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CaptainViolence posted:I've seen a couple videos of workshops and something I noticed is that the instructors have to keep reminding operators to stand up straight. I think it's one of those things you'll really have to focus on at first because if you're not paying attention you'll slip into a bad posture again while you're concentrating on something else. Also, thehustler, the pain gets less with training. It is like excersizing muscles, you are doing a workout and it gets lighter as those muscles are trained. Good luck and if you want to go on...TAKE A drat WORKSHOP!
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Aug 23, 2012 23:17
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Steadiman posted:TAKE A drat WORKSHOP! Truth. I cannot fathom how anyone could work as a Steadicam operator without taking a workshop. Take one with Steadiman. Bring cigarettes.
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Aug 24, 2012 03:01
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Shame I'm in the UK  But I know there are loads of workshops over here. Mostly London-based I'll imagine.
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Aug 25, 2012 13:11
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thehustler posted:Shame I'm in the UK
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Aug 25, 2012 13:25
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I'm traveling to Europe in a few months and I'm wondering if there's any type of compact way to shoot some short movies on film while I've over there? Would something like a Super 8 be possible?
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Aug 26, 2012 03:37
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Not sure if anyone is interested (probably not), but I've been keeping a blog the last few months to write down my inane ramblings and musings about camera operating, filmmaking, etc. Feel free to read if ye likes: http://wbd3.wordpress.com/
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Aug 29, 2012 15:58
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Steadiman posted:Sure are, did one in Oxford just last year. Check in with Robin Thwaites (rthwaites@tiffen.com) of Tiffen UK for more information on dates and cost if you are interested. The big workshops they throw in the UK (I think they call them Gold workshops) are the exact same ones they have in the US (with Garrett Brown and Jerry Holway there, 5 days, very intense, yadda yadda) so you are fast running out of excuses... Today I went to see the TV Production lecturer at the university I work at (UCLan in Preston, UK) just to catch up and we had a chat about Steadicamming and I showed him the gear we had. Put on one of his heavier camcorders which made it much easier for me to keep the rig stable, and for me to keep my posture correct. He was very interested, and very impressed with the results. He says considering how long I've been doing it, it's come out very well. He asked if I'd like to give a short demo to his students in a few months time. So I jokingly said "without going on a course?! madness" and he said "maybe we can get you on a course, I'll talk to your line manager, we could sort something out" !!!!!!! Won't hold my breath knowing my place of work, but it's nice to be given some encouraging words.
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Aug 30, 2012 20:50
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Just a couple weeks away from finishing my first feature, been working in a couple awesome mixing theaters in Burbank all this week. After that it's just titles! It's been a little over two years since I started writing it, so glad to see it at the threshold of the finish line.  
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Aug 31, 2012 06:10
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Gaffer taped a LCD monitor to the bottom of my glidecam. Now I'm rolling like the pros. It's insane how much difference it makes vs looking straight forward at the on camera LCD. Course it hosed up my balance and what not, but I'm going to spend a bit of time balancing it this afternoon. Amazing how much a heavier camera helps also. Got a Canon XF305 on there now.
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Aug 31, 2012 14:15
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One of my professors(Dejan Georgevich, ASC) is offering to take a bunch of his students out to LA for the ASC Open House in February, given we pay for the plane ticket out there and I was wondering if this is something I should do. I go to school in NYC. I know its a somewhat glorified meet and greet, but given the expense of a plane ticket out there, would it be worth it to go?
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Sep 4, 2012 21:41
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Hey, this seemed like the best place to ask...I used to be into video editing when I was a teenager (I remember lusting after a Casablanca system) and I was watching Glee Project this season and noticed something. They're walking around pretty often with some sort of thick tablet reviewing footage. What the heck is it? I've been scouring the internet trying to figure it out because it looks like a really neat gadget.
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Sep 5, 2012 00:49
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Question for anyone who's worked with a C300 - will it mount EF-S and other 3rd party crop lenses? I'm looking to update my gear for next year and have been trying to decide between the C100 or an FS700. If it does take third party crop lenses, I'll probably end up going Canon even though the FS700 seems so much sexier. Also, is it true that it maintains it's 12 stop DR throughout the ISO range?
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Sep 9, 2012 21:04
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http://learn.usa.canon.com/resources/misc/cinemaEOS_faq.shtmlquote:The EOS C300 is compatible with the following: . . . It's S35 not 135 FF so should be fine with crop sensor lenses.
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Sep 9, 2012 22:06
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Hopefully it'll take Tamron and Sigma crop lenses without issue - AFAIK the imaging area is larger than EF-S (since the build and glass are designed to also cover Nikon DX), so vignetting shouldn't be an issue. I want to use a Tamron 17-50 as a run and gun docu lens.
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Sep 9, 2012 22:17
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1st AD posted:I want to use a Tamron 17-50 as a run and gun docu lens. Do you have much experience with this lens? I purchased the non-VC version because of the comparison stills posted on a review site. The version with VC was much softer but that's from a full resolution still, not 1080p video. I'm wondering if I made a mistake since I rarely use it for stills and mostly for video. Would you recommend the one with Vibration Compensation, or without it for video? Is the softness even an issue when it is a video only lens?
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Sep 10, 2012 17:06
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I have the Tamron 17-50 lens with VC and I would definitely recommend the VC for video. With just the viewfinder on the camera as a point of contact I can get a very steady handheld shot. It would be shaky without VC on. As far as stills sharpness goes, I'm not really sure how much you're losing as that's not my forte. About half of the shots in this spot I did handheld with just the viewfinder, the other half I was using a monopod. No shoulder rig. VC on, and no warp stabilization or anything. http://youtube.googleapis.com/v/wKAyfOkPOlM&hd=1
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Sep 10, 2012 18:35
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I have a non-VC version but shake has never been an issue because I am always shooting on sticks or a shoulder rig. I can also reliably handhold a camera from 17-35mm with no or limited shake. Sharpness on the VC version may be an issue, but the resolution is so low shooting video on a Canon DSLR that I don't think it'll matter too much. Though I still prefer the non-VC version because it's very cheap.
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Sep 10, 2012 18:57
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Juan Martinez, senior product manager for Sony came into our class today to demo the FS700. Not only is that camera glorious, but he very vaguely hinted that Sony is soon coming out with a relatively cheap proprietary recorder that will enable the 4k capabilities of the chip. That is really awesome.
AccountSupervisor fucked around with this message at 02:42 on Sep 13, 2012 |
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Sep 13, 2012 02:32
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Looks like FSU submitted a short I shot to Camerimage, so, fingers crossed!
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Sep 13, 2012 02:41
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AccountSupervisor posted:Juan Martinez, senior product manager for Sony came into our class today to demo the FS700. Not only is that camera glorious, but he very vaguely hinted that Sony is soon coming out with a relatively cheap proprietary recorder that will enable the 4k capabilities of the chip. That is really awesome. Said proprietary recorder is a certainty.
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Sep 13, 2012 03:08
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SquareDog posted:Said proprietary recorder is a certainty. Yeah a student asked him about a proprietary recorder and his answer was "I cant really talk about that right now", which as you said means its a certainty. What I'm really excited about is that he said it would be relatively cheap, which I hope is actually the case.
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Sep 13, 2012 20:04
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Everyone has said that the digital revolution will someday make film obsolete, but I think there's a difference between knowing that is coming and seeing it actually happen. Well, as early as Spring 2013, Fuji will stop making 35mm film stocks: http://www.marketwatch.com/story/fujifilm-to-stop-making-motion-picture-film-2012-09-12?link=MW_latest_news Take note, kids, we're seeing the industry change quite drastically.
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Sep 14, 2012 17:03
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I really want to see the 70mm print of The Master because I expect it'll be my last opportunity to ever see 70mm film projected in a theater.
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Sep 15, 2012 03:44
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2001: A Space Odyssey was shot 70mm and they show that once a year at the Egyptian theater in Hollywood in 70mm.
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Sep 15, 2012 05:20
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So Oscar winning(along with a slew of other awards) cinematographer Anthony Dod Mantle shot Dredd 3D and they BLASTED the brightness in post for the 3D and it cranked the digital noise up to a shockingly bad level. I have seriously never seen this in any digital theatrical presentation ever. Seriously, some scenes were so grainy it looked like it was shot with a GoPro.  (this was also confirmed by a friend who saw it in a different theater and noticed the same issues)Also it was shot on a Red One MX in 2010 and boy does that camera show its age in the theater.
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Sep 22, 2012 08:43
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Just saw that today and also was bothered by the horrible noise. I feel like the last Pirates movie also suffered from this, which was also Red MX. However, When I saw Antichrist, not even is an excellent presentation, just netflix streaming on my old SD TV, I thought it was the most beautifully shot movie I'd seen the past decade, still do. And I was shocked that the non-Phantom footage was shot on a RED One when I would have guessed it was film. So it's how you use the tools you have, I'd say.
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Sep 22, 2012 22:46
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Its a pretty great example of that mantras truth. If I were Mantle I would have been furious upon seeing that in the theater. Pushing the brightness for 3D is great and all but it wasnt worth the noise problem. It didnt help that my theaters vertical alignment was off on their 3D projector, so whenever their was a scene with bad noise it was just a blurry mess.
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Sep 22, 2012 23:04
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So, years ago I convinced my old high school to sell me their 16mm Bolex that was collecting dust at very little cost. The only problem was that the battery was dead and anyone who knew anything about the camera had retired. To give you an idea of it's age, the last person to touch the camera before me was in the 1970's and I bought the camera in 2001. So, this camera has sat in my basement until I recently moved. I can't find any information on this battery. I even found the manual for the Bolex online but that didn't give me any clues. The camera   The battery in question  Does anyone know anything about this type of batter? Is there an adapter I can get to make the motor run using today's technology?
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Sep 23, 2012 21:55
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Apparently you can still buy the battery and charger: http://www.chamblesscineequip.com/catalog/miscellaneous_camera_accessories.htm http://www.bolex.ch/NEW/?p=6#7 I don't have any personal experience but depending on how big the compartment is I don't know that it'd be particularly difficult to jury rig some other 12v battery.
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Sep 23, 2012 22:41
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Booked for two days on an episodic show coming into town as digital loader - 2 camera Alexa show. Talked to the DIT who's biggest gripe was: "I keep telling them to stop loving do it, but they'll just roll and never cut the drat camera. We use only 64GB cards on this show cause they just roll and roll and roll. So, you'll be hustling a lot." Combine that with the fact that it's two night shoots and the craziness of episodics, and I'm in for a fun ride...
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Sep 27, 2012 22:41
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ogopogo posted:Booked for two days on an episodic show coming into town as digital loader - 2 camera Alexa show. Maybe talk to the 1st AD about it, but if they're in a groove that way, kinda hard to break it as a digital loader. Maybe request a few more 64GB cards so it's never TOO frantic? Glad you're busy!
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Sep 28, 2012 01:32
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Tiresias posted:Maybe talk to the 1st AD about it, but if they're in a groove that way, kinda hard to break it as a digital loader. Maybe request a few more 64GB cards so it's never TOO frantic? Glad you're busy! That's pretty much how they work, from what the DIT told me. I'm not too worried, I can download and checksum a 64GB card in about 14 minutes. To be honest, a higher volume of cards just keeps me busy, which is better than some digi loading jobs where I do a whole lot of waiting. I'd rather be doing something all day than nothing. The last digi loader job I was on was for a feature, so we were clocking in around 250GBs/day. This show apparently does something like 800GBs/day. Should be fun And Tiresias, you and your lady need to come to Vegas for a weekend.
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Sep 28, 2012 04:26
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ogopogo posted:That's pretty much how they work, from what the DIT told me. I'm not too worried, I can download and checksum a 64GB card in about 14 minutes. To be honest, a higher volume of cards just keeps me busy, which is better than some digi loading jobs where I do a whole lot of waiting. I'd rather be doing something all day than nothing. 800GB/day? I mean, 2 cameras, but that's still a hell of a ratio. Dude, I'm on the verge of booking a trip next weekend. Planning for our big day is driving us both CRAZY, and for the sake of mental health might be a necessity. You mentioning it now kinda makes me say "OK, this is gonna happen."
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Sep 28, 2012 17:48
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I need to use 30" china lanterns for a low budget shoot. Any ideas as far as how to protect them during transport by car/subway/foot, so they don't get wet or bent or torn? I was thinking I could fit them in a large flat zippered thing for a reflector, but that would entail me buying reflectors I don't actually need, just for the case.
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Sep 28, 2012 21:55
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codyclarke posted:I need to use 30" china lanterns for a low budget shoot. Any ideas as far as how to protect them during transport by car/subway/foot, so they don't get wet or bent or torn? I was thinking I could fit them in a large flat zippered thing for a reflector, but that would entail me buying reflectors I don't actually need, just for the case. Take a razor to some big cardboard boxes, then fold and tape the lanterns inside.
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Sep 28, 2012 22:29
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Tiresias posted:800GB/day? I mean, 2 cameras, but that's still a hell of a ratio. Yup. It's a lot of data to chunk through. Believe me, I could hear the pain in the DITs voice. And if y'all make it here, I will take you to the British pub and get you guys drunk.
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Sep 29, 2012 02:47
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codyclarke posted:I need to use 30" china lanterns for a low budget shoot. Any ideas as far as how to protect them during transport by car/subway/foot, so they don't get wet or bent or torn? I was thinking I could fit them in a large flat zippered thing for a reflector, but that would entail me buying reflectors I don't actually need, just for the case. Portfolio case?
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Sep 30, 2012 02:53
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AccountSupervisor posted:Also it was shot on a Red One MX in 2010 and boy does that camera show its age in the theater. Nobody every shoots the MX with enough light. If your brights aren't JUST under red in the red/purple viewer, you're guaranteeing yourself noise in post.
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Sep 30, 2012 03:02
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So this video has been making the rounds on my FB feed and within my cinematography classes at school. https://vimeo.com/49875510 Yeah I dont know, doesnt really do much for me. Sure the resolution and color depth is better but his aperture differences and admitted color correction kinda tell me this test isnt exactly a good one. To be honest Im not really thrilled with either of these cameras. The BMCC definitely looks good but by the time you get an external battery, monitor, rig, and lenses that allow you to shoot wide, the amazing price feels not so amazing Can anybody with some more knowledge weigh in on this? AccountSupervisor fucked around with this message at 02:36 on Oct 3, 2012 |
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Oct 3, 2012 02:31
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The BMCC is going to be a ton sharper than the 5D3 and can shoot raw. It's basically a 24p 2k RED - even if all the extra gear costs you an extra $3k, it's still a better deal than the RED unless you need higher resolution or high framerates (or a larger sensor/shallower DOF). If you don't think ~$6k for a functioning raw video system is amazing, then your loss I guess. The aperture differences can't be avoided on a test - to get the same DOF and FOV as an equivalent 5D shot, you'd have to use a wider lens and open up something like 1.5 stops (and adjust ISO to match the exposure change). Also the color correction is needed in a test like this, it shows you how far each camera can be pushed in post. The BMCC is not really a 5D competitor in any category except for price. I wouldn't buy the Canon-mount version though - the m43 version will get you access to relatively cheap and fast wide angle primes.
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Oct 3, 2012 04:49
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