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EnsGDT posted:yeah we did that stuff. So did he identify the problem to you?
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Jul 9, 2012 22:02
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FLX posted:So did he identify the problem to you? Our post supervisor was on the phone with him but I'll ask tomorrow. I've been sound designing for the last two and a half weeks. Thank gently caress today was the last day of that. On to the mix!
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Jul 10, 2012 01:56
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EnsGDT posted:yeah we did that stuff. I wish there was a way to "like" posts.
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Jul 10, 2012 07:58
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At my work we currently shoot interviews on a hacked GH2. We're considering picking up a second body in the next month or two, since the end of the fiscal year fast approaches and we have some surplus. So my options are: - Buy a second GH2 body - Wait and see if they announce the GH3 and hope it's worthwhile - Upgrade to an actual video solution and suggest we get an AF100, since it's compatible with our current glass and codec - Suggest the FS100, and accept that the cameras are going to look kind of different and require a new set of lenses. I'm not sure how/if running two codecs in the same timeline without transcoding (I run Premiere) will effect render times. There have been a lot of complaints about the AF100 here, but other reviews on line seem largely positive and they just upgraded the firmware. I'm also, of course, open to other suggestions!
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Jul 10, 2012 16:34
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The FS100 is AVCHD, so aside from whatever bitrate magic you have going on in your GH2 they should work the same in your timeline. Also, if you haven't already you should really get a set of manual focus primes and then use them on all your cameras with the appropriate adapter.
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Jul 10, 2012 16:59
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1st AD posted:The FS100 is AVCHD, so aside from whatever bitrate magic you have going on in your GH2 they should work the same in your timeline. Thanks - when you say MF primes, do you mean 35mm cinema primes, or are you being system agnostic? E-Mount? I've got some old photo manual primes that I mount on the GH2 because they were cheap as hell on eBay. I'm only just getting into this stuff... and mostly because there's nobody else here with even basic background. Poking around, the FS700 is more likely what I'll recommend, since it seems to be an all around better camera without getting into the ~$20k region.
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Jul 10, 2012 17:16
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Something relatively system agnostic, like Nikon F-mount. Cinema primes are probably out of your budget. Also, the FS700 is going to be around 8k. That's a lot different pricewise than any other camera you're considering..
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Jul 10, 2012 17:39
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Yeah, that's pretty big jump to take over the FS100—especially when you're also in need of lenses. What do you think the FS700 is going to get you over the FS100 that you actually need/want?
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Jul 10, 2012 18:00
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powderific posted:Yeah, that's pretty big jump to take over the FS100—especially when you're also in need of lenses. What do you think the FS700 is going to get you over the FS100 that you actually need/want? I was looking at a review that listed in Euros and didn't realize it. 
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Jul 10, 2012 18:10
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This sounds like an awful lot of promises to make. If it is true that is fantastic, but I don't know if I would hold my breath. http://nofilmschool.com/2012/07/apertus-axiom-camera-4k-150fps-global-shutter-15-stops-dynamic-range-10k/#more-26001 
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Jul 11, 2012 19:20
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Yeah I saw the guy post on DVXuser. I really doubt they can hit 15 stops DR - the Alexa uses a shitload of processing power to hit that, don't know how an independent designer can possibly R&D and manufacture this for cheap.
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Jul 11, 2012 20:34
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IF it does it, it's probably some version of HDR or something like that.
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Jul 12, 2012 01:48
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1st AD posted:Yeah I saw the guy post on DVXuser. I really doubt they can hit 15 stops DR - the Alexa uses a shitload of processing power to hit that, don't know how an independent designer can possibly R&D and manufacture this for cheap. The article says they use a similar method as the Epic's HDRx, which I assume means taking two simultaneous frames each with different exposure lengths, which sounds like a terrible idea if that's the ONLY way it can record.
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Jul 12, 2012 06:11
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So Zacuto posted the second part of the video. Everyone was very impressed with the GH2 and the Alexa was camera F, which I think won the most choices in this thread if I remember correctly. http://www.zacuto.com/shootout-revenge-2012/revenge-the-great-camera-shootout-part-two
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Jul 15, 2012 19:40
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BeavisNuke posted:So Zacuto posted the second part of the video. Everyone was very impressed with the GH2 and the Alexa was camera F, which I think won the most choices in this thread if I remember correctly. Can you post the list? I don't want to watch another long video.
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Jul 15, 2012 20:08
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A - Sony F3 B - Panasonic GH2 C - Red Epic D - Apple iPhone 4s E - Canon C300 F - Arri Alexa G - Canon 7D H - Sony F65 I - Sony FS100 My initial personal order was: Arri Alexa Sony F3 Red Epic GH2 F65 C300 FS100 7D iPhone On final viewing before Part 2 came out, I changed my mind quote: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. Arri Alexa Sony F3/Sony F65 Red Epic/GH2 C300 FS100 7D iPhone iPhone and GH2 were totally obvious to me. But others were not. Yuns fucked around with this message at 22:42 on Jul 15, 2012 |
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Jul 15, 2012 22:39
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1st AD, you stated you liked: B D F H. B - Panasonic GH2 D - Apple iPhone 4s F - Arri Alexa H - Sony F65 Just watch it from 13:50-18:05 for the footage with the names attached. Yuns fucked around with this message at 23:15 on Jul 15, 2012 |
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Jul 15, 2012 22:47
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Very pleased with how well the GH2 did - I'm hoping they'll have individual videos for each camera that go more into the hows/whys of how they were lit and colored. The technical docs are a bit sparse on the "whats and whys" of the setups - I can see that it spent 1.5 hours in post and had 13 layers, but what were they? I can see how they set up the lights, but what strengths were they playing to/weaknesses were they making up for? I also thought the iPhone footage was hilarious - specifically the concept of spending tens of thousands of dollars lighting a scene to shoot with one.
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Jul 16, 2012 15:25
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Just the fact the iPhone is even on the list at all shows you how far cameras have come lately. I'm taking my iPhone 4s with me on a doc shoot in el Salvador and I'm sure there will be a number of shots in the film using that guy.
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Jul 17, 2012 00:34
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Dude you ain't kiddin' I am an iPhone photography ninja, I can't believe the images this thing gets.      I use the regular camera app in HDR mode pretty much 99% of the time. Then use Camera+ to treat the images. SquareDog fucked around with this message at 08:16 on Jul 17, 2012 |
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Jul 17, 2012 08:13
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Eesh, perfectly acceptable compositions absolutely ruined by hideous HDR.
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Jul 17, 2012 14:12
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Meh, I like the 2nd, 5th and 6th ones. I got into HDR for a little bit but then just wound up turning it off again in the end. Same thing with Instagram, it was fun to use the blur for a little while but then I just found it a poor tilt-shift substitute and was really annoyed it was 2D only and wouldn't do what I wanted it to do. Different tools for different jobs. Leaving for El Salvador tomorrow. I'm disappointed because I don't have nearly the gear I want, but I'll make due with what I have. I'm bringing: Panasonic HVX-200 with one good battery (I know) and one kinda-good battery, 2 4GB P2 cards and 1 32GB P2 card. Canon T3i with 2 good batteries, 1 32GB SD card, 1 16GB SD card and 1 8GB SD card. 50mm prime, 28mm prime, 70-300 and 18-55 with IS. 16GB iPhone I'm currently clearing off to make space for photos and video. Zoom H2 (or H4? I forget) and shotgun mic Powerbook (7 yrs old now) w/ 80GB drive, plus 1 500GB Lacie Rugged, 1 320GB Lacie rugged, and a couple 16GB flash drives. I really wanted to pick up a couple of lenses, some extra batteries and SD cards, but finances didn't come through and I wound up having to pay all my other expenses out-of-pocket, like my typhoid vaccination. Oh well. I'm hoping that the restrictions in my shooting ability will lead to me being more creative with what I shoot, how much and when. I'm sure the people I'm working with will be really happy with whatever I turn out, especially given how unpredictable the whole setup is, but I would certainly be a lot happier if I had more batteries, SD cards and disk space.
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Jul 19, 2012 02:52
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Check out J-lo's new video. I was the high-speed-camera tech. https://www.youtube.com/watch?v=z5W7DVFKrcs
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Jul 27, 2012 03:35
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Wrapped up on a 3 day 1st AC gig for a commercial. Very rad DP and crew. DP came from a G&E background, so it was fascinating to watch how well he communicated with the gaffer and key grip. Everyone gelled really well, and the production staff worked hard to make our days smooth and quick. Martini shot on the last day and we all got ice cream cones. It was a great way to end the day (Vegas heat is murder).  Also, spent about 60% of the shoot on this beast, a 400mm T3.5 Nikkor lens. Shot almost every lens WFO so that made the long lens stuff just so much fun! 
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Jul 29, 2012 21:12
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I would normally bitch about a dp shooting wide open on an alexa, but when wide open is 3.5, I can't complain that much. Still though, if you can afford a fisher and an alexa per day, then you can afford to bring up the room enough to not have to shoot open on any lens unless you like the terrible look of wide open on otherwise beautiful glass, you hate your puller, or you don't understand optics at all. The shots you posted were daytime ext, and daytime int....even if he had you shooting the min iso of 160 AND some high speed shutter nonsense, I'd imagine you'd still need NDs in there to have to be wide open..that's just a dick move. but you got ice cream, and that's pretty rad. so gently caress it. zer0spunk fucked around with this message at 18:14 on Jul 30, 2012 |
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Jul 30, 2012 18:10
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zer0spunk posted:I would normally bitch about a dp shooting wide open on an alexa, but when wide open is 3.5, I can't complain that much. Still though, if you can afford a fisher and an alexa per day, then you can afford to bring up the room enough to not have to shoot open on any lens unless you like the terrible look of wide open on otherwise beautiful glass, you hate your puller, or you don't understand optics at all. We had 1.2 or 1.5 NDs in pretty much most of the time. Never had to adjust our ASA. The wide open look was intended, on the Master Primes we were usually at a 2/2.8 split. A little tough for me, but we had rehearsals (rare) and I was able to get marks just fine. I had no reason to bitch, honestly. The look is dictated by the director/DP (and the client, as it was their commercial), and it's our responsibility to deliver that look in the best, most professional way. To me, Master Primes look wonderful at that 2/2.8 stop. He knew well enough to never torture either of us with the T1.3 they can do. But yeah, ice cream. It really comes down to that. I was happy. The check cleared. All is well.
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Jul 30, 2012 22:41
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ogopogo posted:To me, Master Primes look wonderful at that 2/2.8 stop. He knew well enough to never torture either of us with the T1.3 they can do. Shooting at a T1.3 is pure film school-itis, let me tell you. I can't even count how many times I've turned to a classmate DP and given them the "this is all the lights you're putting up? really??" look before haha.
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Jul 30, 2012 22:45
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EnsGDT posted:Shooting at a T1.3 is pure film school-itis, let me tell you. I can't even count how many times I've turned to a classmate DP and given them the "this is all the lights you're putting up? really??" look before haha. "What do you mean you're having trouble pulling with a 2 inch depth of field? Look at those bokehs man!" The DSLR generation is tortuous.
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Jul 30, 2012 22:55
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During a conversation I had with some film students at a local mixer, a guy who trained people in FCP editing for a living said this - "Just buy a 7D, you don't need lights." I was trying to convince the students that you weren't completely hosed if you didn't have a light meter on set, you just needed to pay attention to your waveform monitor and try to build ratios by eyeballing it. That comment just made me 
1st AD fucked around with this message at 23:23 on Jul 30, 2012 |
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Jul 30, 2012 23:21
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1st AD posted:During a conversation I had with some film students at a local mixer, a guy who trained people in FCP editing for a living said this - "Just buy a 7D, you don't need lights." I've done that while teaching our first year students on the Red. Just watch the endzones and keep a close eye on your histo information. That being said I have a digital incident meter, a spot meter, and a back up analog incident meter in my kit on every set haha.
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Jul 30, 2012 23:29
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Do you know what "pure film school-itis" is? Passing quick judgments on how other working DP's choose to work and second-guessing their decisions without knowing their objective or aesthetic. "Hurr you guys shot WFO? What a hack, I light everything to at least a 5.6 and then glass down to recover DoF if I need it. 3:1 and 4:1 ratios ALWAYS, 3 point lighting, DSLR's are crap, film forever, blah blah blah." In the working world, we use both ends of the iris, and while you might be a little butthurt about dealing with the camera-fetish generation of DP's who all cut their teeth on 5D's, the greater lesson is in appreciating their successes AND their failures. Garbage is still garbage on 35mm, and a great film can still be great on DSLR, 8mm or Fisher-Price Pixelvision. I don't mean to come down hard, but if you start speaking in absolutes, calling minimalist lighting "film school-itis", you're going to ruin your reputation and work prospects long before you ever get started... then you'll have lots of time to post online your absolutes of cinematography.
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Jul 31, 2012 00:02
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That's all well and good. The problem is you're forgetting these are people I've spent the entirety of two years working on and off set with. In the real world, on a professional show where I have nowhere near that kind of relationship, no chance in hell I ever do that. But that's also a job and a paycheck. On my sets the DP I'm working under is literally one of my best friends. I am free to shoot him that look because I know what his objective and aesthetic are seeing as we've been talking about them and bouncing ideas off each other for the last two years. Stop assuming you understand everybody else's working relationship, not to mention jumping on people for joking around with people and blowing off a little steam.
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Jul 31, 2012 00:20
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doesn't matter anyway because you are all shitheads and terrible hacks and should all you kill yourselves etc etc. Real men shoot on VHS.
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Jul 31, 2012 00:51
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I shoot everything on cave walls with natural pigments 
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Jul 31, 2012 00:57
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As a totally unrelated aside, I accidentally left my Steadicam in a rental car in Michigan this weekend. I realized it as soon as I flew home and unpacked my gear bag. I immediately called the rental car company but of course no one has seen it. It was a Merlin not a Flyer or Ultra or anything high end but man that hurts to lose.
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Jul 31, 2012 06:08
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Lost a Merlin, you say? more like, did yourself a favor. Seriously though that sucks. I'm about to start a bi-weekly series of little 1 - 2 minute educational videos for the rental house I work for. I'm planning on teach things like, how sensors work, what 4:4:4 is, what make the F65 sensor different, workflow, what are the best compression ratios for Epics, F3 and C300 comparison, etc. Any questions you guys have or demonstrations you'ed want to see?
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Jul 31, 2012 08:49
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You should do one on 180 degrees that covers both shutter angles and the 180 degree rule. I wouldn't mind seeing something on genlock, timecode, and all that stuff. Our productions are DSLR heavy so we just sync everything manually in post, but I've assisted on shoots where they sync everything up at the beginning of the shoot and always wondered what exactly went into it.
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Aug 1, 2012 16:58
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powderific posted:You should do one on 180 degrees that covers both shutter angles and the 180 degree rule. best feature of hdx900s are slave/master tc sync between multiple bodies. so useful.. ogopogo posted:We had 1.2 or 1.5 NDs You know what the next ND up is? Just putting a piece of duvy over the lens and going home  SquareDog posted:I'm about to start a bi-weekly series of little 1 - 2 minute educational videos for the rental house I work for. I'm planning on teach things like, how sensors work, what 4:4:4 is, what make the F65 sensor different, workflow, what are the best compression ratios for Epics, F3 and C300 comparison, etc. Any questions you guys have or demonstrations you'ed want to see? You should take each popular camera you rent and do a full breakdown split into 2-3 min clips of everything from check out, to build (with common accessories), to on set routine (power, first run menu stuff, balancing w/b, etc), packing it for load out, workflow of the footage (at least in a basic overview) that way anyone renting a particular system, say like an F3, could have hany 2-3 minute clips that cover any part of the workflow they are clueless on.. if you do these, share them and I'll make sure to pass em around online... zer0spunk fucked around with this message at 17:41 on Aug 1, 2012 |
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Aug 1, 2012 17:27
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Tiresias posted:Do you know what "pure film school-itis" is? Passing quick judgments on how other working DP's choose to work and second-guessing their decisions without knowing their objective or aesthetic. "Hurr you guys shot WFO? What a hack, I light everything to at least a 5.6 and then glass down to recover DoF if I need it. 3:1 and 4:1 ratios ALWAYS, 3 point lighting, DSLR's are crap, film forever, blah blah blah." This comes off incredibly condescending. I'm going into year 10 of non union work in the tri state area, aka the "working world". I shoot primarily, but I still AC and gaff commercials/eng/tv and features when the rate is ridiculous. For the first 5 years of working, I did my time from loader, on up on camera side, and additional/3rd electric to gaffer on e side. I can 100% say as someone who has worked for incredible dps and mediocre dps alike- hack DPs shoot open for no reason and burn out seasoned 1sts. You can get a reputation for being a prick as a dp, just like you can as any other department head. If you're going long lenses, moving camera, wide open for every shot, you'll find few seasoned acs willing to deal with that nonsense no matter how many letters are behind the shooters name. It's a team effort. I'm not advocating telling the dp, your boss, how to shoot. But at the same time, you're a trained technician and it's within reason to ask for an ND to be pulled on that moving 300 shot @ 1.8 so you have a shot at actually nailing those 25 pulls the shot calls for. Camera assistants are people too.
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Aug 1, 2012 17:55
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zer0spunk posted:This comes off incredibly condescending. I'm going into year 10 of non union work in the tri state area, aka the "working world". I shoot primarily, but I still AC and gaff commercials/eng/tv and features when the rate is ridiculous. For the first 5 years of working, I did my time from loader, on up on camera side, and additional/3rd electric to gaffer on e side. I can 100% say as someone who has worked for incredible dps and mediocre dps alike- hack DPs shoot open for no reason and burn out seasoned 1sts. You can get a reputation for being a prick as a dp, just like you can as any other department head. If you're going long lenses, moving camera, wide open for every shot, you'll find few seasoned acs willing to deal with that nonsense no matter how many letters are behind the shooters name. Tiresias' post has merit to it, but there also seems to be some confusion. While yes, we shot very close to wide open, we remained more in a 2/2.8 split on static subjects, and the 400mm lens was a T3.5 which is plenty of stop to pull focus on, even wide open. Whatever dolly shots we had, they were 3-5 foot moves that had minimal parallax issues, and as I said previously, I was able to get marks and rehearsals. I took full advantage of that, as it is incredibly rare to get rehearsals anymore. I wasn't complaining in any way. In fact, I quite enjoyed the challenge and enjoyed working with the DP. He wasn't a dick, he wasn't a hack, and the client was happy at the end of the day. Camera assistants are people, of course, and we also choose to work in a position that is under pressure from all directions. It's part of our job to handle each situation with composure and professionalism. If an AC feels that he/she can't perform at the level of the job, then he/she should replace themselves until they feel they're ready to handle the job. If the DP had me pulling on a 75 or 100mm at a T2 on say, a Steadicam or rapid dolly shot, then I'd have some concerns I'd voice, but that wasn't the case. In no way was I complaining. I was proud of the work I did for the gig, and wanted to share my experience with others here. But let's not lose sight on what's important here: Ice cream makes the day better, hands down! Or beer on the camera truck after wrap...
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Aug 1, 2012 21:05
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