Sony 4K Handycam FDR-AX100 thread - Page 52 - AVS Forum
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post #1531 of 2684 Old 05-07-2014, 06:42 AM
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Leamas, I know the Sammy F9000 is the new curved screen model. On several occasions I've played my edited AX100 videos on that very model (the 65" version) and never had an issue. I used a USB stick and inserted it into the Samsung connector box.

The issue you're having might be related to which HDMI input you're using. I'm really not familiar with those, but on some UHD TVs, there is only one HDMI input that accepts 4K. So if that is the case, make sure that's where you're inserting the AX100 HDMI connector.

Now the other possibility, perhaps even more likely given your 'green' description, is either a bad cable, poorly inserted cable (try removing it and reinserting it) or an HDMI handshake issue. If it's a handshake issue, try turning off your TV and turning it back on with the camera connected. Also try turning the camera off and back on.

Of course ensure that the HDMI output on the AX100 is set to 'Auto', but I doubt that's the issue. I know for sure your F9000 is compatible with the AX100 files.

BTW, how does upconverted HD look on your set?
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post #1532 of 2684 Old 05-07-2014, 07:33 AM
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Quote:
Originally Posted by Ken Ross View Post

Leamas, I know the Sammy F9000 is the new curved screen model. On several occasions I've played my edited AX100 videos on that very model (the 65" version) and never had an issue. I used a USB stick and inserted it into the Samsung connector box.

The issue you're having might be related to which HDMI input you're using. I'm really not familiar with those, but on some UHD TVs, there is only one HDMI input that accepts 4K. So if that is the case, make sure that's where you're inserting the AX100 HDMI connector.

Now the other possibility, perhaps even more likely given your 'green' description, is either a bad cable, poorly inserted cable (try removing it and reinserting it) or an HDMI handshake issue. If it's a handshake issue, try turning off your TV and turning it back on with the camera connected. Also try turning the camera off and back on.

Of course ensure that the HDMI output on the AX100 is set to 'Auto', but I doubt that's the issue. I know for sure your F9000 is compatible with the AX100 files.

BTW, how does upconverted HD look on your set?

Ken, I am talking about F9000, not HU9000 (HU8500 in Europe). How I wish to be that one smile.gif but doesn't matter, it looks beautiful also. I will try more today on the HDMI issue, yesterday I didn't have too much time.

About upconversion, I cannot pronounce yet. Of course, HD content on a 65 inch model can not look brilliant I assume, because the size is already big at 65. Or maybe at bigger distances from the TV it can. But I cannot complain sincerely, my Panasonic TM900 clips look quite good on the TV. Of couse far from the AX100 ones.
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post #1533 of 2684 Old 05-07-2014, 07:51 AM
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Leamas, if this is a 2013 model, and it appears it is, you may be out of luck in one respect. Most 2013 UHD TVs could not accept 4K sources via their USB ports. The 2014 models can. With that said, I do think they should be able to accept 4K via the HDMI input marked 4K.

So if so, my thoughts posted above would be the same.
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post #1534 of 2684 Old 05-07-2014, 08:44 AM
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Quote:
Originally Posted by Ken Ross View Post

Leamas, if this is a 2013 model, and it appears it is, you may be out of luck in one respect. Most 2013 UHD TVs could not accept 4K sources via their USB ports. The 2014 models can. With that said, I do think they should be able to accept 4K via the HDMI input marked 4K.

So if so, my thoughts posted above would be the same.

Not true Ken, the TV accepts 2160p30 from the PC and the result is absolutely stunning smile.gif No need for 60p input from AX100 however. And when I connect the camera to the TV, it enters the same mode 2160p30 but only green... strange. But I will update the firmware since it has the very first...
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post #1535 of 2684 Old 05-07-2014, 09:09 AM
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Have you tried a different cable?
and what new firmware?
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Not true Ken, the TV accepts 2160p30 from the PC and the result is absolutely stunning smile.gif No need for 60p input from AX100 however. And when I connect the camera to the TV, it enters the same mode 2160p30 but only green... strange. But I will update the firmware since it has the very first...
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post #1536 of 2684 Old 05-07-2014, 10:06 AM
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Not true Ken, the TV accepts 2160p30 from the PC and the result is absolutely stunning smile.gif No need for 60p input from AX100 however. And when I connect the camera to the TV, it enters the same mode 2160p30 but only green... strange. But I will update the firmware since it has the very first...

You didn't read what I wrote leamas. I said these TVs did accept 4K via their HDMI inputs that were marked '4K'. I assume that's how you're connecting your laptop to the TV. They did not accept it via their USB inputs. The 2014 models accept 4K via both HDMI and USB.
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post #1537 of 2684 Old 05-07-2014, 10:09 AM
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I took my FDR-AX100 for an extended two day video shoot in Wilmington, NC. I encountered an interesting issue which I thought worth posting here. On the second day of shooting in 4K I found that I suddenly could not get the ND switch to move to the 3 position. I could turn off the ND switch, select ND 1 or ND 2, but the switch simply would not move into ND3. Of course I had the upper ND switch set to manual (not auto). It was pretty hot (92 F.) when this happened. The 4K video shot by the camera was fine and the only problem was the inability to get the ND switch to physically move to ND3. I did not want to force it because I know this switch normally moves to ND 3 (and all other positions) with a gentle touch. After this problem occurred, I went into an air conditioned building, and within a minute or two the ND switch began working perfectly in all three positions. Once again I went outside, and after about 10 minutes the switch again refused to go into ND3. When I got the AX100 into my AC car, after a minute or two the ND switch began working perfectly again in all three positions and has done so consistently ever since. My conclusion is that the relatively high temperature had some impact on the ND switch, but I found the problem quite strange. Note that turning on and off the camcorder or even removing and reinstalling the battery did not get the switch working. This was my first experience at using the AX100 when the ambient temperature was above 90 F. If anyone else encounters this, I would like to know. Thanks.

Tom
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post #1538 of 2684 Old 05-07-2014, 10:17 AM
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Since it is so new, call Sony and have it replaced. This should not be taking place.

Quote:
Originally Posted by TomWheeler View Post

I took my FDR-AX100 for an extended two day video shoot in Wilmington, NC. I encountered an interesting issue which I thought worth posting here. On the second day of shooting in 4K I found that I suddenly could not get the ND switch to move to the 3 position. I could turn off the ND switch, select ND 1 or ND 2, but the switch simply would not move into ND3. Of course I had the upper ND switch set to manual (not auto). It was pretty hot (92 F.) when this happened. The 4K video shot by the camera was fine and the only problem was the inability to get the ND switch to physically move to ND3. I did not want to force it because I know this switch normally moves to ND 3 (and all other positions) with a gentle touch. After this problem occurred, I went into an air conditioned building, and within a minute or two the ND switch began working perfectly in all three positions. Once again I went outside, and after about 10 minutes the switch again refused to go into ND3. When I got the AX100 into my AC car, after a minute or two the ND switch began working perfectly again in all three positions and has done so consistently ever since. My conclusion is that the relatively high temperature had some impact on the ND switch, but I found the problem quite strange. Note that turning on and off the camcorder or even removing and reinstalling the battery did not get the switch working. This was my first experience at using the AX100 when the ambient temperature was above 90 F. If anyone else encounters this, I would like to know. Thanks.

Tom
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post #1539 of 2684 Old 05-07-2014, 10:22 AM
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In this short footage, I was nearly at the 111.6mm end of the optical zoom. As such, rolling shutter is problematic, especially with black and white blocks as background.
SInce the dancer moved so quickly, i held my breath as i panned.

At 2160p view on my Sony XBR65X900A, no rolling effects at all.
At 21600p view on my Apple 27" thunderbolt display, minor rolling effects. Still, better than with any 1080p camera i've seen.
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post #1540 of 2684 Old 05-07-2014, 12:10 PM
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Quote:
Originally Posted by William Chiu View Post

Since it is so new, call Sony and have it replaced. This should not be taking place.

Billy,

That's not a bad idea, but at this point the ND switch is working perfectly in all three positions, and I fear that Sony would simply find no problem and send the camera back to me without either repairing or replacing it. Intermittent problems of this type are the most difficult to get repaired. My main purpose in my post is to determine if this is a problem specific to my camera or if other AX100's have had an ND filter setting problem on days where the temperature is 90 F. or greater. The problem is not a fatal one, i.e. the camera continued to record 4K video without any problems, and I did not have to get into ND3, but was able rouse ND2 at a smaller aperture.

Tom
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post #1541 of 2684 Old 05-07-2014, 12:49 PM
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I would still contact them and get it on record. Make sure you explain the temperature dependence clearly however.

It should not be happening. Most likely if the camera is physically getting hot (all over, as opposed to the electronics) expansion of the housing may be causing something inside to jam.
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post #1542 of 2684 Old 05-07-2014, 02:50 PM
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I experimented some more by playing back the scenes with motion (the merry go round and the dancers) from the camcorder directly to the Sony. The video is not jerky that way. So, it must be something either in the edited video or in the HDMI interface on the Mac that is causing it.
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post #1543 of 2684 Old 05-07-2014, 03:21 PM
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Quote:
Originally Posted by chenderson2 View Post

I experimented some more by playing back the scenes with motion (the merry go round and the dancers) from the camcorder directly to the Sony. The video is not jerky that way. So, it must be something either in the edited video or in the HDMI interface on the Mac that is causing it.

The problem is most likely your TV, not the camcorder or it's footage. Older TV sets have fairly severe limitations on input when they have to decode the footage (such as viewing from a USB or streaming, for example). If the bit rate is too high or the frame rate too high they choke, and that is what causes the jerky motion. Material played back through BluRay players (and other devices) often do something similar.

When you play back through the camcorder, the camera is doing the decoding, and it will have no issue with it's own footage. The TV would then just be displaying the video signal it receives, and since there is no processing required to do that it will be smooth.

I have a similar issue with my G30. Neither my TV nor my BluRay player can handle the decoding, so the only way to view my videos on the TV is to decode either directly from camera or from my laptop via one of the HDMI ports.
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post #1544 of 2684 Old 05-07-2014, 04:09 PM
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This is a very recent 4K TV. I have been reluctant to blame the laptop, but since the video did play fine from the camcorder, I conclude that something is not agreeing with the TV from the source material. The TV is receiving the signal from the laptop through the HDMI. The laptop is playing the video with Quicktime player on the laptop, not on the TV. This is 4K material. Unfortunately, Sony has provided no way to play 4K through the USB ports, only through the HDMI. Due to that limitation, the TV is not doing the decoding in any case.
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post #1545 of 2684 Old 05-07-2014, 05:14 PM
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Quote:
Originally Posted by TomWheeler View Post

I took my FDR-AX100 for an extended two day video shoot in Wilmington, NC. I encountered an interesting issue which I thought worth posting here. On the second day of shooting in 4K I found that I suddenly could not get the ND switch to move to the 3 position. I could turn off the ND switch, select ND 1 or ND 2, but the switch simply would not move into ND3. Of course I had the upper ND switch set to manual (not auto). It was pretty hot (92 F.) when this happened. The 4K video shot by the camera was fine and the only problem was the inability to get the ND switch to physically move to ND3. I did not want to force it because I know this switch normally moves to ND 3 (and all other positions) with a gentle touch. After this problem occurred, I went into an air conditioned building, and within a minute or two the ND switch began working perfectly in all three positions. Once again I went outside, and after about 10 minutes the switch again refused to go into ND3. When I got the AX100 into my AC car, after a minute or two the ND switch began working perfectly again in all three positions and has done so consistently ever since. My conclusion is that the relatively high temperature had some impact on the ND switch, but I found the problem quite strange. Note that turning on and off the camcorder or even removing and reinstalling the battery did not get the switch working. This was my first experience at using the AX100 when the ambient temperature was above 90 F. If anyone else encounters this, I would like to know. Thanks.

Tom

Tom, get it replaced. That's a mechanical issue pure and simple, not an electronic one. Something is very tight with the tolerances on your switch and any significant increase in temperature appears to cause it to swell enough to prevent it from sliding up to that last position. Put simply, it's almost like a swollen door in the summer that's hard to close.
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post #1546 of 2684 Old 05-07-2014, 05:18 PM
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Quote:
Originally Posted by William Chiu View Post

In this short footage, I was nearly at the 111.6mm end of the optical zoom. As such, rolling shutter is problematic, especially with black and white blocks as background.
SInce the dancer moved so quickly, i held my breath as i panned.

At 2160p view on my Sony XBR65X900A, no rolling effects at all.
At 21600p view on my Apple 27" thunderbolt display, minor rolling effects. Still, better than with any 1080p camera i've seen.

Yeah, BIlly, viewed on my 4K monitor I see no evidence of rolling shutter. smile.gif
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post #1547 of 2684 Old 05-07-2014, 06:24 PM
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Quote:
Originally Posted by chenderson2 View Post

This is a very recent 4K TV. I have been reluctant to blame the laptop, but since the video did play fine from the camcorder, I conclude that something is not agreeing with the TV from the source material. The TV is receiving the signal from the laptop through the HDMI. The laptop is playing the video with Quicktime player on the laptop, not on the TV. This is 4K material. Unfortunately, Sony has provided no way to play 4K through the USB ports, only through the HDMI. Due to that limitation, the TV is not doing the decoding in any case.

Then the problem is either with your quicktime player or your computer not being able to decode fast enough. The TV will display whatever signal is being sent to it through HDMI.
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post #1548 of 2684 Old 05-07-2014, 06:25 PM
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Some nice shots captured today by the AX100 at the Bayard Arboretum on Long Island.

You can download the original file by logging into Vimeo...if you're a member.
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post #1549 of 2684 Old 05-07-2014, 11:50 PM
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You didn't read what I wrote leamas. I said these TVs did accept 4K via their HDMI inputs that were marked '4K'. I assume that's how you're connecting your laptop to the TV. They did not accept it via their USB inputs. The 2014 models accept 4K via both HDMI and USB.

Ok now I understand what you mean. It's not the case, I tried more than one port and I also tried the port where the PC works fine. Also I updated the firmware. No luck. Pity, but this is not essential for me since I use the PC very fine. Again, very impressed by the clips of the AX100.

On the upscaling image quality: I watched some clips of Panasonic TM900 with a Popcorn Hour A400 media player, that outputs in 1080p, the quality is acceptable but not brilliant. What I will also try today is playing same clips in 2160p and let the PC do the upscaling, not the TV. Then I can have a conclusion. But I think when someone owns a 4K TV with great image quality, all the rest can be done using a PC, there you can use a variety of tools. The TV can be used as a simple monitor then, and the PC can have enough power to do anything. Will come back with the conclusions.
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post #1550 of 2684 Old 05-08-2014, 09:19 AM
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Basic question boys:  Can I change shooting modes, 30p 24p or from 1080 to 4k on the same media card?  I've had instances in the past with different cameras where it wouldn't let me - lets say record SD & HD video without "initializing" (erasing prev media first.)

 

Thanks, Tom.

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post #1551 of 2684 Old 05-08-2014, 09:31 AM
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If long shots contain anything beyond 40mm or so, I would vote against the stealthy. Anything wide angle may work, but will require lots of practice. You will also tire after half an hour or so.
The Ax100 is not that light, especially if you have an extra mike attached.

Ditto Billy.  I have the Stealthy, and bought the extra weight pkg.  It's really tricky to balance, but once you get it gimbled out, it works pretty well.  I use mine with my 16x9 .6 wide angle adapter, and if you stay wide - you can mimic a true steadicam.  Even though the AX100 is pretty light even with my wide eye, I like the extra weight on the bottom of the Stealthy for stabilization.  Would recommend,  Even with the gimble locked, the unit really shines for balance and steadiness.

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post #1552 of 2684 Old 05-08-2014, 11:49 AM
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yes it can.
same card, many formats on the fly.
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Basic question boys:  Can I change shooting modes, 30p 24p or from 1080 to 4k on the same media card?  I've had instances in the past with different cameras where it wouldn't let me - lets say record SD & HD video without "initializing" (erasing prev media first.)

Thanks, Tom.
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post #1553 of 2684 Old 05-08-2014, 02:47 PM
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Ok. Final conclusion about the 4K video played on my Sony xbr65x900a with a MacBook Pro. The tech support says that evidently the graphics card is choking on the data being transferred to the TV. Only solution is to trade in the MacBook Pro for a Mac Pro with a super fast graphics card. That computer would be between 3 and 4 thousand dollars, not including the display. Also, the Apple store says that all Mac Pros have to be ordered with a 3 to 4 week wait.
I'll just have to put up with the jerky playback. I'm at the end of what I'm willing to pay.
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post #1554 of 2684 Old 05-08-2014, 03:11 PM
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The tech support says that evidently the graphics card is choking on the data being transferred to the TV. Only solution is to trade in the MacBook Pro for a Mac Pro with a super fast graphics card.
Do you currently have a high end late 2013 or 2014 Macbook Pro with a dedicated Nvidia graphics card? Maybe you should pose your questions to the Macbook Pro forum at http://forums.macrumors.com/ Also read the Mac Pro forum at http://forums.macrumors.com/ to see what others have been doing in your situation. I vaguely remember reading that support for 4K viewing would likely be coming in the next Mac OS update (10.9.3).
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post #1555 of 2684 Old 05-08-2014, 03:20 PM
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This is nonsense. I have a Mac mini as well as a 2012 MBP with 16G RAM connected to that XBR65X900A using VLC playing 4K files without any drop frames. With the MBP, it's also at nearly full 2160p.

I also can play full 2160p directly from an AX100 to the 4K set using HDMI with no issues.
Either there is a graphics card in the Sony 4K TV that is a problem or the computer.
Smooth play can be done, without the Mac Pro, which is overkill for anyone using for viewing only.
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Ok. Final conclusion about the 4K video played on my Sony xbr65x900a with a MacBook Pro. The tech support says that evidently the graphics card is choking on the data being transferred to the TV. Only solution is to trade in the MacBook Pro for a Mac Pro with a super fast graphics card. That computer would be between 3 and 4 thousand dollars, not including the display. Also, the Apple store says that all Mac Pros have to be ordered with a 3 to 4 week wait.
I'll just have to put up with the jerky playback. I'm at the end of what I'm willing to pay.
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post #1556 of 2684 Old 05-08-2014, 03:56 PM
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Billy, just played my AX100 footage today for the first time on a 2013 Sony 850, via HDMI from the camera. It played very nicely and looked great.

Previously I had only seen it on Samsungs, so it was nice to see it on a different brand.
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post #1557 of 2684 Old 05-08-2014, 04:33 PM
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cool. The only thing i am interested in now are those OLED 4K sets. Still have not seen any.
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Billy, just played my AX100 footage today for the first time on a 2013 Sony 850, via HDMI from the camera. It played very nicely and looked great.

Previously I had only seen it on Samsungs, so it was nice to see it on a different brand.
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post #1558 of 2684 Old 05-08-2014, 05:17 PM
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saw this acticle yesterday.



Back in February I wrote about why I didn’t think 4K video was the be-all, end-all solution that would solve all DSLR video problems. Now that some 4K video cameras are entering the market, I’m amused at some of the comments that are coming along with the camera reviews.

Here’s the thing, you almost certainly need three things if you’re going to shoot any 4K video:
•Fast and expensive media. For example, the Panasonic GH4 requires a UHS-II Class 3 SDXC card. Not just a 95MBs capable card, but a state of the art one that costs US$250 for a 64GB card. That might net you 80 minutes of video (still haven’t gotten a chance to verify that). It’s possible we’ll see some cameras that use far more compression that can use slower cards, but isn’t the point of 4K to get ready for the next generation of TV, whenever it comes? You don’t want to be the “fuzzy” provider of 4K output, do you?
•Lots of storage. Thing is, you’re likely to want to preserve video quality during editing, which means transcoding into something like ProRes format. Prepare to be shocked at how big the files get. Really shocked. As in your 80 minutes of video off that expensive card is now 256GB or larger. By the time you build proxies, create a timeline, etc., your single card now may taking up more than half a terabyte. Remember, you also need backups to everything, so okay, we’ve probably crossed the terabyte line.
•A new MacPro. This was an eye-opener to me. My current gear is quite capable of editing and running the video projects I do (all 1080P at the moment) in real time. My first 4K test? Uh, not so much.




The real question is whether 4K is really the future or not. The answer is still a bit unknown. We don’t currently have a real distribution method for 4K video, even compressed. However, I’ve learned not to bet against bandwidth restrictions, just as I don’t bet against CPU speeds or memory/storage restrictions. All these things continue to benefit from Moore’s Law, and thus, over time, go away.

But that’s the key thing here: time. How much time will there be between being able to shoot/edit 4K (which we can do today) versus reliably distributing it to a wide audience? I know Sony would like that answer to be: not very long. But given that Netflix is already having to buy Internet speed for compressed current video distribution, that most folk aren’t going to buy a 4K TV when they have nothing to play on it other than 1080P best case, and that the broadcast system hasn’t come close to getting on board, “time” may be the biggest cost of 4K.

I’ve been at the front edge of technology for 40 years now. The one thing I know is that early adoption is costly. The products cost more, the time and support expenditure costs more, and you sometimes discover that the technology morphs slightly into something different than you acquired so you have to adjust.

So what’s the answer? Simple: in any investment, don’t bet against the future. Buy based upon the assumption that you’ll need more, and sooner than you think. Video is currently 1080P and you could just go out and buy storage and an editing system that supports that. But when 4K does finally start to get a leg in the market: you’ll be starting over. And what happens when 8K comes around (it’s already starting, and the next Olympics will be partially recorded in 8K)?

So you buy your editing and storage based upon the assumption that you’ll need more sooner rather than later. In other words, a MacPro or equivalent and lots of fast drive capacity. Then you grow into it.

So does this have anything to do with still photography? Yes, it does.

Back when the D800 came out the biggest complaint was “I’ll need more storage space.” Yes, a 36mp raw file takes more space than a 12mp one, so you did need more storage space. But I didn’t see that as a problem, I’d already anticipated that. Indeed, I’m anticipating 54mp cameras and maybe even 102mp cameras in my remaining shooting career. I don’t want to be behind that curve, I want to be ahead of it.

Likewise, the computer itself starts to be factor as you start throwing larger and larger files at it. With still photography, I can tolerate a bit of slowness: I’m usually not in a hurry when I’m working with getting images the way I want them. A little bit of delay actually gives my brain some thinking time. Too fast a computer will make me slow down ;~).

Still, the relevant point here is simple: build out your infrastructure for your future (gee, I wish that Congress understood that message ;~). The actual camera you’re using today (1080P, 12mp, or 24mp) isn’t as important as realizing that you’ll eventually be dealing with more (4K, 8K, 36mp, 54mp, 102mp). Build the infrastructure that will let you grow into it with whatever the camera makers throw at you next.


May 7, 2014, 8:20 AM
http://www.dslrbodies.com/newsviews/the-cost-of-4k.html
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post #1559 of 2684 Old 05-08-2014, 05:23 PM
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cool. The only thing i am interested in now are those OLED 4K sets. Still have not seen any.

There's a 77" LG UHD OLED set coming out. Not sure what the release date is.
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post #1560 of 2684 Old 05-08-2014, 05:31 PM
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saw this acticle yesterday.



Back in February I wrote about why I didn’t think 4K video was the be-all, end-all solution that would solve all DSLR video problems. Now that some 4K video cameras are entering the market, I’m amused at some of the comments that are coming along with the camera reviews.

Here’s the thing, you almost certainly need three things if you’re going to shoot any 4K video:
•Fast and expensive media. For example, the Panasonic GH4 requires a UHS-II Class 3 SDXC card. Not just a 95MBs capable card, but a state of the art one that costs US$250 for a 64GB card. That might net you 80 minutes of video (still haven’t gotten a chance to verify that). It’s possible we’ll see some cameras that use far more compression that can use slower cards, but isn’t the point of 4K to get ready for the next generation of TV, whenever it comes? You don’t want to be the “fuzzy” provider of 4K output, do you?
•Lots of storage. Thing is, you’re likely to want to preserve video quality during editing, which means transcoding into something like ProRes format. Prepare to be shocked at how big the files get. Really shocked. As in your 80 minutes of video off that expensive card is now 256GB or larger. By the time you build proxies, create a timeline, etc., your single card now may taking up more than half a terabyte. Remember, you also need backups to everything, so okay, we’ve probably crossed the terabyte line.
•A new MacPro. This was an eye-opener to me. My current gear is quite capable of editing and running the video projects I do (all 1080P at the moment) in real time. My first 4K test? Uh, not so much.




The real question is whether 4K is really the future or not. The answer is still a bit unknown. We don’t currently have a real distribution method for 4K video, even compressed. However, I’ve learned not to bet against bandwidth restrictions, just as I don’t bet against CPU speeds or memory/storage restrictions. All these things continue to benefit from Moore’s Law, and thus, over time, go away.

But that’s the key thing here: time. How much time will there be between being able to shoot/edit 4K (which we can do today) versus reliably distributing it to a wide audience? I know Sony would like that answer to be: not very long. But given that Netflix is already having to buy Internet speed for compressed current video distribution, that most folk aren’t going to buy a 4K TV when they have nothing to play on it other than 1080P best case, and that the broadcast system hasn’t come close to getting on board, “time” may be the biggest cost of 4K.

I’ve been at the front edge of technology for 40 years now. The one thing I know is that early adoption is costly. The products cost more, the time and support expenditure costs more, and you sometimes discover that the technology morphs slightly into something different than you acquired so you have to adjust.

So what’s the answer? Simple: in any investment, don’t bet against the future. Buy based upon the assumption that you’ll need more, and sooner than you think. Video is currently 1080P and you could just go out and buy storage and an editing system that supports that. But when 4K does finally start to get a leg in the market: you’ll be starting over. And what happens when 8K comes around (it’s already starting, and the next Olympics will be partially recorded in 8K)?

So you buy your editing and storage based upon the assumption that you’ll need more sooner rather than later. In other words, a MacPro or equivalent and lots of fast drive capacity. Then you grow into it.

So does this have anything to do with still photography? Yes, it does.

Back when the D800 came out the biggest complaint was “I’ll need more storage space.” Yes, a 36mp raw file takes more space than a 12mp one, so you did need more storage space. But I didn’t see that as a problem, I’d already anticipated that. Indeed, I’m anticipating 54mp cameras and maybe even 102mp cameras in my remaining shooting career. I don’t want to be behind that curve, I want to be ahead of it.

Likewise, the computer itself starts to be factor as you start throwing larger and larger files at it. With still photography, I can tolerate a bit of slowness: I’m usually not in a hurry when I’m working with getting images the way I want them. A little bit of delay actually gives my brain some thinking time. Too fast a computer will make me slow down ;~).

Still, the relevant point here is simple: build out your infrastructure for your future (gee, I wish that Congress understood that message ;~). The actual camera you’re using today (1080P, 12mp, or 24mp) isn’t as important as realizing that you’ll eventually be dealing with more (4K, 8K, 36mp, 54mp, 102mp). Build the infrastructure that will let you grow into it with whatever the camera makers throw at you next.


May 7, 2014, 8:20 AM
http://www.dslrbodies.com/newsviews/the-cost-of-4k.html

After spending an hour reading all this, the main issue is size. It really does not matter if 4K will stick or not. Any new stills or video formats will be larger in resolution. Everyone is hungry for resolution first, then quality later.
I remember my dad with his Nikon D1 decade plus ago and that had like 1MP. D800E 12 years later had 36MP and now they are saying 50MP to 80MP will be next.
All of which will need larger dirves and faster CPU to manipulate.

Maybe there will be better compression or smarter software. Who knows.

While 3D was a commercial disaster, time to tell if 4K will succeed. Probably know by summer.
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