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Tiresias posted:They make 20x frames made out of 10' speed rail, just ask for it at the rental house. Corners and ears are the same as standard 20x, but you'll need 2 speed rail connectors. Not really a specialty item, pretty common really. Right on, I'm going to be making a bunch of calls to a few rental houses over the next few days (indie, HD, etc, for those of you familiar with LA rental houses) and I'll ask specifically for that then. Well, it is going to be a hell of a day, but I'm getting more and more stoked, we got our complete funding of 3300 off kickstarter, and I'm hoping to see about 600 or so of that to spend on camera/lighting; fortunately I am able to get tons of free stuff from our school. Chimheil Smoke pick ups best if you backlight it, you mentioned putting lights under the gun, try putting one behind it.
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Oct 18, 2010 10:12
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Andraste posted:Right on, I'm going to be making a bunch of calls to a few rental houses over the next few days (indie, HD, etc, for those of you familiar with LA rental houses) and I'll ask specifically for that then. Try Wooden Nickel, they have discounts for student shoots that only run a day or two, and I know they'd have the gear. If you get the rags from them, be sure to inspect them.
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Oct 18, 2010 17:54
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Thanks, I'll do that.
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Oct 18, 2010 20:56
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Pretty dead in here so I'm going to talk purchases. Looks like I'm going to pick up a Panasonic AF-100 as a second camera. The thought of throwing a 150 Nikon Macro on it and getting some really unique nature footage is too tempting. That along with the Panasonic and the advantages of the HDSLR's without the disadvantages of the HDSLR's and the fact it will be shipping in six weeks, and the fact we have a project that will pay for it make it so worthwhile. It seems like it will be a ton of fun to shoot with. If we can get an underwater housing for it, I'll be in heaven. It seems, from early reviews, that Panasonic did exactly what they said they would...take a big sensor and build a camera totally optimized for HD video and HD video only. Nice http://vimeo.com/16129196
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Oct 26, 2010 05:08
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That freakin CAMERA! I dig the AF-100. Dig it. Thanks for sharing the footage from the unfinished camera. If and when I buy a camera, I think Panasonic is getting my dollars. I love the idea of being able to mount whomever's lenses.
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Oct 26, 2010 14:53
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I really like that new Panasonic but I'm sort of in a bind in a couple of places: 1) I don't have a good photo camera. No DSLR or anything, just my iPhone. I'd love to have something DSLR-sized for when I travel so I don't have to take my HVX-200 and all the space it eats up. 2) A lot of people are asking for the 5D by name, which makes me think getting the MKIII will pay off with more immediate jobs instead of having to apply and then explain how this *other* camera will give them the same shallow DoF that they want. #1 is really the biggest, although I suppose if I got the Panny, then I could get some cheap used DSLR that doesn't shoot video. A big bonus is that since I already have an HVX-200, they'd both be Panasonic so they should color-balance a lot more easily. Decisions, decisions.
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Oct 26, 2010 18:35
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What's everyone been working on lately? The semester is about half way done at my full time, so we've been shooting more and more degree program videos for our new website relaunch next semester. On the freelance front I've got my speakers convention I get to live switch in two weeks (kill me). Also got a meeting scheduled with a subject I may be shooting a short documentary about, this Friday. He's an 88 year old photographer that started out way, way back in the day still using flash powder, and today he still hangs out of airplanes doing aerial digital photography. Should be fun.
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Oct 26, 2010 20:14
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Just finished some random freelance and back on a longer term contract. A 9 camera heavy metal concert that needs some love, should be fun.
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Oct 26, 2010 20:45
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bassguitarhero posted:I really like that new Panasonic but I'm sort of in a bind in a couple of places: Why not try the new Panny GH2? It should be coming out within the next month or so, looks to be a pretty capable DSLR as well as having knockout video - you can download some raw AVCHD clips from sites like Vimeo and the quality really is head and shoulders above Canon's DSLR video. Plus, if you get the GH2 and invest in a couple of lenses, for example the 14mm f/2.5 (not sure if that's out yet) and 20mm f/1.7, you'd be able to put them straight on the AF100 if/when you acquire one. Also, be careful as regards the colour matching, because lenses may differ in their colour reproduction - especially true if you're buying the AF100 to use different lens brands. I have a good set of Olympus OM primes, for example, and they all render colour differently.
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Oct 26, 2010 21:03
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I've started working on a stop motion, using a Canon Rebel. It's been a really interesting learning experience and is a lot of fun. I'm expecting editing will take forever, but doing animation is awesome!
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Oct 27, 2010 01:55
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exp0n fucked around with this message at 02:01 on Jan 1, 2014 |
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Oct 27, 2010 03:17
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exponentory posted:I just shot my first commercial this week, showed the clients a rough today. They were amazed by the quality of the footage (7D) and were very happy, which was a relief. Still working on it now, however, they haven't told me anything regarding the specs for TV broadcast. Is there anything I should know about DSLRs for broadcast use? Would I be fine using the FCP Broadcast Safe filter? Do you get to hand it off to an editor or color grader for onlining before it gets broadcast? I've shot elements on my T2i and had them broadcast nationally, though they were components in a motion graphics sequence and I handed them over to the editor -- from which point it went on to a color correction suite -- before they went to air.
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Oct 27, 2010 04:48
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exp0n fucked around with this message at 02:01 on Jan 1, 2014 |
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Oct 27, 2010 04:54
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The Affair posted:What's everyone been working on lately? I'm working on my first feature. I was asked to write and direct a film about a Pastor in Tijuana, Mexico who was a drug lord, went to prison and now runs several rehab centers, orphanages and over 40 churches. We're supposed to shoot on location in Tijuana in January. Livin' the dream. Also cooking something up with the guys who made the Call Of Duty shorts. Exciting stuff.
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Oct 27, 2010 05:53
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exponentory posted:Would I be fine using the FCP Broadcast Safe filter? That would make it legal.
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Oct 27, 2010 07:58
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I'm planning on doing a timelapse of the sunrise from the window of the place I'm house-sitting. Since it's going to daylight, does anyone have recommendations for f-stop settings? I was thinking about leaving off all the ND filters and just set the iris to automatic, otherwise I'm just not sure. Any opinions? I get a very nice view of big hills and lots of houses with lights on at 6am, so I'd like to preserve that without stopping down too hard to stop it from blowing out when the sun finally shows up.
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Oct 27, 2010 17:19
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exp0n fucked around with this message at 02:01 on Jan 1, 2014 |
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Oct 27, 2010 17:44
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I'd be surprised if taking your footage to ProRes didn't clip the values anyway. Think of it as a nice compliment to the gamma shift. EDIT: What's your output format? butterypancakes fucked around with this message at 18:09 on Oct 27, 2010 |
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Oct 27, 2010 18:04
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exp0n fucked around with this message at 02:01 on Jan 1, 2014 |
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Oct 28, 2010 03:35
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exp0n fucked around with this message at 02:01 on Jan 1, 2014 |
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Oct 28, 2010 03:38
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If you're destined for broadcast you're probably destined for letter-boxing and a Beta SP tape. DG is a nice route but expensive. Here in PHX the cable company will take a ProRes QT file, it's the best thing ever. 5D to RGB is great, just slow as all hell in my experience. A gamma shift affects the gamma, it's something that is guaranteed if you convert with QT, which you didn't. The first two shots do look dark, I'd push up the gamma. As long as your video level is below 100 and your blacks are above 0 you can grade it anyway you want. I'll assume you don't have a broadcast monitor so it's a bit of trial an error to get a consistent look. Make it legal, grade it how you want, then look at it on as many screens as you can. If you're destined for SD, you can just go ahead and raise your black levels to 7.5 IRE, don't even bother grading them to 0.
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Oct 28, 2010 03:58
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Opinions on Nokia's short film? http://www.youtube.com/watch?v=o9ME5_ZzeKI First time I watched it I thought it was a high quality source that had just been compressed badly, with a lovely stunt camera cut in on a few shots. The poor quality masks the poor image.
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Oct 28, 2010 23:49
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exp0n fucked around with this message at 02:02 on Jan 1, 2014 |
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Oct 29, 2010 00:27
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exponentory posted:I would think leaving it on auto-iris would cause the final result to flicker. I would probably try exposing for the sun/sky first before it got dark I shot this leaving it on the auto-iris http://vimeo.com/16346394 I never noticed a flicker Unfortunately the sunrise was rather poo poo but I've got 2 more chances at it so hopefully I'll get a good one with some colours
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Oct 30, 2010 19:48
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bassguitarhero posted:I shot this leaving it on the auto-iris http://vimeo.com/16346394 I never noticed a flicker I've found that auto-iris on timelapse doesn't so much flicker as it just keeps the image a bit flat when going in/out of the dark end of a sunset/sunrise. In a very high contrast situation, like a sunset where the sun is popping in and out of clouds, you can also notice a shift in exposure that can silhouette foreground objects while the camera tries to compensate for the sun itself. Keeping a constant exposure based on the "fully lit" portion is usually the best way to go, though it can be trial and error depending on the look you want. I've even sat next to a camera with a light meter and changed exposures manually to achieve a certain look. Whatever you do though, make sure the drat camera is not set to auto-focus. I did that once. 
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Oct 31, 2010 16:56
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I got a better angle this morning but the dirt on the window started to reflect too much light so i only got about 3/4 of this sunrise: http://vimeo.com/16366659 Cleaned the window today, hopefully tomorrow morning's is perfect cos it's the last chance I get. mobot, I would definitely change the camera for exposure to the brightest spots, but I basically turn it on and go back to sleep, so I've been pretty happy with the auto-exposure. When I did some timelapse sunsets in Hawaii, though, I manually controlled those and that definitely got me more mileage out of the shot. EDIT: Scratch that, just gonna set the camera on a tripod on the back deck. It's the same view and no glass at all. bassguitarhero fucked around with this message at 20:29 on Oct 31, 2010 |
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Oct 31, 2010 19:44
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I finally thought to post this here for critiquing: http://www.youtube.com/watch?v=Tfby0AsBIfU It's a lighting assignment I did about a half-year ago. It was my first real attempt at lighting design (other than a still-picture assignment earlier in the semester). We did this in a small crew of about five people (though one girl was almost never present or did anything, and another guy was just really an extra hand to help out). The directing and cinematography was actually spread out over the three of us and was pre-planned before we even started shooting, but I did the vast majority of lighting, and I was the editor for this. This was shot with a Panasonic HVX-200 (forget if it's a 200A or not) with a Redrock M2 added to it at 720p.
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Nov 1, 2010 21:32
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Anyone have a solution for HDV tape metadata? I've got a bunch of footage shot on a tour on unlabeled tapes. If I only knew what day they were shot it would save me a poo poo ton of grief.
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Nov 1, 2010 23:49
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New projects purchase frenzy - Dedo light kit - 6 Rosco litepanels - bunch o' stands Preorder AF-100 soon to buy -cineslider Fun Fun fun. Also a 150-500 stills lens that we'll double purpose once birger comes out with their mythical AF-100 adapter, and red giant particular, and cameratracker. and and and
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Nov 2, 2010 01:48
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butterypancakes posted:Anyone have a solution for HDV tape metadata? I've got a bunch of footage shot on a tour on unlabeled tapes. If I only knew what day they were shot it would save me a poo poo ton of grief. Did they reset the timecode for each day, or did they allow it to continue? I've done a number of shoots like that where the DP normally allows the timecode to keep ticking over, so a timecode 00:12:45 is tape 1 (00), whereas timecode 05:04:25 would be tape 6 or whatever. Seriously though, what kind of professional DP doesn't label tapes? I've fired people for turning poo poo over not labeled.
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Nov 2, 2010 05:52
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It's not a pro DP, it's members of a heavy metal band. Footage of them backstage and hanging out between shows. The sort of thing I'll end up using 30 seconds of, it's just hard to recognize the inside of arenas in Japan and South America I've obviously never been to. It seems I can get a date out of the XH A1 on playback, but proper metadata would be nice.
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Nov 2, 2010 06:30
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exp0n fucked around with this message at 00:58 on Nov 30, 2014 |
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Nov 2, 2010 07:07
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exponentory posted:I'm curious myself about the HDV metadata thing. I've never heard of that being possible but that would be great if someone did find out. I've always just manually done it to HDV stuff in Bridge. When they do it repeatedly after being told, yeah. I try not to be a dick about it but I draw a pretty firm line when it comes to things not to screw up. If it's home video stuff then I see why it's not labeled. Sitting and scrubbing through hours of unlabeled footage is such a time suck
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Nov 2, 2010 17:42
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I finally got a magic trackpad after hearing rumors of how awesome it was for final cut and holy poo poo it's awesome for final cut. pinch to zoom the timeline, two finger horizontal / vertical scroll, three finger swipe to go forward and back by clip, rotate to scrub. I had a shuttle pro, this is much, much, much better.
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Nov 2, 2010 19:46
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How accurate is the trackpad when it comes to fine-tuned editing with keyframes or with the color corrector? I used one of the new Unibody Macbook Pro's to touch up one of my projects and was very frustrated with the control of the pad. Gestures would definitely be a plus, though.
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Nov 2, 2010 22:35
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It takes getting used to, but I haven't noticed it to be more or less accurate than a mouse after a couple of weeks. Get BetterTouchTool, it's practically a requirement.
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Nov 2, 2010 23:09
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JimFinlay posted:Why not try the new Panny GH2? It should be coming out within the next month or so, looks to be a pretty capable DSLR as well as having knockout video - you can download some raw AVCHD clips from sites like Vimeo and the quality really is head and shoulders above Canon's DSLR video. I recently worked on a shoot for Panasonic shot on a pre-production GH2. It seemed like a solid camera although a lot of settings were buried in on-screen menus. The dealbreaker for me was the resolution of the LCD. The camera had decent focus assist options, but it was incredibly difficult to determine critical focus on the screen. We ended up using a 37" LCD as a reference monitor... but when the camera is outputting HDMI, it seems to disable all the focus assist options. That was annoying as it can be really useful to still use focus assist even when you have a monitor. The only other SLRs I've shot with are the 5Dmk2 and T2i, and both have much better LCDs. Unfortunately neither are really great at sending out a high-resolution signal whlie recording over HDMI. I guess it all depends on what you're shooting and what is important to you, the GH2 is a good camera for its price point. snugglysheep fucked around with this message at 08:00 on Nov 5, 2010 |
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Nov 5, 2010 07:52
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snugglysheep posted:The only other SLRs I've shot with are the 5Dmk2 and T2i, and both have much better LCDs. Unfortunately neither are really great at sending out a high-resolution signal whlie recording over HDMI. I guess it all depends on what you're shooting and what is important to you, the GH2 is a good camera for its price point. Did you try the EVF? Was it useful or was it like looking at an iphone through a toilet paper roll? Can you have the EVF and LCD on at the same time? I'm vacillating between the GH2 and 60D for my personal camera. I direct more than I DP, so for serious projects I would have my DP put together a package anyway. This is for little one-off projects, video art kind of stuff and the occasional micro budget music video. I shot a project with a t2i and a 7D recently, which came out nicely. I found I could focus fine with the LCD, but the lack of articulation was a total dealbreaker. I ended up tethered to a monitor, which for handheld sequences was a giant pain in the balls.
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Nov 5, 2010 16:39
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I unfortunately didn't get a chance to use the EVF. The GH2 was more "fiddly" overall, I would vote for the 60D. I'm also not a huge fan of m4/3s - from what I can tell, you're pretty limited in your options for affordable wide lenses when you're stuck with a 2x crop factor.
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Nov 6, 2010 02:22
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snugglysheep posted:I recently worked on a shoot for Panasonic shot on a pre-production GH2. It seemed like a solid camera although a lot of settings were buried in on-screen menus. The dealbreaker for me was the resolution of the LCD. The camera had decent focus assist options, but it was incredibly difficult to determine critical focus on the screen. Thing about a pre-production camera is performance can change dramatically, and so can the menu system. It might well be the way you describe when it's released but I wouldn't count on it. A lot changes between pre-production and production. For m4/3 there are lenses that are plenty wide enough that are not that expensive. Wide is good, but super-wide is kind of a novelty isn't it?
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Nov 6, 2010 16:37
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