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Tiresias posted:Here's my prepped to drag your $125k camera in low mode across the Lake Los Angeles dry lakebed. I'm a bit more worried about my Steadicam than I am the camera. That is pretty rad. What were you working on?
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Dec 23, 2010 21:22
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Bojanglesworth posted:That is pretty rad. What were you working on? Motorcycle spot, had to get some driving shots. Worked out really nice, especially the golden hour and sunset shots.
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Dec 23, 2010 21:25
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Tiresias posted:Motorcycle spot, had to get some driving shots. Worked out really nice, especially the golden hour and sunset shots. Nice! I am just getting into film so getting to see up close and personal how everything works was great for me. I hope I have the opportunity to work on a lot more stuff with these guys.
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Dec 23, 2010 22:22
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Sorry for the cell phone quality image, this is the only one I had of the set-up unfortunately. Two RED Ones rigged inside an old Russian biplane getting ready to shoot areal footage of a Piper for a project I DP'd in October.
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Dec 24, 2010 01:44
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So a guy walks in to our rental shop for his 5D order and asks, "Can you make a setup that will hold two cameras so I can shoot video with one and stills with the other for this music video?" ....yes, yes we can.  includes a Bartech and a 7' monitor w/video converter all on the same ridiculous rig.
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Dec 24, 2010 05:53
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That is absolutely wonderful
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Dec 24, 2010 06:03
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He even put that thing ON A JIB.
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Dec 24, 2010 06:09
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How did... what did... oh god.
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Dec 24, 2010 06:13
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Please tell me it was for porn.
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Dec 24, 2010 06:23
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SquareDog posted:So a guy walks in to our rental shop for his 5D order and asks, "Can you make a setup that will hold two cameras so I can shoot video with one and stills with the other for this music video?" this, this is the death of cinema right here
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Dec 24, 2010 06:26
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SquareDog posted:So a guy walks in to our rental shop for his 5D order and asks, "Can you make a setup that will hold two cameras so I can shoot video with one and stills with the other for this music video?" That thing is crazy. I can't imagine trying to shoot photos with my camera bolted to a big rig like that. Looks really sick though!
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Dec 24, 2010 06:27
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I can't wait till we get the AF-100s so we can stop using the 5/7Ds I'm so sick of them.
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Dec 24, 2010 06:29
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Bojanglesworth posted:Looks really sick though! As in "I am going to be sick." Did you ask how the shoot went?
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Dec 24, 2010 06:32
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the DP was a veteran top-of-his-game photographer but he had no experience with video, it was his first production. I didn't hear him complain when he came back so I assume he pulled it off.
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Dec 24, 2010 06:40
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SquareDog posted:I can't wait till we get the AF-100s so we can stop using the 5/7Ds I'm so sick of them. 2007: I can't wait for the RED camera so we can stop using the 35mm film adapters. 2008: I can't wait for the Sony EX1/EX3 so we can stop using the HVX200. 2009: I can't wait for the Scarlet/Epic so we can stop using the RED camera. 2010: I can't wait for the Panasonic AF-100 or Sony PMW-F3K so we can stop using the Canon 5D/7D. Future: I can't wait for the next cheapo thing so we can stop using the current cheapo thing.
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Dec 24, 2010 07:43
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SquareDog posted:I can't wait till we get the AF-100s so we can stop using the 5/7Ds I'm so sick of them. I'll take a 5D off your hands haha
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Dec 24, 2010 08:07
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Tiresias posted:2007: I can't wait for the RED camera so we can stop using the 35mm film adapters. I'm sick of the 7D because it's not made for shooting video, and you have to mod it all up to get it to production standards (as pictured). It's not even cheap! To really get it up to standards you wind up paying very nearly as much as you would for a Red kit, which is almost always the better option if they can afford it. I've talked several customers out of using an adapter or a 7D and going with a Red because that other stuff isn't worth the hassle. I'm looking forward to the AF-100 because it is a large(ish) sensored, PL-mounted camera that is actually designed for video use without needing to add on all this extra stuff and is a useful and cheaper alternative to the Red. Will there be something better on the horizon when we have the AF-100 and eventually the Sony? Sure, that's the way it goes. Are they going to make a us a load of money? hell yeah. I'm just glad we're going to(eventually) stop using still-camera equipment for video applications.
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Dec 24, 2010 09:13
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SquareDog - any idea when you're getting your AF-100's? We're patiently awaiting our order and apparently they are starting to trickle out. I've got a whole closet full of lenses I can't wait to attach to an as yet non-existent camera. So looking forward to the AF100. Larger sensor goodness with SDI, proper audio, proper monitoring. It's going to be such an awesome complement to our hpx-500
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Dec 24, 2010 19:29
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I was told we're getting them before December is over... December is almost over. One thing I've wondered but not bothered to research, does anyone know if it has internal ND filters? All of panasonic's other camera do but amazingly the new 3D camera we got from them doesn't. It's awful, you have to put the thing on a rod support system and slap a matte box on it if you want to shoot out in broad daylight which really diminishes the ultra portable appeal. EDIT: answered my own question, yes it does. Thank God. http://pro-av.panasonic.net/en/af100/feature01.html SquareDog fucked around with this message at 22:40 on Dec 24, 2010 |
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Dec 24, 2010 22:36
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SquareDog posted:I'm sick of the 7D because it's not made for shooting video, and you have to mod it all up to get it to production standards (as pictured). It's not even cheap! To really get it up to standards you wind up paying very nearly as much as you would for a Red kit, which is almost always the better option if they can afford it. I've talked several customers out of using an adapter or a 7D and going with a Red because that other stuff isn't worth the hassle. A friend who isn't a shooter asked me about buying a 5D/7D. My response: "If in 4 months from now, you're happy with having a dSLR that takes great photos and maybe some video, I say go for it. Otherwise, don't think you're buying a camera that's going to make you any money on rentals. Time is short, so be sure you invest in something you'll be OK with owning in a few months."
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Dec 25, 2010 02:30
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Do any of you guys use Hard Stops on your follow focus? Specifically a DSLR follow focus. Mine didn't come with any and I can already see me needing a couple.
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Dec 25, 2010 03:55
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Are their any 5d users in here who use Magic Lantern firmware? I want to try it out but it seems a bit sketchy.
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Dec 25, 2010 19:18
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Merry Christmas, to all you aspiring DP's. Here's a joke: What's the first thing a DP's wife should do after having sex? Go pick him up at the airport
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Dec 25, 2010 22:11
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How many grips does it take to screw in a light bulb? Two, one to hold it and another to hammer it Best Christmas gift for me this year is definitely a subscription to American Cinematographer.
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Dec 25, 2010 22:40
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Speaking of American Cinematographer, you guys gotta read this article about an awesome Deftones music video. All effects done in-camera and with no color correction. Read the article here http://www.zf-films.com/AC/ZFCL.Sextape.AC.2010.pdf Watch the video here http://www.youtube.com/watch?v=f0pdwd0miqs  
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Dec 26, 2010 09:50
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This could be pretty exciting... we'll know in the next 2 days if it's legit: http://philipbloom.net/2010/12/30/shoot-2k-3k-and-4k-on-the-canon-550d-t2i-coming-in-2-weeks/quote:will be released on January 1st 2011 11:11pm EST
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Dec 30, 2010 20:37
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Considering how poorly these cameras' chips resolve 1080p, I'd hate to see what they'd look like at 4k. Also, without proper HDMI out (don't these cameras output SD?), 10 second recording times don't sound too attractive.
1st AD fucked around with this message at 20:47 on Dec 30, 2010 |
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Dec 30, 2010 20:44
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It does sound beyond useless, but I'm sure people will find some interesting ways to adapt it. Could be really nice for a 4k stop-motion film or some very short green-screen sections. But I think for most folks who'd try to implement the firmware, it'd be a bevy of headaches for little or no increase in visual quality. I could see the 5D owners I know installing it because "everything's better with 4K dawg! Your camera can't do that!" and then try to shoot a live-action music video at 10 seconds a go, without investing in lights or set equipment. Then again, people were modding DVX-100s to shoot HD by running a USB feed directly from the chipset, so it is consistent with people trying to figure out how to squeeze a bigger image out of their equipment \/\/\/\/\/\/ - Haha, duh true, it's still a DSLR bassguitarhero fucked around with this message at 00:37 on Dec 31, 2010 |
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Dec 30, 2010 22:40
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You can already shoot a 4k stop motion film without any firmware hacks, just shoot still images 
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Dec 31, 2010 00:09
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Looks like the new T2i firmware is released  http://www.youtube.com/watch?v=tN2wNS2YlVI
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Jan 2, 2011 09:39
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Welp, saw that coming.
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Jan 2, 2011 18:43
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I'm gripping on my first legit shoot, and holy gently caress this producer is dumb. She went on a whole spiel about how awesome RED is and how you don't need much lighting. This whole project is being shot on 5Dmk2s and there's a grip truck with a shitload of lighting.
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Jan 2, 2011 20:40
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1st AD posted:I'm gripping on my first legit shoot, and holy gently caress this producer is dumb. She went on a whole spiel about how awesome RED is and how you don't need much lighting. This whole project is being shot on 5Dmk2s and there's a grip truck with a shitload of lighting. This won't be the first time you meet a producer who thinks they know how to light. Usually, the cycle goes that they think, with newer cameras, you don't need lights... then they get a project to a client, the client HATES it, and they wind up deferring to the knowledge of the camera/lighting crew. Moral of the story: smile, be diplomatic, amicably disagree ("Yea, the 5Dmk2 really does some amazing things with low light, but you still need lights to create ratios, create the appropriate mood for the story, make actors and actresses of varying facial types and complexion really look great on an unforgiving camera."), and be a gentle mix of the person who warned them but also the person who "told them so".
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Jan 2, 2011 21:15
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I got a call to be a DIT this weekend. I've got experience with P2 and CF media, and feel comfortable enough with organization and backups. I'm just wondering if anyone has any tips or tricks that will help me out. No info yet on camera package and media type, but I hope to know soon.
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Jan 3, 2011 22:23
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I'm just getting into doing my own directing and producing project and I am looking at a DVX100a with a little over five hundred hours on it. Otherwise the previous owner says he hasn't had any problems video wise with it minus a glitch or two on reusing the tapes. What should I be looking at for a price?
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Jan 3, 2011 22:40
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Save your pennies and get something that doesn't record to tape. seriously you'll thank me.
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Jan 3, 2011 22:50
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Tiresias posted:This won't be the first time you meet a producer who thinks they know how to light. Usually, the cycle goes that they think, with newer cameras, you don't need lights... then they get a project to a client, the client HATES it, and they wind up deferring to the knowledge of the camera/lighting crew. I would say, if you're working on a real project, just let the producer say whatever he wants and just smile and nod; then continue to do whatever you key told your to do. For even if you are right, it's not worth it. edit: I'm a little confused, the Producer was spewing poo poo about how good RED is, but he has you shooting on 5Ds? Andraste fucked around with this message at 11:10 on Jan 4, 2011 |
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Jan 4, 2011 11:07
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The producer thought we were shooting on RED. We were not, and I don't know about you guys but a DSLR definitely does not look like a RED.
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Jan 4, 2011 17:25
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1st AD posted:The producer thought we were shooting on RED. We were not, and I don't know about you guys but a DSLR definitely does not look like a RED. Heh I wonder if the Director and DP pocketed the difference in rental fees?
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Jan 4, 2011 21:23
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The crazy thing is that they rented nothing. They had their own grip truck, they own all their cameras (P2, RED, DSLR), sticks, jibs, monitors, everything.
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Jan 4, 2011 22:05
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