however not sure if this is due to my in camera TC settings. 3. If I connect the Panasonic DMW-XLR1 XLR Microphone Adaptor in S5IIX's hotshoe (which allows the recording of 4 audio channels at once with .mov), what is the ideal setup to get a 3rd channel from a mixer and the 4th to dedicate it for LTC signal? 4. Can we disable the scratch audio from the internal TC-1 omni mic, to free up the other stereo channel for an incoming 3rd channel from Tascam X8 (wired or wirelessly for Line-out) as described above? Or do I need to manually remove the scratch audio channel, hijacking it via a Stereo signal splitter, which will feed another (same) second cable? See the link for the specific cable. When I bring the recorded tracks from X8, will it work as you demonstrated in Resolve via "update Timecode from audio track"? Because I will have (from the X8 itself), the 32/192 XLR audio + separate audio track from the 2nd TC-1 dedicated to the EXT IN port of X8 + another "scratch audio" from the X8 onboard mic. The cable I am talking is this (bought 2 of them): www.amazon.de/dp/B000068O5H?psc=1&ref=ppx_yo2ov_dt_b_product_details 5. Using Tascam X8 as the mixer/external recorder with a TC-1 connected to the X8's EXT port plugged in during the entire shooting, how I can get its mixed signal output as the 3rd channel described above? I assume that I need to split the S5IIX's 3.5mm input with a 2-channel stereo splitter cable, to allow TC-1 to insert the LTC into the 4th channel? I will feed the Panasonic DMW-XLR1 from Theos DBTX with the XLR in both L/R channels, so the 3.5mm jack will be used to feed in the X8 Line-Out signal (wirelessly) to feed it to the L-channel of the Lumix and the 4th channel will be the dedicated (1st unit) of TC-1 for constant feeding of timecode. 6. Using Tascam X8 as the mixer/external recorder with a TC-1 connected to the X8's EXT port plugged in during the entire shooting, how I can get its mixed signal output as the 3rd channel described above? Do I need to split the S5IIX's 3.5mm input with a 2-channel stereo splitter cable, to allow TC-1 to insert the LTC into the 4th channel? I will feed the Panasonic DMW-XLR1 from Theos DBTX with the XLR in both L/R channels. 7. Is it possible for this specific setup of Tascam X8, Deity Theos D2RX + 2*DBTX to work with only one TC-1 unit, after the initial wireless jam and then connect it to X8 for syncing the other mic inputs during the entire shooting? I assume it is possible because the 2 of 4 channels of S5IIX recorded video will already have time synced with the first 2 channels of D2RX -> 2* XLRs of the DMW-XLR1. 8. If I sync the Lumix with its TC-1 and then remove it, how will then the Lumix will embed the Timecode data/track to the .mov video file? Will it be as metadata? Check Deity's workflow for the Lumix S5IIX here, the same as you did with Sony (I think). kzread.info/dash/bejne/h5yTt5OFqJTVmNI.html I hope that all makes sense and excuse me for my newbie questions, but I am quite new to mirrorless shooting with timesync audio and your help will be invaluable! Thank you for your time in advance!
@deadendboredom4 ай бұрын
Hey there, you've got quite a bunch of questions there - I'll try to answer the questions: 1. It shouldn't make much of a difference whether you leave the limit activated or not. DaVinci and other editing programs usually recognize a low-level timecode tone. But it's better to try it out for safety. 2. DF probably won't make a difference in this case, as the timecode isn't stored in the camera's meter data, but rather on the audio track. 3. I'm not sure - I'm still not entirely convinced if the setup, as you described it, is the optimal workflow. 4. To separate the timecode track from the scratch microphone, the split cable would indeed be the easiest option. If your audio recorder doesn't have a dedicated timecode input and you also record the timecode onto an audio track there, I believe it's important for all tracks to be integrated into a multi-track audio file so that the timecode in Resolve from one audio track can be transferred to the corresponding other tracks. 5./6./7. Why do you want to feed the output from your X8 back into the camera? The main feature of timecode is that you can connect the camera's footage with the audio recorded separately afterwards, without them being recorded into one file during shooting... I feel like the setup is more complicated than necessary and could lead to avoidable issues. 8. Since the Lumix doesn't have a dedicated timecode input, you'll need to keep the TC1 constantly connected to the camera.
@xarisathos4 ай бұрын
@@deadendboredomThank you very much for your reply. I will try in reality a demo attempt before the actual production day to see if my theory works or not. 5/6/7. I need to have the 32/192Khz file ready to be used/swapped with the camera's one, if the 24/96Khz (wirelessly transmitted as 3rd .mov audio channel) that will be recorded in Lumix's video file from the DMW-XLR1 (via 48V XLR AT4053b in X8) doesn't allow me heavy editing for remove the extremely echo-ey environment I will be recording. The 192Khz holds so much data, that the AI-cleaned-up voices (via VST audio plug-ins) don't break up easily until it becomes robotic. The goal is to make the dialogue sound like it was *almost* recording in a studio environment. It's very harsh and procedure until the result becomes easy for the ears. Once again, thank you and God bless!
@deadendboredom4 ай бұрын
@@xarisathos But why not use the 32/192 audio in post-production from the outset? I'm curious to see if it works out the way you envision. Good luck!
@MrVh784 ай бұрын
You have totally misconstrued what Sony told you about All I vs Long GOP
@deadendboredom4 ай бұрын
enlighten me!
@fotografkennethlund4 ай бұрын
Is this also a problem with fx3?
@deadendboredom4 ай бұрын
Whether it's a problem or not depends on your requirements; the potentially visible blocks are present in the FX3 just like the FX6 and all other cameras, with correspondingly low bitrates.
@fotografkennethlund4 ай бұрын
Thanks - oh, so it's not a technical problem but "just" a matter of (too) low datarates ?@@deadendboredom
@deadendboredom4 ай бұрын
@@fotografkennethlund Yes, I'm sorry if I didn't communicate that well enough; perhaps you should also check out the second part, where I compare more examples in various situations.
@fotografkennethlund4 ай бұрын
No problem - I really appreciate you taking time to do the video in the first place :) So the take-away is: if we want better image quality, go for PreRes on an external recorder lige Ninja V, right ?@@deadendboredom
@deadendboredom4 ай бұрын
@@fotografkennethlund I would say there's a two-step takeaway, which depends on whether you only want to record internally in the camera or if external recording is also an option. 1. Technically, external recording in RAW or ProResHQ is the higher-quality recording option. 2. Depending on the recording situation, an exclusively internal camera recording in All-I is not necessarily the highest-quality option. Don't be afraid to record in Long-GOP if it suits the situation. 3. Whether all these findings are relevant for you should be tested out for your recording situations.
@shadowhunter24474 ай бұрын
very informative video, thank you very much
@harryhall46904 ай бұрын
Are you still using the Sirui bch30? What have your experiences been?
@deadendboredom4 ай бұрын
Yes, My budget go to head for heavy cameras. Are you interested in something special?
@harryhall46904 ай бұрын
@@deadendboredom thanks for the reply! I own a gemini/ 60-600/ v-lock kit (around 15kg), and want to try and avoid buying something in the thousands. Just wondered whether you'd had any negative experiences with it, and what the durability is like.
@deadendboredom4 ай бұрын
@@harryhall4690 One small negative thing: the illuminated spirit level drains extremely quickly and the battery needs to be replaced, otherwise I can't think of anything else so far. I've only had the head for about 2 years and I only use it when I'm using a heavy camera. I can make smooth pans well, and for an fully rigged Alexa Plus weighing about 16kg, I set the counterbalance to level around 8 out of 12. Your Gemini must be heavily rigged if you're reaching 15kg, but for such weight, I haven't seen any affordable alternative to the bch 30 (except for vintage or used ones).
@harryhall46904 ай бұрын
@@deadendboredom Thanks for that! yeh it reaches around 13kg when I've got a 7" monitor/ 60-600/ battery/ evf/ 19mm base plate and supports/ follow focus etc etc. I'll definitely give it a try, might see if I can find a demo model to test. Thanks for your responses!
@jet-ichiro4 ай бұрын
Recorded using Fujifilm cameras X-H2S and X-T4 connected to TC-1. However, the right channel of the recorded audio also has some timecode signal sound mixed in. I was using proper TRS to TRS. The results are the same for both cables made by RODE and DIETY. Are there any effective improvements?
@deadendboredom4 ай бұрын
That's very strange and extremely interesting. I could have sworn that when I conducted the test via the audio channel (with the A7iii), one channel had the timecode and the other channel had the sound from the TC-1's built-in microphone. I just tried it again on different cameras, and indeed, on the second channel, there was a faint timecode noise and no scratch microphone sound at all. I can't explain it right now. I'm trying to remember if there has been a firmware update since then that could „explain“ this behavior.
@jet-ichiro4 ай бұрын
Thank you for your reply! That's right, there is a slight but clearly audible timecode noise on channel 2. This phenomenon does not only occur with my camera.@@deadendboredom
@deadendboredom4 ай бұрын
@@jet-ichiro I've found the "issue" and why I remember that it used to work before! In the TC-1, you have to set the output to A-Out, then there's only timecode on one channel and the microphone on the other. The L-out mode is intended for a camera with timecode input.
@jet-ichiro4 ай бұрын
@@deadendboredom Thanks for your comment! Yes, I also set the TC-1 to Audio-TC. So, when I verified it in various ways, I turned off the audio setting item in the camera of the FUJIFILM X series, "Wind Filter", and the contamination on the right channel has been considerably reduced. However, if you raise the microphone gain, you will hear the timecode signal sound in the right channel. It is not possible to judge whether the left channel and the right channel interfere with each other whether it is a problem on the camera or the TC-1, but it can be used for the time being because it is reduced by turning off the previous settings. Thank you for various verification and advice!
@zakmediaproductions94734 ай бұрын
I always shoot indoors 12800 with an ND, but recently I did an indoor shoot in SLOG3 without doing the 12800/ND and I adjusted my Iso between 640 and 3200, and I was finding a weird amount of noise at 1600, where my image was exposed properly. Is something wrong with my camera, or should I just attempt to stick to 12800 with the ND?
@deadendboredom4 ай бұрын
Your camera should be fine. If you're getting better results with ISO 12800 + ND in your specific situations, then there's no reason not to continue working that way. Whether there's an optimal setting depends on your shooting style and, particularly, whether you have control over the lighting on set or not. If you do have control over the lighting, the results will be better if you don't increase the ISO but instead make the light brighter. I should make a video about this topic; it's best explained with images and examples.
@iDealMedley4 ай бұрын
A7SIII is not the same as FX3. A7siii has noise reduction built in. Fx3 doesnt
@deadendboredom4 ай бұрын
There are small differences, even the base ISO is slightly different - But on the whole, the cameras are very well comparable. By the way, you can’t completely deactivate the noise reduction in the FX3, that’s only possible in the FX6 (unless that comes via firmware update)
@iDealMedley4 ай бұрын
@@deadendboredom there's no noise reduction on fx3 sir. Apparently they remove it on firmware 3.0. Wish I can send u the test someone on reddit sent me the noise between a7siii and fx3
@deadendboredom4 ай бұрын
Good to know, then they have already implemented it.
@jetlee30664 ай бұрын
super
@ianhzin4 ай бұрын
Is normal this vignette on 18mm on this lens or its because the adapter + fullframe camera?
@deadendboredom4 ай бұрын
This is only because of full frame, on APS-C everything is fine, even with adaptor.
![Crane 3S Object Tracking [Fast Tutorial]](/img/d.gif)
Пікірлер
I'd also like the same tests dome on the 12k 2024 camera. With the higher quality camera the color should be more stable and less noise should be evident in all shots.
Great video! I wish I had found this sooner, for a long time I assumed that because everyone referred to 640 and 12,800 as 'Native' on the a7S III, the quality was the same. Just recently I switched to shooting almost exclusively at ISO 640 when I can, and I'm able to get much higher quality images in terms of sharpness and color.
If you upgrade the firmware you have to create new presets. Ugh.
Excellent video. Thank you for showing the focus breathing. Please update your Title with focus breathing test for other people. Thanks. In the future, you want to do a shot where you are sitting and move forwards and backwards to see if there is any distracting focus breathing in the corners. Clearly you have to do this test 5-feet, 10-feet, ... back because the focus breathing up close is pretty bad, but that is extreme. We need to average real-world use cases.
I have a question. After connecting the camera with the application I get the following message: "The connected device can't stream to this app for some reasons." Could you help me with this? Thank you so much
I haven't seen that message before. First, I would check the basics: camera firmware? Which app are you using? (CBM or M&C?)
Best breakdown on YT. Simple and straight to the point.
In 46 seconds you ended all my doubts. This is a perfect AF test.
Tolles Video, dass du Deutsch als Muttersprache hast erkennt man in deinem Englisch sehr gut 😬✌🏻
Hi, do you know if the FX3 will stay in sync with the timecode after disconnecting for a 3 hour shoot? I need to use the sony multi port again after jam syncing as my field monitor plugs into that port for camera settings control and tap to focus etc.
Yes, it works, but sometimes you have to pay attention to a few small things. On the subject, I already have a video that is about multiple devices, but also about the FX3: kzread.info/dash/bejne/daJmuqlxltvOk7g.html
😍😍
can you connect multiple FX6s and monitor them side by side over the app?
Not that I know Update: Perhaps… There's a new multicam switch in the app. I assume it only works if all devices are connected to a router. I'll have to test that out sometime.
How do you name a preset/setting?
I'm not aware that you can give custom names to the presets. As seen in the video, renaming the files doesn't work. It's possible that this has changed with the latest firmware, but I haven't tried since. EDIT: There is a possibility. See the answer below.
@@deadendboredom Okay. This should be an option, because I use different settings with clients, and I just want to name them after the client. Anyway, could be super useful!
@@jonasschnackkrog I checked the menu again and found out how to name the presets: Before you set and save a preset, go to "All File" in the menu, then to "File ID," where you can assign a name. When you save the preset afterward, it will be displayed with the assigned name.
@@deadendboredom thank you so much!
Thank you for the explanation, this worked for me.
Just ran a test myself, yeah there is blocking but nowhere near yours. longGOP look more like what you have recorder in XAVC-I
Are you sure that you selected the highest possible bitrate? Perhaps you used a scene with a lot of detail and movement for testing; in that case, XAVC-I is indeed better. Feel free to watch the second video, where I provide many more examples.
@@deadendboredom Looking at the video you are shooting with XAVC SI which is a h.264 wrapper. could be an issue, but it looks like something went wrong with the compression and it looks like a blocked noise which never accured. I have never visually seen such an artifact on my fx6 while shooting XAVC-i. And yeah coming from R3D or BRAW world this freaks me out when you sometimes spot a block on extreme grades. However, tracking this footage is meh... while keying is fine, still gona do mattes and stuff so compression will not be noticable there.
Have you tried recording 4k 120 fps in S&Q mode? It records at 1200 Mbps All intra. The image seems to be way better
I have, but the bitrate per frame remains the same, so the quality won't be much better. 300 Mbps at 30p and 1200 Mbps at 120p.
Which lens were you using on the FX6 for this test?
95% sure it was the Sigma 24-70 2.8
Hello, thank you for the great information. I would be grateful if you could explain how to use Tentacle Sync E for time code with a Sony FX6 when recording externally onto the Atomos Ninja V+ and using a MixPre 6 external audio recorder. I understand how to use the Tentacle with the FX6 while recording internally into the camera, but when recording externally to the Atomos it confuses me. Thanks for your time.
Basically, it doesn't matter which timecode device you use. Connect it to the FX6 and set HDMI TC Out to ON in the menu under TC/Media. This will pass the timecode over HDMI to the external recorder. Timecode is always passed over SDI, so you don't need to activate that separately. So you don't need to connect the Tentacle to the Atomos to record timecode. Did that answer your question, or is there something else i can help you with?
Thank you. That answered my question. I will connect the Tentacle Sync to the FX6 and jam timecode. The FX6 will feed timecode to the Ninja V+ via the SDI. I will connect a second Tentacle Sync to the MixPre 6ii and another to my second camera Sony A73. Timecode will be linked across devices, correct?
I just read your answer again. Do I need to use HDMI to the Atomos? I have the Ninja connected to my FX6 with SDI cable.
@@NewGoalsNewDreams The timecode signal should automatically be passed from the camera to the Atomos via SDI. If the timecode isn't showing up on the Atomos, you may need to configure the timecode settings in the Atomos. And yes, that's correct. As you described, you can later synchronize all the footage using the timecode.
You are awesome, my friend. Thanks so much.
Might be being dense. So what this shows is, you can still use S35 lens on the FX6 but use the Clear Zoom function in 4K instead of changing to S35? How do the images compare to the full frame image in 4K? Terrible or useable for a 4K project?
Yes, using APS-C lenses, CIZ is a good way to capture a bit more detail vs s35. CIZ is sharper and more detailed compared to s35; you can see a few examples in the video starting at 0:58. 4K full frame naturally offers much more detail, but also a wider field of view, so it's not as comparable to s35 and CIZ. Whether high sharpness and a lot of detail are generally necessary is up to the viewer. Personally, I often find a slightly softer and more organic-looking image more pleasant than high-resolution and clinical images. A good HD image in a 4K timeline is sufficient for me, and I believe most people wouldn't notice a difference (of course, it also depends on what you're filming… a dialogue scene with close-ups of people doesn't require as much detail as nature shots and panorama shots).
Using FX6 in studio that has perfect lighting is it over built or too much? Or just FX3 is good enough? For grading
The two cameras have the same sensor, and the image is nearly identical. If you don't need the ND filter (which I assume Is the Case in a studio with controlled lighting), then the FX3 is a good choice. The FX3 even offers more codec options.
@@deadendboredom Thanks a lot
Where the hell is custom desqueeze are the people at SONY retarded? There are 1.6 and 1.8 lenses out in the wild. Why do they abuse their customers like this. It's ridiculous.
Wow very good information
I am trying to do this and I do not have the setup for mobile app this what am I missing
My first assumption would be that the camera has an older firmware version and that an update is necessary to unlock this feature.
この機能a7s3に何故つけないのか、、、
おそらく、この機能は将来のファームウェアアップデートで追加されるかもしれません。結局のところ、タイムコードもファームウェアアップデートでA7S3に追加されました。一方で、このカメラはもう少し古いため、ソニーが古いカメラの新機能に多くのリソースを割り当てたくないと考えられます.
Awesome, thanks for the no BS, straightforward tutorial.
I think I found the sweetspot. 4K 24p XAVC-HS 100M 4:2:0 10 bit. There is a 4:2:2 option as well but choosing it means losing GPU accelerated decoding so I decided to go with 4:2:0. I'm not doing green screen anyways. This option provides identical quality (if not better based on your findings) compared to 240M bitrate ALL-I yet... it uses 2.5X less space and it is hardware accelerated by my Nvidia RTX 4080 Super. The playback is as smooth as ALL-I for me. With the ALL-I my 512GB V90 card can only record 4.5 hours, with XAVC-HS it's 10.5 hours. There is also another side to this story that you might have missed. Shooting ALL-I drains battery like hell. By staying with a relatively low bitrate Long GOP codec, you are not only saving space, but also battery as well. I shoot silent hiking videos. Mostly static shots on a tripod. I walk in front of camera with a nice scenery, then come back to pick it up. I think for this shooting scenario, a long gop has more quality advantages. My only gripe with XAVC-HS is that Sony arbitrarily removed 30p option. It's the most bizarre feature omission ever. No explanation given and no communication about the reason at all. It has been years and they released dozens of firmware updates, this has never been adressed. How come a codec cannot have the most widely used framerate option? There is 24p, 25p, 60p, 120p (combining both PAL and NTSC). But no 30p. Obviously it's not a technical limitation since they can offer 60p or 120p. Their firmware releases only have superficial benefits. They keep messing with that useless mobile app that nobody cares instead of adding actual useful functions their cameras. They even remove certain features to stifle competition and to make few more bucks at the expense of their customers. My non-Sony branded batteries were showing percentage, but after recent update Sony actually used its engineering time and effort to find a method to recognize these batteries, nag me at every camera start with a pop-up message and then disable the battery percentage monitoring. They are like Electronic Arts of camera companies. Electronic Arts puts features behind paywalls and Sony paywalls their breathing compensation, by only enabling it if you buy a Sony lens. And they even added micro transactions a.k.a custom grid lines, a paid feature.
What app are you using? and how is it connected to the crane? is it via wifi and the image transmitter? or is it something else?
I use the official ZY Play app to connect both with the gimbal and the transmitter.
Does FX33 updated clear image zoom AF(eye tracking display)
I don't quite understand the question. Are you asking whether the FX3 displays eye tracking after the latest update when clear image zoom is activated?
Nice vídeo. I came from a problem that i spotted: my ursa mini pro g1 can only read time code when the mini jack on deity device is barely plugged in. If I put the cable all the way in it no show the “ext” on lcd screen. If I put just a little (the 3.5mm side) it shows the “ext” flag on lcd. Does anybody knows what could be? I’ve tried with 3 different time code box
Strange. What I can imagine is: with most timecode generators, there are different modes in which the timecode can be output. Either normal for timecode, or at microphone level (to record it on an audio track), or even on one channel at microphone level and on the other channel (as with the TC1) the integrated reference microphone. I'm not exactly sure how the URSA G1 would handle this with its timecode input if there's a microphone level on one channel and a microphone input on the other, and maybe it only works if the plug is halfway in and only the correct channel is received. But if the TC1 is set to "L-OUT" and the problem still persists, then, apart from a defect, I can't think of any reason why these issues would occur.
Thanks for the helpful video. Can you explain what the Ext Audio Clock Sync setting does on the F8n? I've been searching everywhere, and can't figure it out. Thanks
The manual doesn't provide much information on this, but it seems more relevant if you want to output the timecode of the F8n and use it on another device. If you're feeding timecode into the F8n, I would leave it set to 'off'.
The recent update finally supports TC input & VMC-BNCM1 cable for a7s3 ・・・・ best camera ever!
is it works for A7iv too?
@@marioivanlopezcota3475 I checked the update information and it appears that A7iv does not support timecode entry.
the Deity C23 Timecode Cable For Sony Mirrorless
Curious how you corrected WB on the non-raw shots. Was it using the Chromatic Adaptation OFX? Thanks, Great video.
For the white balance and color matching of non-RAW clips, I used the built-in Color Match function in Davinci, which utilizes the Color Checker to bring each color patch to a consistent baseline value. For me, this seemed to be the best way to not only adjust the white balance but also to get the colors as closely matched as possible. Making adjustments solely based on visuals would likely result in larger discrepancies, not accurately representing which colors can or cannot be restored. By the way, the color fringing with strong white balance adjustments in All-I clips is always present, regardless of how you adjust the white balance. P.S. With the All-I clips from the FX6, it's even possible to adjust the white balance in the RAW tab as if it were a RAW clip.
@@deadendboredom Ahh okay makes sense. I'm not sure if the Color Match function just does linearization and 3x3 matrix or if it has other fancy stuff going on under the hood. I should play with that feature more. Yeah it's cool the RAW tab works on Sony non-raw clips. They must include the necessary metadata to pull it off in their files which is cool of them. Wish more manufacturers did this. The ability to accurately adjust white balance on RAW (or any image really) just comes down to having the necessary 3x3 matrices to adjust linear gains in camera observer native RGB space based on how it acts under known illuminants (not SGamut3.cine, but wherever the bayer spectral filters land in XYZ). The main reason RAW formats feels so magical is simply because it forces users through the manufacturer's SDK where they've implemented that, when really if you use the right tooling with log footage it's all the same. In that regard, It's refreshing to see someone do a camera comparison on KZread using ACES, so thanks for that. :p I think the artifacts shown in your video mostly just come down to flaws in the compression codec being pushed that hard which is interesting to see. Wavelet compression vs DCT, whether the debayer sharpening algorithm occurs before or after the WB adjustment, etc. Slightly unrelated, but I've had strange results with the free ProRes RAW cDNG conversion utility that's around in various app stores. Had much more accurate results with Assimilate Scratch (or just Adobe Media Converter / FCP for going to regular ProRes). I think that free utility is messing up or ignoring a colorspace conversion somewhere, at least with the cameras I've tested.
@@ctcwired Yes, the pixel blocks definitely come from the All-I compression, which I've addressed in several videos before. But what's also interesting is how much color information gets lost in it. In one shot from the boat, for example, the yellow edge of the concrete pillar or the red railing of the ship is only properly visible in RAW. I assume that's where the low bitrate All-I compression meets the 422 colors and makes the colors disappear in small details.Do you know the name of the cDNG conversion tool? I use RawConvertor, and initially, I also had some strange deviations, but it ultimately turned out to be a bug in Resolve and that I didn't set the material up correctly.
@@deadendboredom Yeah it was “RawConverter”. Kept noticing the colors would look off in Resolve compared to FCP, or just XAVC clips. Tried doing the conversion with a trial of Assimilate Play Pro instead and then everything matched. So I think RawConverter is doing something wrong to the metadata. I didn’t want to buy Assimiliate though so these days I just use Adobe Media Converter or FCP to debayer to ProRes 4444 if I have to.
Incredibly helpful video. Many thanks.
Isn’t long gop codec on the fx6 8bit when filiming in 4K though? And All I is 10bit.
You're not the first person to notice this, and you're right. I was surprised myself, as I wouldn't have seen the difference without knowing it and looking for it specifically. Unlike the FX3, there was no indication of this in the FX6 menu, and without challenging scenes recorded plus an assessment on a 10-bit display, the difference between 8-bit and 10-bit is surprisingly small in my opinion.
I’ve found in my tests of the FX3/6 cameras much more chroma blocking and loss of detail in the All-I recordings vs RAW. FWIW
Loved this. Very useful. Thanks!
Perfect test, most reviews spend two seconds on video performance and most of those don't even do proximity tests like this, which is super important. Thanks!
my rode wireless pro which has timecode didnt work with my sony a7iii and a7iv. will the deity tc1 work with them?
Doesn't the Rode Pro also offer the option to output timecode as an audio signal? That's the only way to record timecode on the cameras you mentioned, and it definitely works with the TC1, but it should also work with the Rode. Which devices do you plan to synchronize later via time code?
@@deadendboredom yes it does. I guess I need to figure out how to convert/transcribe the audio and video file in premiere. Do you mind making a video on that. Will appreciate it
@@Frimpeezzy I don't use Premiere unfortunately, but there should be a similar way: Right-click all video files in the Media Pool and select “Update Timecode from Audio Track”
this is so stu^&* so how can you delete old footage without deleting all your saved setting presets, Sony guys are reta%&s older cameras didnt have this issue!!
Hi there and thank you for the targeted review of the actual workflow. I am awaiting my TC-1 3-kit to connect it with my mirrorless Lumix S5IIX, external recorder Tascam X8, Deity Theos UHF 2-channel, Audio Technica AT4053b with XLR into X8 (I need the 32bit/192Khz recording). Also purchased the Lumix S5IIX's DMW-XLR1 audio interface, in order to get 4-audio channels (.mov video file) baked into the video itself. The channels are: 1+2 via XLR is the 2x Deity Theos' Lavs, 3rd channel the Line-Out from X8 transmitted wirelessly and the 4th channel the TC-1 Timecode audio signal. I am using Davinci Resolve Studio and I need an answer because I am new to this timecode workflow. The pencil condenser XLR 48V mic will be connected via XLR cable onto Tascam X8 to record 32bit/192Hz sound and the Line-Output of X8 will be send wirelessly to the Lumix S5IIX's DMW-XLR1, for 4-channel audio into .mov file. The question is about the proper connection setup/workflow to achieve synced audio with a timecode channel baked into the final video file. Deity D2RX (stereo receiver) will be connected via 2* XLR-Link cables to DMW-XLR1, and via 3.5mm jack the wireless Line-out Signal from Tascam X8 and the 4th channel (Right Stereo) for timecode signal of TC-1. My questions are: 1. Do you leave the limiter on? Wouldn’t that lead to a reduction in the volume of the LTC signal when the other channel receives a very loud noise? 2. Should I use DF or non DF timecode for the LUMIX? When I input files into DaVinci Resolve the clips show up as DF. I am however not sure if this is due to my in camera TC settings. 3. If I connect the Panasonic DMW-XLR1 XLR Microphone Adaptor in S5IIX's hotshoe (which allows the recording of 4 audio channels at once with .mov), what is the ideal setup to get a 3rd channel from a mixer and the 4th to dedicate it for LTC signal? 4. Can we disable the scratch audio from the internal TC-1 omni mic, to free up the other stereo channel for an incoming 3rd channel from Tascam X8 (wired or wirelessly for Line-out) as described above? Or do I need to manually remove the scratch audio channel, hijacking it via a Stereo signal splitter, which will feed another (same) second cable? See the link for the specific cable. When I bring the recorded tracks from X8, will it work as you demonstrated in Resolve via "update Timecode from audio track"? Because I will have (from the X8 itself), the 32/192 XLR audio + separate audio track from the 2nd TC-1 dedicated to the EXT IN port of X8 + another "scratch audio" from the X8 onboard mic. The cable I am talking is this (bought 2 of them): www.amazon.de/dp/B000068O5H?psc=1&ref=ppx_yo2ov_dt_b_product_details 5. Using Tascam X8 as the mixer/external recorder with a TC-1 connected to the X8's EXT port plugged in during the entire shooting, how I can get its mixed signal output as the 3rd channel described above? I assume that I need to split the S5IIX's 3.5mm input with a 2-channel stereo splitter cable, to allow TC-1 to insert the LTC into the 4th channel? I will feed the Panasonic DMW-XLR1 from Theos DBTX with the XLR in both L/R channels, so the 3.5mm jack will be used to feed in the X8 Line-Out signal (wirelessly) to feed it to the L-channel of the Lumix and the 4th channel will be the dedicated (1st unit) of TC-1 for constant feeding of timecode. 6. Using Tascam X8 as the mixer/external recorder with a TC-1 connected to the X8's EXT port plugged in during the entire shooting, how I can get its mixed signal output as the 3rd channel described above? Do I need to split the S5IIX's 3.5mm input with a 2-channel stereo splitter cable, to allow TC-1 to insert the LTC into the 4th channel? I will feed the Panasonic DMW-XLR1 from Theos DBTX with the XLR in both L/R channels. 7. Is it possible for this specific setup of Tascam X8, Deity Theos D2RX + 2*DBTX to work with only one TC-1 unit, after the initial wireless jam and then connect it to X8 for syncing the other mic inputs during the entire shooting? I assume it is possible because the 2 of 4 channels of S5IIX recorded video will already have time synced with the first 2 channels of D2RX -> 2* XLRs of the DMW-XLR1. 8. If I sync the Lumix with its TC-1 and then remove it, how will then the Lumix will embed the Timecode data/track to the .mov video file? Will it be as metadata? Check Deity's workflow for the Lumix S5IIX here, the same as you did with Sony (I think). kzread.info/dash/bejne/h5yTt5OFqJTVmNI.html I hope that all makes sense and excuse me for my newbie questions, but I am quite new to mirrorless shooting with timesync audio and your help will be invaluable! Thank you for your time in advance!
Hey there, you've got quite a bunch of questions there - I'll try to answer the questions: 1. It shouldn't make much of a difference whether you leave the limit activated or not. DaVinci and other editing programs usually recognize a low-level timecode tone. But it's better to try it out for safety. 2. DF probably won't make a difference in this case, as the timecode isn't stored in the camera's meter data, but rather on the audio track. 3. I'm not sure - I'm still not entirely convinced if the setup, as you described it, is the optimal workflow. 4. To separate the timecode track from the scratch microphone, the split cable would indeed be the easiest option. If your audio recorder doesn't have a dedicated timecode input and you also record the timecode onto an audio track there, I believe it's important for all tracks to be integrated into a multi-track audio file so that the timecode in Resolve from one audio track can be transferred to the corresponding other tracks. 5./6./7. Why do you want to feed the output from your X8 back into the camera? The main feature of timecode is that you can connect the camera's footage with the audio recorded separately afterwards, without them being recorded into one file during shooting... I feel like the setup is more complicated than necessary and could lead to avoidable issues. 8. Since the Lumix doesn't have a dedicated timecode input, you'll need to keep the TC1 constantly connected to the camera.
@@deadendboredomThank you very much for your reply. I will try in reality a demo attempt before the actual production day to see if my theory works or not. 5/6/7. I need to have the 32/192Khz file ready to be used/swapped with the camera's one, if the 24/96Khz (wirelessly transmitted as 3rd .mov audio channel) that will be recorded in Lumix's video file from the DMW-XLR1 (via 48V XLR AT4053b in X8) doesn't allow me heavy editing for remove the extremely echo-ey environment I will be recording. The 192Khz holds so much data, that the AI-cleaned-up voices (via VST audio plug-ins) don't break up easily until it becomes robotic. The goal is to make the dialogue sound like it was *almost* recording in a studio environment. It's very harsh and procedure until the result becomes easy for the ears. Once again, thank you and God bless!
@@xarisathos But why not use the 32/192 audio in post-production from the outset? I'm curious to see if it works out the way you envision. Good luck!
You have totally misconstrued what Sony told you about All I vs Long GOP
enlighten me!
Is this also a problem with fx3?
Whether it's a problem or not depends on your requirements; the potentially visible blocks are present in the FX3 just like the FX6 and all other cameras, with correspondingly low bitrates.
Thanks - oh, so it's not a technical problem but "just" a matter of (too) low datarates ?@@deadendboredom
@@fotografkennethlund Yes, I'm sorry if I didn't communicate that well enough; perhaps you should also check out the second part, where I compare more examples in various situations.
No problem - I really appreciate you taking time to do the video in the first place :) So the take-away is: if we want better image quality, go for PreRes on an external recorder lige Ninja V, right ?@@deadendboredom
@@fotografkennethlund I would say there's a two-step takeaway, which depends on whether you only want to record internally in the camera or if external recording is also an option. 1. Technically, external recording in RAW or ProResHQ is the higher-quality recording option. 2. Depending on the recording situation, an exclusively internal camera recording in All-I is not necessarily the highest-quality option. Don't be afraid to record in Long-GOP if it suits the situation. 3. Whether all these findings are relevant for you should be tested out for your recording situations.
very informative video, thank you very much
Are you still using the Sirui bch30? What have your experiences been?
Yes, My budget go to head for heavy cameras. Are you interested in something special?
@@deadendboredom thanks for the reply! I own a gemini/ 60-600/ v-lock kit (around 15kg), and want to try and avoid buying something in the thousands. Just wondered whether you'd had any negative experiences with it, and what the durability is like.
@@harryhall4690 One small negative thing: the illuminated spirit level drains extremely quickly and the battery needs to be replaced, otherwise I can't think of anything else so far. I've only had the head for about 2 years and I only use it when I'm using a heavy camera. I can make smooth pans well, and for an fully rigged Alexa Plus weighing about 16kg, I set the counterbalance to level around 8 out of 12. Your Gemini must be heavily rigged if you're reaching 15kg, but for such weight, I haven't seen any affordable alternative to the bch 30 (except for vintage or used ones).
@@deadendboredom Thanks for that! yeh it reaches around 13kg when I've got a 7" monitor/ 60-600/ battery/ evf/ 19mm base plate and supports/ follow focus etc etc. I'll definitely give it a try, might see if I can find a demo model to test. Thanks for your responses!
Recorded using Fujifilm cameras X-H2S and X-T4 connected to TC-1. However, the right channel of the recorded audio also has some timecode signal sound mixed in. I was using proper TRS to TRS. The results are the same for both cables made by RODE and DIETY. Are there any effective improvements?
That's very strange and extremely interesting. I could have sworn that when I conducted the test via the audio channel (with the A7iii), one channel had the timecode and the other channel had the sound from the TC-1's built-in microphone. I just tried it again on different cameras, and indeed, on the second channel, there was a faint timecode noise and no scratch microphone sound at all. I can't explain it right now. I'm trying to remember if there has been a firmware update since then that could „explain“ this behavior.
Thank you for your reply! That's right, there is a slight but clearly audible timecode noise on channel 2. This phenomenon does not only occur with my camera.@@deadendboredom
@@jet-ichiro I've found the "issue" and why I remember that it used to work before! In the TC-1, you have to set the output to A-Out, then there's only timecode on one channel and the microphone on the other. The L-out mode is intended for a camera with timecode input.
@@deadendboredom Thanks for your comment! Yes, I also set the TC-1 to Audio-TC. So, when I verified it in various ways, I turned off the audio setting item in the camera of the FUJIFILM X series, "Wind Filter", and the contamination on the right channel has been considerably reduced. However, if you raise the microphone gain, you will hear the timecode signal sound in the right channel. It is not possible to judge whether the left channel and the right channel interfere with each other whether it is a problem on the camera or the TC-1, but it can be used for the time being because it is reduced by turning off the previous settings. Thank you for various verification and advice!
I always shoot indoors 12800 with an ND, but recently I did an indoor shoot in SLOG3 without doing the 12800/ND and I adjusted my Iso between 640 and 3200, and I was finding a weird amount of noise at 1600, where my image was exposed properly. Is something wrong with my camera, or should I just attempt to stick to 12800 with the ND?
Your camera should be fine. If you're getting better results with ISO 12800 + ND in your specific situations, then there's no reason not to continue working that way. Whether there's an optimal setting depends on your shooting style and, particularly, whether you have control over the lighting on set or not. If you do have control over the lighting, the results will be better if you don't increase the ISO but instead make the light brighter. I should make a video about this topic; it's best explained with images and examples.
A7SIII is not the same as FX3. A7siii has noise reduction built in. Fx3 doesnt
There are small differences, even the base ISO is slightly different - But on the whole, the cameras are very well comparable. By the way, you can’t completely deactivate the noise reduction in the FX3, that’s only possible in the FX6 (unless that comes via firmware update)
@@deadendboredom there's no noise reduction on fx3 sir. Apparently they remove it on firmware 3.0. Wish I can send u the test someone on reddit sent me the noise between a7siii and fx3
Good to know, then they have already implemented it.
super
Is normal this vignette on 18mm on this lens or its because the adapter + fullframe camera?
This is only because of full frame, on APS-C everything is fine, even with adaptor.
thanks for sharing! Very useful!