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How sensitive is it to light. Ie if your shooting something well lit vs not so well lit? Have you got something like a nifty 50 lens (really cheap really awesome little fixed lens for stills [Not so useful for film due to the really narrow dof though] that handles low light like a charm) or something to compare it against? By the way if you have a T3i , be sure to load up magic lantern on it, it utterly transforms the camera into a beast. e: Oh by the way. I ended up doing some shooting the other day, and ended up running out of battery much to my frusturation. In desparation I pulled out the iPhone 4S just to at least salvage something out of the situation and much to my surprise the drat thing actually takes pretty decent video. The lens seems to be around about 3f stops thereabouts, but with a really deep depth of focus (I guess its tiny lens helps that) and even blown up there wasnt a lot of noise. You probably wouldn't want to use it as a primary camera, its definately inferior to the EOS and with almost no tweakability, which limits it, but as an emergency its a pretty decent little option. Video is getting very democratic these days. duck monster fucked around with this message at 09:33 on Nov 26, 2011 |
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Nov 26, 2011 09:28
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T3i is pretty much identical to the T2i in terms of image quality. Decent noise up to 1250-1600 ISO, with excessive chroma noise once you go past that. Cleanest ISO's are 160 and 320. The crop mode on the T3i is pretty nice and reduces the aliasing and moire problems, but there will be a definite change in your FOV and DOF.
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Nov 26, 2011 10:04
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Two Epics are supposed to get here on Monday. Anything in particular I should keep my eye out for while playing with them for the first time?
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Nov 26, 2011 19:36
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EnsGDT posted:Two Epics are supposed to get here on Monday. Anything in particular I should keep my eye out for while playing with them for the first time? No playback, and unless you have tiny little hands (like I do  ), enlist the help of someone with little bitch hands to attach the monitoring BNC or right angle BNC.
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Nov 26, 2011 20:20
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EnsGDT posted:Two Epics are supposed to get here on Monday. Anything in particular I should keep my eye out for while playing with them for the first time? Were you lucky enough to get a RedMote with it?
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Nov 27, 2011 02:49
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SquareDog posted:Were you lucky enough to get a RedMote with it? According to our dean that should be part of our package, but I guess I'll be able to let you know for sure on Monday 
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Nov 27, 2011 20:51
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duck monster posted:How sensitive is it to light. Ie if your shooting something well lit vs not so well lit? Here are some shots from the show. You can see the pixel is different in each one, though it's in the same place. In the first shot you can see it fairly bright but blurry to the left of her left bicep. In the second, it's sharper but in the same spot. In the third you can't see it at all. I'm definitely looking into magic lantern, although I may wait a bit. Planning on picking up a nifty 50 as my next lens purchase, though I'm too tight on funds for the moment, but I definitely would have made good use of it for this performance if I'd had it.   
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Nov 28, 2011 03:16
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bassguitarhero posted:I'm definitely looking into magic lantern, although I may wait a bit. Planning on picking up a nifty 50 as my next lens purchase, though I'm too tight on funds for the moment, but I definitely would have made good use of it for this performance if I'd had it. I use ML on my Canon Rebel T2i and it's a dream come true. I have a Rode shotgun mic mounted on top and through the options with manual exposure and constant gain or loss, you really have endless possibilities. It takes some time to get used to, but in the end, it's worth a million dollars. (Granted, it's free) EDIT: Also, with Technicolor Cinestyle, it gets even better. Vicarious Creation fucked around with this message at 17:51 on Nov 28, 2011 |
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Nov 28, 2011 17:32
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Looks like no redmotes, no pro i/o, and no battery attachment. We got pretty much the basic kit of epic-x brain and 64 gig ssd media. No side handles either. Luckily we could power off our old red-brick batteries that we hardly use anymore. It's a start but they're definitely not really for the field. No bomb EVFs either. Positive things: I love the touch screen monitor. 16-bit 5K FF looks really nice. Pretty cool focus assist stuff. The titanium PL mount is solid as hell. Holy poo poo is it small. Also, awesome boot up time. Negatives: The aforementioned lack of playback in this firmware version, only like...half the accessories we really need to kit it out, holy jesus is the fan loud. I'm sure there was other stuff but for now I'm just enamored with a new acquisition tool. So pretty much my next two to three weeks will be playing with the epic and leaning all its ins and outs. Fun!
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Nov 29, 2011 04:13
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EnsGDT posted:Looks like no redmotes, no pro i/o, and no battery attachment. We got pretty much the basic kit of epic-x brain and 64 gig ssd media. No side handles either. Luckily we could power off our old red-brick batteries that we hardly use anymore. It's a start but they're definitely not really for the field. No bomb EVFs either. The side handle is useless unless you're doing still photography (why? get a Hasselblad, it's cheaper) so don't miss it, and don't miss the red volt batts either. They only hold a 30 min charge. You're much better off with the red bricks. Also the "Bomb" EVF (apparently Red doesn't want you to take your red accessories on any international flights) is useless without a redmote. With only one evf/lcd port you need to use it for the lcd which, without a redmote, is the only way to control the camera. Even with the redmote, you still have to choose between using the port for the lcd OR the evf and will need to use your single HD-SDI port for whichever you didn't pick, and you've have to split that signal if you want a client monitor.  Basically it's a Beta product being paraded as release. They really need to take a page from Arri on design. But hey it makes fantastic images! Shot my last production on it.
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Nov 29, 2011 05:54
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Canon C300 is looking very nice... http://vimeo.com/jonyi/c300
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Nov 30, 2011 21:20
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Blamethrower posted:Canon C300 is looking very nice... I'm surprised by that. I was expecting a slider video of a backyard followed by someone lighting a match in a dark room. That link was actually pretty informative.
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Dec 1, 2011 03:14
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I prefer that review over all the things posted by guys like Phillip Bloom who have notoriety but are lovely at composing and lighting things and post boring landscape videos that tell me little about how a camera performs in an actual scene. Plus the dude is genuinely funny and you can tell he had fun with the camera. I'm super sold on the C300 having seen it handled by a real pro, too bad it's Scarlet-priced. I wish Panasonic would step with up with an AF250 that took the AF100 chipset and gave it a P2/AVC-Intra backbone. A camera like that should in theory be like $6-$8k, and at that price it would be a steal to have an onboard 10-bit codec. 1st AD fucked around with this message at 05:43 on Dec 1, 2011 |
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Dec 1, 2011 05:39
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How soft do you guys think the C300 footage will look on a movie screen? Most digital projectors in modern theaters are projecting at 4k right?
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Dec 1, 2011 13:57
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I think it'll look great, but I think audiences are generally pretty happy as long as they can see the picture and it's well-composed. I'd be more worried about filmmakers making the backgrounds TOO soft, where you have entire films with actors essentially standing in front of bokeh backgrounds the whole time. Of course, that could be big cost-savings as well... "Is it Brooklyn, London, or San Francisco?" "None! She's standing in front of a bunch of christmas tree lights!"
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Dec 1, 2011 18:35
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BeavisNuke posted:How soft do you guys think the C300 footage will look on a movie screen? Most digital projectors in modern theaters are projecting at 4k right? Most digital projectors are projecting at 2K and even the ones that are 4K are still only showing 2k because nobody delivers movie to theaters at anything higher than 2K... so far.
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Dec 1, 2011 20:18
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I'm not sure. I think too shallow depth of field definitely has an amateur feel to it. To me it screams DLSR/no budget for lights. But it's in style at the moment and as they are so affordable a lot of upcoming/student (even professional) filmmakers, including myself, are using them. The trick is to make it not look like DSLR footage. Shoot on a 5d with enough lighting and most people won't be able to tell the difference between it and film. The 5d/7d can produce lovely images, but putting more of your budget towards lighting really makes it a step up from the other DSLR footage you see nowadays on youtube etc. I guess my point is it depends on what the dop/director want the film to look like. I don't think the C300 will have a problem delivering both ie small depth of field or huge. Especially with the decreased noise on high ISO's, in theory you could just put the lens at f11 and put up the ISO to 20k (just an example), focus up and not worry too much.
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Dec 1, 2011 20:24
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Blamethrower posted:I'm not sure. I think too shallow depth of field definitely has an amateur feel to it. To me it screams DLSR/no budget for lights. But it's in style at the moment and as they are so affordable a lot of upcoming/student (even professional) filmmakers, including myself, are using them. I get what you're saying but let's not forget that every video camera from just a few years ago had such a small imaging plane that it kept everything in focus, and buttery depth of field was something we coveted. Some people are undoubtedly overusing it though. If you want to keep the audience's attention on the actor it can't be beat. I wanted to post what I've most recently been working on. Shot it with a 7D with a homemade IKEA dolly for the tracking shots. Graded with Colorista II, which is honestly the main reason the footage looks good. It's a pretty incredible piece of software. I tried to limit a shallow depth of field in a lot of the interview scenes because they wanted the campus to be featured. http://www.youtube.com/watch?v=C7gV7keMSTg BeavisNuke fucked around with this message at 20:41 on Dec 1, 2011 |
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Dec 1, 2011 20:38
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That's very nice, well done. Was that a steadicam shot I noticed? Was that another home made project or was it something your purchased? Also if you don't mind me asking what picture style did you shoot on? I'm finding the technicolor cinestyle profile fantastic (grading wise).
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Dec 1, 2011 20:56
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Blamethrower posted:That's very nice, well done. Was that a steadicam shot I noticed? Was that another home made project or was it something your purchased? I am happy to give away all my techniques. Yes, Technicolor Cinestyle all the way. I don't think I would ever change unless someone comes out with a style that is even lower contrast. I can't afford a real steadicam but I do use a Steadytrack Ultralight: http://www.bhphotovideo.com/c/product/568490-REG/CobraCrane_5045_210056_SteadyTracker_UltraLite.html I am not perfect with it but whatever shakes I get are smoothed about by the Warp Stabilizer in After Effects. Frankly you might as well have a real steadicam with that combo. I used it extensively for the camera movements in this campus tour video: http://vimeo.com/31793519 Believe it or not I am still shooting with the kit lens and a 50mm Nikon 1.8. I am going to buy the Tamron 17-50 pretty soon.
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Dec 1, 2011 21:05
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BeavisNuke posted:I am happy to give away all my techniques. Yes, Technicolor Cinestyle all the way. I don't think I would ever change unless someone comes out with a style that is even lower contrast. The one thing I don't like about Cinestyle is the fact that it seems to sacrifice details in the mids and shadows in favor of preserving highlight detail. I see a bit of that in your outdoor interviews. I think this is a problem with shooting flat on an 8-bit codec - it just doesn't preserve that much detail in the middle of your range and even on the 50mbps XF footage I have to make judicious use of power windows to get skin looking good while maintaining background highlights. Worst of all, when I make curve adjustments it seems to raise shadow noise like crazy. I've also noticed these problems in the C300 footage I've seen so far, but that camera has such high DR and a filmic looking noise pattern that it doesn't matter. Blamethrower posted:I'm not sure. I think too shallow depth of field definitely has an amateur feel to it. To me it screams DLSR/no budget for lights. But it's in style at the moment and as they are so affordable a lot of upcoming/student (even professional) filmmakers, including myself, are using them. I think this is the real breakthrough, to be able to shoot at f/11 without having to spend a ton of money on grip and lighting. Even shooting at f/5.6 would make life much easier.
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Dec 1, 2011 22:20
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1st AD posted:The one thing I don't like about Cinestyle is the fact that it seems to sacrifice details in the mids and shadows in favor of preserving highlight detail. I see a bit of that in your outdoor interviews. I haven't done a lot of testing with the other picture styles because I like how gradeable the cinestyle footage is. Retaining highlight detail is one of the largest weaknesses of a digital camera though, so I think it's balancing it out in the end. As soon as I turn off Highlight Tone Priority and shoot someone in the sun it looks terrible. I guess I don't mind losing shadow detail because a smooth highlight roll off and dark shadows is pretty much a film look. What would you shoot on? The Canon Neutral style?
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Dec 1, 2011 22:45
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BeavisNuke posted:I haven't done a lot of testing with the other picture styles because I like how gradeable the cinestyle footage is. Retaining highlight detail is one of the largest weaknesses of a digital camera though, so I think it's balancing it out in the end. As soon as I turn off Highlight Tone Priority and shoot someone in the sun it looks terrible. I guess I don't mind losing shadow detail because a smooth highlight roll off and dark shadows is pretty much a film look. Yeah I pretty much shoot all my Canon DSLR footage in Neutral, using the Cinestyle recommended picture and color settings. You can't play with the curves as much, but the contrast is baked in a little more. I just ordered a GH2 to play with the new ISO and bitrate hacks, anybody have good picture profile settings?
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Dec 1, 2011 22:57
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exp0n fucked around with this message at 01:03 on Nov 30, 2014 |
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Dec 2, 2011 08:42
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Blamethrower posted:Canon C300 is looking very nice... I would like to see some extensive green screen tests. Especially dealing with motion, uneven screens, different shades of green, hair, and basically the worst possible things that can happen during a composite shoot to see how it holds up.
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Dec 2, 2011 08:50
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Here's a video that also has the red pixel. http://vimeo.com/33001069 It's not in all the shots, but it is in the same place as the shots from the theatrical play. That makes it seem more likely it's a bad pixel on the sensor, although the fact it's not consistently there is what stumps me. Maybe the pixel goes bad after I've been shooting for a while? Perhaps it heats up and then the problem starts. I'm gonna contact Canon and see if they can do a switch on it.
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Dec 3, 2011 05:20
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Question for you all. I currently have a Canon Rebel T2i (18-55mm Lens and I will be getting a 50mm f1.8 II next week) with Magic Lantern. Rode VideoMic (shotgun) and a DIY Fig Rig. I have lights and a green screen. I'm all ready to shoot, but I always over criticize everything I even attempt. Is there anything anyone can tell me to help get over such frustrations. I have tons of ideas, few actors and yet, nothing happens because I feel it's not right.
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Dec 8, 2011 01:16
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Vicarious Creation posted:Question for you all. I currently have a Canon Rebel T2i (18-55mm Lens and I will be getting a 50mm f1.8 II next week) with Magic Lantern. Rode VideoMic (shotgun) and a DIY Fig Rig. I have lights and a green screen. Try starting out without the green screen and get less technical with everything. Write a 3 minute short film that takes place in one location involving two actors. Write dialogue good enough to sustain the scene for that amount of time. Focus on shooting those two people well (master shot and two close ups etc) and making them deliver the lines convincingly. Then get crazy with more technical things later.
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Dec 8, 2011 02:02
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Vicarious Creation posted:Question for you all. I currently have a Canon Rebel T2i (18-55mm Lens and I will be getting a 50mm f1.8 II next week) with Magic Lantern. Rode VideoMic (shotgun) and a DIY Fig Rig. I have lights and a green screen. Just shoot. Nothing is ever right. Nothing is ever perfect. There are always compromises and that's not necessarily a bad thing. I guess when you have all the time in the world it is easy to never start, easy to keep refining and waiting for ideas to be perfect, but the reality of production is that you never have enough time because of schedules. Give yourself a schedule. Set a shoot date and determine you'll shoot on that day come hell or high water. It's amazing what can be done when you give yourself a deadline. I find my creativity kicks into overdrive when time is running out. You go from cold sweat panic that what you are about to do is poo poo, to joy when you come up with that amazing idea out of the blue. There is a lot of faith in writing and production. Faith that you'll just be able to do it. I remember being on day 3 of a 4 day shoot, afternoon, shooting the resolution act of a reality show and nothing was happening. It was boring. We weren't getting any good story. I felt sick. My script (what you hope would happen) had been abandoned as useless and we were winging it. The show producer and myself hatched a plan for a nice, but pretty boring resolution, relayed it to the exec who shot it down. We were hosed. I was looking at 4 days, on location, 12 person crew, with no loving show heading into the last night, which is usually all smiley happy, resolution, do it in your sleep shots. I was tired, hungry, and sure I was going to get fired because I must have screwed something up to not have a story (but hey that's reality shooting). But unlike you, I couldn't not shoot. I couldn't delay. I was on a countdown clock to complete failure and I had to shoot or perish. I went into that night with a new plan, I turned the "what did you learn" wrap up interview on its head, played back some contentious video from a relative, ignored the lead camera who told me it was a terrible idea, had the subject rip her mic off, storm off set, and threaten to quit while alternately yelling and balling her eyes out, while our always professional crew kept rolling. We coaxed her back, had a storyline, had a kickass storyline now, I felt like I was going to puke, the producer was giddy, the exec was out of his head with excitement on the phone getting me relay every detail. I felt loving exhausted and victorious and still sick because I had been so close to failure. The show was the best show of the entire season. So my long winded point? Production is doubt and confidence and failure and success and questioning, and terrible horrible time crunches. That's what it is. It's exhilarating and horrifying at the same time. You just have to jump in and do it full steam ahead. A really good producer once told me that the key to the whole production thing is to just keep making decisions, and never second guess. Make a decision and move on. Just moving forward is more than half the battle.
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Dec 8, 2011 05:53
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Walnut Crunch posted:Just shoot. Nothing is ever right. Nothing is ever perfect. There are always compromises and that's not necessarily a bad thing. I guess when you have all the time in the world it is easy to never start, easy to keep refining and waiting for ideas to be perfect, but the reality of production is that you never have enough time because of schedules. I'm in a similar boat as Vicarious Creation and I just wanted to tell you that this is an awesome post, thank you. Every time I've shot something I've been frustrated with the outcome and I think you just helped a lot.
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Dec 8, 2011 06:25
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Walnut Crunch posted:Looooooooooooooong, yet incredible informative post. Walnut Crunch, you're a beast. Thanks for the encouragement. I will begin shooting this Saturday with some people that I have gathered. Looks like we are going to shoot till I have something, come hell or high water. Thanks again.
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Dec 8, 2011 17:35
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One of the rental houses around here had a beta C300 for showing yesterday. The setup was a santa doll and a bunch of different colored gaff tapes to show a spectrum of colors against a black curtain. The scene was lit with two Kino Flo Divas with one tungsten balanced and one daylight balanced bulb in each. They were dimmed to just above off, and there was a 1x1 litepanel as a backlight. Didn't see what it was set at. The camera had a 24-105 F/4 lens and it was wide open and ISO was 5000. I looked at the image on an ~22" (not exactly sure) SDI monitor. The color reproduction was pretty much spot on. There was hardly ANY noise at all in the image. When the lens was at f4, the highlights were nearly blown out. Someone took it off the tripod and was swinging it around and playing with it to test ergonomics and I didn't see any rolling shutter at all. It may be there, but it is minimal. The log setting looks nice and flat. Also has the ability to record log, but display rec709 on viewfinder or external monitors. I didn't actually get a chance to touch it or play with anything (I was letting the more qualified people handle it and I was just listening to what they were saying about it compared to other cameras) but from what I saw, I was impressed. I'm still not sure how the 8-bit codec will hold up to heavy grading, upscaling, or keying. I did look at the fine hairs on the santa doll though, and they looked clean. Didn't really see aliasing or fringing, but again, I am not able to pull it up on a computer to inspect it for sure. Canon rep also said price is around 20k, but that's MSRP, not street price so it will probably be lower than that. Mostly disappointed about 720p60. Doubt they have any plans giving this camera a 60p option for 1080. E: I took some pics with my phone, but nothing worth showing.
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Dec 8, 2011 22:16
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BeavisNuke posted:I am happy to give away all my techniques. Yes, Technicolor Cinestyle all the way. I don't think I would ever change unless someone comes out with a style that is even lower contrast. Do you reckon that using a HMC40 (about 2.15 pounds) with that SteadyTracker would be any good? It's a little shy of 2.5 pounds I guess but it is certainly the most I can afford on something like that.
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Dec 12, 2011 03:51
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chimheil posted:Also has the ability to record log, but display rec709 on viewfinder or external monitors. That's a cool feature. There's footage out there of the C300 at ISO 10,000 and it still looks fairly free of noise, at least the obnoxious chroma noise that plagues the current Canons at high ISO's. I'd be cool to be able to shoot at f/8 or f/11 without breaking the budget on lighting.
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Dec 12, 2011 05:08
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Some guys at MIT developed a slow motion camera that records 1 trillion (1.000.000.000.000) frames per second, which makes it possible to show the travel of light: http://www.slashcam.de/news/single/Die-ultimative-Zeitlupenkamera--Lichtbewegung-sehe-9495.html The article is in German, but the videos are in English.
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Dec 13, 2011 18:40
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Wanted to post what I'm working on right now. Lots of Colorista, AE Warp Stabilizer smoothing, home-made dolly action, and even some MB DeNoiser: http://www.youtube.com/watch?v=npO0J_4Bgt4
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Dec 13, 2011 20:01
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You're sort of betraying the sunny location with your color grading, it's a little foreboding and overcast (and doesn't match the upbeat music). At 2:56 you have the photo of the building against the blue sky, which looks more Boca Raton-like than most of your video, which is very warm and humid (as opposed to warm and breezy). Maybe that's what you're going for, but it's sort of offputting.
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Dec 18, 2011 19:18
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I see what you mean 100%. I think I need a strong gradient filter because some of those shots were sunny but I can rarely get the sky to expose properly because it is so bright.
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Dec 19, 2011 13:05
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You also may want to bring up the exposure on the first interviewee's face.
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Dec 19, 2011 13:50
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This is a little bit of a teaser for a project I am working on called Gray State. https://www.graystatemovie.com The story revolves around three characters who are representing different parts of society in a "if conspiracy theories are true" world. Things such as militarization of the police, the Government rounding up "terrorists" or people who have opinions or are outspoken against big government, FEMA camps, etc. One character represents the good nature in people, one represents the general public and their turning of a blind eye attitude, and the other represents someone who has "woken up" and is taking a stand against tryanny. For the past year we have been doing research, pre-production, shot material for a concept trailer this summer, and are currently in post. We shot on 95% 5d, and 5% gopro, HPX 2700, AF100, and HPX170. The reason we are doing a concept trailer is because we wanted to see how far we could push the camera, how big we could grow the project, and really needed visuals rather than just words to get the idea of the thing across. Hopefully, once we have finished the trailer, finalized feature length script, and put together our budgeting, marketing, and distro plans, we could get funding to actually do the feature. We are planning on doing it the right way instead of just picking up people and telling them to act on command. We will be in post for quite a while yet as it is only two of us, and a lot of it is compositing because we didn't have a large cast, crew, or budget so there is a lot of roto, duplicating people, and matte painting. Here is a fun little pre-teaser we shot for Christmas with an old Sony Handycam. We opted to use that vs a 5D because it has the homemade handheld feel to it. http://www.youtube.com/watch?v=sWSzlxjs1rI I honestly wish I had more I could show you, but unfortunately we I don't. All I have is the website, that little teaser, and our facebook page. https://www.facebook.com/graystatemovie
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Dec 26, 2011 05:27
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