|
FLX posted:Why isn't there a Kindle Edition of this book?! Isn't there an ebook version of it? I could have sworn that I saw it for sale somewhere but it was $50 instead of $30 like the print edition. And yeah, it really is a great resource into the motivation behind camera movements in general. I'm TAing a couple production classes next semester and the SOH has given me a ton to think about. Having camera motivation phrased this elegantly and concisely would have been a Godsend when I took the class.
|
#
?
May 26, 2012 22:17
|
|
I've got some traveling coming up, where I might need a break from my planned digital cinema and color grading reading.
|
|
| # ? May 14, 2024 19:17 |
|
|
This is my first real attempt at getting anything of my own funded. Everything else I have done has been completely out of pocket saved from other gigs and personal contributions. For the past year I have been working on a movie called Gray State. It is a movie about a near future where the government has completely taken over, created a police state, and is totally controlling the population. It is about freedom fighters and their want to take back their country. In support of the project, we have been working on a series of mini-documentary movies that showcase the real-life events that have inspired Gray State. We are looking for funding to get down to the RNC in August in Tampa to show the concept trailer. While in Tampa we also plan to shoot some more documentary footage of protests, possible (probable) riots, interviews with key people whom we haven't quite determined yet, and b-roll for whatever we may find use for it. As far as the feature goes, we are still currently in post on the trailer, but the feature length script is on a solid draft 2 and will be sent to a script doctor once we get it copy-written. If you could check it out and give me some feedback, it would be really appreciated. http://www.indiegogo.com/graystateRNC
|
|
#
?
May 27, 2012 00:07
|
|
|
chimheil posted:If you could check it out and give me some feedback, it would be really appreciated. I think it's silly to ask strangers for $5,000 to pay for your internet libertarian vacation trip to the RNC, and to do so in this thread instead of the thread for these kinds of posts. Seriously, five grand to go to a political convention and maybe show a possibly finished trailer of an unmade film to...some people?
|
|
#
?
May 27, 2012 22:12
|
|
|
Anyone here have any real world experience with the Nikon D4 or D800? We're upgrading from our D300 for stills, and for low-light, fast moving nature, the d4 seems to be the better camera. However, our President is now big on DSLR's and he's very focussed on video. Apparently he had a conversation with a guy who shoots meetings with a 5dmk2 and some mega rig, where the guy explained that "old" style cameras aren't necessary anymore. Fantastic. Not sure if that guy has shot on a beach with his rig, or lept off a boat and quickly scaled 20 feet of near vert barnacle covered rock with it, but that's something we do. Anyway, right tool discussions aside, a good DSLR with good video would be a great asset for us and give us even more flexibility. The Pres is very big on the 800. I'm very big on finding the right tool of those choices and getting it. Truthfully the 800's file size for RAW pictures might prove a little problematic for us. There are a lot of blogs with pre-production model reviews, and their is the current "what a deal" craziness over the cheaper d800 having better benchmark scores than the d4, but I'm looking for some real video performance in the field stuff with production models. Anyone have any?
|
|
#
?
May 28, 2012 19:01
|
|
|
I moved from a 5D II that I regularly used in productions to a D800. I haven't had a chance to use the D800 on a production yet, but I've been happy with the few tests I've done so far. We've hit a lull in our business since I picked it up, unfortunately. Look at comparisons of the D4's full frame video to the D800. The D4 isn't great. It's visibly, noticeably soft. I'm not great at pixel peeping and it still stood out on the samples I looked at. Oddly, the crop mode looks quite good. On the stills side I'm sure the D4 is better suited to high speed nature stuff, but it's not a great option if you really need the video to shine. If file size is an issue between the D800 and the D4 $3k will buy you a lot of storage. Is there something in particular you'd like to see out of the video? Most of my work is documentary and interview stuff, but I could shoot some tests if you had a situation in mind and it'd help.
|
|
#
?
May 28, 2012 19:42
|
|
|
A good friend and someone EXTREMELY technical has given a big thumbs up to the D800. Compared footage from the C300 and the D800, and they were extremely impressed. As a side note: Steadiman, I hope you're having a killer time in Cannes!!!
|
|
#
?
May 28, 2012 20:24
|
|
|
If you don't need high ISO the D800 is probably the best FF stills/video SLR out there. I dicked around a bit with my friends D800 and boy does the video beat the pants off the 5D2 and 3 in terms of sharpness and DR. The only reason I'm still considering the 5D3 at all is because I'm going to be traveling a lot and I would like to do so with something like a 24-105 and MAYBE a 50 1.4 so that I don't have to lug giant heavy glass all over on vacation. 1st AD fucked around with this message at 22:05 on May 28, 2012 |
|
#
?
May 28, 2012 22:03
|
|
|
What are your guys' opinions on 5219 vs 5230. Kodak gave us some for free and we've never used it before.
|
|
#
?
May 28, 2012 22:10
|
|
|
The D800 vs C300 comparison wasn't just looking at the footage. They were comparing it with scopes and other technical crap in a Technicolor suite.
|
|
#
?
May 28, 2012 22:49
|
|
|
EnsGDT posted:What are your guys' opinions on 5219 vs 5230. Kodak gave us some for free and we've never used it before. As far as I know the difference between the vision stock and the non vision stock is slightly extended curve (latitude) and something in more vibrant colors in the yellow and red in the emulsion. Outside of that, no clue. They are rated the same. I'd guess the v3 stock has a cleaner grain structure too, but without seeing a side by side I have no clue. I've only shot the 18/19 stocks, not the non vision version. I'm a fan of the 52/7219. It handles push/pull well... I miss shooting on film :\
|
|
#
?
May 30, 2012 17:29
|
|
|
zer0spunk posted:I miss shooting on film :\ I miss respect for a process, but I find that process was the result of film's "pacing" on set. Sometimes you only have so much film stock on hand, and each takes costs money, so we rehearse, we block, we take time to care. With digital, simply put: who the gently caress cares, let's shoot everything all the time. On the other hand, digital has allowed for productions to look great that previously would have looked terrible. Digital allows for some real egalitarian filmmaking, and the technology is evolving daily. So, for those of us who miss shooting on film, I suggest this: be courageous enough to stand your ground and not be rushed. Shoot wisely, because that doesn't NEED to be film.
|
|
#
?
May 30, 2012 22:32
|
|
|
Definitely the coolest short end I've gotten in a while. Beats the hell out of the Green Lantern ones we got last year.
|
|
#
?
May 31, 2012 07:56
|
|
|
I read somewhere that some film professor convinced his students that if the RAID array of hard drives that held their projects was exposed to light, their projects would be destroyed and they would fail.
|
|
#
?
May 31, 2012 11:49
|
|
|
BeavisNuke posted:I read somewhere that some film professor convinced his students that if the RAID array of hard drives that held their projects was exposed to light, their projects would be destroyed and they would fail. EnsGDT posted:Note to self, try and convince one of the first year students that the RAID we dump footage to must be in the dark or else they'll expose what we shot. Was it me earlier in the thread? hahah
|
|
#
?
May 31, 2012 14:29
|
|
|
BeavisNuke posted:I read somewhere that some film professor convinced his students that if the RAID array of hard drives that held their projects was exposed to light, their projects would be destroyed and they would fail. I do that all the time. "Be sure to place the RED drive into a changing tent when you start copying the footage, or you'll flash the data." Watch their eyes grow...
|
|
#
?
May 31, 2012 17:51
|
|
|
Tiresias posted:I do that all the time. "Be sure to place the RED drive into a changing tent when you start copying the footage, or you'll flash the data." That's pretty cruel considering how many RED drives I've had malfunction on me.
|
|
#
?
May 31, 2012 22:26
|
|
|
TheBigBad posted:That's pretty cruel considering how many RED drives I've had malfunction on me. Well were you dumping them outside of a changing tent?? 
|
|
#
?
May 31, 2012 22:34
|
|
|
EnsGDT posted:Well were you dumping them outside of a changing tent?? YOU GET A TENT? WE JUST GET A STUPID BAG WITH SLEAVES!!!
|
|
#
?
May 31, 2012 23:33
|
|
|
TheBigBad posted:YOU GET A TENT? WE JUST GET A STUPID BAG WITH SLEAVES!!! Oh god the bag. I've used the bag. I hate the bag.
|
|
#
?
Jun 1, 2012 00:06
|
|
|
EnsGDT posted:Oh god the bag. I've used the bag. I hate the bag. I had one AC gig on an SR2 where they didn't get a changing bag with the camera order so I had to pick one up from a friend at 5 AM, day of, right before the call. He only had the jumbo size changing tent which must be designed for 70mm mags or something. Turns out there's no staging (or any crew besides the dir/dp for that matter) so I had to load/download in the trunk of an SUV that was half the size of the full tent. So I'm on my knees (nothing to sit on) literally shoulders deep in this bag that is unable to prop open, hence I'm just swimming in mounds of loose tent while trying to load these lovely mags. And of course they were terrible mags that needed service and jammed constantly. That day got worse from there... I hate ACing.
|
|
#
?
Jun 1, 2012 20:55
|
|
|
Tiresias posted:So, for those of us who miss shooting on film, I suggest this: be courageous enough to stand your ground and not be rushed. Shoot wisely, because that doesn't NEED to be film. I agree with this 100%. I don't miss shooting on film, but proper pacing on set is vital. It's important for the talent to allow them to unwind and re-wind, it's important to the crew to have down time, it's important for the director and DP to be able to evaluate where things are, and to be honest when I'm on rushed sets, they're generally lovely films. A lot of this tends to come from the fact that films are now done so much more cheaply, so the producers and the filmmakers (who are normally paying out of pocket for things) rush people so that they feel like they get more for their dollars, but it only makes the production worse. Budget time and money properly, get a good on-set pace and magic happens.
|
|
#
?
Jun 2, 2012 01:22
|
|
|
AMATEUR POOR PERSON ALERT Seems the best place to ask. Please inform me loudly and rudely if I am wrong. I want to make a dumb film with my friends, mostly for our own amusement and maybe 500 Youtube views. I have: A Toshiba Camileo X400. It was a well meaning gift and for the £110 it cost it's awesome but truth told it kinda sucks for what I want to do, no manual control over focus at all is kind of a killer. I'm going to take it out for a test run and see if I can make it work but it doesn't seem worth it at this point. I need: -Manual focus -Enough manual control over white balance/exposure/etc, but I can compromise within reason -Enough low light performance to shoot indoors SO I'm looking for a really cheap option. Probably MiniDV. What should I be looking for? I can run to about £200. Sound is no worry, I have an entirely capable Zoom H2.
|
|
#
?
Jun 2, 2012 01:56
|
|
|
zer0spunk posted:I had one AC gig on an SR2 where they didn't get a changing bag with the camera order so I had to pick one up from a friend at 5 AM, day of, right before the call. He only had the jumbo size changing tent which must be designed for 70mm mags or something. Turns out there's no staging (or any crew besides the dir/dp for that matter) so I had to load/download in the trunk of an SUV that was half the size of the full tent. So I'm on my knees (nothing to sit on) literally shoulders deep in this bag that is unable to prop open, hence I'm just swimming in mounds of loose tent while trying to load these lovely mags. This rules so hard. bassguitarhero posted:I agree with this 100%. I don't miss shooting on film, but proper pacing on set is vital. It's important for the talent to allow them to unwind and re-wind, it's important to the crew to have down time, it's important for the director and DP to be able to evaluate where things are, and to be honest when I'm on rushed sets, they're generally lovely films. Block, Light, Rehearse, Tweak, Shoot I have to fight for it with every 1st AD I have until they realize it actually improves the movie and smooths out the set. Then magically they're on board 
EnsGDT fucked around with this message at 02:43 on Jun 2, 2012 |
|
#
?
Jun 2, 2012 02:40
|
|
|
.
exp0n fucked around with this message at 01:04 on Nov 30, 2014 |
|
#
?
Jun 2, 2012 03:03
|
|
|
.
exp0n fucked around with this message at 01:05 on Nov 30, 2014 |
|
#
?
Jun 2, 2012 03:34
|
|
|
So I'm doing some research towards purchasing a HD camera for an extensive project I'm developing. My first instinct is to go to Sony for it, and the HDR-AX2000 seems like a good, solid camera. It has features I appreciate, such as built-in ND, dual XLR jacks, manual control for focus, iris, and zoom; stuff which my current Canon SD MiniDV simply does not offer at all. Is this a good camera? Is there something comparable which is perhaps cheaper and more reliable? I don't exactly need all the fancy extras, like digital filters and so forth, and I'm frankly a little antsy about the whole "recording to ProDuo sticks" thing, especially as I have no idea how much footage fits on one. The Sony website doesn't let you order the charger for this thing anymore, so is this camera being phased out and I should look at something else? Help me, goons. I need to budget for equipment!
|
|
#
?
Jun 3, 2012 05:26
|
|
|
Can you tell us anything about this project? It'd help if we knew what you were trying to do.
|
|
#
?
Jun 3, 2012 06:13
|
|
|
The AX2000 records to SD cards as well - a 32gb card will get you a little over 3 hours of recording time.
|
|
#
?
Jun 3, 2012 09:15
|
|
|
powderific posted:Can you tell us anything about this project? It'd help if we knew what you were trying to do. Sorry! I should have said more, yes. It's a half-hour 12 episode webseries, with visual and special effect work. Daylight, nighttime, interior. Once I have the camera and associated equipment, I'll be able to whore myself out to other various jobs as well, like music videos or weddings/christenings I basically need a solid, versatile workhorse.
|
|
#
?
Jun 3, 2012 14:32
|
|
|
I really have no idea where to post this... I woke up this morning to find this in my youtube inbox: guyonyoutube posted:Hello, I responded with this: me posted:Re: Wildland fire video I'm guessing I should ask for money or something, right? Also does this legitimize me running around with a gopro 24/7? e: A response! guyonyoutube posted:Hi Mike, invision fucked around with this message at 00:17 on Jun 6, 2012 |
|
#
?
Jun 5, 2012 22:24
|
|
|
Do you guys in LA find a heavy resistance to shooting ARRIRAW on the alexa? Up here in Toronto there seems to be an irrational fear of posting ARRIRAW I just don't understand.
|
|
#
?
Jun 6, 2012 02:45
|
|
|
Maybe it's that the codex ARRIRAW recorder is as expensive to rent as the camera? The new Gemini RAW will fix that though when it comes out in the next month or two. Also it's a large amount of data, and if Prores is good enough for the particular production then...
|
|
#
?
Jun 6, 2012 07:25
|
|
|
invision posted:I really have no idea where to post this... They're using it to sell something, ask for money. A hundred bucks isn't much in the scheme of things. Nobody's going to hire you based off of a credit for ten seconds of footage in a commercial, so "credit" doesn't really fly here.
|
|
#
?
Jun 6, 2012 15:38
|
|
|
Chitin posted:They're using it to sell something, ask for money. A hundred bucks isn't much in the scheme of things. Also, contract. Make sure you specify their licensing rights. Even if you don't charge them at all, you want to make sure they only have the right to use it as you designate and not in perpetuity in all possible markets.
|
|
#
?
Jun 6, 2012 19:04
|
|
|
I cant seem to find much info on this from google but theres a discussion the Prometheus thread about IMAX vs non-IMAX and I just want to make sure my information is right. When a non 70mm film is projected at a real IMAX theater, there is going to be image clarity sacrifices due to blowing the image up that large correct? I know they digitally remaster and enhance the 35mm image, or in this case RED Epic footage to be sharper for 70mm, but it doesnt 100% fix the issue, right? Its just that Ive seen several non-IMAX films in both projection sizes and it always looks better when its projected in a normal theater. Just want to make sure Im not crazy here.
|
|
#
?
Jun 9, 2012 21:43
|
|
|
The transfer process and treatment makes the the blown up 35mm image look more detailed than it did originally. Not as good as something shot in 70mm, but better than the 35mm original. It's a phenomenon that you can duplicate in photoshop.
|
|
#
?
Jun 10, 2012 00:22
|
|
|
SquareDog posted:The transfer process and treatment makes the the blown up 35mm image look more detailed than it did originally. Not as good as something shot in 70mm, but better than the 35mm original. It's a phenomenon that you can duplicate in photoshop. Thats so weird because the big sweeping environmental shots looked like crap in the IMAX showing I saw. They were splotchy, like when a DVD is up-rezed for an HDTV. Was this a lens issue or a RED Epic issue because the same shots look fine in non-IMAX.
|
|
#
?
Jun 10, 2012 00:26
|
|
|
I felt the same way, it's on a massive screen though. Scientifically it's an improvement, the experience can vary though. I was disappointed that our IMAX 3D wasn't aligned vertically correctly making for a viewable but uncomfortable 3D experience. I complained and the manager said that projectionist says that it's fine. I told her that you can easily tell it's not aligned when you remove your glasses. "Oh well you need to wear the glasses to get the 3D effect" I said yes but the vertical alignment is off. "oh well that's the point, the images aren't aligned to get the 3D effect". I explained that horizontally, yes, but vertically no. I told her that maybe the projectionist doesn't want to admit that he messed up but I can clearly see that it's not aligned vertically. She basically said that the projectionist says it's correct and no one else is complaining, so too bad, no refund. On top of that I felt like the left eye image was noticeably darker than the right eye. It doesn't sound like a big deal but it's worth complaining about when I paid $10 extra for the 3D IMAX experience and it was poor quality. Oh well. #white whine #first world problems
|
|
#
?
Jun 10, 2012 08:11
|
|
|
chimheil posted:This is my first real attempt at getting anything of my own funded. Everything else I have done has been completely out of pocket saved from other gigs and personal contributions. Nice approach to funding and clip presents the idea well along with explaining the need for  Trying to sort out funding myself and I'm just getting up to speed and getting to know funding agencies in New Zealand. It's somewhat new to me but hopefully I'll get some local funding for my crew. For those that are interested a film we made during a 48 hour film making competition. http://www.youtube.com/watch?v=WXlImClPUb8
|
|
#
?
Jun 15, 2012 07:15
|
|
|
|
| # ? May 14, 2024 19:17 |
|
|
I know camera chat is boring but I just wanted to post that Part 1 of Zacuto's Revenge of the Great Camera Shootout 2012 has been posted. Previous shootouts have been purely about the technical merits of various cameras. The purpose of this shootout is not technical analysis but more to show that a good cinematographer can work within the technical limitations of the cameras. Here is Part 1 http://www.zacuto.com/shootout-revenge-2012/revenge-great-camera-shootout-part-one The cameras used are the: RED Epic Arri Alexa Sony F3 with Slog Sony FS100 Canon C300 Panasonic GH2 (hacked) Canon 7D Apple iPhone 4s Sony F65 Each one had an expert in that camera set up and film using it. Part 2 will reveal which camera is which but after some viewing my order from most to least favorite is: F A C B H E I G D I liked F the best by a wide margin but found each of A C B and H good as well. I did not like E I G and hated D. I suspect B is the hacked GH2 because of the noticeable aliasing with the sharp resolution and the set lighting for a flatter dynamic range. Yuns fucked around with this message at 14:21 on Jun 16, 2012 |
|
#
?
Jun 16, 2012 13:48
|
|
