We have been doing some test filmout using DANCINEL.EXE (tm) to 35mm Vision print film 2383 using frames from a Canon SD780 IS H.264 file, graded in my "freeish" feature film DI post system DANCAD87.EXE (tm). The H.264 file was converted into an Uncompressed AVI then the AVI was converted into BMP frames for color correction and resize/letterbox into 1600x1200 frames. The 1600x1200 frames were output off an LCD monitor using a ROSCO #22 filter with a total exposure of 120to180 seconds at T/2.8.
On projection noise in the H.264 stored frames was visible, and so were blocking artifacts in shots that were "timed up" to make the mid-tones lighter.
Unless Canon uses a higher bandwidth recording format and 12 to 16bit brightness information the RED ONE will probably be more useful for filmmaking. With Scarlet coming out, Canon should shake off ideas of making more "almost useful" products, and make something that work right, or they could loose even more market share.
Because H.264 and MPEG-4 limit grading range and have heavy artifacts they are not a medium for much serious filmmaking.
Also what's the deal with the restrictions on the use of videos shot with H.264 codec?
The Galaxy Tab 10.1, much like its Limited Edition sibling that we reviewed last month, is ever-so-slightly thinner than the iPad 2, a slate that most sane individuals (and competitors, for that matter) would confess is the market leader today.
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We have been doing some test filmout using DANCINEL.EXE (tm) to 35mm Vision print film 2383 using frames from a Canon SD780 IS H.264 file, graded in my "freeish" feature film DI post system DANCAD87.EXE (tm). The H.264 file was converted into an Uncompressed AVI then the AVI was converted into BMP frames for color correction and resize/letterbox into 1600x1200 frames. The 1600x1200 frames were output off an LCD monitor using a ROSCO #22 filter with a total exposure of 120to180 seconds at T/2.8.
On projection noise in the H.264 stored frames was visible, and so were blocking artifacts in shots that were "timed up" to make the mid-tones lighter.
Unless Canon uses a higher bandwidth recording format and 12 to 16bit brightness information the RED ONE will probably be more useful for filmmaking. With Scarlet coming out, Canon should shake off ideas of making more "almost useful" products, and make something that work right, or they could loose even more market share.
Because H.264 and MPEG-4 limit grading range and have heavy artifacts they are not a medium for much serious filmmaking.
Also what's the deal with the restrictions on the use of videos shot with H.264 codec?