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Now it works with the new 2.0.4 Firmware 5D Mark II from
Guitar52D on Vimeo.
Plungercammed: Tiny Fishermans Wharf from Bhautik Joshi on Vimeo.
Have you ever wondered how tilt-shift miniature photography works and why it looks so strangely convincing? Have you ever wanted to have a tilt-shift lens but couldn't afford the hundreds of dollars needed to buy one? Have you ever wanted to take real tilt-shift photos? Then this short introduction to tilt-shift photography and DIY tilt-shift lens building is probably for you.
Selective-focus with tilt-shift lenses has been around for many years, but I think its creative potential for both photo and video (beyond miniaturisation!) lies largely untapped. By publishing this tutorial I'm hoping that it gets picked up by those of you with real creative talent, and from there you can take it somewhere completely new.
Q: I would like to know about combining the footage with red material and also audio sync issues.
A: Intercutting DSLR footage with RED is easy as long as the RED is converted into a matching format. If both formats are, for example, 23.98 ProRes 422 then it’s easy. The key to making them match would be in the final color grade and with some effort a DSLR camera can be a nice B-camera to a RED. If you want to match back to the RED R3D files in online then just put the RED shots on their own video layer so you can pull that out of the edit for online conform. Audio sync shouldn’t be much of an issue if you are matching frame rates. The key for the smooth mixing of footage in post production is to match frame rates.
Longshan's People Part II - 50Mbit GH1 MJPEG from Andrew Reid on Vimeo.
The Panasonic GH1 can do some great video for its size, thanks to that fancy micro four-thirds optical setup, but it's been held back the low bitrates it uses when recording. Now some enterprising hacker named "Tester 13" has reversed engineered the GH1's firmware and unlocked the true power of the camera (much like Magic Lantern has done for the 5D Mark II). In fact, the main trouble now is that Tester 13's firmware uncovers too many options: users are trying out different configurations to maximize quality without bumping into the camera's buffer limitations. The current flavors of choice include 50Mbps MJPEG at 1080p (the stock camera caps out at 720p in MJPEG), to be augmented by 32Mbps AVCHD when the crazy high-end MJPEG causes the camera to buffer overflow. It's all very technical and video-nerds-only in theory, but results speak for themselves: check out a sample video after the break. And try out the new firmware if you dare.
Summary, what is means for the none-techno-geek (From The EOSHD Community Site)
>Hugely better image quality. 50MBit MJPEG shows zero compression artefacts, zero mud and much more photo-like gradients, tones and textures
>It's better looking than the 5D Mark II's H.264 and less compressed
>MPEG 50Mbit shows low noise and the noise is of a finer grain, more film-like
>The workflow improvements are immeasurable. The 50Mbit MJPEG, this can be edited directly, no transcoding required. As for AVCHD, thanks to Tester13 the native 24p can go straight into Log & Transfer without pulldown or deinterlacing work.
Before I was waiting around 6 or 7 hours per project for Voltaic to transcode and deinterlace the GH1's AVCHD to ProRes. Now the same amount of footage can be done in one step in Final Cut Pro Log & Transfer and takes 30 minutes.
>Non-native 24p 32Mbit AVCHD (60i) can be played back in-camera. Focus assist works in both AVCHD and MJPEG mode. It's expected playback of native 24p AVCHD can be fixed in the near future once a patch is released by Abed.
>A JPEG is saved containing shot EXIF info, shutter speed, ISO, etc.
The image is smoother looking and better scaled from the 12MP CMOS compared to the 5D Mark II which has 22MP to deal with. Pixel binning is in action, not line skipping.
