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SwedeRacer posted:At the risk of being buried in this massive thread, I figured I'd offer up a FREE Goon service: I'll be shooting a short film (15-20 minutes) in mid-August. Once it's edited, I'll shoot you an email if you're still offering this service!
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Jul 22, 2011 06:57
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exp0n fucked around with this message at 01:03 on Nov 30, 2014 |
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Jul 22, 2011 23:32
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Just bought a T3i, pretty excited. I've still got my trusty HVX-200, but I wanted a good DSLR for both stills and video. Starting off with the lowest-end lens, but at least I've got a foundation to start building from. I'm taking a train ride all the way up the west coast to Vancouver, so there's going to be a lot of chances to break this camera in.
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Jul 23, 2011 01:13
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EnsGDT posted:That's pretty slick, Swede. Marxist Glue posted:I'll be shooting a short film (15-20 minutes) in mid-August. Once it's edited, I'll shoot you an email if you're still offering this service! exponentory posted:I very much like the look you created for this piece. I'll definitely let you know if I have something for you Cool - let me know. edit: and just so everyone knows, the offer will remain on the table for the foreseeable future. SwedeRacer fucked around with this message at 02:40 on Jul 26, 2011 |
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Jul 24, 2011 14:50
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Anyone have an interest in buying my Steadicam Flyer LE?
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Jul 24, 2011 22:08
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Episode 2 of The Great Camera Shootout is up: http://www.zacuto.com/the-great-camera-shootout-2011/episode-two
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Jul 31, 2011 22:32
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Moon Potato posted:Episode 2 of The Great Camera Shootout is up: Man, the compression on the DSLRs slaughters some of the detail in these. I wonder how they'd fare using the HDMI out and something like one of the Blackmagic cards/boxen to bypass the loving H264?
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Aug 2, 2011 16:45
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duck monster posted:Man, the compression on the DSLRs slaughters some of the detail in these. The HDMI-out on pretty much all DSLRs is for monitoring only, and superimposes all the stats that the viewfinder does. My understanding is that they have weird subsampling patterns for their video feeds because the camera's internals can't process all the data from a 12+ megapixel sensor at 24fps, so their image detail probably won't be that great even without compression until there are some big leaps in the power/efficiency of image processors.
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Aug 2, 2011 17:27
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Moon Potato posted:The HDMI-out on pretty much all DSLRs is for monitoring only, and superimposes all the stats that the viewfinder does. My understanding is that they have weird subsampling patterns for their video feeds because the camera's internals can't process all the data from a 12+ megapixel sensor at 24fps, so their image detail probably won't be that great even without compression until there are some big leaps in the power/efficiency of image processors. Apparently magic lantern does let you do this, as well as 4:2:2 and a whole fucktonne of image tweakability unlocked. I'd be interested to see how much that affects HDMI output re the subsampling patterns and poo poo. 'cos it potentially turns one of these little guys into a low budget monster if it could be done right.
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Aug 2, 2011 18:23
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I haven't put ML on my 5d because I was under the impression you ned to have it on every CF card and when you remove the battery you lose your prefs. I have heard they fixed the battery thing, but if you have to re-load ML on your cf cards after you format, it's too much of a hassle when you're on a time crunch. If you were sending the signal to an external recorder that would fix the CF issues, but so far I've been able to get by with the Canon firmware. DSLR's suck compared to the bigger cameras, but it's still better than the 1/3" ccd alternatives for narrative work. Run and gun not so much, but that's a matter of choosing the right tool for the job. A lot of people over at Cinema5D poo poo on Zacuto, but personally I love seeing the comparisons and the results.
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Aug 2, 2011 18:37
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duck monster posted:Apparently magic lantern does let you do this, as well as 4:2:2 and a whole fucktonne of image tweakability unlocked. I'd be interested to see how much that affects HDMI output re the subsampling patterns and poo poo. 'cos it potentially turns one of these little guys into a low budget monster if it could be done right. I'm almost sure that the sensor does not output 4:2:2 over HDMI, so the only real advantage to removing the HUD via Magic Lantern is to attach a DTE recorder and not have to deal with the transcode later on. Also, there's still the issue of these things not resolving a hell of a lot of detail. I really think the AF100 is the real deal for budget cinema. It's not perfect and in some ways I would prefer the FS100 over it, but it's a killer based on the combination of image quality, functionality, and price.
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Aug 2, 2011 20:07
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1st AD posted:I'm almost sure that the sensor does not output 4:2:2 over HDMI, so the only real advantage to removing the HUD via Magic Lantern is to attach a DTE recorder and not have to deal with the transcode later on. Also, there's still the issue of these things not resolving a hell of a lot of detail. It's nice to see the AF100 do so well, because we've always felt it was a great little camera, that got too much grief from people who didn't use it. We love ours. Though we're still searching for the absolute best setup on it.
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Aug 2, 2011 20:53
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I've been pretty unimpressed with the skin tones and highlights I've seen in AF100 footage - have you been able to find satisfactory settings for dealing with those?
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Aug 2, 2011 21:57
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dvxuser.com has a lot of great setup advice on the af100. Also a lot of good advice about using zebras to handle the highlights they look good. Can't remember offhand as it's been a month or two since I shot with ours.
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Aug 2, 2011 22:42
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duck monster posted:I wonder how they'd fare using the HDMI out and something like one of the Blackmagic cards/boxen to bypass the loving H264? Moon Potato posted:The HDMI-out on pretty much all DSLRs is for monitoring only, and superimposes all the stats that the viewfinder does. My understanding is that they have weird subsampling patterns for their video feeds because the camera's internals can't process all the data from a 12+ megapixel sensor at 24fps, so their image detail probably won't be that great even without compression until there are some big leaps in the power/efficiency of image processors. The GH2 can do this, but it looks like a pain in the dick: http://marvelsfilm.wordpress.com/2011/04/19/panny-gh2-hdmi-recorder-bingo/ http://www.dvxuser.com/V6/showthread.php?237584-HDMI-Capture-Problem-SOLVED-AviSynth-RULES! Especially since even just the atomos ninja costs more than a GH2 body. They did finally manage to hack the GH2 for significantly higher bitrates, but from what I can tell it's tough to say if that really makes a big difference.
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Aug 5, 2011 20:22
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If it's anything like the bitrate hack in Magic Lantern, probably not worth using ever. I shot a test clip at the Comic-Con - 10mm at f/22 of the Convention Center, lots of dynamic range and fine details. The footage IMMEDIATELY fell apart when I tried to push the color of the highlights.
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Aug 5, 2011 21:29
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Ah well. It'd be nice, but I can *sorta* live with this compression. Just an extra annoying stage at post. Whats the best resource for learning color correction? I learned everything in the 90s when color correction was purely the domain of the bearded guy with the knoby desk worth a mortgage that nobody was allowed to touch. I'm pretty sure I've got this thing shooting right, using the technicolor cinestyle profile or built in flat style, and with the scopes+zebra on magic lantern I can get a pretty good "by the dials" view of what I'm doing (Although a vectorscope would be nice), but I have no idea what I'm doing with post color correction.
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Aug 6, 2011 10:43
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Man_of_Teflon posted:
Shot this in 1080P at a hacked rate of 42mbps on the Panasonic GH2. Excellent video quality, better than the 7Ds by far, but that's even before a hack. Was out collecting a load of trees for "Diary of a Wimpy Kid 3" and had some time, figured I'd put something together. Check it out, nothing too crazy but really easy and fun to shoot. https://www.youtube.com/watch?v=UuSFPWgEqOQ&hd=1 StuntKid fucked around with this message at 05:47 on Aug 9, 2011 |
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Aug 9, 2011 05:43
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exp0n fucked around with this message at 01:04 on Nov 30, 2014 |
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Aug 9, 2011 08:08
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StuntKid posted:Shot this in 1080P at a hacked rate of 42mbps on the Panasonic GH2. Excellent video quality, better than the 7Ds by far, but that's even before a hack. How reliable is the hack with very detailed scenes? Any crashes? I haven't hacked my GH2 yet as I'm not sure it's worth the trouble (since I'm not doing anything serious with it at the moment) but I love this little camera for my purposes. Canon FD lenses are dirt cheap and still keep the size of the whole package incredibly small. And it managed to survive hours of shooting out in the February blizzard here in Chicago!
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Aug 9, 2011 18:49
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This seems like the best place to ask this. What's a decent enough camera that can shoot 720 at 120fps? It'll be a rental, so price isn't too much of an issue. I'd prefer a fixed lens, if it'll keep costs down.
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Aug 9, 2011 23:01
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I'm pretty sure your only options are a RED, Phantom, or Weisscam.
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Aug 10, 2011 03:24
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1st AD posted:I'm pretty sure your only options are a RED, Phantom, or Weisscam. RED it is then. Phantoms are rare and about $5000+ a day without an operator lately and nobody ever has a Weisscam available.
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Aug 10, 2011 04:34
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exp0n fucked around with this message at 01:04 on Nov 30, 2014 |
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Aug 10, 2011 04:50
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Unexpected EOF posted:RED it is then. Phantoms are rare and about $5000+ a day without an operator lately and nobody ever has a Weisscam available. poo poo, actually I may as well just use Twixtor and some creative cropping/VFX tricks to hide the distortion. The motion is pretty uniform so any major problems would be easy to mask out.
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Aug 10, 2011 06:18
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Unexpected EOF posted:RED it is then. Phantoms are rare and about $5000+ a day without an operator lately and nobody ever has a Weisscam available. How about the IDT Diablo? It's much cheaper than the Phantom and it can do up to 1500 fps. It's most famous use was for The Hurt Locker. Also I just happen to do Diablo tech work (wink wink, nudge nudge).
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Aug 10, 2011 07:16
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exponentory posted:I really like that first shot with the truck backing up, it's very Breaking Bad in style. Man_of_Teflon posted:How reliable is the hack with very detailed scenes? Any crashes? The cheap lenses are great. I'm hoping to pick up the Voigtlander f/.95 25mm in the near future to be my work horse lense, but right now trying to get my C-mount lenses to work on this puppy. Looking to get a good cheap DSLR stabilizer for my shoulder so I can shoot without getting quite so much jello. You got any Messaging software? I'd love to keep in touch with another GH2 user.
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Aug 11, 2011 14:38
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exponentory posted:Speaking of RED, I had a hell of a time dealing with one last weekend. Overheating and drop frames all over the place. We were shooting on a jib in a small room, which was pretty hot, to a red drive (CF module was shot due to a bent pin). One of the main problems is that it wouldn't cut the roll after it was shooting for over a few minutes and had to be hard rebooted. Is this just an issue with the original non MXd Red ones or just a heat limit for writing to the Red drive? In other news, I just wrapped my fourth film as DP and am about to go into grading for it. Was a tremendous amount of fun and we managed to do some amazing things for a budget of less than 400.000 Euros. I cut together a short demo reel from some of the footage and would love to share it with you but, because the film is unreleased, I can't put it on YouTube so anyone who wants to see it will need to be added to my Dropbox  Here's a bunch of random pictures of the production for no other reason than to kill your bandwith:           
Steadiman fucked around with this message at 01:25 on Aug 12, 2011 |
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Aug 12, 2011 01:04
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Another Dutch Christmas movie, huh? You must have the DP market cornered on that now. 
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Aug 12, 2011 02:10
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Steadiman posted:Words about RED cameras and heat issues Well poo poo, looks like if we get our locations we'll be renting Diablos or just working with the cameras we have already and hacking slow-mo. Desert shooting, so there's going to be heat problems all around.
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Aug 12, 2011 02:34
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SquareDog posted:Another Dutch Christmas movie, huh? You must have the DP market cornered on that now. . Though I am finally shooting a non-santa related movie in January. Shooting in Greece if all goes well and we start preproduction in October/November. I must say I am really enjoying my gradual move into serious DP-ing and have been getting more and more nibbles from abroad too so I'm sure I'll be over there to take your jobs in that department as well soon. Deal with it!Unexpected EOF posted:Well poo poo, looks like if we get our locations we'll be renting Diablos or just working with the cameras we have already and hacking slow-mo. Desert shooting, so there's going to be heat problems all around. Steadiman fucked around with this message at 02:38 on Aug 12, 2011 |
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Aug 12, 2011 02:34
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Steadiman posted:Well it can be dealt with if you take good care to keep the sun off the RED and to be aware of the problem. Just keep some icepacks close to the camera and you should be okay with some luck. I've shot in the desert with them and with ample cooling we were fine. It's just another thing to be aware of with RED. Ofcourse it can also crash like a UFO at Roswell and no amount of covering it up will protect you then. It's still a very peculiar piece of equipment. Viva Alexa! It's more a concern with a few things related to this being our first major production. Insurance and the like will cover all of this, but if stuff starts breaking it's going to possibly drive our minuscule budget overbudget which isn't something we have a lot of wiggleroom with.
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Aug 12, 2011 03:12
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My classmates and I shot for two months this past summer in the Florida panhandle using an MX upgrade Red writing to CF cards and we never once had any of those problems. God knows that loving red hard drive is finicky, maybe it was the drive of the cable connecting to it. I kept some gel ice packs around but honestly that was only the three shows I was involved in camera team or DPing. The other twenty shows we shot didn't use gel packs and did just fine. If you keep a flag over it and blow the ports in the bottom of it clean with canned air, in my experience, you should be just fine.
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Aug 14, 2011 04:21
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I've done a bunch of shoots in Phoenix and it can be a huge problem, getting good airflow around the camera is the main key. Shade helps and sometimes ice packs are necessary.
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Aug 14, 2011 09:06
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How to solve ever red problem ever: shoot on alexa.
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Aug 17, 2011 01:23
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Anyone have any experience with macro videography? I'm going to be shooting a short film in which two characters will be playing a game of Go. I'd like to get some nice macro footage of pieces moving and being placed on the board. This will most likely be shot on my T2i, so with the large sensor size I understand I will most likely need to close the aperature way down if I want a decent depth of field. This will necessitate a lot more light on the game board. Anyone have a recommendation on lenses? Are any movement techniques possible or would that require absurdly specialized gear (I doubt they make macro jibs)? I have a macro focusing rail but I've never used it and considering how cheap it was, I kinda doubt its efficacy. Thanks!
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Aug 17, 2011 18:52
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Could you use the macro focusing rail sideways like a teensy tiny slider? Cause that might look sweet. I don't actually know anything as I've never done macro video so this may be a silly idea.
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Aug 17, 2011 21:08
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powderific posted:Could you use the macro focusing rail sideways like a teensy tiny slider? Cause that might look sweet. I don't actually know anything as I've never done macro video so this may be a silly idea. The movement on mine isn't smooth enough for that unfortunately. You really have to crank it. I did find a video of a guy who built a simple tabletop macro jib that yielded some very impressive results so I'll probably give that a try.
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Aug 17, 2011 21:19
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Jalumibnkrayal posted:The movement on mine isn't smooth enough for that unfortunately. You really have to crank it. I did find a video of a guy who built a simple tabletop macro jib that yielded some very impressive results so I'll probably give that a try. I did a shoot at General Mills for some recipes and they used something very similar to this http://vimeo.com/10516250. I think the guy was using a Tokina lens and a 7d. The Canon 100mm L Macro is supposed to be an amazing lens for macro work, but I haven't personally used it. It was a homemade skate dolly and it worked great.
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Aug 17, 2011 21:48
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Mozzie posted:How to solve ever red problem ever: shoot on alexa. Jalumibnkrayal posted:The movement on mine isn't smooth enough for that unfortunately. You really have to crank it. I did find a video of a guy who built a simple tabletop macro jib that yielded some very impressive results so I'll probably give that a try. .You wouldn't even need a dolly in such a small space, if you size the arm right, and have a boom and a swing axis for traversing the board, then you can do everything with it and get the lens really close to the action. Sounds so me like you are going to have a fun afternoon building it! Just remember to add enough counterweight and you'll be fine. Hell, I think for a game board you could get away with a very short arm, maybe even a 2:1 ratio would be enough weight wise. Also I've put a low res version of my reel on Vimeo now, it's password protected (again because I'm not officially allowed to show this stuff yet) but the password is my user name , feel free to have a look, but remember that it is ungraded footage still. http://www.vimeo.com/27724230
Steadiman fucked around with this message at 14:07 on Aug 18, 2011 |
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Aug 18, 2011 14:04
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