Question: Is there any way to download some 4K video samples and stock footages? I just bought a 4K TV yesterday, and want to do a test, any ideas? Answers: There are many free 4K samples and 4K stock footages on YouTube. No matter you search 4K simple or other related 4K keywords, you will get the multiple resultes on YouTube. If you want to do a test, those resources will be your best choice. While 4K video samples on YouTube can only be played online, if you want to play on your, you need to download them first. Aiseesoft has produced a kind of free software named Free YouTube Downloader, by using this software, you can including video samples, 4K test video, 4K video demo and even 4K video songs.
4K; Clips; Gaming; Montage; Movies; Sports. 4KSamples – Free. Free Downloadable 4K Sample Content. Elysium 2013 2160p – 1 Minute Sample Footage. Sample RED EPIC Ultra HD footage in 4K and 5K resolutions on NatureFootage. Contact our sales team to download this sample clip in 4K or 5K resolution. This article lists top ten 4K video samples with videos which will be used in 4K TV or other 4K supported equipment.
Want to have a try? Let's watch some 4K video samples from YouTube first: 1. TimeScapes 4K TimeScaples can be considered as the best 4K video sample for you to appreciate.
4k Sample
No lines, no plots, only music and scenery, but you do not want to miss any second. If you can appreciate it quietly, you may find that it is so wonderful to live in this world. If you enjoy this sample video on your 4K TV, you will feel the splendid scope completely. Utah in 4K Another highly recommended free 4K video sample is Utah. It is a wonderful 4K sample about the Great Nature. With huge mountain ranges, spectacular plateau and endless dessert, you can have a panoramic view of the Utah.
Such a soul-stirring 4K nature footage, don't you want to download it on your computer and enjoy it in your leisure time? Of course, there are many good 4K nature videos on YouTube, if you have Downloaded the best Free YouTube Downloader, you are able to download any 4K samples to your computer! Eye of the Storm 4K Ultra HD Eye of the Storm is also a perfect 4K video test recommendation. When you enjoy this free video test on your 4K TV, you can will the unbeatable power of the Great nature.
Nobody has the ability to fight against with the great nature. People rarely are courageous enough to experience the real storm, so the beautiful scenes are always missed. You must want to know what happened when the storm comes. Why not be still and watch the unusual pictures from beginning to the end?
The wonderful 4K effect will give you the special feeiling, and you will get the deeper understanding of the Great Nature. GoPro HERO4: The Adventure of Life in 4K Do you want to experience the adventure of life? It is cool is someone has the exciting experience.
On the active volcano crater, in the Japanese street with blazing neon, under the shelter for wild horses, on the iceberg you are climbing, at the biggest ball in the world or over the rescuing mission from whales, the 4K sample will show you every perfect instants. What are you waiting for? Download this free 4K video footage and enjoy the advantage of life! ANIMALS ARE AWESOME 2015 4K UHD How can you miss these fabulous animals? In the animal world, there is a rule: survival of the fittest.
Various animals hold distinct behaviors. To survive, they come out at night to hunt and avoid their enemy by all manner of means. Animals die and survive after fierce fighting. Within a while, a peaceful world comes back again. It is really a kind of enjoyment to experience the vivid scenes in a 4K resolution. So, this 4K test must be the most worthy video sample to download.
Are you attracted by these wonderful 4K samples? There are many other amazing free 4K videos such as 4K movie and 4K video demo on YouTube. If you want to watch them on your 4K TV or save these precious 4K videos on your local disc for long preservation, a is really recommended to you. With it, you are able to download many 4K video samples at the same time and you are able to download 4K video from many video websites. YouTube is only one of these video sites.
The can shoot UHD 4K video at 24 and 30p using the full width of its image sensor or over-sampled footage using a Super 35 crop. We had a quick moment to shoot sample clips while at a Sony-sponsored shooting event earlier this week in New York City. All the clips were shot hand-held, using the camera's tracking AF function and the new 24-105mm F4 lens.
The first clip was shot in UHD 4K/24p at the camera's highest bit rate using the full sensor. You'll notice the tracking jumps off the subject midway through the clip, only to re-acquire toward the very end.
You can download the clip. If you ask me, in the future, people will suddenly find DSLRs to be completely full functional mirrorless cameras in liveview mode, just with the additional OVF.
So it will always just be a choice between keeping an OVF or switching to an EVF nothing more. Mounts and lenses are pretty much put in solid ground and will stay this way for years and years. The 1DXII is already a perfect mirrorless camera in LV, with all the bells and whistles of live AF, subject tracking, E shutter, 20fps, 4K video modes, 120p modes, aids, etc. Just has a big reflex assembly in place of the EVF. All of this capability will be in a rebel/5D someday and similar great capability will be in competing Sony ML models with EVFs and Nikons with OVFs.
Future is bright for both as long as they keep making such amazing products (1DXII/D850) like on the DSLR side and A7rIII/GFX on the ML side. I called Sony Middle East's and a lovely woman gave me this: (Some parts are paraphrased) 1- The most important aspect Sony wanted to address was the image quality in FF mode, particularly noise performance compared to S35 mode.
And that's the most significant improvement. It's an entirely new downsampling algorithm that gives a sharper, noise free output, much like the s35 mode but still not quite, as the S35 mode has been improved as well, particularly aliasing/jaggies in high detailed scenes, hence resolution, also by tweaking the oversampling algorithm.
2- Why not a full sensor readout instead of a S35 area? The A7 series cameras are already pushed beyond their capability in heat management and implementing an 8.5K oversampling mode would simply require a fan-cooled camera body.
The A7sII has a full sensor readout if you're interested in that feature. 3- What's more? The second priority was given to Autofocus performance in video mode which was a requested by a large number of the camera users. And the new model has been improved to the point of being 'nearly' accurate for 'most' shooting situations. We still recommend manual focusing using a focus puller for serious productions.
4- Any new improvement in slowmotion or colour science? Yes the new model shoots Full HD at 120p as opposed to the previous model which was 720p. And it's not a crop as it is on the A7sII.
This mode will have aliasing/jaggies but not as much as you can assume. The A7sII 2.2x crop has little to no aliasing/moire, but the compromise was chosen to keep the FOV of FF. 4- What about S-Log3 and S.gamut.3? They have been added to the new model as the A7sII. I have to remind you that S-LOG2 is still the one that captures the most dynamic range giving nearly 14 stops. The improvement in noise performance makes the new model higher in total usable dynamic range. S-Log3 can be considered as a lite version of S-Log2 for faster turnarounds, at the cost of dynamic range.
Added as well, is another mode that captures a high dynamic range image of 14 stops that can be viewed directly on an HDR monitor without the need for post-production correction. 5- What's more? The new battery gives nearly as much a twice the shooting period. And the Dual card slots has been a very popular demand. Also the placement of the record button and ability to use the main shutter button to initiate recording have been a popular request. 6- Has there been any improvements in the heat issues that sometimes attack us here in the ME? The camera does not turn down the LCD brightness when you initiate record in 4K modes.
I don't have information regarding the hardware design for heat dissipation. 7- Is there an improvement in image stabilization? Video image stabilization has been improved for static scenery, and for panning/tilting with reduced micro judder with manual lenses. The figures are 4.5 stops up from 4 which seems small but in reality it's much more effective than the previous model. 8- Anything else improved from a video perspective?
The new model includes a larger and brighter OLED viewfinder that makes framing and manual focusing a much easier and more pleasant experience. In fact, it's 'the best viewfinder we have ever made in a consumer camera' and 'can compete in quality with the highest-end Cine-Alta separate EVFs'. The menus are redesigned for a more pleasant shooting experience and a new customizable tab has been added for quick access to any task. Anything else you'd like to inquire about?
-The competing 1DxII and GH5 shooting 4K at 60p and 10bit, with much higher data rates. I can't comment either of these models. But please keep in mind the fact that the A7 series are the smallest weather sealed cameras with full 36x24mm 4K sensors. Heat is a major concern for higher frame rates such as 60p in full 4K and 10bit processing, which would require implementing Sony's cinema-line XAVC-I from the FS7II/F5/F55 codecs into the A7 series. Off the top of my head it might be that: 1- H.264 is still the most used and most widely supported compression format in the world.
Many are still unable to view not to mention edit H.265 content, due to hardware or software limitations. 2- Sony still hasn't introduced a new H.265 codec, they only have XAVC and AVCHD, both of which are based on H.264. It would require an entirely new codec altogether and that codec be ran across the entire camera line up. Thus a far larger step than just a new feature on a new a7 update. 3- H.265 requires more power and generates more heat thus the A7rIII is the least logical choice to include an H.265 encoder in 4- H.264 is good enough. 5- Don't mess with a good thing going.
People love the images out of the A7rII. A new codec could potentially introduce new bugs like motion artefacts, tearing, banding, macroblocking, shadow noise, etc that people are not familiar with, so they're simply waiting for perfecting a new HEVC-based codec.
Massive Panasonic GH fan, mainly due to the superior ergonomics and reliability. (Nothing Panasonic I have owned has ever broken down, in fact, I took my 1970s boombox apart and re-built, and it still worked!) But, Sony have been so brave with their mirror-less designs, am thinking of getting into amateur video at some point and had my eyes on the GH5 for aforementioned reasons. But can anyone who is impartial tell me that if one had a budget of say, £4000 approx, which is the better for all conditions - daylight to no light? This (A7r-iii) or the GH5? I realise the Sony will be way better in low light of thanks to larger sensor, but are there any other issues? What do those of you with both cameras or an A7 series think of the ergonomics? What drives you mad about either when you're out in the field or uploading to an editor?
(Owned a few mid range Sony NEX, and love the 'only Sony can do this' engineering and IQ, but the ergonomics, in particular the menus, drove me bananas.). The GH's are quite fine, fine cameras.
Amazing at what they do. Ergonomically perfected. It's just the image that gives it a pass for me. No matter how the specs say, I find that I have to work harder getting a pleasing image with the GH5 vs. Say an A7rII or an a7s (original) or my 5DIV. 10bit or 8bit, V-Log or Cinelike D/V. Something to do with the dynamic range, and the texture sharpening, and deep DOF, and unpleasant noise at mid to high ISO.
All of which really can be worked around but that's the 'work harder' thing I was referring to. Slap a 50mm from 60s to 2017 on an a7s/rII with S-LOG (harder to grade but the end is worth it) or a 5D with C-LOG (breeze to grade but only FF at 1080p and 4K in 1.6x APS-C crop). The 1DXII with modern EF glass has it all, except for price! Thanks for the replies everyone, and sorry for delay. Was moving home.
Oh gawd, decisions! I'll go get a hands on with the Sony's and let my hands, fingers and eyes decide. (Already played with a GH5.) I hear you re the high ISO noise on Panasonic stuff, it's an m4/3 thing and the laws of physics mean the only way around it is what Google are doing with algorithmic photography, so the camera/phone can use smaller sensors and stitch multiple simultaneous or near simultaneous exposures together on the fly. (Hence Google Pixel 2 phone won DPreview's award today.). Before you go with the GH please look up and download some video samples, just before you buy. The look of the image doesn't work for me that's why I am warning you. No matter what the specs say.
For example grading 10bit footage shows exactly the same banding and colour gradients as 8bit, therefore 10bit is a spec you totally ignore (watch detailed tests on YT). I used both the GH5 and a7RII (not 3) for video and I'll give you the juice, what really matters when shooting in pros and cons: GH5 Pros: 1- Full ergonomics and swivle LCD and menus and buttons and ergonomics 2- Slowmotion 60p video.
3- You can buy a Speedbooster to turn it into an APS-C EF camera 4- Ridiculous Battery life, unlimited recording GH5 Cons: 1- Terrible noise at 800+ ISO 2- Small sensor, you'll look around for f/0.95-1.2 glass to get any shollow DOF/beauty looks. (This is cured by the speedbooster.) 3- Even with V-Log, limited dynamic range. And without it, god no. 4- No Auto-focus. So it's basically just 4K slomo is what you get in the field that really matter and noise is what you suffer from. These two are the REAL stuff.A7rII (III) 1- Just, lovely, lovely image all the way. FF look and S35 4K with enormous DR in a super flat profile 2- AMAZING lowlight noise above 800+.
Basically you just turn up the wheel to any brightness and shoot, you will get a lovely image. 3- Great AF in video (Basically the FF look and full use of FF lens circles, and lowlight and DR and AF are the pros above the GH5) A7rIII Cons 1- Screen only tilts up and down, a bit annoying. 2- S-LOG2 is hard to get a pleasing image out of, takes time and tweaking colour. 3- 29min recording limit. For the creative type, the A7 is really the one I recommend, with some old vintage M42 Primes, For the wedding, hardworking videographer for pay, I recommend the GH5. From the sounds of it - they cranked up the readout rate supposedly, but not enough to avoid pixel-skipping at full sensor width. The fact that they weren't able to avoid pixel-skipping indicates they're probably lying about their claims of double readout rate.
Doubling the A7RII's 500 MPixel/sec readout rate puts it above the require 853 MPixel/sec for full-sensor-width at 24p. It puts it at the borderline for 30p - but Sony could have just done the same 30p crop trick as the A9 and A6300/A6500. They simply upgraded the downscaling algorithms in FF mode (and S35 mode actually as well). And no I don't think they're lying based on sensor readout speed, there's much more to do than this and doing a 42mp (8.5K) sensor readout and oversampling to 4K on a Full Frame sensor! Not gonna happen, at least not at this size of a camera.
The D850 does an extremely elegant 8.5K downsample that looks amazing, pretty much close to the a7rii s35 quality, DR, noise, resolution, aliasing/moire, etc. So we can hope the A7r mark III has the same FF 4K quality, no matter what they're doing, skipping, binning, full readout, or pixy dust! Reviewers (an increasingly good job description for lots of people that have no life and actually no real job either) should compare the RIII, RII, 5Ds, GH4/4, REDs all recent iPhones and Samsungs and just about whatever else from the past couple years they fancy and that shoots 4K. All of which later watched online via ridiculously compressed video clips such as YouTube content as posted above. Then, they can enlighten the world with their unsurpassed and mind-blowing brilliance in even just being able to HINT what footage came from where:) 10 trillion unboxing videos and reviews later, all the footage, samples and clips looks just about the same, specially viewed online with ever more aggression compression schemes. You could try out the Panasonic GH5 by renting it if you really need to know.
You would want to make sure the auto focus can keep up with your work. That might be the only area that the Canon 5DIV would get better than the Panasonic as the canon has dual pixel autofocus. The GH5 has an ALL I mode that is similar to MJPEG, but more advanced as it can capture 10 bit, so the images from the Panasonic might be better. If you rent the Panasonic make sure to rent a fast memory card as most SD cards will not keep up with the video. The fact that they're not doing full-width 24p or 30p without pixel skipping AND they're also not doing cropped 60p indicates that Sony probably lied about their claims of doubling the readout rate compared to the A7RII.
The A7RII was clocked at 500 MPixels/sec for most measurements, with one (potentially anomalous) measurement of 588 for one particular use case. This puts the readout rate if Sony is being honest at 1000 MPixels/sec. This is more than enough for full-width at 24p, just slightly short for full-width at 30p (but they could just do a light crop like they do with A6300/A6500/A9 at 30p) and more than enough S35 crop at 60p. Yet despite their claims of double readout rate, the reality is that we see piles of limitations strongly hinting at 'no change'. Just to clarify what's new: 1- Better S35 sensor oversampling than before 2- Full-frame mode is improved esp.
At high ISO's to the point of being much closer to S35 than before. 3- S-LOG 3 (Bit less DR but much easier to grade vs. S-LOG 2) 4- S.Gamut 3 (A lovely colour science profile from Sony's cinema line-up) 5- HDR capability. Only works with the limited number of HDR panels, 6- Better Autofocus (but seems still quite short of DPAF) 7- The new record button place & using shutter button for rec.
8- Display doesn't dim when you hit record in 4K, 9- Doubled battery shooting time 10- Dual card slots. 11- Better brighter richer OLED EVF 12- 120p @1080p FF (vs 720p on 7rII and 1080p 2.2x crop on 7sII) I think these are small twelve improvements that add-up to making it a much better video camera than it already is. Even might say perfect as a 30p max/120max framerate. Fair enough, Ebrahim, but how do we quantify 'Full-frame mode is improved'? I like the idea of improvement, but it's not the same as us being shown it side by side old vs new, and measuring it.
If I'm to stick with a camera for 5 years or so (minimizing landfill and wallet drain), if a company is telling me they think those new 8 bits will be good enough on this level camera for the next 5 years, because they're much improved over the last model's 8 bits, it's understandable to want to know improved by how much exactly, don't you think? Once reviewers take the camera you'll have tone of those side by sides. Just don't be an early adaptor. Anyway I've shot and graded shi.y 8bit and some wonderfully robust 8bit in my days, specifically the 8bit 4:2:2 images coming off the Canon 1DC, and the 8big image from C100 & C300, and the 8bit image coming off the XC10, the FS100, then A7s original 1080p, Samsung NX1, all of these cameras took some enormously heavy pushing and pulling before they could ever fall apart.
I am personally not against 8bit in itself rather against bad sensors, bad colour science, high noise, colour moire, etc. @kain, i think it's just that some people haven't used it or spent any time looking at it. I had a 70D and while the video IQ was terrible, the video AF was superb and the newer bodies are even better. It's incredibly smooth and for video when you see every frame in the AF travel, smoothness is probably top priority.
Sony A mount had super fast AF years ago (i had an A33 and A77II) but it was pretty herky jerky. Canon has managed the best combo of speed, smoothness and accuracy. It is indeed the best video AF in the industry. And yes Entropy, that's the beauty of DSLRs. Canon leading the way and others eventually to follow, you get both LV (aka ML) and analog all in the same package. The only minor concession is that to use LV you must only use the LCD but eventually im guessing this will be remedied with addon hotshoe EVFs (they already exist for ML).
So lets play pretend for a second. Imagine Canon with it's ever advancing DPAF, lets say they offer an addon EVF. Standard 2.4m dot ect. Now you literally have a modern ML, with EVF, that also has a traditional OVF, as well as a massive line of native lenses and accessories. I won't get into small vs large bc some people don't like small, some do. That's a subjective factor. What's not subjective is the idea of DSLRs offering both analog and ML experiences, all in one body.
It's already here to a degree and will only grow in time. I know people claim ML is the future but IMO, DSLRs are actually the future, they will just adopt ML tech and evolve.
Im not following you. Are you saying that something about Dual Pixel makes it harder to make sensors, or harder to process video? The sensors are already far beyond 8mp which is what 4k video is, so im not sure how DPAF designs would impact that. My guess is that Canon, like everybody else really, needs to trickle out advances otherwise they give us a perfect camera in 2016 and have nothing new to sell in 2017. They just decided that video rez was the last factor to improve.
What will be interesting is what comes next for all ILC. Sensor rez jumps alone won't sell cameras, and AF is already pretty darn amazing. I think software tricks like image stacking will be the next carrot to slowly implement.
Dual pixel means that for every pixel in the picture, two pixels have to be read out. As to 48 being 'not too far from recent Nikon and Sony' - note that the A7R2/R3 are unable to do full-sensor-width video without pixel skipping. This causes a significant quality penalty. Yes, there are ways to speed up the reading, but I have yet to see any evidence of Canon being less than a generation behind Sony in terms of readout bandwidth - that's not even counting Sony's recent stacked sensor achievements.
Given that the EOS 80D still doesn't do 4k - Canon is probably still doing pixel binning just like Sony did with the A6000. This greatly reduces readout speed requirements by tying multiple pixels together electrically - but this negatively impacts image quality compared to running each pixel through a proper resampling algorithm. Canon could tie dual pixels together for readout - but then they wouldn't be able to do DPAF during video when tying the dual sites together. A6500 does full sensor width readout and then downsamples the 6k to 4k.
Same with A9 - but that's crippled for video purposes. A7RII/RIII do line skipping at full sensor width and downsampling when in S35 crop mode. The input resolution is less on the RII/RIII so the A6500 outperforms it slightly for video. Nothing you have said explains why DPAF won't work just based on pixel counts. I don't think the sensor output sees each pixel as two separate photosites, which is why an 80D is 24mp instead of 48, even if you are shooting stills in LV. When it comes to recording information, each DP pair is read as one pixel, so i would guess any binning or line skipping is done starting at 24mp, not 48.
And none of that would seem to matter anyway. Why would pixel binning or line skipping render the DP pair inactive? The same process has to happen to shoot 1080p video too, to a greater degree, and DPAF still works for that. Why would moving to 4k change anything from 1080p?