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Episode is amazing, by far my favorite. Most places I've worked for wouldn't spend the extra cash on it though.Dr. Fishopolis posted:The player doesn't have anything to do with FCP or QTkit though. Pretty sure QTkit is just a way to use either QT X or QT 7 from a modern language. Anything but what you see in QT X's player is still done with the old QT 7 libraries. The new flavors of ProRes are hardly worth the upgrade costs. ProRes 4444 would be awesome if not for the risk of gamma shifts. The improvements to the stability of Color are IMO the only reasons to get Studio 3. All though I do use FCP's new timing tools more than I use to. My workflow rarely demands them, for me they're something of a last resort.
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Jun 9, 2010 01:24
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Dr. Fishopolis posted:The biggest thing I'd like to see in Final Cut is being able to use audio unit plugins and keep the native plugin interface window. That would save me having to export to pro tools for probably 85% of the projects I do. That and integrating something like pluraleyes into the multiclip system would blow my god drat mind. I am almost okay with the way Motion works, although I really wish the UI was as intuitive as FCP. Motion feels like a bastard child of Final Cut Pro and LiveType. Color is another beast altogether - it still looks like a 3rd party app that Apple bought and slapped their logo all over.
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Jun 9, 2010 03:24
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Ugh, I really want to like Motion but it brings my computer to a crawl every time I use it. I mean, I spend a lot of time in After Effects and it only hits my computer like that when it's rendering out. With Motion, I just add a couple of lines of text and some behaviours and suddenly it needs 5 minutes to recognise a mouse click. Went to the Adobe CS5 roadshow today, saw all the new stuff on the new Premiere. Seems pretty cool, but something deep inside me just cringed when the host did the entire show by editing the media off of the original cards still plugged into the system. I mean, I know in a few more years we'll probably be able to buy 32GB cards for everything and have so many kicking around our studios that there'll be no need to use a media card more than once, but jeez I can't even think of how irresponsible an idea it is now to start urging your show viewers to edit their films off of clips still on the original media - backups backups backups!
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Jun 9, 2010 05:29
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infiniteseal posted:Ugh, I really want to like Motion but it brings my computer to a crawl every time I use it. I mean, I spend a lot of time in After Effects and it only hits my computer like that when it's rendering out. With Motion, I just add a couple of lines of text and some behaviours and suddenly it needs 5 minutes to recognise a mouse click. Yeah, I rendered a 4x5 video wall with a couple camera movements and Motion decided to commit suicide every time I tried to scrub through the timeline for a preview. After Effects is still a better choice for a lot of projects, but I like the ease of use of the built-in behaviors in Motion.
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Jun 9, 2010 05:55
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exp0n fucked around with this message at 08:34 on Dec 20, 2014 |
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Jun 9, 2010 23:53
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exponentory posted:Hey Steadiman, this isn't you is it? http://www.youtube.com/watch?v=H6KwjwIFL-0 Goddamnit, I was at CineGear for only a few hours, and I made it into someone's video? Steadiman is operating, Garrett is talking, for a brief bit some weird European couple started actually dancing a tango, and I'm the tool at 0:51 into the video on the far left. I operated the Tango a little bit last Thursday night. Tango really opens up some new opportunities to move the camera in ways previous impossible or ridiculously expensive.
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Jun 10, 2010 00:52
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exponentory posted:Hey Steadiman, this isn't you is it? http://www.youtube.com/watch?v=H6KwjwIFL-0 The Tango is wonderful, if a bit tricky to operate at first. I'm in the very fortunate position of being one of the first people to work with the Tango and being asked to help out in testing and perfecting both the machine and the operating of it. We are very busy trying to figure out how far we can push this technology and even how to teach it to people. It's hugely fun to be a part of that development process with Garrett and Jerry Holway (who is the other inventor for the Tango). The coolest thing about it is not so much the huge boom range, which is nice, but the ability to stick the camera in weird places. You can maneuver the lens across tables, underneath stuff, or even through tight spaces like car windows and in-between objects. All this while maintaining the freedom of movement that the Steadicam already provides. Imagine a shot starting over a swimming pool, right in front of someone swimming and moving along low over the water. Then this swimmer gets out, the camera goes with them at eye level. So far a crane could do this but now the swimmer goes into the house to the bedroom to get changed and the camera goes along for the ride! Up stairs, while maintaining eye level, around corners and through doors. Now try to think of any other way to do this shot in one. That's just a simple example off the top of my head, it's very exciting to think of the stuff we can do with this simple machine! And it'll be a relatively cheap add-on! Since it's just a system of ropes and pulleys it doesn't need to be expensive and it won't run out of batteries or have electronics that can crash. Very neat!
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Jun 10, 2010 06:16
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Paul Thomas Anderson is just going to love this.
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Jun 10, 2010 15:37
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Quick question since I'm not sure where else to ask - anyone know where I can get the best price on a full version of After Effects? I've been learning on a copy my work bought, but I'm quitting today so I'd like to get my own to continue on, it just feels like I should be able to find it at something less than $1000
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Jun 10, 2010 17:25
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exp0n fucked around with this message at 00:59 on Nov 30, 2014 |
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Jun 14, 2010 04:37
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exponentory posted:Very cool! I've been following you (esp that great thread a while back) and Tire around Cinema Discusso, so I'm glad I found this thread! That's a really cool device, Garrett just doesn't stop innovating does he? I've seen that book too, funny that's also you on the cover. I'm very grateful that Garrett still has the inspiration to innovate. I happen to know some other things that are being developed and it is awesome! The Tango is just the beginning  . Another thing that Garrett developed, that most people don't know about, is an application of Steadicam technology for industrial use and it is really cool! Using a custom gimbal construction and hard mounted Steadicam arm to allow line workers to manipulate heavy objects and throw them around with wild abandon. Not only is this great for workers' backs but it also allows the work itself to be done much more efficiently. Think of it as the rifle in Aliens that used a Steadicam arm and vest, but applied to factories. It's called the ZeroG. Just some trivia for ya'. oh and I'm not just on the cover, I'm all over that drat book!As far as the Merlin is concerned, I'll be honest that I don't actually know much about it  . I know there's a cookbook out there for a lot of cameras but I've never used it. What I would suggest you do is balance the old fashioned way, the way we do it. Take a rod of some variety and use it to find the center of gravity of the camera with lens by putting the rod on the floor and rolling the camera over it, for fore and aft place the rod at a right angle and for side to side place the rod parallel with the camera, then mark the place where the camera is roughly balanced on the rod (I.e. not rolling in any direction). That point, both fore and aft and side to side together, is roughly the CG. I say roughly because you'll never get it to balance perfectly on a rod but this will get you close enough for the next step.Now just attach the camera to the mounting plate with the marked point as close to the middle of the plate as the screw hole allows. This way, once you mount it to the Steadicam, you should already be very close to balanced. From there on out it simply becomes a matter of fine-tuning it with the fore/aft and side to side controls. Don't forget to add enough weights on the bottom to make the whole system slightly bottom heavy. Practise this routine a few times and you'll get better at it to the point where you won't even have to use the rod, you'll be able to guesstimate the approximate CG, and before you know it you'll be able to balance a rig in minutes. Hope this helps!
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Jun 14, 2010 12:23
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Disregard this post. Apologies.
Fiction D fucked around with this message at 09:47 on Jun 15, 2010 |
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Jun 14, 2010 21:53
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Scarlet delayed again...oh my. http://reduser.net/forum/showthread.php?t=46375 Too much time given to Sony and Panasonic. One thing I have to say about RED fans, particularly REDuser participants...they certainly are a patient and accepting bunch. I was at the Panny demo for the 3dA1 3d camera and all people were complaining about on the pre-release, pre-beta, factory sample that they had in their hands, was that there weren't enough knee settings and it was an infinite focus ring. Geez. How about Panasonic just built a camera where your 3d camera concerns are reduced to a single dial? RED gets all the breaks from their fans. Anyway, ignore if you wish, reduser.net is like a car crash in many of its forums and I just can't look away.
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Jun 14, 2010 22:13
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Walnut Crunch posted:RED gets all the breaks from their fans. Also, typically, the fans are not the high-level DP's that will just instruct production to get the best camera package available and therefore don't particularly care about any of RED's troubles Finally, RED is not helped by Foxconn allegedly laying off all of its 800,000 mainland employees, so I guess cutting them some slack in that area would be okay.
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Jun 14, 2010 22:23
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Who wants to tell me what's wrong with my new reel? http://www.david-hildreth.com
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Jun 14, 2010 22:27
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butterypancakes posted:Who wants to tell me what's wrong with my new reel? Looks great man! except it looks like that error my music video has reared its ugly head again, check it out. exponentory posted:
I have a merlin at my work too, I can get it balanced perfectly but even then it's super squirrely and not really worth using in my opinion.
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Jun 15, 2010 00:28
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SquareDog posted:Looks great man! except it looks like that error my music video has reared its ugly head again, check it out. haha, it's datamoshing. Which was hip apparently, so I gave it a shot and put it in my reel.
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Jun 15, 2010 01:00
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It's pretty distracting from an otherwise super clean and polished reel. Everything else looks great.
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Jun 15, 2010 01:13
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butterypancakes posted:haha, it's datamoshing. Which was hip apparently, so I gave it a shot and put it in my reel. lol sorry, it looks like an error :/
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Jun 15, 2010 02:16
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exp0n fucked around with this message at 00:58 on Nov 30, 2014 |
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Jun 15, 2010 05:58
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exponentory posted:We have a Merlin at work, which I haven't played with too much, but do you have any suggestions on a proper recipe for a 7D and a Canon 16-35 lens? The only proper stabilizer I've used is a varizoom Aviator, but I'm having a hell of a time balancing that Merlin! Stolen from Cinema5d (no idea on the value of the info): quote:1) Canon EOS 5D Mark II + *(Canon EF 16-35mm f/2.8 L II USM) OR **(Canon EF 24-105mm f/4 L IS USM) Same adjust for any of both lenses:
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Jun 15, 2010 16:41
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exp0n fucked around with this message at 01:55 on Jan 1, 2014 |
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Jun 17, 2010 17:19
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I'm currently shooting my third feature as a DP and finally got the chance to use the 8mm UltraPrime! It was for a dream sequence. It is an amazing freaking piece of glass, though at 2.1 it is a bit on the slow side. I just wish I could justify using it more often but unfortunately it's a bit too gimmicky for general purpose shooting. But drat if the resulting image isn't spectacular! Really tricky to light for though, since it can see almost around itself. And hiding your crew can be a challenge. And all that with no circular distortion and barely any softness in the edges (nothing noticeable anyway).
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Jun 22, 2010 19:24
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Steadiman posted:I'm currently shooting my third feature as a DP and finally got the chance to use the 8mm UltraPrime! It was for a dream sequence. It is an amazing freaking piece of glass, though at 2.1 it is a bit on the slow side. I just wish I could justify using it more often but unfortunately it's a bit too gimmicky for general purpose shooting. But drat if the resulting image isn't spectacular! Holy sexy glass! I've worked with (read: seen in the rental house) the Panavision Primo 10mm, and I used to marvel at not only the color, but the lack of barrel distortion. Someone made an 8mm distortionless lens? WIZARDS.
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Jun 22, 2010 20:31
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Tiresias posted:Holy sexy glass! I've worked with (read: seen in the rental house) the Panavision Primo 10mm, and I used to marvel at not only the color, but the lack of barrel distortion. Someone made an 8mm distortionless lens? WIZARDS. . I'll see if I can get some framegrabs to post, should give you a very nice idea of the lens. It's most impressive near the edges, it just won't go soft or distort. Just wonderful straight lines. How they do it, I'll never know but I'm assuming magic and a few virgin sacrifices. That would also explain why it's so ludicrously expensive! And make no mistake, this is one of the most expensive pieces of glass you can imagine
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Jun 22, 2010 21:07
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exp0n fucked around with this message at 01:55 on Jan 1, 2014 |
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Jun 22, 2010 21:14
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Does anyone know any good charts for focal length conversions? I thought Canon had one. For instance, I'm pretty clear when it comes to what lenses do on a 1.5 crop Nikon stills sensor. I know that a 20mm lens equals roughly a 30mm for a 35mm sensor. What I get confused on is our canon lens for our 2/3 mount camera. It's a canon 17x7.6. I know it's 7.6mm at the widest with a 17x zoom. I assume at it's widest it is roughly equivalent to a 32mm lens on a 35mm sensor. I sound like a dumbass when trying to rent lenses and I want to change that.
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Jun 22, 2010 22:00
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pfff 8mm? thats for babies. I've always wanted to try the PL mounted 6mm nikon clairmont has. http://www.clairmont.com/spec_items/6mm_nikkor_lens.html  nothing like having to be worried that the tripod will be in the shot.
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Jun 23, 2010 20:46
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Finally got my new tripod, had my first opportunity to try out my Letus Extreme on sticks along with my Nikon primes. Also was a chance to test out a fake blood recipe. It's a pretty simple little piece but I thought it flows okay besides the fact my buddy is no stuntman, lol. No major story, just a quick little forest shoot. http://vimeo.com/12545663
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Jun 24, 2010 08:15
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Just gotta brag, I went to an estate sale this morning and got five prime C-Mount lenses, running from 17mm up to 150mm for my Bolex H16 for ten dollars! They're dirty as hell since they've been kept in a barn for the last twenty years, but I bet I can get them somewhat useable. They had a Bolex H8 8mm for twenty dollars and a Bell and Howell tank style 8mm too but both were nearly rusted shut.
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Jun 24, 2010 16:04
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I've posted a couple times in here and I love reading/watching everybody's stuff. It ends up making me feel extremely amateur... Anyway, I wanted to share my current reel with you folks. I've only just decided to start learning motion graphics (for now I rely on my partner for that when it's needed) so I focus on my ability to jam myself into potentially dangerous situations with my Sony EX1 and my little FlipHD camera. My favorite thing to shoot is action sports, but I've dabbled in a little bit of everything. Sometimes I get paid, sometimes I don't. Currently I've sold my footage of the Mavericks Surfing event to NBC divisions 3 times and once to the Travel Channel. That accounts for something right? Hope you enjoy: http://www.allexits.net/blog/video-portfolio/
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Jun 25, 2010 05:06
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I try to stay away from ordering expensive stuff over the internet, but I'm really considering ordering a camera online. I was wondering, is there some safer alternative as far as shipping goes? Most stuff I order from the internet gets left on the doorstep, often sitting there for several hours when I'm working. I don't live in a great neighborhood and really don't wanna risk a 2000 dollar investment.
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Jun 25, 2010 06:49
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Most places that stock the better equipment have options to require signature on delivery. B&H Photo costs a bit more than a bunch of other places, but I'm pretty sure they offer that. If you can't get it online, call them. I got a place to ship me overnight after 5pm by giving them a call, I'm sure getting a signature requirement would be pretty straightforward. Also, if you're working, just have it delivered to work. That might work out better.
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Jun 25, 2010 07:03
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the Bunt posted:I try to stay away from ordering expensive stuff over the internet, but I'm really considering ordering a camera online. I was wondering, is there some safer alternative as far as shipping goes? Most stuff I order from the internet gets left on the doorstep, often sitting there for several hours when I'm working. I don't live in a great neighborhood and really don't wanna risk a 2000 dollar investment. You could probably request that the package gets left at the depot or post office for you to come and pick it up. I did this with DHL once when I was ordering some expensive software.
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Jun 25, 2010 07:05
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schmuckfeatures posted:You could probably request that the package gets left at the depot or post office for you to come and pick it up. I did this with DHL once when I was ordering some expensive software. I do this frequently with UPS and Fedex, since the entrance to my apartment is at the back of the building, and sometimes confuses deliverymen. Just have your tracking number handy, and call the 1-800 customer service number for whichever shipper you're using. I'm also wondering what people's feelings are about the Canon XF300. I'm on the market for a new camera, and am considering either that or an EX1. The DOF difference doesn't really matter to me, since I'll probably be getting a 35mm adapter sooner or later. In comparisons I've looked through, the EX1 does much better in low light, but the XF300 does a bit better with fine detail and color gradients in decent lighting. I'm leaning toward the XF300, since my own projects will be fairly well lit, but I'll probably be doing some freelance videography too. All my shooting experience has been with Sony and Panasonic cameras, so I'm hoping to hear what people have to say about Canons in general as well as their impressions of that specific camera.
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Jun 26, 2010 21:00
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Thanks guys. I kinda figured I would probably be able to request a signature delivery but wasn't sure. Is B&H the most highly regarded online retailer?
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Jun 30, 2010 21:25
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the Bunt posted:Is B&H the most highly regarded online retailer? Far and away. Next runner up would be Adorama, but their customer support staff are some of the least pleasant people i've ever dealt with. The only reason to buy from them is if B&H is out of stock and you need something RIGHT NOW.
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Jul 1, 2010 00:06
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the Bunt posted:Is B&H the most highly regarded online retailer? B&H are fantastic. They will send you catalogues until the end of your natural life, though.
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Jul 1, 2010 00:27
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Dr. Fishopolis posted:...Adorama....customer support staff are some of the least pleasant people i've ever dealt with... I was really very concerned to read your posting and would firstly like to offer a sincere apology that from your feedback, we haven't given you the level of service you should have been able to depend upon. I can't ID you from your screen name, so if you would like to email me directly with some details about your experience, I would welcome the opportunity to put this right. Helen Oster
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Jul 5, 2010 17:39
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Looking for a cheap digital camcorder to hack around with shooting and editing. I don't really plan on doing anything with it other than maybe shooting ultra-low-budget shorts for fun, but I doubt even that. The Aiptek A-HD looks like the cheapest and best option. Any other cams I should consider?
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Jul 5, 2010 17:49
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