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Everything posted by DSE
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Interlacing and codecs are different things, yes. Codec= COmpression/DECompression. Compression occurs at the camera. Decompression occurs at the computer. The greater the compression, the heavier the load on the computer. It's not really related to file size, it's related to how fast your hardware can decode the data packets. MPEG2 is fairly easy to decode, MPEG 4 at high bitrates is not. the information below about losing data in frame 3, 10, 13 and so forth isn't quite so; most NLE's (exept FCP) can decode and re-write the frames without having to recompress them. If you process the frames the processing is still done in a higher space than the originating frame. There are some advantages to using a transcoded format such as Cineform if you expect to be reprocessing the frames several times. Most editors don't need to do this, however. The information about the file size being dependent on motion and non-redundant pixels in the frame is accurate, however. Here's an analogy that might make sense.... Take a book like the bible. Remove every instance of the word "thee" and replace it with ~. You've just reduced the thickness of the book by a lot. Now take every instance of the word "and" and replace it with`. Again, you've reduced the thickness of the book by a significant amount. MPEG loves redundant pixels. It doesn't have to work as hard. The more non-redundant pixels, the more data it must write. The more data it must write, the larger the file becomes. MPEG only use the bandwidth it needs to use, which is one of the benefits of MPEG. There are many discussions to be had about how various flavors of MPEG work, and which are the most efficient, least efficient, etc. There is a lot of blather about MPEG 2 vs MPEG 4, and most of it is just that, blather and measurebating. The short line is that the higher the bitrate, the tougher for the computer to decode regardless of which flavor of MPEG it is. MPEG 2 is easier to decode than MPEG 4, and the profile of various flavors of AVC are still again, more difficult to decode. Hopefully that helps that part? Regarding interlacing/progressive stream... Take a printed photo. Start to drop it in a shredder, but stop before it goes all the way through. Lay it flat on the table, and all the lines you see....that's interlacing. But...if you could put all those lines together and not see the separations (as though it was still a solid sheet), that's Progressive. Now...if you could take every other strip, put it in one bundle, and take the remaining strips and put them in another bundle, you'd have two smaller bundles than the one big bundle you'd have if you put all the paper strips in one stack, right? Now, try to push the bundles through a straw. The two smaller bundles will fit through the straw (one after the other) much more easily than both bundles going through the straw at the same time. Make sense? That's a rough approximation of how progressive content can be stored in an interlaced stream. With the proper tools, the editing application sees a small set of instructions (ie; flags) that says "put these two bundles back together in order so the cuts can't be seen. The two "bundles" are delivered at two different times, so one bundle is delayed while the other is "writing" the picture. If the flags are correctly read, then the picture comes up in the editing application as a single picture, no lines visible. The compression/decompression (codec) aspect is quite separate from interlacing or progressive content. Most formats can accomodate for progressive or interlaced. It's quite easy to interlace a progressive image, it's another thing to restore/convert an interlaced image to a progressive image. Impossible to do without some loss.
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A commentary on the 5DMKII from a former VP of the DGA (Directors Guild of America): Have been alternating between cutting my Z1 footage (smooth as silk) and battling the magnificent Canon 5D footage. On closer observation, even with the new improved QuickTime 7.6, I still need to tweak the Saturation lower and the Gamma higher to get "nice" coloration. Also, I'm now rendering footage using the HDV 1080 built-in filter so we can edit in realtime. It's a bitch and slow, but I have not found any other method that works. I spent hours with the Cineform tools and could produce intermediates but with no picture - sound only. I messed around with every other suggestion I found to date... After Effects (terrible tearing) CoreAVI (made nice Windows Media files) but nothing that actually works smoothly in any NLE. More as I slog along. If you're interested in purchasing the 5D as a primary camera, well... it ain't. Beautiful imagery, but too difficult to work with. Focus difficult. Exposures tricky. Can't edit smoothly in Avid, Premiere, Vegas - nor on Final Cut. It's not ready for prime time. I really think that all is needed to help the editing is the correct codec that manages data and range, but clients can't wait out what it takes and anyway, there aren't even "promises around." So I'm currently rerendering the footage. One workaround for speed we recommended he try (costs some res) is to use the Black Magic Intensity and HDMI. It's only 8 bit (HDMI limit), but can do 1080/720p and looks very, very good upsampled to 10bit. And is still slow
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a local ground guy swears by the Alien Bees triggers, and has agreed to let me try them. Any experiences with these?
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yup, Jarno answered nicely for me. Last week of March for early distributions, mainstream piping about 30 days after.
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Jari, Thanks for taking the time out of your very busy schedule to drop in. Make more a habit of it, will ya?
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You can see John Sherman here and see Bill Booth here, and Ted Strong here... Decide for yourself if John Sherman is a contemporary of these two very humble, gracious and intelligent men. I must be misreading Sherman's commentary on wingsuit mods, as I took it more to be a commentary on old-style rigs that he was trying to design/test. The wingsuit mod isn't entirely open, it still has some support and structure on the sides and definitely on the top. Common sense would seem to dictate that a pilot chute isn't going to do a "U" turn and return to the burble once the extraction process has begun? If it were a baglock, the weight of the bag rolling out of the now-open container is going to adjust the point of angle for the PC to most likely put it out of the burble anyway, wouldn't it?
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2009 Elsinore event will be a 100-way... wait, what?
DSE replied to Costyn's topic in Wing Suit Flying
Based on the video I saw of germany last year, it was incredibly unsafe. I saw one team where the cameraflyer was barely near the team most of the time, and low all of the time. The team had a few combat moments, lt definitely looked like mayhem. Wasn't someone seriously harmed on landing? -
Just in case the OP is still following the thread: Sony's Austin Center sent this to me: Sony now has this to say...(from an emailed note from the Austin facility) "Do not turn on the camcorder in a low pressure area, where altitude is more than 3000 meters or 9800 feet. Doing so may damage the hard disk of your camcorder. This is also when using memory stick because when turning on camcorder will initialise and activate hard drive. Powering the camcorder prior to reaching low pressure areas will allow the hard disk to spin up and then shut down with a memory stick installed." In other words, turn it on on the ground, leave it on during climb, shoot, land, turn it off. Me...I'd just wait for the CX100
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Sony now has this to say...(from an emailed note from the Austin facility) "Do not turn on the camcorder in a low pressure area, where altitude is more than 3000 meters or 9800 feet. Doing so may damage the hard disk of your camcorder. This is also when using memory stick because when turning on camcorder will initialise and activate hard drive. Powering the camcorder prior to reaching low pressure areas will allow the hard disk to spin up and then shut down with a memory stick installed."
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I've read paul's thread from those years ago, but still haven't seen any images. Norman gave me some info, but it's not quite applicable to what I'm looking to do. Gorgeous suspension, Laszlo!
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I like the compositions that she creates in her own movement, looking off left and over her shoulder to keep right in balance. Minimalist as it is, it's a tough look to pull off effectively for four minutes. Your floating lens hood is nice! I'd prolly shoot with a narrower lens to have minimized vignetting, but that's just me... NICE! Further OT, has anyone jumped with wireless slaves, flashes mounted on a third person? Never tried it, been itching to...
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But may be of interest to those that are also ground-bound photographers. This video is minimalist but the lighting technique is not as easy as it seems to be, unless you've got a big room. It's a terrific use of black limbo, and the way it's choreographed might be of interest to some.
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CX100 and MC1 are EIS, yes... See you there!
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I'd bet the difference lies in trying to separate numbers from one brand to another. Canon, Panasonic, JVC are all similar model numbers, so they went somewhere no one else has really gone. That's a hazarded guess. I don't know the exact answer. But...there has been a LOT of market confusion over these damn model numbers being the same/similar. The worst is the Canon HXA1 and the Sony HVRA1 But the panasonic SD5/7/9 didn't help with the Sony HC 5/7/9. At least Sony now has different colors. so add a "B" or "R" or "P" after the model number for color.
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I agree, if "Do a search" is the only answer given, it's a little arrogant. "Do a search" linked to good search terms is a better answer, and still yet, a slight answer with a SEARCH inserted is the best yet. But even those tend to raise the ire of some people. They want the entire novel re-written for them. Case in point? I recently copy/pasted info from the READ ME file, it drectly and specifically answered the question, but that wasn't what the OP wanted. Still don't quite know what he wanted. The README had it answered, plainly and clearly. I think part of their frustration is that they didn't think to look there in the first place. I know I've asked a few redundant questions.
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under 200.00? I'm in.
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I'm more interested in if they come with the 6pak you see in the ads...if they could make me look like that, I'd buy a pair too. Except I don't think they come in a 32 waist.
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The entire page could be filled with Stickies and still no one would read them. First post in the Photography/Video forum and yet a dozen new posts per week asking questions that are all clearly answered in the FAQ.
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Didn't the Tengu come after the jeans?
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A heads up for those attending PIA- I'll have a Sony CX100, an MC1, and a few other sundry cams in our booth at the show. They will not be on display, you'll need to ask about them if you'd like to see them. Looking forward to seeing y'all there!
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I think what I learned (and continue to learn) is that when I got to 200-400, I thought I knew it all. By the time I got to 700-800, I realized how little I knew. By the time I hit around 1200-1300, I realized I truly didn't know what I didn't know back when I thought I knew it all. Is that like the Benjamin Button of skydiving or what?
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I don't use a ringsite on my wingsuit helmet, and I've yet to meet anyone with problems with a HypEye. I'm sure we'd hear folks screaming in the Photo forum if there were many problems.
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The HVX doesn't use PsF for 30p. You've answered my questions, thank you. And no...you cannot play the 264 back from a timeline without transcoding. Even with the new QT Pro decoder. Transcoding and "dailies" don't really make it into the same sentence most of the time. But you're right about the overnight transcode to ProRez....Not exactly useful in a high-speed environment. I didn't say our 5DMKII footage is publicly viewable, just said it's on Vimeo. But...if you look for VASST or Sundance Media Group, you'll find quite a bit there, includig some 5DMKII video that isn't listed as such. We use Vimeo for shipping dailies, too. I don't agree the 5D is a "gimmick" especially compared to an HVX. But it is truly not mainstream, and will remain non-mainstream. The codec and the decoding requirements make it a significant challenge at this point in time. Back to point, you're talking from a position of someone who has not personally undergone any production with the 5DMKII, and aren't aware of the two fairly significant issues with the content that several companies like Bitjazz, Cineform, and Canon are all working to overcome fairly quickly to make the end-user experience an easy one.
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Last week GoPro sent me one of their new Hero cameras to test in a variety of environments. I’m somewhat of a snob when it comes to cheap camcorders, and the people at GoPro knew this from the start. In fairness, this is the least expensive camera/camcorder I've ever reviewed, and not expecting to be impressed.The camera arrived in a complete configuration; batteries, 2GB SD memory card, and the standard box that the GoPro comes with. Opening the GoPro package requires a degree in disassembly if the box is to be kept in more than one piece. It took three people nearly 10 minutes to figure out how to open it. If the box is any indication of how tough this camera is…it’s gonna be a great little camera. The GoPro Hero Wide Physical Characteristics: The camera includes several mounting options, including a rubber headband that resembles a jockstrap. It’s not much to look at, but it’s also not going to be the common use (I hope) for most users. The camera mount on the “jockstrap” can easily be removed and connected to more substantial webbing. The water housing is impressive. Very impressive for the price, in fact. I’ve paid more for a cheap housing than for this entire camera, and this housing is more nicely built than a housing I once paid $350.00 for. This is a good thing, because the mount for the camera is integrated into the waterproof/protective housing of the camera. The system is not designed to be used without the camera in its waterproof housing. The camera itself feels “plastic,” even though it is made of light aluminum and plastic. The plastic lens is fairly exposed; all the more reason to keep it in its waterproof case and keep the case in a soft bag when not being used, in order to protect the lens from damage/scratching. This shot was one of 92 still images captured in a single skydive. With a plastic pressure-release mount, there is some fear that a hard strike will cause the unit to be torn from whatever mounting device it may be attached to; this is a positive feature rather than negative factor, as safety is the primary concern of all active sport enthusiasts. The plastic mounts are plentiful; GoPro provided three stick-on mounts with extra double-sided adhesive material. In addition, GoPro provides a pair of extra mount clips, and a mounting arm that allows for a 90degree rotation of the camera when mounted to vertical objects such as the mast of a kiteboard, paraglider, or similar. It’s much like an Israeli-arm used for higher end cameras, excepting that it’s exceptionally lightweight, and plastic. The camera comes with several mounting devices/replacement parts. Technical Characteristics: The camera has a very small sensor size, I believe it is 256 x 192 with doubling, but I was unable to receive confirmation of this from the relations department at GoPro. The sensor is a CMOS imager, which is somewhat obvious by the lack of dynamic range (see image with large black spot in center of sun). Sporting an output frame size of 512 x 384, broadcast, output to DVD, or other full-frame display will be difficult to do with any degree of image integrity. For web or fun review on a computer in small viewer, it's perfectly appropriate and will give a lot of enjoyment to the sports enthusiast that isn't chasing professional results. GoPro encodes to an MJPEG codec in AVI container (will be .mov on Apple) and will require an MJPEG decoder in order to read/edit. Most NLE software includes an MJPEG decoder, and they are available from several providers around the web. The encoder compresses the video data to 4800 Kpbs, which is approximately the same compression ratio found on many hllywood DVDs. However, bear in mind that Hollywood DVDs are framesized at 720 x 480, and are sourced from film or HD cameras. I mention this, as some of the marketing commentary on the GoPro Hero compares technical data with that of a DVD. They’re not remotely the same. Additionally, DVDs are encoded with a PAR (Pixel Aspect Ratio) of .909 or 1.333. This means that pixels are elongated in either a horizontal or vertical configuration. The GoPro records a PAR of 1.0 (this means the pixels are square, and are not stretched, which is a benefit). The display is a Standard Aspect Ratio, otherwise known as 4:3. This is the “old” format of screen display, and is no longer available in television displays. GoPro might consider providing widescreen in an anamorphic format in their next camcorder models, as widescreen displays are now the world standard. 30Fps Progressive frames means the image will be smooth for playback, and clear on computer monitors. Audio is recorded in Mono @8Khz/64Kbps stream. The audio is useless for anything other than reference. It should be pointed out once more, that this camera is aimed at the sport enthusiast that wants to capture exciting moments for the web, not for broadcast or professional use. Still images may be captured at the rate of one still every two seconds for up to 65 minutes (over an hour) on a 2GB SD card. Larger cards may be used. The stills are 5MegaPixels, and for some, this is going to be a “wow” factor. However, there is a difference between stills captured through a low-cost plastic lens and a reasonable quality glass lens as found on most 3-5MP hand cameras. In other words, the megapixel count is only a small part of the actual picture quality. (More megapixels don’t assure better pictures in any event.) SD flash card is the format in which this camcorder stores data. SDHC cards do not improve the performance, speed, nor quality of the camcorder. The camcorder package also includes a proprietary cable connection that outputs to USB and video composite signal. Note the hot-spot in the middle of the sun. I was able to consistently reproduce this artifact with any bright light source in a high latitude shot. Even a 100 watt lamp could create this anomoly in a reasonably lit room. I believe this is a problem with the sensor; it cannot manage high latitude. Operational Characteristics: The camera is easy to operate. The multiple-press menu button that provides an icon-driven LCD panel doesn’t provide immediate feedback, and requires a review of the owners manual to decode the iconography of the display. In my first operation, I captured video from a skydive, but accidentally deleted the files as a result of not being clear on what the different icons were indicating. Additionally, it wasn’t immediately clear on how to turn off the camcorder, and when left on without operation, the camcorder eats batteries fairly quickly. With regard to batteries, only Lithium batteries should be used with the GoPro Hero. They’re a little more expensive, but this device eats alkaline batteries like they are candy. Rechargeable batteries may not be used. The GoPro Hero Wide uses SD memory cards. The black strip on the back is a rubber isolator to keep the camera tight in the waterproof housing. There are only two buttons on this camera, it’s not like it’s a challenge to operate once the owners manual has received a glance or two. One button for shutter control/record functions, and one button for menu control. The beauty of this camera is found entirely in its small size, price, and ease of use. Summary: This camcorder isn't going to light the professional's eyes up like a professional POV camera will, but it won't burn the amateur's wallet like a professional POV camera costs, either. I've tried all the various POV "sport cams" currently on the market, and for sub $200.00, this is clearly the winner. There simply is no camera in its class that can compete. GoPro should be proud of themselves for designing a camera with this quality in this price range. At $189.00 it certainly isn't a toy, but it is a very fair cost of the fun this camcorder can record for the sport enthusiast. Mounted to handlebars, helmets, struts, pedals, forks, kayaks, paddles, fenders, wrists, feet, belly, or other body part, the GoPro Hero is a hit in my book. -douglas spotted eagle
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The Optima LED is not really flexible, no. It has metal "extensions." The HypEye is very flexible, heavy rubber cable with heat shrink all the way to the very end.