One of the biggest issues I've noticed with material shot on popular action cameras such as GoPro's and the like, is an unnatural looking staccato or jitter caused by a shutter speed set too high for a given frame rate. Tech specs may point to slower card compatability with the X3 but as always, experimenting can prove the opposite. Running Blackmagic Design's Disk Speed Test via a USB3 micro SD Card reader at the 5GB stress level, showed the U3 rated card (64GB Sandisk Extreme Pro) recording a consistent 185Mbps write speed as opposed to only 104Mbps recorded by a typical Class 10 U1 rated card. Unperturbed, I next trailed a Class 10 U3 micro SD card and the results saw none of these issues, even with fast moving fine detail such as tree foliage. But when I examined the images more closely on our 55" 4K TV, I noticed the often reported 'lag' or jumping' combined with some compression artifacts which typifys low bitrate acquisition codecs. 1) Avoid Data Bottlenecksįor this Asian shoot, my video format was 3840x2160 4K at 25P, and my initial pre-travel 4K test recordings to a high quality Class 10 Micro SD card proved very successful with no dropped frames. However, to extract the very best quality from all my gear irrespective of price, I have developed a few tips for working with 8-bit compressed LongGOP codecs which should help maintain your initial picture quality throughout the post production process. The X3 has a 1/2.3" sensor and records C4K, UHD4K and HD to a Micro SD card with a bit rate of only 60Mbps, so it's hardly in RED or even GH5 territory.
I recently returned from a month long promotional video shoot across Japan and Taiwan but it was the first time I had shot nearly 1TB of material almost entirely on a DJI Osmo hand held gimbal device fitted with DJI's entry level Zenmuse X3 camera.Īpart from an inconspicuous 20mm (equiv) fixed focus wide angle lens on a gimbal, the specs of the Osmo camera are not very compelling from a professional perspective. Craig Marshall tackles the best workflows for such cameras and how to ensure the highest quality throughout the post production chain. Sometimes we might have to shoot using a less than ideal camera, or circumstances dictate that the one we use has a low bitrate recording system.
How can we ensure the most robust image from low bitrate cameras?
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