Welcome Inspire Pilots!
Join our free DJI Inspire community today!
Sign up

Video: Sparks NV to Charleston SC - Flatbed Trucking Montage (1440p) - X5S, H.265

Joined
Apr 16, 2018
Messages
3
Reaction score
2
Age
34

Hi everyone! I'm a trucker with an Inspire 2. I'm a hobbyist cinematographer. Here I present footage I shot during a recent long haul I had from Nevada to South Carolina. I have some tips I've realized, posted at the bottom for those who shoot H.264 or H.265 8-bit codecs like me.

Cameras I used for this? DJI Inspire 2 and X5S for aerials along with the decent run-n-gun Panasonic 14-42mm lens as I typically only shoot during daylight hours (so the slow speed of the lens being maximum f/3.5 aperture doesn't bother me much). But what about all the non aerial shots?

Four GoPro Hero 6 Blacks to capture many angles. Two are stock. The other two, I swap between and focus the 19mm (35mm equivalent) and the 47mm lenses Peau Productions website sells. 4K, no distortion from those lenses. They are indispensable to me for capturing "DSLR like" footage FAST in good lighting conditions. GoPros have a "Native" white balance setting that, once graded, produces beautiful colors in my opinion; I always use Native White Balance. I have the ND filters for GoPros too but don't use them when using electronic image stabilization, like when mounted outside. EIS creates artifacts with low shutter speed, it bakes in the electronic shifts in the frame. No big deal!

For the Inspire 2 camera settings, I do full manual. I alternate between DLOG and Cinelike profiles. I edit contrast based on the scene or camera move (to fit within the histogram), sharpness usually at -2 or -3 (to add it in post), and saturation at -1 if strong vibrant colors are to be expected (to avoid clipping in saturation), otherwise saturation at 0, and manual white balance. I typically shoot 4096x2160p at 30fps in H.265 with the 2.35 aspect ratio overlay to help with my composition. If necessary I will animate crops to fix an uneven horizon in post.

TIPS: When using the log / flat type color profiles, it's critical to avoid creating too flat a video! If your histogram is only HALF taken up because you're shooting in DLOG, you're effectively giving only 128 levels of color (per red green and blue) to your final footage ... meaning you're shooting 7 bit color effectively, then expanding it in post when grading to match an 8 bit timeline, losing details in color gradations and increasing the chances of color banding artifacts. Your graded shot will have far less color depth than it should. Try it: shoot a video in DLOG with roughly half your histogram or waveform showing action, then another in Cinelike (or DLOG) showing the same scene but this time with most the histogram showing usage. Grade the other shot to match. Now save frames and check details side by side with a tool such as FastStone Image Viewer. The universe provides no free lunch; the flatter your image, by definition, you're losing color depth / bit depth! So be careful. Only use DLOG when the scene or shot demands it as such (like during a sunset or if you want to do a dynamic type of camera move that will experience large dynamic range and you want your exposure locked), if retaining maximum color depth is your goal. Those shooting in ProRes (I believe it is 10 bit) and especially DNG RAW don't need to worry about this loss of color depth when shooting a flat video! The lesson is: don't make your footage any flatter than it needs to be if shooting with an 8-bit codec, just enough to cover the highs and lows of the scene (I often use Cinelike and may even up contrast by 1 or 2 if the image is too flat).

I've been flying for over 2 years (as a hobbyist, I will get my 107 soon) and started with the Phantom 3 Pro then onto the Inspire 1 and Zenmuse Z3 zoom camera. DLOG was never the best option for 8 bit video (log profiles are more ideally suited to 10 bit video and better), but the extra dynamic range is definitely useful to avoid clipping your highlights. However, people (including myself, I was guilty of this too until I realized this) must avoid going over board with the "flat video" look with 8 bit recordings because the flatter your image, the less actual bit depth you will have. Find the balance. Ideally your histogram should be nearly full with just a tiny amount of flatness at the lows and highs. Same idea for waveform, that's just a different way to look at things, but since 8 bit video is only 256 levels of red, 256 of green, and 256 of blue, you must use as much of that bit depth as you can (if you want the most color gradations and richness in your final video) while still recording maximum dynamic range.

Edited and color graded in Vegas Pro 15. Enjoy. If you have any questions, feel free to ask!
 
Last edited:
  • Like
Reactions: Lucky and Fly Gary
Joined
Sep 6, 2015
Messages
338
Reaction score
176
Location
Merritt Island Florida
Ya know, I kinda liked it! I could have "out's" the UAV shots and spooking the horses but over all I think you did very well.
Nice to see parts of the country and other creative editing styles.
 
Last edited:
Joined
Apr 16, 2018
Messages
3
Reaction score
2
Age
34
Ya know, I kinda liked it! I could have "out's" the UAV shots and spooking the horses but over all, I think you did very well.
Nice to see parts of the country and other creative editing styles.

I was mostly shooting at around 60mm (35mm equivalent) focal length there in Lovelock NV with the horses, so the drone was several hundred feet away from them (and you can see I'm cropped in to like 75mm or so on them then do an animated zoom-out in post as I pull back and reveal the landscape). They were half scared and half curious. Those horses are so used to being in the middle of nowhere. They never saw a drone before. Hehe!
 
Joined
Jan 25, 2019
Messages
5
Reaction score
1
Age
71
Th

Hi everyone! I'm a trucker with an Inspire 2. I'm a hobbyist cinematographer. Here I present footage I shot during a recent long haul I had from Nevada to South Carolina. I have some tips I've realized, posted at the bottom for those who shoot H.264 or H.265 8-bit codecs like me.

Cameras I used for this? DJI Inspire 2 and X5S for aerials along with the decent run-n-gun Panasonic 14-42mm lens as I typically only shoot during daylight hours (so the slow speed of the lens being maximum f/3.5 aperture doesn't bother me much). But what about all the non aerial shots?

Four GoPro Hero 6 Blacks to capture many angles. Two are stock. The other two, I swap between and focus the 19mm (35mm equivalent) and the 47mm lenses Peau Productions website sells. 4K, no distortion from those lenses. They are indispensable to me for capturing "DSLR like" footage FAST in good lighting conditions. GoPros have a "Native" white balance setting that, once graded, produces beautiful colors in my opinion; I always use Native White Balance. I have the ND filters for GoPros too but don't use them when using electronic image stabilization, like when mounted outside. EIS creates artifacts with low shutter speed, it bakes in the electronic shifts in the frame. No big deal!

For the Inspire 2 camera settings, I do full manual. I alternate between DLOG and Cinelike profiles. I edit contrast based on the scene or camera move (to fit within the histogram), sharpness usually at -2 or -3 (to add it in post), and saturation at -1 if strong vibrant colors are to be expected (to avoid clipping in saturation), otherwise saturation at 0, and manual white balance. I typically shoot 4096x2160p at 30fps in H.265 with the 2.35 aspect ratio overlay to help with my composition. If necessary I will animate crops to fix an uneven horizon in post.

TIPS: When using the log / flat type color profiles, it's critical to avoid creating too flat a video! If your histogram is only HALF taken up because you're shooting in DLOG, you're effectively giving only 128 levels of color (per red green and blue) to your final footage ... meaning you're shooting 7 bit color effectively, then expanding it in post when grading to match an 8 bit timeline, losing details in color gradations and increasing the chances of color banding artifacts. Your graded shot will have far less color depth than it should. Try it: shoot a video in DLOG with roughly half your histogram or waveform showing action, then another in Cinelike (or DLOG) showing the same scene but this time with most the histogram showing usage. Grade the other shot to match. Now save frames and check details side by side with a tool such as FastStone Image Viewer. The universe provides no free lunch; the flatter your image, by definition, you're losing color depth / bit depth! So be careful. Only use DLOG when the scene or shot demands it as such (like during a sunset or if you want to do a dynamic type of camera move that will experience large dynamic range and you want your exposure locked), if retaining maximum color depth is your goal. Those shooting in ProRes (I believe it is 10 bit) and especially DNG RAW don't need to worry about this loss of color depth when shooting a flat video! The lesson is: don't make your footage any flatter than it needs to be if shooting with an 8-bit codec, just enough to cover the highs and lows of the scene (I often use Cinelike and may even up contrast by 1 or 2 if the image is too flat).

I've been flying for over 2 years (as a hobbyist, I will get my 107 soon) and started with the Phantom 3 Pro then onto the Inspire 1 and Zenmuse Z3 zoom camera. DLOG was never the best option for 8 bit video (log profiles are more ideally suited to 10 bit video and better), but the extra dynamic range is definitely useful to avoid clipping your highlights. However, people (including myself, I was guilty of this too until I realized this) must avoid going over board with the "flat video" look with 8 bit recordings because the flatter your image, the less actual bit depth you will have. Find the balance. Ideally your histogram should be nearly full with just a tiny amount of flatness at the lows and highs. Same idea for waveform, that's just a different way to look at things, but since 8 bit video is only 256 levels of red, 256 of green, and 256 of blue, you must use as much of that bit depth as you can (if you want the most color gradations and richness in your final video) while still recording maximum dynamic range.

Edited and color graded in Vegas Pro 15. Enjoy. If you have any questions, feel free to ask!
Thank you Professor Gary!!! You have both entertained and enlightened me with your incredible description of your behind the scenes!!!! I now have to go back to the drawing board and study the pros and cons of my camera / lens / lighting sciences! Great video - shows a lot of talent and love -- the heart of America and our transportation systems from your talent and truck to the fields and railways keeping our country strong!!! Love the inspirational messages, the uplifting music and the journey you allowed us to share through your eyes, Inspire 2 and cameras along with your talented shooting and editing! Merry Christmas!
 
Last edited:
Joined
Nov 17, 2017
Messages
742
Reaction score
300
Location
Australia & Europe

Hi everyone! I'm a trucker with an Inspire 2. I'm a hobbyist cinematographer. Here I present footage I shot during a recent long haul I had from Nevada to South Carolina. I have some tips I've realized, posted at the bottom for those who shoot H.264 or H.265 8-bit codecs like me.

Cameras I used for this? DJI Inspire 2 and X5S for aerials along with the decent run-n-gun Panasonic 14-42mm lens as I typically only shoot during daylight hours (so the slow speed of the lens being maximum f/3.5 aperture doesn't bother me much). But what about all the non aerial shots?

Four GoPro Hero 6 Blacks to capture many angles. Two are stock. The other two, I swap between and focus the 19mm (35mm equivalent) and the 47mm lenses Peau Productions website sells. 4K, no distortion from those lenses. They are indispensable to me for capturing "DSLR like" footage FAST in good lighting conditions. GoPros have a "Native" white balance setting that, once graded, produces beautiful colors in my opinion; I always use Native White Balance. I have the ND filters for GoPros too but don't use them when using electronic image stabilization, like when mounted outside. EIS creates artifacts with low shutter speed, it bakes in the electronic shifts in the frame. No big deal!

For the Inspire 2 camera settings, I do full manual. I alternate between DLOG and Cinelike profiles. I edit contrast based on the scene or camera move (to fit within the histogram), sharpness usually at -2 or -3 (to add it in post), and saturation at -1 if strong vibrant colors are to be expected (to avoid clipping in saturation), otherwise saturation at 0, and manual white balance. I typically shoot 4096x2160p at 30fps in H.265 with the 2.35 aspect ratio overlay to help with my composition. If necessary I will animate crops to fix an uneven horizon in post.

TIPS: When using the log / flat type color profiles, it's critical to avoid creating too flat a video! If your histogram is only HALF taken up because you're shooting in DLOG, you're effectively giving only 128 levels of color (per red green and blue) to your final footage ... meaning you're shooting 7 bit color effectively, then expanding it in post when grading to match an 8 bit timeline, losing details in color gradations and increasing the chances of color banding artifacts. Your graded shot will have far less color depth than it should. Try it: shoot a video in DLOG with roughly half your histogram or waveform showing action, then another in Cinelike (or DLOG) showing the same scene but this time with most the histogram showing usage. Grade the other shot to match. Now save frames and check details side by side with a tool such as FastStone Image Viewer. The universe provides no free lunch; the flatter your image, by definition, you're losing color depth / bit depth! So be careful. Only use DLOG when the scene or shot demands it as such (like during a sunset or if you want to do a dynamic type of camera move that will experience large dynamic range and you want your exposure locked), if retaining maximum color depth is your goal. Those shooting in ProRes (I believe it is 10 bit) and especially DNG RAW don't need to worry about this loss of color depth when shooting a flat video! The lesson is: don't make your footage any flatter than it needs to be if shooting with an 8-bit codec, just enough to cover the highs and lows of the scene (I often use Cinelike and may even up contrast by 1 or 2 if the image is too flat).

I've been flying for over 2 years (as a hobbyist, I will get my 107 soon) and started with the Phantom 3 Pro then onto the Inspire 1 and Zenmuse Z3 zoom camera. DLOG was never the best option for 8 bit video (log profiles are more ideally suited to 10 bit video and better), but the extra dynamic range is definitely useful to avoid clipping your highlights. However, people (including myself, I was guilty of this too until I realized this) must avoid going over board with the "flat video" look with 8 bit recordings because the flatter your image, the less actual bit depth you will have. Find the balance. Ideally your histogram should be nearly full with just a tiny amount of flatness at the lows and highs. Same idea for waveform, that's just a different way to look at things, but since 8 bit video is only 256 levels of red, 256 of green, and 256 of blue, you must use as much of that bit depth as you can (if you want the most color gradations and richness in your final video) while still recording maximum dynamic range.

Edited and color graded in Vegas Pro 15. Enjoy. If you have any questions, feel free to ask!
Nice work man!!
Many would claim that the DLog has been broken since a few FW back, for both .h264 and 265 codec. General concensus is that DCinelike is the best option if some grading is to be done in post. What's your opinion on this?
Also, with the .h265 codec, do you see any difference or advantage over .h264? Some NLE softwares have hard time playing it back smoothly, especially after a few adjustments are applied. Have you had any issues in that regard?
 

New Threads

Members online

No members online now.

Forum statistics

Threads
21,734
Messages
207,524
Members
31,777
Latest member
Agustinboody