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exp0n fucked around with this message at 01:03 on Nov 30, 2014 |
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Aug 18, 2011 20:24
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Looking for thoughts or advice on upgrading some HD camcorders used for research in the lab I work in. I'm thinking specifically about an SD or SDHC camcorders, and whether we can make this cost effective. It's been so long since I've had to research this stuff, and we were pretty committed to miniDV 5 years ago when we bought our last cameras, so i'm kind of baffled at all the options now. --what we are using them for-- We are filming wildlife (lekking birds), and filming from a distance so as to get many birds in frame, with each bird being tiny, but still having resolution to spot behaviors in male birds and track low-contrast females. Filming is done starting before sunrise, often below freezing, and in fairly dusty conditions. Generally we are running ~3 cameras for 2-3 hr/day for maybe 50 days/year. --what we currently have-- Right now we're recording on Sony HDR-HC1/3 miniDV cams, and playing back on HVD-M15U decks. We collect almost all of our data without importing the video onto a computer- however, we may want to do more computer- aided analysis in the future. Also, the mini DV format is getting frustrating for several reasons: Storage: 100's of tapes per year. Bad tapes or bad recordings = lost data Camcorders and playback decks are going to need expensive repairs soon. --What I'm wondering about-- Anyone have a recommendation for a consumer/prosumer quality camcorder that can efficiently record HD on SD cards? The most important features for new camcorders would be resolution and sensitivity (=low light performance, but not "night shot" or other IR aided because we are quite far away). Things that are unimportant- sound quality (mono from the onboard is fine). Also,I don't need any sort of high frame-rate, in fact, I'd actually prefer something where I could lower the frame-rate (12-15fps should be fine) while keeping high resolution, if that would allow me to record more on a single card. Don't need any extra bells and whistles for on-board editing. Also, is there a sweet spot price-wise for SD memory (in terms of speed/capacity)? Any place to look for bulk SD or SDHC cards? We'd probably try to use new cards each day. [tl:dr] help me ditch miniDV tapes
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Aug 18, 2011 20:25
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Selling my Steadicam Flyer 24LE over in SAMart  http://forums.somethingawful.com/showthread.php?threadid=3432390 Sigh.
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Aug 21, 2011 01:45
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The flyer, max camera weight is 19lbs yes? And that would be with the camera carrying batteries? Toying with the idea of a steadicam for our kit, though it is a bit on the questionable side for us.
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Aug 21, 2011 18:30
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Walnut Crunch posted:The flyer, max camera weight is 19lbs yes? And that would be with the camera carrying batteries? I've maxed my kit out to about 25 lbs. And yes, that includes battery weight, which I'd gather is in the 2lb. range, with both batteries on. Here's a pic of it loaded up on my first feature a few years ago...  (apologies for the pretty sloppy cabling and such) It looks like a clipper ship in this shot... The extra IDX brick on the camera was to power the CamWav Wevi HD Transmitter, as we weren't able to get a PowerTap splitter or something. I can't remember why, this was ages ago. This isn't exactly recommended, but it flew and the shots turned out great. I found that the heavier I loaded it, the better it flew. So, when the wave of HD-DSLR stuff came, a weight plate/cage was super helpful in achieving a closer max weight. I'm sad that I have to sell it off, as it's a nice piece of kit that has served me well over the years. Unfortunately, disc herniation really limits what I can do at the moment. I'm looking at it as an opportunity to really focus on my AC work and build that up until I can get back into flying again. Like I said in the SAMart post, if you're seriously interested, we can work out a better deal than the eBay link. I'd rather this go to someone I sort of know (locals or goons) than an anonymous eBay person.
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Aug 21, 2011 18:44
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Steadiman posted:If only producers realized this. I'd be very happy. It really is the best camera out there right now, and getting better. Speaking of which: All you Alexa peeps out there, ARRI have now released a program called "Look Creator" that will allow you to build a look on set and apply it in-camera, and also export it as LUT. So far I've been doing that using "Iridas Speedgrade OnSet", which is awesome, but this is a lot quicker and better integrated. It's not nearly as advanced as Speedgrade is, but I kinda like the simplicity of it. Speedgrade can be a bit overkill and complex on a tight schedule. If you're on a Mac you should totally download it!. There's also a new software update (4.0) for the Alexa though I haven't read what it does yet. Go get it! Oh, I do realise this. It's why almost all the equipment on our shoot is Arri. But when it comes right down to it, we're able to budget better with non-Alexa cameras.
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Aug 22, 2011 02:04
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StuntKid posted:First time my friend tried following my truck out of the bushes and was moving handheld, it crashed on him, too much movement. Other than that I've had absolutely no issues with the recommended settings. I've since watched the GH2 comparison hacked/unhacked that somebody posted up on DVXuser and there reeeeally didn't seem to be much of a difference so I think I'm gonna wait on the hack until they come up with something really big out of it. PMs are probably your best bet to catch me. Not too many people using GH1/2s out there it seems...
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Aug 22, 2011 19:06
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Mozzie posted:How to solve ever red problem ever: shoot on alexa. I'll preface this by saying I'm completely on your side. I just finished a 4 week union feature where we ran 2 RED cameras the whole show. Granted, our rental house certainly gave us LOTS of headaches (a well known LA rental house who had to change their name because the last one gave people traumatic flashbacks), but still we had damaged RED cables, consistent power-up issues, and you don't realize how annoying the menus are when the joystick on the back falls off. Of course, we also shot for 2 weeks in desert conditions, direct sunlight for a lot of it, and properly shading the camera kept us going. Never had to ice down the camera, and that was during 90-95 degree weather. However, even looking at this joke of a rental house, here's a price comparison: Arri Alexa "Base" package: $1750/day RED MX "Base" package: $890/day Give it 2 years, and this conundrum won't even exist anymore. For the time being, understand that simply wanting to shoot Alexa won't make it happen. I pitch it to productions, but many of them find it cost prohibitive. Of course, I'm also the one who tells production "you strapped over a million dollars to the back of the lowest bidder and gambled on barely functioning cameras."
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Aug 22, 2011 19:37
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Any of you fellas have a suggestion for where to sell used gear? We have a Canon XF300 that, though an excellent camera that served us well on the projects we bought if for, isn't quite what we need right now. We'd be better off with something like an AF100 or NEX-FS100u. My 5d does most of what we want visually, but the actual video camera features of the XF300 (XLR inputs and ergonomics in particular) have made certain shots sooo much easier. If we could combine a bit of that large sensor look with the right ergonomics it'd be perfect. I figure if we get a decent price on XF300 we could move on to something that works better with what we need right now, but I've never sold video gear before.
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Aug 23, 2011 19:34
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How does nightvision work? And how would I go about getting some sort of add-on/light for nightvision on my HMC40. I'm possibly going to be documenting a music tour, and that means plenty of dark venues and inside a dark van. I don't want to just have a distracting normal light going all the time. Furthermore, I don't know jack about XLR audio but this camera is compatible. What would be the best mic/XLR thingy to use for loud music? I know some distortion is going to be inevitable without a sound recording crew with me, but anything that will improve what the HMC40 comes with is welcome. Hopefully something I don't have to hold and will attach to the camera itself. I'm also looking for any suggestions of essential things to bring on a tour like this (2 months on the road). Anything you can think of that might not be very obvious like extra batteries and whatnot would be appreciated! I'd rather be overprepared than under.
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Aug 26, 2011 03:57
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Your best bet would be to get the house mix from any of the venues your are at. Unless they are using a super cheapo mixer they should be able to give you an XLR or 1/4" TRS connection. Make sure to set your input to line level. If you want to get super fancy, get one of those Sennheiser wireless transmitters and you'll be able to move around and shoot without being tethered to the mixer.
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Aug 26, 2011 08:27
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e: Not that helpful. Redacted
duck monster fucked around with this message at 05:44 on Aug 28, 2011 |
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Aug 26, 2011 14:41
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http://www.engadget.com/2011/08/26/sony-nex-fs100-review/ I'm interested, since it's a decent sensor and an interchangeable lens at a very nice price. Unfortunately, the review makes it sound less sturdy than I'd like something I'd be shooting on in many conditions. edit: No SDI? What the gently caress? Unexpected EOF fucked around with this message at 16:14 on Aug 28, 2011 |
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Aug 28, 2011 16:11
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Unexpected EOF posted:http://www.engadget.com/2011/08/26/sony-nex-fs100-review/ It can do 10-bit 4:2:2 out over HDMI, so the lack of SDI doesn't hurt it that much. Sony needs ways to get people working with a "pro" workflow to shell out for the F3, anyway. Another interesting wrinkle in the digital cinema camera field: http://www.kinefinity.com/index.html http://www.dslrnewsshooter.com/2011/08/27/birtv-2011-chinas-answer-to-red-the-kinefinity-kineraw-s35-digital-cinema-camera-for-us8000/ The feature set and price point sound amazing - will this be China's emergence as a serious contender in the field, a shoddy product of wage slavery or vaporware?
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Aug 28, 2011 19:03
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Moon Potato posted:It can do 10-bit 4:2:2 out over HDMI, so the lack of SDI doesn't hurt it that much. Sony needs ways to get people working with a "pro" workflow to shell out for the F3, anyway. It kinda hurts our workflow a bit since some of the stuff we use doesn't have any (I know, I know, but we're really poor) HDMI ports. Nothing that would be really expensive to replace, but it's a bit of a pain. We're looking to get a few more cameras of our own if our current project ever turns a profit.
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Aug 28, 2011 19:11
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Unexpected EOF posted:It kinda hurts our workflow a bit since some of the stuff we use doesn't have any (I know, I know, but we're really poor) HDMI ports. Nothing that would be really expensive to replace, but it's a bit of a pain. We're looking to get a few more cameras of our own if our current project ever turns a profit. Yeah, there's no point in upgrading your field monitors and recorders if you can avoid it. If there's no rush to buy your cameras, giving the digital S35 field a year or two to settle might give you what you want.
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Aug 28, 2011 19:37
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Moon Potato posted:Another interesting wrinkle in the digital cinema camera field: Huh, I guess that's where the stolen REDs went.
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Aug 28, 2011 19:54
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Man_of_Teflon posted:I've since watched the GH2 comparison hacked/unhacked that somebody posted up on DVXuser and there reeeeally didn't seem to be much of a difference so I think I'm gonna wait on the hack until they come up with something really big out of it. Yeah, I know what you mean. It's not mind blowing better, but I like the more organic look. Future updates could be interesting. Yeah, most people haven't heard of it. It's slowly coming into play in the biz a bit more. It's just so small people don't take it seriously.
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Aug 31, 2011 04:42
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I'm currently researching wireless focus kits and I've got three companies so far: Preston Arri Bartech Am I missing any that I should be checking out?
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Oct 8, 2011 19:29
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EnsGDT posted:I'm currently researching wireless focus kits and I've got three companies so far: If you've got the money, Preston is the gold standard of follow focus. I love working with my op's Preston. Bartech's are rad and a real workhorse, but higher up ACs sometimes scoff at them. I used a Bartech for 3 weeks on a feature and never had a problem. Jim Bartell is a super nice guy who'll make sure you've got everything you need for his gear. I've never had a chance to work with an Arri wireless FF outside of NAB tomfoolery.
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Oct 8, 2011 19:36
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EnsGDT posted:I'm currently researching wireless focus kits and I've got three companies so far: C-Motion Varizoom rebrands a wireless follow focus and sells it as their own. Hocus Focus I don't know if Arri is still making their WCU, I think they are working together with C-Motion for their next versions of wireless follow focus.
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Oct 11, 2011 02:00
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Thanks a bunch, man. We need a wireless focus kit for our steadicam rig, but Florida state keeps cutting the film school budget from what I understand, so we'll see what happens
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Oct 11, 2011 05:04
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Tiresias posted:C-Motion The Varizoom rebrand is a Bartech. EDIT: For $5,000, you can get a brand new Bartech and a Loon video M-One motor. Or, look through the steadicamforum.com marketplace for a used kit, and it'll be even cheaper. Not sure what your schools budget is, but it's cool that they have a rig and are willing to get a WFF for it. I hope someone is focusing on steadicam and actually taking workshops in order to properly use it 
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Oct 11, 2011 07:37
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ogopogo posted:The Varizoom rebrand is a Bartech. No it's not, it's by some company called Ravensclaw: http://ravensclaw.com/products.html Varizoom sells it. I asked a few questions at the Varizoom booth at NAB this year, and they were clueless.
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Oct 11, 2011 08:07
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Tiresias posted:No it's not, it's by some company called Ravensclaw: Interesting. I was talking about this WFF from Varizoom: http://www.bhphotovideo.com/c/product/543239-REG/VariZoom_VZ_WFF_VZ_WFF_Wireless_Follow_Focus.html Jim Bartell has even mentioned that it's his product rebranded. I wonder what's up? EDIT: Seems as if that version is back ordered all to hell or something. I've been out of the loop on it for a while. Peter Hoare's HoFo is getting the pro treatment right now and looks incredibly promising.
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Oct 11, 2011 17:28
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Hate to see this thread go dormant, so here's some news. Canon just unveiled a new professional camera to compete with Red and Arri. http://www.engadget.com/2011/11/03/canon-launches-c300-cinema-camera-prepares-to-take-on-red-scarl/?fb_ref=article&fb_source=home_multiline And naturally, Vincent Laforet got the first stab at it. https://vimeo.com/31525127 Retailing at around $20,000. Picture quality looks really drat nice.
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Nov 4, 2011 05:05
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And Red just unveiled the Scarlet - 4K Raw, S35 at about $14K for a basic package: http://www.red.com/products/scarlet I'm working for someone right now who wants to be shooting nature films at 4K but doesn't have the budget for an Epic at the moment, so this is probably what I'll be working with over the next year or two.
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Nov 4, 2011 05:32
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Slim Pickens posted:Hate to see this thread go dormant, so here's some news. Canon just unveiled a new professional camera to compete with Red and Arri. I wonder what ISO this was shot at - if you watch the 1080p version, there's a ton of noise in the shadow areas. Not a showstopper, but kind of blah. I hope all the Red MX owners ditch their cameras and get the Scarlet - I really have no need for 4k or HDRx and a sub-$10k MX would be the perfect camera for me. 1st AD fucked around with this message at 07:57 on Nov 4, 2011 |
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Nov 4, 2011 07:54
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I'm curious the new SLR body with more robust video features they mentioned. My work is pretty evenly split between stills and video so it'd be cool to get a two in one upgrade.
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Nov 4, 2011 16:35
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I'm looking for a HD video camera so I can shoot web videos as bonus material for my podcast - tabletop game demos, interviews, convention panels, etc. I have several XLR mics so an XLR port or two would be great. I definitely want something that doesn't require tapes but memory sticks/cards whatever are fine. I edit videos using Final Cut Pro on a macbook pro and I'd like to spend around $1500 but I could spend more if absolutely necessary. Do any of you know any cameras that fit those specs?
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Nov 6, 2011 01:02
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ogopogo posted:The Varizoom rebrand is a Bartech. Thanks for all the info! We have an old rig, but it's definitely funcional, though in need of some TLC. We're also in communication with Steadicam to come to campus and do one of their student workshops, which would be really awesome.
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Nov 6, 2011 01:47
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clockworkjoe posted:I'm looking for a HD video camera so I can shoot web videos as bonus material for my podcast - tabletop game demos, interviews, convention panels, etc. I have several XLR mics so an XLR port or two would be great. I definitely want something that doesn't require tapes but memory sticks/cards whatever are fine. I don't know that there's anything for $1500 new, but you might be able to track something down used. Seems like $2000 is about the starting point for video cameras that have XLR inputs built in. Canon, JVC, Sony, and Panasonic all have pretty nice little cameras at about that range. I like the looks of this Canon: http://www.bhphotovideo.com/c/product/749467-REG/Canon_4922B002_XA10_HD_Professional_Camcorder.html If you didn't mind syncing the audio in post, you could also look at DSLR video with a field recorder of some kind.
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Nov 6, 2011 02:03
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XA10 is a good value, but if you have a bit more cash I would most definitely recommend the XF100 over it - 50mbps 4:2:2 may not be as efficient as AVCHD as far as quality/bitrate goes, but you can pull grades out of the XF footage that would make AVCHD fall apart. If your post workflow doesn't include heavy grading, I would recommend either a Sony or Panasonic AVCHD camcorder. Color out of every Canon camcorder I've ever worked with is fairly flat and requires a minimum of some s-curve manipulation and increased saturation of the skin tones (obviously their DSLR's do better in this respect). Usually on a Sony and especially Panasonic, the color I get as-shot is sufficient and I don't have to do much tweaking as long as the image was exposed and lit properly to begin with.
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Nov 6, 2011 18:48
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1st AD posted:XA10 is a good value, but if you have a bit more cash I would most definitely recommend the XF100 over it - 50mbps 4:2:2 may not be as efficient as AVCHD as far as quality/bitrate goes, but you can pull grades out of the XF footage that would make AVCHD fall apart. What Sony or Panasonic AVCHD camcorders would you recommend? Thanks for all the input so far
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Nov 6, 2011 20:20
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The school I'm at now has an elective course called independent study, where you design your own topic to study and build a curriculum around it. Does anyone have any good suggestions? The school (Art Institute) has a decent amount of video equipment and already teaches motion graphics. Things I've considered studying are shooting on film cameras or 3D cinematography, but I'd like suggestions on anything you guys think would be more useful.
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Nov 14, 2011 09:27
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If you don't already know what or how you want to study independently, then stick to the structured courses. You're not gonna get anything out of haphazardly throwing together your own course if you're not sure what it's on.
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Nov 14, 2011 17:27
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Yeah, in my experience independent studies are usually for bigger projects that you want to work on but aren't covered or are too extensive for an existing course. It's pretty much a way for you to use what you're learning in your classes on other stuff or to go above and beyond your classes on your own while still getting credit. I've heard of people using them to basically create a class for themselves that doesn't yet exist, but I didn't get the impression that they were a very good learning experience. I guess it might work if you know someone who has a lot of experience with one of those things and want to get credit for having them teach you about it, though.
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Nov 14, 2011 18:18
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Used an Epic for the first time in one of my productions last week. Knowing its limitations ahead of time, it worked out very well for us. The images are amazing even on the lower res super-speeds we shot on. and the handheld rig was actually light enough to not be a back breaker for the DP and had very few cables. it ran all day while also powering a 5.6" monitor and only used 3 or 4 Red Bricks. Biggest problems to effect us on set: No freaking playback and HDRx mode doesn't show you what it will look like when it's on. you have to meter it and hope you guessed right, which was impossible to do when we were under the gun.
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Nov 15, 2011 04:13
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SquareDog posted:Biggest problems to effect us on set: No freaking playback Everyone said they missed film...
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Nov 15, 2011 08:06
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I bought a T3i in August, and while the photos are gorgeous and I'm happy, there's been an issue with video I'm trying to sort out. In a good amount of my footage with the stock 18-55 lens, there is a tiny red pixel in the footage just off-center. I originally thought it was the sensor, but it seems to change. In some footage it's blurrier when my camera is focused farther away, and in a lot of footage it isn't there at all. Is there some way I can test to see if it's the camera or the lens? I just did a shoot where I had to spend a good amount of time fixing that pixel but I don't have the camera packaging anymore so I don't even know if I can get it replaced so I'd like to make sure and fix it if it's fixable on my end.
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Nov 22, 2011 18:30
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