This is a quick review of the new Canon EF-S 10-18mm f/4.5-5.6 IS STM with some “random” test footage I shot on my way to a client-meeting. Overall a pretty impressive Lens (especially for the Money) on a APS-C sensor like the CANON EOS 70D but also the Canon C100 since the Autofocus really work quite nice and super silent as well. It seem Canon had video shooting in mind by crating that lens.
Its sharp and has a nice overall look, there are no noticeable real nasty unsharp edges or corners like the Canon 10-22mm or the Tamron 10-24mm. The non-constant aperture is not really a big issue it seems, the iris works kinda smoothly. The lens just is not made for low light … thats all ;) Zoom-range is OK, I liked the Tamron 10-24mm for the 24mm but its nothing that i really miss on a super wider angle lens.
– makes optically nice & sharp pictures
– great wide-angle look
– great & silent Auto-focus works smooth in Video-mode
– good Images stabilizer (IS)
– good close focus range … almost macro feel to it
– works good for taking stills
– good price (around 270 EUR in Germany and $299 in the US)
– manual focus ring is small and has no hard stops or markings on it so its a bit hard to manually focus
– non-constant aperture
– built quality is not the best / its not exactly weather sealed
– does not come with a Lens Hood
But thats it … it might not work as good on non auto focus cams and is not as super cinematic as a wide open Tokina 11-16mm f2.8 but then again the Canon EF-S 10-18mm is a pretty nice lens for the money after all.
It also is pretty great for taking stills:
more info on the STM Focus “thing”:
more info about the Lens:
Yes…everybody was waiting for it now it seems it will be something we will see later this year.
ARRI will show (or preview for that matter) a 6K ARRI ALEXA at NAB this year…. finally! (see there is a 6k tag on that ALEXA Prototype right there!!!)
Now, usually I don’t post about camera news and stuff but this one is a big one and as you might now I’m kinda a fan of the “original” ALEXA and the Image quality it’s delivering.
Now do i think the “old” ALEXA is not good enough anymore? No, it still is a pretty good Camera, especially for TV Production. But for the future of Cinema it might be a good step to upgrade “a bit” ;)
Now it seems you will get a pretty good “downrez” 6K to 2K ProRes “option” with this new one that might be a good upgrade for the TV world. But 4K is coming at some point if you are like it or not.
So here are some of the specs that are known so far:
ARRI 65mm format ALEV IV Plus CMOS with Global Shutter
6144 x 3160 rez
ProRes 4444 (only 2k?)
ARRIRAW 0.75 – 60 fps
ProRes 0.75 – 120 fps (2k)
Base EI 800, sensitivity settings from EI 200 to EI 6.400
more specs will be released at NAB.
UPDATE: look at the post date … yep it’s April 1st ;)
So a while back I was shooting for RED TOWER FILM a Documentary about a Converse Project called CONS SPACE 002 BLN.
It was located at a old abandoned factory in Berlin that was revived again by skaters and lots and lost of art. There is a full length Docu (70min or so) in the making and there well be a Teaser released soon.
For now there are two 1st clips online about Art and Music…. All shot on Canon C300, 60D, 7D and GoPro. Edit by a colleague and me in Premere Pro CC on OSX on a Late2013 iMac and 2009 MacPro.
…more updates soon
A few weeks ago I had the chance to speak with Adventure Photographer Lucas Gilman in Berlin. He was there for a G-Technology event at the Apple Store in Berlin. We talked a bit about the passion and craft that goes in the work he does and about his work & “challenges” in the Video world.
Stay tuned for part two next month. He will talk more about his workflow and using the new MacPro since he had the chance to use it early ;)
Shot on Sony F3 using vintage Nikkor 35mm, 50mm and 85mm lenses and Canon 70D with Sigma 17-50mm f2.8
I actually used one tip I’ve got from Lucas for this Video … since it was kinda bad, grey and cold weather in Berlin everything kinda looked grey and cold but like Lucas said these are actually good conditions for Black and White shots. So his tip was: If the weather isn’t that great and all looks grey, make it black and white…and I think that worked out pretty nice ;)
So thanks for that tip, Lucas and for the time and thanks to the whole G-Tech crew in Berlin.
BTW I used a G-DRIVE ev via USB 3.0 on a 2009 MacPro with a CalDigit USB3.0 PCI-E card to manage the footage of the Sony F3 and 70D. I also used that drive for editing in Premiere Pro CC. It’s a solid little drive with transfer speeds like a big internal 3,5″ drive… pretty good!
and his twitter-stream:
So if you use like Magic Bullet Looks or any other “heavy & slow” plugins and want to reduce Export-times in Premiere Pro you should set your Sequence to ProResLT or any other good Master codec and work / edit with that Setting.
If you use like MagicBulletLooks and such you had to render while working anyways but you don’t have to re-render everything again with exporting. That happens usually if u don’t have “Use Preview” selected,
So to have this working properly you just select “Match Sequence” and “Use Preview” in the export settings and you are good to go.
Render-Times for this Sequence (GTX760):
with 1080p25 DSLR Seq. Preset = 16min 41sec
with 1080p25 PreResLT Seq. = 14min 42sec
Render-Times for this Sequence (GTX480):
with 1080p25 PreResLT Seq. = 14min 38sec
Render-Times for this Sequence (GTX480):
with 1080p25 PreResLT Seq. = 15min 35sec
Render-Times for this Sequence (GT640+GTX480):
with 1080p25 PreResLT Seq. = 19min 28sec
(it seems it uses the only the GT640 for openGL rendering)
RENDER TIME WITH XFX Radeon HD 7970
(same 2009 MacPro, same sequence, same settings)
with 1080p25 PreResLT Seq. = 26min 37sec
(export time with Match Seq. + Use Preview was basically the same)
Rendertime with XFX Radeon HD 7970
in Windows 8.1, Premiere Pro CC, DNX 120 1080p Preset
Export-Time for this Sequence (GTX760):
with 1080p25 DSLR Seq. Preset / no “Use Preview” = 15min 40sec
with 1080p25 PreResLT Seq. + Match Seq. + Use Preview = 01min 51sec
The Video-project in this “Tutorial” is actually a “real life” work project:
BTW for your reference: I’m on a 2009 MacPro 4,1 with 2x4Cores, 24GB Ram, GTX760 4G GPU, OSX 10.9.1 on a SSD with Adobe Premiere Pro CC 7.2.1. Also have ny Render/Scratch disk on a 2nd SDD and also export to the other SDD.
Oh and here a link to on quick test export with a different project regarding that DNxHD gamma/REC709 issue:
ProRes Export (how it should look)
DNxHD Export (REC 709 gamma issue)
6th Sense – Both Nice
Robbero – Spheres
The Titels showed up as black video but thats ok I replaced that (did not expect to go through anyways) but other than that all good actually ….even though I “cleaned up” the Sequence a bit before … it was just like exporting as FinalCutPro XML opening that file in 7toX … importing that new XML in FCPX…. done! …now of course the MBL values und plugins do not show up but thats OK. One note on that: I had to update to FCPX 10.1.1. and re-installed MBL bcuz before FCPX 10.1 crashed a lot or even the MacPro went black and re-started … now in 10.1.1 all seems to work … render now and see what time i get in FCPX
So now the Rendertime:
FCPX Export-Time for this Sequence: 22min 20sec
(same 2009 MacPro with HD 7970, same sequence, same settings…only DenoiserII missing on the last clips)
So another year comes to an end…and a new one ist just about to start. Lots of exciting stuff happened … but even more awesome stuff will in 2014 ;-)
Now one questions I have for you guys is: what are your 3 favourite movies you’ve watched in 2013?
It would be great if you let me know in the comments … maybe even tell why you liked the movie…
Thanks! …and have a great 2014!
P.S. I might even try to publish a few more blogpost around here if I can ;)
So I’ve got a 70D the other day …. to upgrade / replace my 60D so to say.
Things change a bit on that cam. There is no movie mode on the mode-dial anymore its more like with the 7D … There is a movie/live view/photo switch on the right.
Anyway, I noticed that I can set / change the ISO range in the menu and even in Video mode I could set it to 12800 for maximum ISO.
But how good is it? … Is it useable? Well, i did some random test shots at a local Christmas market.
In the end it is by far no C300 or C100 by far and there is quite noticeable noise at ISO 3200 and more. But like others said before the noise is not as “awful” as with the 60D or 7D.
But then again, it’s no C300 organic looking noise. Depending on what you shoot and if there is enough light in the shot and especially with a wide open prime lens (like with in some shot in this case a 85mm at f2.0 or 2.8) you actually might be able to use some of the High ISO shots at 8000 or even 10.000, not every time tho’ and there will be some quite noticeable noise but I’ve seen worse.
At 12.800 it’s almost not really usable but you could get a shot you otherwise would miss. Almost all detail is gone tho’.
But again, I’ve seen worse or in the case of a 60D you would not be able to even think about those high settings at all. But see for yourself.
I did some quick basic “color grading” in Magic Bullet Looks and some basic noise reduction with DenoiserII…
You might be even able to “recover” / use more shots if you spend more time on Post so to say.
One more thing: In low light and with high ISO settings the Autofocus has a hard time since there is not much details left in the shot and the auto focus does not find a point to focus on it seems …most of the time.
One last thing: The 70D has a built-in stereo microphone on top or the viewfinder, it works nicely but it is picking up camera- and “user-noises” quite easily at times.
Over all it still is “only” a DSLR with Video mode but with nice autofocus options and a bit better ISO range.
Though light leaks can still be created in camera (by exposing film to streams of light through the light-tight chamber), this process gives the film-maker limited control, and can cause damage to the camera and footage. More often, filmmakers will decide to apply the light leak effects in post as this gives them more control over when, where and how to place the light leaks.
A way to do this could be to use light leaks to add extra warmth and color to the edit, such as adding a golden sunset tone to give the shot a more romantic feel. By adding warmth to the image without overpowering it, the shot has been transformed into a perfectly captured moment from your clients wedding day.
What you need to do is add energy. Using light leaks with a series of streaking blue tinged light leaks and flares, you can make the video look much more interesting, vibrant and exciting.
As you can see, light leaks can transform footage that is dull to something extraordinary – all you need to do is decide what emotion or atmosphere you want to capture, and use light leaks as the tool to get you there. In this next part I’ll show you how easy it is to introduce them into your next edit.
Make sure you have the light leak layer selected in your sequence.
Then open the inspector window by clicking this button on the far right of FCPX layout.
Now, in the inspector window under ‘Compositing’ change the ‘blend mode’ to Screen.
In Premiere Pro
Double click on the light leak in your timeline.
Click on the ‘Effect Controls’ tab in your source window.
Now click the triangle next to Opacity.
There you will see “blend mode”. Change it to screen. Screen mode will give you that classic light leak look.
First step – finding light leaks to use in your footage!
A few experienced video editors actually create their own light leaks, however this can be a lengthy process if you are just getting started in the video editing world.
At LightLeakLove.com we have a free sample light leak collection for users to experiment with! It’s available for you to download and use as much as you want, so you can experience how light leaks can improve your next video project. The free sample light leak collection features light leaks from LightLeakLove’s three most popular collections, so you can get a taste of what type of light leaks you’d like to use in your next vid! Download your free light leak collection here.
If you have any questions on how to use light leaks, or just want to chat about how/when is best to use them, just email us at firstname.lastname@example.org. We’d love to hear from you!
Also a really big thanks for Michael for letting us contribute this tutorial on how to use light leaks.
a quick review of a nice little firewire audio interface and stereo monitor control the t.c. electronic desktop konnekt 6. really good for what is does for the money. i really like the audio quality of the mic input, headphone, monitor outputs and audio interface itself. its well made for the price-range. the audio level meter is a nice feature and is reasonable good. over all a good piece of gear for audio and video editors, even for podcasters I’d might say. So my setup for recording tutorials and stuff like that is the Rode NTG1 connected the the desktop konnekt 6 and its good and clean sounding 48V phantom powered mic (pre-amp) input.
one think about the firewire connection … yes its is Firewire 400 (which is common for a audio interface …. or at least was) now, I know firewire ports are kinda a rare thing on computers these days… but i have to say in compassion to USB its a much more solid connection and i don’t mean that in terms of hardware itself, just the data stream is better. with USB its more likely that you run in to odd issues like odd background noises and stuff (since USB was initially invented to connect hardware like a keyboard or a computer mouse) …. so keep that in mind
more info about the unit:
Mic I used:
Mic Pre Amp on the DSLR:
episode I recorded with the t.c. electronic desktop konnekt 6 and the Rode NTG1:
Music by 6th Sense, Broke For Free, Anitek
shot with Canon 60D with a TAMRON 17-50mm f2.8 XR Di II VC