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I was just about to post this. Skip to 18:43 for the actual test - a lot of this video is wasted on really self-indulgent creative talk and I can't stand it. I didn't rate them in order because that's a hard thing to do when the scenes all have the same base lighting, but I liked B D F H. The thing that I probably gravitated towards was sharpness in the blonde girl's hair, the lighting on her and her companion's face, and then how much detail was kept in the hot area of the window and the sky. You should probably not read the the setup info document - it gives away the lighting setups for each camera and a trained eye can probably spot the lighting used. At the very least, I am pretty sure I picked out the iPhone 4s out of the 4 that I liked.
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Jun 16, 2012 14:03
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I deleted the direct link to the camera set ups. I agree with your choices except for the D which looks like a camera from a phone. I focused on rendering of the 2 main subjects in the foreground. The aliasing and moire on the window and background outside. The sharpness of the rug pattern, the patterned screen in the back on the left and the objects on the table. Even though I put H after C and B, after reviewing I think I would keep F first but put H and A in a tie for second with C and B together in 3rd and the remainder trailing behind.
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Jun 16, 2012 15:48
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1st AD posted:I was just about to post this. Skip to 18:43 for the actual test - a lot of this video is wasted on really self-indulgent creative talk and I can't stand it.
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Jun 17, 2012 01:01
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SquareDog posted:I was disappointed that our IMAX 3D wasn't aligned vertically correctly making for a viewable but uncomfortable 3D experience. I had a similar (in theme) experience seeing The Avengers in 2D - the theater was obviously screening one half of a 3D film file (dark and blurry!). The only reason I didn't complain was because I figured I'd have a similar conversation. Maybe I should have, it would have been interesting to see how far I would've had to go before someone understood what I was talking about (ushers, probably not, box office, probably not, manager, probably - would there even have been a projectionist in the booth?).
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Jun 18, 2012 07:35
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I guess I love my AMC. Not only do they radio up to the projectionist immediately, but they have yet to fail to give me a free pair of passes when I stop by after the movie to thank them for fixing it.
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Jun 18, 2012 23:42
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On the easiest show ever. 1 and 1, we've barley touched any hot lights. This setup was the most lighting I've got to do so far. kind of a nice change/boring as gently caress.  i'm not in this, i'm taking the picture. dp opping himself on a 5d, director to the right on the full. edit: all windows blacked except one, 2k through blinds side keying +1.5 stops, 4x4 kino with T bulbs no egg crate - 2ft mode, 3 bulbs, clean, at a 4-5.6 as fill..one more 4x4, 2 bulbs 2ft mode cut down for some slight camera left to almost continue the frontal fill with a small bit of falloff for contrast...150w with a black wrap snoot with a super small opening just for eye light pretty far back from center room. pretty much it, no hmis so everything had to be balanced to tungsten, though, i think they decided to keep it at 3500-4000 in camera instead of going neutral since we had been all natural + d bulbs for everything else and high key as poo poo. /lighting! zer0spunk fucked around with this message at 05:03 on Jun 19, 2012 |
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Jun 19, 2012 04:54
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So my office is looking to put in an order to replace our current cameras. These (Panasonic AG-HVX200A) are what we are using currently. Overall we're not a huge fan of the cameras. What do you guys think are the best HD cameras in the $4000 range? We're looking for stuff that doesn't run on proprietary cards (SD cards would be amazing) and cameras with replaceable lenses.
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Jun 21, 2012 17:49
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For that price perhaps Sony FS100? it's a bit above $4,000 but it's a fabulous improvement over the HVX. That has the same sensor as the F3, just less features.
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Jun 22, 2012 08:15
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They might think about an af100 since they're already used to Panasonic. I suppose it depends on what they're shooting though.
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Jun 22, 2012 18:33
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I don't think that people used to shooting small chip cameras are going to want to spend $4000 on a body and then have to buy some lenses on top of that. They'd be better off with an AC160 or XF100.powderific posted:They might think about an af100 since they're already used to Panasonic. I suppose it depends on what they're shooting though. Too bad the AF100 doesn't take HVX batteries.
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Jun 22, 2012 18:38
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Yeah, I agree, but he specifically mentioned that they wanted interchangeable lenses. edit: unless I'm misreading that and he's actually specifically asking for something that DOESN'T have interchangeable lenses. In which case I second your suggestions.
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Jun 22, 2012 20:19
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powderific posted:Yeah, I agree, but he specifically mentioned that they wanted interchangeable lenses. Honestly, I could go either way. I'm just not a fan of the cameras we currently use. Especially having to use the proprietary P2 cards.
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Jun 22, 2012 20:53
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What don't you like about them, or, what have you been doing where they're a pain? There's definitely plenty of options that won't need proprietary cards. Both of 1st AD's recommendations use regular cards.
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Jun 22, 2012 21:01
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1st AD posted:Too bad the AF100 doesn't take HVX batteries. Or good images 
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Jun 23, 2012 09:37
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SquareDog posted:Or good images What's funny is I think the GH2 takes infinitely better images and I can buy almost 7 of them for the price of an AF100. I mean you lose a lot of the functionality inherent in the design and controls of the AF100, but the GH2 actually LOOKS good. The only real advantage the AF100 has is 1080p over/under crank modes.
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Jun 23, 2012 21:20
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aw, come now. The af100 isn't that bad. It takes fine images if you set it up right, and it's a piece of cake to shoot with.
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Jun 24, 2012 00:28
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Walnut Crunch posted:aw, come now. The af100 isn't that bad. It takes fine images if you set it up right, and it's a piece of cake to shoot with. So is my iPhone. Doesn't mean I'd bring it on set as A cam.
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Jun 24, 2012 01:53
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I find the iphone difficult to shoot with. No manual control, no ND filters, no on dial audio, lousy picture, tons of skew. Funny joke and all about the iphone I guess, but really I'd rather have the af100, than be screwing around with menus on a GH2. I know this thread is heavily weighted to indy drama, but for a working camera, in difficult situations, the af100 isn't deserving of all the hate. Set the camera up right and use it in the right situations and it will get good images.
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Jun 24, 2012 02:48
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So I start my first legit PA job this Tuesday at 2:30 am. I know to hustle, be proactive, and have picked up on lingo over the past couple years. Anything else real important I should know? I'm pretty stoked.
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Jun 25, 2012 06:17
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Slim Pickens posted:So I start my first legit PA job this Tuesday at 2:30 am. I know to hustle, be proactive, and have picked up on lingo over the past couple years. Anything else real important I should know? I'm pretty stoked. Be early, figure out where things are (tape, coffee, clothes pins, props, whatever), and keep your ears open. There is always someone who needs help. If you aren't doing something, ask.
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Jun 25, 2012 06:55
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Slim Pickens posted:So I start my first legit PA job this Tuesday at 2:30 am. I know to hustle, be proactive, and have picked up on lingo over the past couple years. Anything else real important I should know? I'm pretty stoked. Offer to get people water. Ask them if you're bored, or offer if you get the impression someone wants a bottle. Great way to be memorable.
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Jun 25, 2012 08:28
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powderific posted:What don't you like about them, or, what have you been doing where they're a pain? The main thing I don't like about our current cameras is that we can't do anything with depth of field on them.
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Jun 25, 2012 13:08
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Slim Pickens posted:So I start my first legit PA job this Tuesday at 2:30 am. I know to hustle, be proactive, and have picked up on lingo over the past couple years. Anything else real important I should know? I'm pretty stoked. Do whatever you are told to do and do it well, even if that means sitting by the camera truck for the entire day.
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Jun 25, 2012 22:30
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Mordiceius posted:The main thing I don't like about our current cameras is that we can't do anything with depth of field on them. Well, small chip HD camcorders aren't going to do much different there. The AF100 and FS100 are both over $4k, especially when you factor in lenses. You might want to try a cheapish DSLR or GH2 to supplement your "normal" cameras. DSLR's are a whole new raft of issues to deal with but I don't think you're going to have much luck getting shallow DOF in that budget without going DSLR.
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Jun 25, 2012 22:46
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powderific posted:Well, small chip HD camcorders aren't going to do much different there. The AF100 and FS100 are both over $4k, especially when you factor in lenses. You might want to try a cheapish DSLR or GH2 to supplement your "normal" cameras. DSLR's are a whole new raft of issues to deal with but I don't think you're going to have much luck getting shallow DOF in that budget without going DSLR. He could wait for that new BlackMagic with the micro 4/3 sensor - I think it ships next month? Still a few DSLR you'd need, like a shoulder rig, of course. Might want to wait for reviews, though. The specs and price on that thing make me think it has some major flaws we don't know about yet.
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Jun 26, 2012 15:55
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Don't need to wait for it to come out to see flaws; it doesn't have interchangeable batteries, just a rechargeable one you can't take out. No PL mount option. S16 size sensor. And no way to do any sort of jamming, syncing or the like. But it's pretty good for $3,000 for sure.
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Jun 27, 2012 07:26
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powderific posted:Well, small chip HD camcorders aren't going to do much different there. The AF100 and FS100 are both over $4k, especially when you factor in lenses. You might want to try a cheapish DSLR or GH2 to supplement your "normal" cameras. DSLR's are a whole new raft of issues to deal with but I don't think you're going to have much luck getting shallow DOF in that budget without going DSLR. Any cameras you would suggest? To break things down, these are the cameras that my crew uses currently and they're just not fully satisfied with them. We're looking for something to either replace or supplement them. Also, any suggestions on tripods?
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Jun 27, 2012 14:44
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Wish me luck, y'all - I'm about to go direct my biggest live shoot ever. It's a spatial music concert with three stages, with pieces like Stockhausen's Gruppen: https://www.youtube.com/watch?v=A-9tJOwxBN8 So y'know... a bit hair raising. We're going into it more or less blind, just a dress rehearsal run. Also I'm told they had to change two of my camera positions last night. Woo! At least I have a few days to recut it if the line cut doesn't turn out quite right. Still need to make sure I have enough good looking material!
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Jun 29, 2012 12:56
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Good luck, Chitin! So, on the opposite side of the spectrum from 'DSLR on a Cameleon', here's something I found pretty amusing: a Red epic on a homemade steadicam-looking thing made from an aluminum rucksack frame, some pipe, and rubber hose attached to a figrig.   I totally gotta make one of these now, it worked pretty drat well.
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Jun 30, 2012 10:25
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That is some fantastic home riggin. God knows it would probably work better than the half rear end steady cam rig we have that we've tried to adapt from the BL4 to the Red.
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Jun 30, 2012 14:08
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Sorry for the doublepost but FSU is putting in six DaVinci suites this week and I'm really excited about it. And you guys are pretty much the only people on this forum who would appreciate that.
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Jul 6, 2012 23:30
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That sounds pretty rad. My school will probably get a DaVinci suite around the same time they upgrade to Alexas. Or get a jib and slider that students can use. Or buy more than one track for the dolly. I'll be happy if I can even get them to buy a set of ND filters to work with their matte boxes before I graduate next year. 
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Jul 7, 2012 11:07
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I mean, at its basest level, if you have a computer (Resolve is free if you don't mind baking out in HD) and a calibrated monitor, you too could color in DaVinci.
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Jul 7, 2012 15:20
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Saw a demo for the new Resolve coming out any week now and it's awesome. The free version now has unlimited nodes.
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Jul 8, 2012 22:43
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Slim Pickens posted:Or buy more than one track for the dolly. I don't see this happening any time soon. My crew still have a rough jury-rigged dolly that was left behind by a news crew. I understand why they abandoned it. It makes a fantastic amount of noise when it's used on a wooden floor. On a project last year we ended up with a jib arm with no weights. I'm not sure how we managed to keep it still, possibly by defying physics.
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Jul 8, 2012 23:34
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EnsGDT posted:Sorry for the doublepost but FSU is putting in six DaVinci suites this week and I'm really excited about it. And you guys are pretty much the only people on this forum who would appreciate that. Wow, when I was there (in the pre-Color days) we had only one really unreliable Final Touch suite, and a single dinky CRT "reference" monitor to go with it. As you might imagine there were massive scheduling conflicts and only about 1/3 of the BFA films got to actually use it. And only three BFAs, me included, were ever properly trained in its operation. Even originating on film as we did, there was a very noticeable quality gap between the films that got the color correction suite versus the ones that didn't. Imagine having to do all your grading in pre-color Final Cut or not at all... let's just say I'm glad calibrated monitors and color correction are now deemed 'necessary' for those who are learning.
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Jul 9, 2012 00:07
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Ben Solo posted:Wow, when I was there (in the pre-Color days) we had only one really unreliable Final Touch suite, and a single dinky CRT "reference" monitor to go with it. As you might imagine there were massive scheduling conflicts and only about 1/3 of the BFA films got to actually use it. And only three BFAs, me included, were ever properly trained in its operation. The way Chuck has been explaining it, the amount of media we've been trying to put through the post hall had hit a critical point. Essentially we didn't physically have enough time to process everything, either from Red RAW files or in the color pass later. So, the new system is going to be Premier (draw RAW files right in and work), then DaVinci (again working straight off RAWs) and then a big time video card/red rocket bakes that colored project out in just about realtime. It really pretty sick and beats the poo poo out doing first pass in Red Cine Pro X and then tweaking with three color wheel in FCP.
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Jul 9, 2012 13:52
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Sorry for the double post but we're having trouble getting the Tangent Wave panels to connect to DaVinci Resolve Lite. They sit in test mode and don't do much of anything else. Has anyone run in to this problem before?
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Jul 9, 2012 16:36
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EnsGDT posted:Sorry for the double post but we're having trouble getting the Tangent Wave panels to connect to DaVinci Resolve Lite. They sit in test mode and don't do much of anything else. Has anyone run in to this problem before? Have you selected the Wave as a control panel in Resolve's preferences? Have you tried the panel in Apple Color or another App?
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Jul 9, 2012 21:38
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FLX posted:Have you selected the Wave as a control panel in Resolve's preferences? Have you tried the panel in Apple Color or another App? yeah we did that stuff. You guys will love this. We called Tangent, got hooked up with their engineers, and the dude wrote us a custom terminal script over the phone to make our machines and their control panels talk. Now THAT'S customer service.
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Jul 9, 2012 21:55
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