# Canon 1DXmkII 4K Video jello.



## lay85 (Nov 22, 2016)

I've recently upgraded to the Canon 1DXmkII and have noticed when filming in 4K the jello issue renders the footage completely unusable. We've been using DSLR's for 7 years now for filming from inside a moving car and have never had any issue's so we were excited to finally move to 4k but the entire footage is jello.
On the latest test we switched to 1080 x 1920 and the footage is perfect, no jello and super stable so does anyone have any answers for the 4K issue?


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## Orangutan (Nov 23, 2016)

lay85 said:


> noticed when filming in 4K the jello issue renders the footage completely unusable.



Please post a short clip demonstrating the problem.


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## Besisika (Nov 23, 2016)

Did you try 29.98fps?


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## lay85 (Nov 23, 2016)

Posting a clip is not really possible due to copyright but when I showed someone else they couldnt believe how bad it was. On a tripod the footage is stunning, just so sharp and it's fine handheld but when it's a bumpy ride it's useless.

Orangutan - we always shoot the bumpy stuff at 60fps.


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## Jopa (Nov 23, 2016)

Can't you just use some kind of stabilization? What's the point of having shaky footage?


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## lay85 (Nov 23, 2016)

Jopa said:


> Can't you just use some kind of stabilization? What's the point of having shaky footage?



We do use stabilization. Our procedure of 7 years of using Canon cameras has been to post stabilize the footage and it comes out great but like I said this is the first time shooting 4K and the jello is horific. I was kind of hoping someone might say it's a Motion J-peg issue because the Full HD footage has no jello at all.
In 7 years I've only had about 5 minutes of jello footage but so far 98% of the 4K footage is bad jello.


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## Besisika (Nov 23, 2016)

Do you have the jello before the stabilization or after the stabilization in post? I never shot in a car, but good to know.
I tried to stabilize a handheld shot the other day and got some jellos as well so I decided to use a monopod. I assumed that my post technique was not good enough. I didn't associate it with 4K.


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## Jack Douglas (Nov 23, 2016)

Besisika said:


> Do you have the jello before the stabilization or after the stabilization in post? I never shot in a car, but good to know.
> I tried to stabilize a handheld shot the other day and got some jellos as well so I decided to use a monopod. I assumed that my post technique was not good enough. I didn't associate it with 4K.



Excuse my ignorance since I'm totally new to this but are we talking about camera shake or camera motion regarding the jello? Is it only very fast action that produces it? How does IS of the lens affect this? Is it the same if the camera is stationary and the subject is in motion. Does shutter speed affect it? Is it only correctable in PP?

For any other beginners following this thread here is an illustrative video: https://www.youtube.com/watch?feature=player_embedded&v=6LzaPARy3uA

Jack


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## lay85 (Nov 24, 2016)

Jack Douglas said:


> Besisika said:
> 
> 
> > Do you have the jello before the stabilization or after the stabilization in post? I never shot in a car, but good to know.
> ...



Didnt attempt stabilisation in post as footage was horrendous.

I'd say camera shake.

No IS lens used.

If camera is stationary and subject moving footage is incredible (incredible good!)

Tried various shutter speeds, no change.

Stabilizing jello in PP generally makes it worse.

Spoke to Canon tech yesterday but he didnt know what jello was so got nowhere!


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## Jack Douglas (Nov 24, 2016)

Good old Canon rep! 

Hope to hear more on this from those in the know. I've only done a small amount of 1DX2 video of a woodpecker in HD 120 and it looked pretty impressive as slow motion compared to some photos which were at IS 12800 - very cloudy day.

Jack


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## Besisika (Nov 24, 2016)

I am relatively new too.
I am not sure what causes that.

OK, if/when you have a chance can you shoot similar scene using 30fps and then 60fps? And then compare the 3 results. I realize that it is not what you might want to hear, many sticks to 24fps due to cinematic look.
But please humor me, I just want to know.

The reason is because I had serious issue with rolling shutter shooting 4K at 24fps, but at 30fps it is reduced to a very satisfactory level and at 60fps totally gone. Ever since, I decided to shoot at 30fps. It has huge consequences but I prefer that way.


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## lay85 (Dec 1, 2016)

So I've had some reply's from Canon - they told me it was the wrong memory card but after I mentioned it was the card that came with the camera they then said I was using the wrong shutter speed and they kindly gave me the correct shutter speed to use along with links to a manual! Not only was I using the shutter speed they recommend but I've tried all variations of shutter speed as well so just waiting for the next reply.


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## Jack Douglas (Dec 1, 2016)

Thanks for the update, keep us informed.

Jack


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## Josh Denver (Dec 2, 2016)

No it's not the memory card and shutter speed is not a factor, and it's nothing you can fix, sorry. 

The jello you describe is a phenomenon called Rolling Shutter that's inherent to CMOS sensors. 

The sensor is read quickly line by line from the top right to bottom left. 

So when a camera is moved in a horizontal plane quickly enough, you can see the image being distorted, as in lines being bent, because the top part has been recorded earlier than the bottom part, thus further back. It's an overly looking like Jello motion so it's sometimes referred as Jello. 

The solution to fix that phenomenon is having a sensor that reads the sensor/image at one moment. These sensors are called to have GLOBAL shutter. While our DSLRs have rolling shutters. Cinema cameras have Global shutters like the Blackmagic cameras and so on. The other solution is by using an extremely fast read-out sensor, so the distortion is so little to have no visible effect on the image 

Unfortunately, 

all 4K cameras with large sensors that are Rolling shutter, and are at this price bracket, are quite slow in reading the large 4K area, thus have more jello in 4K vs 1080p (more lines have to be read so slower so more distortion and vice versa). 

The distortion amount is calculated on video forums. The Canon 1Dx II, Sony A7s/A7rII, GH4, all have a similar amount of high jello at about 30milliseconds of reading the frame. 

With all DSLRs it was always contraindicated to shoot video with any fast horizontal movement, out of a pumpy car is the most hideous rolling shutter inducing situation you could ever have! Many reviewers even test rolling shutter by shooting driving out of a car, or on a pumpy road, as it's the most pronounced there. 

So if you want a 4K shooting camera with a large sensor WITHOUT jello, the options are: Cinema cameras: Blackmagic 4K cinema camera, has a global shutter, but very bad in lowlight. Sony FS7, has very low rolling shutter of about 12ms (invisible), APS-C sized ship with tons of video features. Not much more than a 1DXII (But loses out on FF and DPAF and Lowlight). All these video cameras however, don't shoot stills. Not to mention highest end 1DXII sports type stills. 

If you want a camera that shoots decent stills and has stable rolling shutter at 4K, go with smaller sensors. 

The Panasonic GX85, Olympus EM1-II, Sony RX-10, RX-100V, etc. They're all pretty great in 4K jello. Small sensors and have all the stuff that comes with that. 


Hope this helped more than disappointed. 




Jack Douglas said:


> Thanks for the update, keep us informed.
> 
> Jack





Jack Douglas said:


> Thanks for the update, keep us informed.
> 
> Jack


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## Jack Douglas (Dec 3, 2016)

Josh Denver, that's a very thoughtful and well written commentary on the subject; one we have to live with. I've Googled a fair amount over the last week and personally had more or less sorted it out but this was still helpful.

Now what if the scenario is one of a moving object, say a bird, and I'm using at a very high shutter speed. Would the 1DX II still display a jello distortion when extracting a shot, thus diminishing the value of this form of action shooting; in other words 60 fps vs 14 fps is not really useful??

Jack


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## lay85 (Dec 3, 2016)

Yes Josh but as per the original question why is the 1920x1080 footage perfect and 4k footage useless. Even at about 10km/hr the 4k footage is bad, about 10% is almost usable. 
I'm thinking it's actually more to do with Motion J-peg?


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## Besisika (Dec 3, 2016)

Jack Douglas said:


> Josh Denver, that's a very thoughtful and well written commentary on the subject; one we have to live with. I've Googled a fair amount over the last week and personally had more or less sorted it out but this was still helpful.
> 
> Now what if the scenario is one of a moving object, say a bird, and I'm using at a very high shutter speed. Would the 1DX II still display a jello distortion when extracting a shot, thus diminishing the value of this form of action shooting; in other words 60 fps vs 14 fps is not really useful??
> 
> Jack


Jack,
I don't expect you to have any issue, because you are panning with the bird. And even if you freeze it, I still don't expect you to have any issue with the bird.
Below is an example of a frame grab taken that way.


Verdun Cricket-0001 by Besisika, on Flickr


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## Besisika (Dec 3, 2016)

lay85 said:


> Yes Josh but as per the original question why is the 1920x1080 footage perfect and 4k footage useless. Even at about 10km/hr the 4k footage is bad, about 10% is almost usable.
> I'm thinking it's actually more to do with Motion J-peg?


Me too, I am having ugly result (with rolling shutter) shooting 4K at 24fps, very usable at 30fps and perfect at 60fps.
Is it Motion J-peg; I am not sure. Let's see what Canon says. But agree, something is not right.


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## Josh Denver (Dec 4, 2016)

No it's zero to do with the codec wether motion Jpec or ProRes. Here are some facts to make you understand how the 1DXII works and hopefully answer your questions: 

-4K 24p/25p/30p have a slow sensor readout speed, 30milliseconds to read a frame from corner to corner. 

-4K 50p/60p is twice as fast. Because the chip is forced to get 60 frames in a second each frame is read faster. Half 30millisecond is 15ms, which is Sony FS7/300 rolling shutter speed.(Has that videoish 60p look though of course or has to be slowed down)

-1080p modes are a medium 22ms which is better that 5D MKIII video. 

-Rolling shutter distortion only appears in an image when the camera is panned horizontally fast, or when a very fast object passes perpendicular to the sensor plane (Race car from the side). In all other normal speeds shooting it's almost invisible and in tripod shots it is invisible (not almost) 

- RS distortion is related to how the sensor is read electronically, meaning when the camera uses an electronic shutter. While in normal stills mode (14fps) the camera uses a physical shutter that eliminates any trace of distortion (it opens and closes the exposure to the entire sensor at once, same as a camera with a global electronic shutter). So physical shutters are superior but of course can't be used for 30p and 60p speeds. (Sony F65, highest end cinema camera, has a physical shutter for 120p, but it's a HUGE block having its own fan and noise)

If you want to shoot for frame extraction 4K 60p is the way to go. Keep lateral pans in non crazy territory. 

If you want a film like motion and shooting a film say a dialogue between to actors, 24p 4K is the way to go.

If you want to conserve memory space shooot in 1080p, All-i setting, 24/25/30p. Or 60p if you want to slow it down (or like the fluid 60p look god forbids)


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## Jack Douglas (Dec 4, 2016)

Josh, thanks for the info!

Jack


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## lic4 (Dec 5, 2016)

Hi Josh, have you tested to see this with actual measurements? Various sites seem to have conflicting points about the rolling shutter. Some say that the speed is the same from 24 to 60 for the 1DX. Have you seen a difference?


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## lay85 (Dec 5, 2016)

But the problem we're experiencing is no panning, just basically stationary but bumpy. There is no scene moving across the frame or no object moving across the frame.
Anyway, I've sent Canon some sample footage today so should get an answer from them soon.


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## lay85 (Dec 8, 2016)

So I spoke to Canon quite a bit yesterday, they have watched the sample video and are aware of the issue but dont have a definate answer yet but I have heard rumours of a software upgrade.
As far as the 200 dust spots on the sensor, they tell me the warranty is void if I get the sensor cleaned at a non Canon service centre which is a pain as I live 5,000km from the nearest one so I'd be 1 month without the camera for each time it's cleaned.


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## ethanz (Dec 8, 2016)

Josh Denver said:


> -4K 50p/60p is twice as fast. Because the chip is forced to get 60 frames in a second each frame is read faster. Half 30millisecond is 15ms, which is Sony FS7/300 rolling shutter speed.(Has that videoish 60p look though of course or has to be slowed down)
> 
> If you want to conserve memory space shooot in 1080p, All-i setting, 24/25/30p. Or 60p if you want to slow it down (or like the fluid 60p look god forbids)



Would a solution to their RS problems be to change the firmware to readout for 24/30p at the same speed as 60p?

What is wrong with 60p look?


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## ethanz (Dec 8, 2016)

lay85 said:


> So I spoke to Canon quite a bit yesterday, they have watched the sample video and are aware of the issue but dont have a definate answer yet but I have heard rumours of a software upgrade.
> As far as the 200 dust spots on the sensor, they tell me the warranty is void if I get the sensor cleaned at a non Canon service centre which is a pain as I live 5,000km from the nearest one so I'd be 1 month without the camera for each time it's cleaned.



Did they give any recommendation for the dust spots? I have so many.


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## Jack Douglas (Dec 8, 2016)

From some other threads on CR unless they are really problematic just ignore them and remove them when occasionally they show up in blue sky etc. Ones that I fussed about seeing when I really looked for them generally don't show up in my shots so now I just don't fret.

Jack


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## serenaur (Dec 8, 2016)

lay85 said:


> But the problem we're experiencing is no panning, just basically stationary but bumpy. There is no scene moving across the frame or no object moving across the frame.



In which case, unless you are using some form of camera stabilisation like a steadicam or gimbal, the bumpy up and down motion of being in the car is equivalent to quickly panning left and right which is what would cause the jello effect, just on a different axis.


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## Jack Douglas (Dec 8, 2016)

serenaur said:


> lay85 said:
> 
> 
> > But the problem we're experiencing is no panning, just basically stationary but bumpy. There is no scene moving across the frame or no object moving across the frame.
> ...



Please excuse my lack of experience in this but does a camera that has IS built in function similarly to having a steadicam type device?

Jack


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## lic4 (Dec 8, 2016)

It seems clear that lay85 has a problem in his camera, and it has nothing to do with operator error. 

I tested my 1DX Mark II rolling shutter at 23.976FPS against my 5D Mark III, based on Josh Denver's post that the sensor speed could be 30ms. I recorded whip pans with the two cameras mounted on the same tripod. The 1DX Mark II appeared to be noticeably faster than the 5D Mark III shooting at 24P, giving vertical lines less of an angle of skew. For me, this supports the measurements by Cinema5d.com that the 1DX Mark II has a speed of 14ms to the 5D Mark III's 18ms. Changing from 60p to 24p does not appear to change the sensor speed.

As for Jack's question, the camera does not have any stabilization in the body, but is limited to stabilization offered in various Canon lenses.


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## Jack Douglas (Dec 9, 2016)

lic4 said:


> It seems clear that lay85 has a problem in his camera, and it has nothing to do with operator error.
> 
> I tested my 1DX Mark II rolling shutter at 23.976FPS against my 5D Mark III, based on Josh Denver's post that the sensor speed could be 30ms. I recorded whip pans with the two cameras mounted on the same tripod. The 1DX Mark II appeared to be noticeably faster than the 5D Mark III shooting at 24P, giving vertical lines less of an angle of skew. For me, this supports the measurements by Cinema5d.com that the 1DX Mark II has a speed of 14ms to the 5D Mark III's 18ms. Changing from 60p to 24p does not appear to change the sensor speed.
> 
> As for Jack's question, the camera does not have any stabilization in the body, but is limited to stabilization offered in various Canon lenses.



Small misunderstanding here; I'm referring to cameras that do have IS. That is, is it significant or is a gimbal type external stabilization required for all cameras, regardless?

Jack


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## Besisika (Dec 9, 2016)

lic4 said:


> It seems clear that lay85 has a problem in his camera, and it has nothing to do with operator error.
> 
> I tested my 1DX Mark II rolling shutter at 23.976FPS against my 5D Mark III, based on Josh Denver's post that the sensor speed could be 30ms. I recorded whip pans with the two cameras mounted on the same tripod. The 1DX Mark II appeared to be noticeably faster than the 5D Mark III shooting at 24P, giving vertical lines less of an angle of skew. For me, this supports the measurements by Cinema5d.com that the 1DX Mark II has a speed of 14ms to the 5D Mark III's 18ms. Changing from 60p to 24p does not appear to change the sensor speed.


That actually contradicts with my findings. Mine is close to what lay85 has, unless you are saying that I have a faulty camera as well.
Let me be frank and be sorry if I don't trust much your opinion, with only 2 posts (really no offense intended) but I judge your opinion based on what I have. Unless you are Nero.
Please provide the link from cinema5d.com saying that 1DX II at 24p is 14ms. I must have missed it. My opinion, 14ms must be for the 60p. My camera says 24p 4K is worse than 5D III 1080P, which lay85's issue is.


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## lic4 (Dec 9, 2016)

No offense taken. I signed up recently after reading the post about the rolling shutter, because I had just invested in the camera and was alarmed by what I read on this board.

After the camera arrived today, I performed the tests with both cameras tethered together, shooting 4K 24p on the 1DX Mark II and 1080 24p on the 5d Mark III. I'll have to edit the footage together and grab the frames again, because I stupidly forgot to save the project after I saw the evidence. 
In my camera, the 1DXii exhibited a little less skew to vertical lines than the 5D3. 

Here is the link showing Cinema5D.com's word on the sensor speed:
https://www.cinema5d.com/canon-1d-x-mark-ii-vs-canon-1d-c-which-one-shoots-better-video/
(It's under the heading "rolling shutter")

And this link shows a chart with the measurement for the 5D Mark III:
https://www.cinema5d.com/rolling-shutter-sony-a7s-vs-arri-amira-canon-c300-5d-mark-iii-1dc-panasonic-gh4/

In the comments of this article, a DPReview administrator says that he sees the same sensor speed in 60P and 30P:
https://www.dpreview.com/news/7057004492/don-t-get-ahead-of-yourself-canon-eos-5d-mark-iv-rolling-shutter-test

It's difficult to test the cameras 60P vs 24P because I don't have something moving at a consistent speed to capture on my one camera, but I was satisfied with the comparison to the 5D Mark III. When I get some time, I'll run a comparison of the 1DX Mark II at 60P to the 5D and post those here as well.


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## Besisika (Dec 9, 2016)

Still, I can't find in any of these links anything saying that 4K 24P 1DX II is at 14ms. And that is what I am challenging, because my camera can't do that. 60P is a totally different matter.

The first week I got mine (4-5 months ago) I shot a rehearsal at 1080P because my concern was if I could get the singer in focus at 85mm 1.4 using the DPAF. I was very pleased with the result. 
I bought bigger cards and a week later I shot the whole concert at 24p 4K and 3 hour of footage was useless. Luckily, my B camera was a 5D III at 1080P 24P and I used the footage from it.
I learned it the hard way.
Ever since I shoot at 30P, from time to time at 60P in between shots, and if by mistake I rolled the dial too much and I am at 24p it takes 10sec and I will recognize it right away.
Just shoot someone's close up on the street and you will see it. 
I assume that you know by heart the look of your 5D III, so judge it by yourself.


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## serenaur (Dec 9, 2016)

Jack Douglas said:


> Please excuse my lack of experience in this but does a camera that has IS built in function similarly to having a steadicam type device?
> 
> Jack



No, it's more like shooting video with an IS lens on a body without in-body stabilisation. I use a Sony A7SII which has IBIS with a Metabones adapter and my Canon glass for work and from my limited experience of hand held shooting (I shoot video for work almost exclusively on a tripod or slider), I've found it to basically be like adding IS to my non-IS lenses. I also have a mechanical glidecam clone for personal use, though I have barely had a chance to use it since I got it as I have been so busy shooting for work. The times I have managed to briefly get out with it have shown that IBIS and gimbal stabilisation are not even comparable. Steadicam/gimbal stuff is just _that_ much better *as long as the operator is skilled,* which I am not! 

Saying that, the recent leaps in combining IBIS and lens stabilisation seems to be yielding good results in certain situations. I can't find it now (I just spent about 30 mins looking through my internet history for it!), but a fairly recent video I watched of what I believe was an Olympus E-M1 mkII matched with an Olympus stabilised lens showed impressive results for casual use. If I'm able to find the video again I will update my post, though it may have been a different camera which might be why I can't find it.

@OP - sorry for the thread hijack! I am weighing up a 1DXII purchase with some video use in mind so am watching related threads quite closely at the moment.


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## Jack Douglas (Dec 9, 2016)

serenaur said:


> Jack Douglas said:
> 
> 
> > Please excuse my lack of experience in this but does a camera that has IS built in function similarly to having a steadicam type device?
> ...



Thanks very much for this. I'm learning more each day. I'm guessing the OP is stuck with trying to get answers from Canon and I'll be watching for more on that.

Jack


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## lic4 (Dec 9, 2016)

**edited with an additional explanation of results.

This is a test using a opening and closing door with cameras positioned one over the other at the same vertical angle. Please forgive me for doing this so crudely; it isn't pretty, but it's good enough for me.

The six images show the results I found. The first four are images at 23.976fps, 4K MJPG on the 1DX Mark II next to 23.976 1080 All-I on the Canon 5D Mark III. I included a red line from the 5D III next to the 1DX to show the difference.

The final two images are comparisons with the 1DX Mark II at 60p. The relative difference and improvement in rolling shutter to the 5D Mark III appears to be the same either at 24p or 60p. I was surprised to see that the difference to the 5D is not that much.

**the difference in slope is more pronounced at times because I was not opening and closing the door each time at the same speed, and I tended to swing it faster in one direction due to my positioning. --thanks for understanding!


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## Besisika (Dec 9, 2016)

lic4 said:


> This is a test using a opening and closing door with cameras positioned one over the other at the same vertical angle. Please forgive me for doing this so crudely; it isn't pretty, but it's good enough for me.
> 
> I'm attaching six images showing new tests I made. The first four are images at 23.976fps, 4K MJPG on the 1DX Mark II next to 23.976 1080 All-I on the Canon 5D Mark III. I included a red line from the 5D III next to the 1DX to show the difference.
> 
> The final two images are comparisons with the 1DX Mark II at 60p. The relative difference and improvement in rolling shutter to the 5D Mark III appears to be the same either at 24p or 60p. I was surprised to see that the difference to the 5D is not that much.


Thanks for sharing, much appreciated.


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## Fatalv (Dec 9, 2016)

I'm confused why the sensor readout time would change at all when switching from 24p/30p/60p. 

I would assume the sensor readout time would be constant at the given resolution (1080p or 4k) and the change would be the interval of how often a readout is taken (to determine 24p/30p/60p). Is this not the case?


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## lay85 (Dec 24, 2016)

It's now been over a month since I contacted Canon about this and still have no explanation or reply since 5th December.
I did however get the sensor cleaned and wow, what a difference. I had been a bit unhappy with the still image quality but now they look quite a bit better and sharper but the camera did arrive with so much dust on the sensor, worse I've ever seen in 10 years.
RE: The video issue again, we are using one of the best stabilisation systems ( 2x kenyon gyro) and have been for 6 years with no issue and the 1920 x 1080 footage is super smooth so just the 4k which is crap.


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## Jack Douglas (Dec 25, 2016)

lay85 said:


> It's now been over a month since I contacted Canon about this and still have no explanation or reply since 5th December.
> I did however get the sensor cleaned and wow, what a difference. I had been a bit unhappy with the still image quality but now they look quite a bit better and sharper but the camera did arrive with so much dust on the sensor, worse I've ever seen in 10 years.
> RE: The video issue again, we are using one of the best stabilisation systems ( 2x kenyon gyro) and have been for 6 years with no issue and the 1920 x 1080 footage is super smooth so just the 4k which is crap.



Given it's holiday season I'm not surprised but keep after it.

Jack


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## mkabi (Dec 28, 2016)

This whole Jello effect is being blown out of proportion and pretty stupid in my opinion.

If you are panning fast and including that in your final edit for whatever reason (cause obviously your audience is waiting for that fast pan and going to pause your video then zoom in to look for that slant)... then I suggest fixing a GoPro on your 1dx2 and intercut the non-slanted video shots where necessary.


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## lic4 (Dec 31, 2016)

mkabi said:


> This whole Jello effect is being blown out of proportion and pretty stupid in my opinion.
> 
> If you are panning fast and including that in your final edit for whatever reason (cause obviously your audience is waiting for that fast pan and going to pause your video then zoom in to look for that slant)... then I suggest fixing a GoPro on your 1dx2 and intercut the non-slanted video shots where necessary.



This thread was started because a camera owner has a model with some kind of problem, and then there was a discussion trying to ascertain what's normal for the camera.

The camera clearly has a very fast sensor, so it seems the original poster has a problem with his particular camera. Now he's waiting for word from Canon. It isn't stupid; it's what forums are for.


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## Etienne (Dec 31, 2016)

mkabi said:


> This whole Jello effect is being blown out of proportion and pretty stupid in my opinion.
> 
> If you are panning fast and including that in your final edit for whatever reason (cause obviously your audience is waiting for that fast pan and going to pause your video then zoom in to look for that slant)... then I suggest fixing a GoPro on your 1dx2 and intercut the non-slanted video shots where necessary.



It is extremely relevant. If you want to stabilize your 4K footage and export at 1080p, too much rolling shutter can make it impossible.
And it's not only about panning. Any object that moves quickly through the frame will be slanted due to rolling shutter. This becomes even more troublesome if you are trying to capture footage for slow motion. Have you ever shot any video at all?


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## Jack Douglas (Dec 31, 2016)

I think it's relevant and generally even the worst threads and this isn't one of them, provide useful information.

Polite disagreements add to a thread and it's best not to take the stupid this or that comments too seriously since we all have the thought from time to time, even if we don't express it. Personalities vary from insensitive to overly sensitive and from blunt to very polite. It makes for more interesting discussions although sometimes it may not feel too good. 

"If you want to stabilize your 4K footage and export at 1080p ....." I've only shot a few minutes of 4K and HD but am trying to learn so the 1DX2 gets better utilized. However, I have no background in video - Etienne, would you care to briefly detail how this is done (or suggest a good reference)?

Jack


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## syder (Dec 31, 2016)

Jack Douglas said:


> "If you want to stabilize your 4K footage and export at 1080p ....." I've only shot a few minutes of 4K and HD but am trying to learn so the 1DX2 gets better utilized. However, I have no background in video - Etienne, would you care to briefly detail how this is done (or suggest a good reference)?
> 
> Jack



One common use for shooting 4K, at least until consumers have 4K screens to watch material on, is to shoot at a higher resolution than you finish up with, i.e. the resolution of your exported video, which is often full HD/1080p. 

One of the big advantages of doing this is that you can then stabilise or reframe your image without losing resolution in your exported video. If you shoot 1080p, and then stabilise your footage you lose resolution. 

Have an awesome new year Jack


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## Jack Douglas (Dec 31, 2016)

syder said:


> Jack Douglas said:
> 
> 
> > "If you want to stabilize your 4K footage and export at 1080p ....." I've only shot a few minutes of 4K and HD but am trying to learn so the 1DX2 gets better utilized. However, I have no background in video - Etienne, would you care to briefly detail how this is done (or suggest a good reference)?
> ...



Thanks Syder and all the best to you and other CR contributors.

That much I surmised but what many forget about rank beginners is that there is a need to make an association between a concept and how it is actually implemented. Because I'm so lacking I've not been willing to commit too many dollars and perhaps waste my money. So, on the cheap side I purchased Corel Videostudeo X9 to play with. However, work has interfered with delving into it too deeply just yet.

What would benefit me most is to know what is the best software to invest in and some suggestions towards resource material that is effective in guiding a beginner.

Jack


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## syder (Jan 1, 2017)

Answering questions about what is the the best software for postproduction is a bit like asking what's the best camera... It really depends on what the context is. 

Most features and TV use avid media composer which is expensive and fussy but has a bunch of collaborative editing features that mean if you're in a big team it has some decent benefits (especially if you have avid servers and a lot of big post houses do). If you are using avid's codecs it's also very stable on huge projects. If you want to work in a big post house it's definitely useful to know. Otherwise, for small and low budget stuff it's probably unnecessary 98% of the time. 

Premiere is where I would probably recommend most people who want to get I to editing start out, not least because if you already have Adobe Photoshop and/or Lightroom then buying the rest of the Creative Suite/Cloud is fairly inexpensive. It's a lot easier to get to grips with than Avid, but still a very powerful tool, especially when combined with After Effects (the creative cloud compositing and motion graphics program). It's a shame that Adobe seem to be killing off Speedgrade though, which has was their colour grading package, and no longer has a direct link facility from Premiere. The Lumetri panel in premiere has improved, but its not really a like for like replacement. 

If you are more interested in grading than editing (and have a powerful enough computer) than Davinci Resolve is worth a look. It's a fantastic grading program with a rapidly improving set of editing tools. It can be a bit fussy with some consumer codecs though. The good news it that the lite version is all you probably need and it's available for free. 

There is also final cut pro, which used to be the main alternative to Avid, but in the change from v7 to vX Apple basically left the small and demanding pro market to appeal to prosumers. Its popular with some of the students we get, but I don't know many places that use it professionally. 

Below that you have things like iMovie and Windows Movie Maker that I couldn't really tell you anything about beyond that they're designed to make life easy for people with no background in video. 

In terms of not wasting money, Resolve is free and Creative Cloud has a free 30 day trial, I'd have a look at both hands on and look at some beginner/interface tutorials to get you started and think about what it's likely to work out best for you and what you want to do with video. 

Whatever you decide it won't be like you're stuck in a windowless rooms for weeks at a time editing VHS tapes together, which is how I learned to edit. The tools we have available today for not much money are pretty amazing in comparison.


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## Besisika (Jan 1, 2017)

Guys, out of context question; does anybody know how to export to below format in premiere pro? I have 4k footage from the 1DX II but the tv broadcast wants in that format only. I can get the XDCAM HD 422 but I cannot convert it to .mov. I can have it only in mxf. 
I brought back the mxf file to premiere then export it again as .mov but I lost the 422, it became 420
Thanks in advance.

Happy new year by the way!

Apple XDCAM HD422 (.mov extension)


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## Jack Douglas (Jan 1, 2017)

Thanks Syder, I have downloaded Davinci Resolve 12 free to see what it is like, but can I use it at all stand alone. As mentioned I only presently have Corel Videostudeo X9. Then there is the issue of the level of my PC - Windows 7, 2.4 GHz quad core, 64 bit, 6GB Ram and about 8 years old- I'm pretty sure this won't be enough.

As far as what I would do with video, it would be mainly wildlife and associated landscape done up as short clips or maybe into a longer video, say from example a month in Haida Gwaii. These would be for personal use and to show friends etc. I'm really moving into unchartered territory and feel lost. As a retired older person, learning doesn't come as easily as it used to.

Apologies for going a little off thread topic.

Jack


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## asmundma (Jan 2, 2017)

syder said:


> Answering questions about what is the the best software for postproduction is a bit like asking what's the best camera... It really depends on what the context is.
> 
> Most features and TV use avid media composer which is expensive and fussy but has a bunch of collaborative editing features that mean if you're in a big team it has some decent benefits (especially if you have avid servers and a lot of big post houses do). If you are using avid's codecs it's also very stable on huge projects. If you want to work in a big post house it's definitely useful to know. Otherwise, for small and low budget stuff it's probably unnecessary 98% of the time.
> 
> ...



It depends if your on windows or Mac. I have experience of Premiere and FCPX on Mac. Nowadays I strongly recommend FCPX as render faster and when you get used to the magnetic timeline you will be editing faster as well. Better and more intuitive program. Its now getting used more and more in professional post, ref FCP.co


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## lay85 (Feb 11, 2017)

Just an update: It's now been 10 weeks and I still haven't heard back from Canon so just going to give up pursuing this now.
On the positive side I just got back from a week of doing some of the most bumpy filming we've done and the footage is great, just shooting 1920x1080 but there is no issue's and the auto focus works a treat just a pity we cant shoot 4k!


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## Jack Douglas (Feb 11, 2017)

lay85 said:


> Just an update: It's now been 10 weeks and I still haven't heard back from Canon so just going to give up pursuing this now.
> On the positive side I just got back from a week of doing some of the most bumpy filming we've done and the footage is great, just shooting 1920x1080 but there is no issue's and the auto focus works a treat just a pity we cant shoot 4k!



Have links to any of the video?

Jack


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## Peakbirder (Mar 12, 2017)

I apologise for high jacking this post (although this is of great interest to me) but as a new member I cant post a new topic yet. 
Can you tell me if I attached an external microphone do I compromise the weather proofing of my 1Dx mkii as the headphone and flash port are exposed to the elements? is this the case with any external connections when you open the rubber flap?
thanks


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## ethanz (Mar 12, 2017)

Hi Peak, yes, I would think having those ports exposed completely removes the weather proofing, as water can have direct access to a live circuit.


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