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Slim Pickens posted:If you want to do it yourself, this is a decent start point. I have that book and have based budgets off it before, but you really only get a sort of approximate and a lot of it is based on what you already know so for my purposes it really doesn't help. We are looking into some serious investment capital so I would rather have someone who knows what the hell they are doing prepare it instead.
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Jan 19, 2013 07:09
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The other friday we did a little timelapse of the camera shop I work at, using the new timelapse feature on the Red Epic firmware BETA 4. https://www.youtube.com/watch?v=uP1osLswjcY The original clip was 20 minutes long and basically looked like undercrank. Wishing I had set it at longer intervals so I could have had it keep recording until the whole place was emptied and cleared out, but as it is what you see is the whole span of time I got.
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Jan 21, 2013 21:10
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SquareDog posted:The other friday we did a little timelapse of the camera shop I work at, using the new timelapse feature on the Red Epic firmware BETA 4. Philip Bloom would be proud
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Jan 22, 2013 06:25
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Walnut Crunch posted:Philip Bloom would be proud But it's not out of a hotel room window!
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Jan 23, 2013 14:06
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BeavisNuke posted:But it's not out of a hotel room window! Or out of the window of his car because it is raining...
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Jan 23, 2013 17:06
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melon cat posted:Hey guys- I'm looking for a great action camera. I was considering the GoPro HD Hero3 Black Edition. Gizmodo gives it a pretty good rating, but Amazon's reviews leave me doubting Gizmodo. What are your thoughts on this camera? Bestbuy dropped the ball and made these available early. Like a full month before you could get them from anywhere else, including GoPro. A lot of people had lockup issues with their camera and really poor battery life. This was compounded by people not understanding why their Celeron PC that worked just fine for GoPro HD couldn't quickly edit or display 2.7K footage from the GP3. GoPro's handling of the whole thing was seen as lacking by the community, to the point where the CEO just put out an apology last week: http://gopro.com/letter-to-gopro-community/ (though he seems to handwave the issues as them not having enough customer service reps on staff). Depending on how you use it, you might not need the LCD backpack (which just drains more battery anyway). The smartphone/tablet app has laggy live feed preview, but it should be fine for framing.
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Jan 23, 2013 17:21
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Could anyone recommend a decent but inexpensive light meter? I'm taking a couple of classes but I don't expect I'll be switching departments anytime soon. Where does one shop to fill their ditty bags (US)? Anyone have any strong feelings on mult-tools? Someone walked off with my ancient Leatherman and I need to replace it.
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Jan 25, 2013 07:21
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You can find a Sekonic 398 for cheap on ebay, but I usually just use it to figure out ratios if I ever use it.
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Jan 26, 2013 02:44
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TheBigBad posted:Could anyone recommend a decent but inexpensive light meter? I'm taking a couple of classes but I don't expect I'll be switching departments anytime soon. Stillmotion (makers of the great SMAPP iphone app) use some tool with a carabiner on it so you can clip it to your belt loop, but I can't find it in stock anywhere.
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Jan 26, 2013 18:19
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So my brother-in-law found a Thing (several actually), and since they're older, I have no idea what the demand for them is. But they DO look expensive, and they were owned by a TV studio until they got rid of them. (Sorry for the terrible iPhone pictures) Sony DXC-327 posted:Sony DXF-501 Viewfinder I guess these were HUGE back in the day and still considered great cameras. Someone told me that they make a digital camera adapter that can mate with the DXC-327 video camera... Then there's the idiot step-brother of it (I didn't bother to take many pictures since it's Betamax and giving me a 91-125 errorcode): Sony UVW-100 Camcorder posted:I think I already know the answer regarding the Betamax, but as for the DXC-327, do people even buy these things anymore? I see them (full DXC-327/CA-327 setups with Fujitsu lenses) on eBay for around $600 and in Novermber 2012 the state of Florida sold one to someone for $855, but everything is either Buy It Now or on random websites. FAT32 SHAMER fucked around with this message at 09:02 on Jan 31, 2013 |
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Jan 27, 2013 03:22
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SD Studio cameras with optional tape back, or you can feed out to Triax. Don't think they do SDI. E: the 327s i mean
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Jan 31, 2013 12:58
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I'm producing a student production on Super 16 for the first time and I'm excited but absolutely feel in over my head and was hoping I can get some advice. My experience until now is just directing a lot of short films on MiniDV in the early 2000s and being AD on one 16mm short a few years ago. Reading this thread front-to-back is teaching me a lot but also making me realize there's plenty I don't know. My best friend is shooting it and I'm mostly responsible with securing all the equipment and sort of being the unofficial AC. We're required to shoot it in color 16mm; she really wants to go with Super 16 and crop it for a wider ratio. Our school didn't really give us any easy options for Super 16 cameras for it since they reserve it for thesis films, so we are renting on our own. It's a sci-fi romance, sort of in the style of Wong-Kar Wai's 2046, but not so narratively abstract. We have a lot of great locations and props but I'm wondering what should be taken into consideration visually, considering that if we're at all interested in emulating Christopher Doyle's style, we really have to be careful when it comes to color and lighting to get the right feel. Our best option in budgetary terms is to shoot on an Arri SR3. We would love to get a video assist but I'm not sure if we'll have access to one (is the Arri HD IVS compatible with this?). Originally we were sort of tempted by those anamorphic-to-Super16 lenses, but figured it would be much easier to shoot 16 regularly and then crop it to a wide ratio afterwards when we're working with our digital intermediate. What's it like working with an SR? I saw some posts in the first half of the thread mentioning that they chew through mags which has me a little worried, but I don't know what to expect. We also have several FX shots, which I'm entirely responsible for since my skillset is more with animation and post work. I've been in control of the setup of greenscreens on set so I'm wondering if there's any weird considerations to deal with when shooting greenscreen on film. There shouldn't be any tracking work, or at least I'm going to try to avoid it if possible, but I'm still worried about integrating CG into the scanned plates. I'm used to working on sharp digital and this will be much softer and more textured. Like I said, I'm excited but kind of scared. I'm glad to be working with some friends who are much more experienced than me, especially a guy who's done several shorts on 35mm, but at this point, any advice at all would be massively helpful. Thankfully through some extreme generosity, our budget gives us a fair amount of breathing room, but our time schedule doesn't - we start shooting at the beginning of March. What should I expect?
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Feb 4, 2013 01:34
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I have a question about hardware that is coming from an almost entirely ignorant point of view. At work I have acquired the role of sourcing new video cameras. We have quite specific needs. The following is what we need as best described by my boss (who knows even less than I do.) We need one type of camera to be set up on a tripod and not move (but it still needs to be carted around from location to location so must be easily man-portable; ease of movement while filming is not important) that can be plugged into a laptop that is compressing and transmitting the video on a live feed via portable satellite devices. We need the connection used to not require any intermediate bits of kit, so the USB (or whatever) goes directly into the laptop. This camera needs to be HD. We need another, smaller camera that doesn't have to be HD (although that's a bonus) which ideally would be able to connect to a laptop as above. Both cameras need to be fairly rugged, as they will be used in remote locations and will likely receive some knocks throughout their lives. We need semi-pro or better camera quality. Budget-wise, I don't know what figures we have but we are aware that these items will cost a lot.
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Feb 4, 2013 21:24
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ineptmule posted:I have a question about hardware that is coming from an almost entirely ignorant point of view. I'm selling the cameras above and I believe there is a box that you plug the cables into then the box into a computer, if you're interested PM me  edit: I should mention that with the exception of being "new" cameras they meet all your requirements and are super cheap.
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Feb 4, 2013 21:26
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Heh, I'd be keen for that but we need to get 2 of the big and 2 of the small, and for interchangeability of the batteries/accessories as well as training the operators we want to get uniform stuff.
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Feb 4, 2013 21:30
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How close are you to whatever you're shooting? It might help if you could tell us at least a little bit about the subject/setting.
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Feb 4, 2013 21:45
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ineptmule posted:Heh, I'd be keen for that but we need to get 2 of the big and 2 of the small, and for interchangeability of the batteries/accessories as well as training the operators we want to get uniform stuff. Ah, gotcha. I know that all my cameras use the same batteries and I have the battery changer, and I even have the two big cameras you'd need, but I don't have a small one that can use the same batteries  . Good luck in your search then!
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Feb 4, 2013 21:46
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powderific posted:How close are you to whatever you're shooting? It might help if you could tell us at least a little bit about the subject/setting. Good question. I guess the bigger camera would be 10-40 metres from what we're shooting generally. The little ones would be carried and used to shoot closer up, perhaps 2-15 metres. Basically we are filming Urban Search & Rescue and SAR activities in remote areas. We need to have overview of the whole team (hence the big stationary camera) and closer up when necessary.
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Feb 4, 2013 22:02
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ineptmule posted:I have a question about hardware that is coming from an almost entirely ignorant point of view. I have used the Panasonic HPX-170 and also HVX200's for connecting directly into the firewire port on a macbook and broadcasting over ustream. I have never found a camera with USB that allowed it to work with webcam software. Whatever program you are using may be different so I can't give you a definitive answer on that. Otherwise you would need some sort of capture device that accepts SDI inputs, but that would have to be another piece of equipment to worry about. I do not know if sony or canon cameras have firewire as I have no experience with those particular models.
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Feb 4, 2013 22:10
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Ok, interesting. In the past, we have used cameras with firewire. Our gear is getting rather battered, patched up, and replaced such that it no longer has the uniformity in accessories/operation that I mentioned above. It seems that firewire is currently the only transfer medium that can do what we want it to. Shame that it's not HD but I guess that's not the end of the world. It will also mean that we're only looking for older hardware which will be a bit of a pain.
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Feb 4, 2013 22:31
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How much are you looking to spend? You can definitely get hardware that will take input from HD-SDI devices and stream them out. http://www.telestream.net/wirecast/matrox-vs4.htm - first one off the top of my head, but likely not the only one.
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Feb 4, 2013 23:16
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Blackmagic makes one that uses USB 3.0, which'll be available on most laptops, and it takes HD-SDI or HDMI which opens up a lot of different camera options. Teradek makes a bunch of live streaming related gear that might also work and isn't that expensive.
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Feb 4, 2013 23:29
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I wouldn't depend on a BlackMagic to hold up in the filming environment he's describing for a very long time, it's a very fragile design compared to other options.
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Feb 5, 2013 00:19
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The teradek stuff is pretty awesome. Don't know how you'd interface with sat phones, but it's a little tiny deck of cards size thing that you connect to a camera through sdi or hdmi and and streams out to a CDN from there, using wifi, ethernet, or USB cellular 3g/LTE etc.
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Feb 5, 2013 06:52
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What's a good cheap camera if I just want to play around and film a few things? I've never actually done any filming either.
A human heart fucked around with this message at 22:21 on Feb 12, 2013 |
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Feb 12, 2013 11:19
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A human heart posted:What's a good cheap camera if I just want to play around and film a few things? I've actually done any filming either. Pick up a used Panasonic GH2 or Canon Rebel t2i.
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Feb 12, 2013 14:30
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A human heart posted:What's a good cheap camera if I just want to play around and film a few things? I've actually done any filming either. DSLR like a T2i + 50mm 1.8mm lens for narrative stuff on a tripod. If you want to film action scenes, you might better off with a GoPro 3 Black.
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Feb 12, 2013 17:35
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A human heart posted:What's a good cheap camera if I just want to play around and film a few things? I've actually done any filming either. How cheap is cheap?
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Feb 12, 2013 20:14
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Another blog post. I reviewed a set of Luma Tech Illumina S35 T1.3 lenses, if you ever shoot on Zeiss Super Speeds you should read it. Thanks. http://filmicdigital.com/review-luma-tech-illumina-s35-lens-set/
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Feb 13, 2013 01:03
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How much will those cost to rent?
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Feb 13, 2013 01:11
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They just lent them to us to evaluate to see if we might want to buy some. We like them but don't know if we'll buy any yet, if we do they would likely cost the same to rent as Zeiss Super Speeds, as they cost the same to buy.
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Feb 13, 2013 01:39
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SquareDog posted:Another blog post. I reviewed a set of Luma Tech Illumina S35 T1.3 lenses, if you ever shoot on Zeiss Super Speeds you should read it. Thanks. They remind me of cookes..interesting. Thanks for that review!
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Feb 16, 2013 04:26
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Thought people here would like this. Broadcast tech porn http://www.theregister.co.uk/2013/02/20/from_stage_to_stream_the_brit_awards_2013
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Feb 21, 2013 12:22
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I went to an event the other week at Abel Cinetech in Burbank to see a presentation about the new Penelope Delta. Here's the lowdown. The camera that was there is the only camera in existence, so it's basically a prototype. It looked nice, it has that "cat on the shoulder" shape that Aaton takes such pride in. it's bigger and heavier than any of the cameras we carry at 21 lbs without a lens, but the shape is so nice that it hardly matters when it's on your shoulder. I tried it out and it sits on your shoulder so easily and without any padding, perfectly balanced. It's a CCD sensor which by its nature is global shutter, also there is no debayering. CCD's can eat up to 100 times more power than a CMOS sensor but they seemed to have addressed this well enough. It has two proprietary batteries that sit on it, are hot-swappable and together power the camera for almost two hours. I didn't see any 4-pin xlr so not sure how it's powered externally. it has two auxiliary power ports, one 2-pin fisher and one proprietary Aaton port. It has two HD-SDI ports, one dirty and one clean. The buttons all looked solid and like something you could operate with gloves on. It records to a special Aaton mag that is really just four off-the-shelf 256 GB SSD cards slapped together, creating a 1 TB raid 0 array mag. It records uncompressed 3.5K RAW. the guy had to say it five times before it sunk in for me, uncompressed RAW at 3.5K. So it's a total data-hog. That is the only option for recording on the camera. They only had one LUT on there that was a really bad 709 LUT but they're working on more for release. They said that the workflow isn't ready yet and that right now it's very difficult to manage. The sensor is supposed to have a feature where it vibrates, shifting the sensor in 1/2 pixel increments frame to frame in order to reduce digital pattern noise and also give the illusion of double the resolution due to persistence of motion, in an attempt to emulate how film emulsion works. They call it Virtual 7K. It's a mode that you can turn on or off but it isn't working on the prototype yet. They showed a little bit of footage with the preface that they still don't have the post color science down yet. It did look a little ugly, I think for the reason they warned us. It looked like it was pushed too much in some respects, skin tones looked hot and flat. All that aside it looked great, and it had a look that was very unique. People throw around the term "filmic" with reckless abandon but this truly did look very filmic in it's rendering, moreso than even the Alexa or F65. It seems that you can't adjust the ISO in the camera based on that they said, the only thing you can adjust is the shutter blinds on the rotating shutter. It has a spinning mirror shutter, allowing an optical viewfinder. the open part of the shutter has 20 spokes on it that can expand to stop down the light. Yo dawg I herd you like shutters. There aren't discrete settings for it, it's either on or off, either open or stopped down by 3 stops. And it's set not by a button in the menu, but by a tiny alan key that is attached to the camera. Strange design choice. So they say that it's either 800 ISO or 100, depending on the shutter orientation. The optical viewfinder was as expected and from what I understand, similar to the Alexa OVF; dim and flickering. It was hard enough to see through it that I couldn't tell focus well at all. They kept talking about the history of Aaton and how its roots are mired in documentary filmmaking, but this camera doesn't seem very conducive to doc work except in form factor. And finally, get this, they wrapped up the presentation by casually mentioning that it's a whopping $150,000. ONE HUNDRED AND FIFTY THOUSAND DOLLARS Before then I thought it was interesting but wondered if it was worth it at what I was guessing the price to be $65,000. But $150,000? forget it. No thanks.   
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Feb 22, 2013 04:23
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SquareDog posted:Words words words expensive loving camera I saw this right after going to a rental house yesterday where they have two F5's on demo. No F55's sadly. I guess the Delta would be good for composite/fx/greenscreen work since it has a global shutter and raw. But the F55 also has those. At a much cheaper price and much lighter. I don't know if I will be renting the Delta any time soon. Especially since there is only 1 in the world. PS. the F5 is a badass camera and the OLED EVF is sharp as hell. It is a very well thought out piece of kit. Sony also has a shoulder pad with rails and also has the tripod plates on it already so no need to buy expensive rigs for quick switchouts. It really is designed with speed, simplicity, and operators in mind. There will be no high frame rate options (other than 60P) available on either until fall at the earliest though, but that will be a free firmware upgrade.
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Feb 23, 2013 06:49
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Another trip report. Went to an Arri show last Friday to see what new stuff they're doing. The show was very nice and simple. They had the best food spread I'd seen yet, plus booze, ha. So the show was much more than just a new internal Raw Recorder. They are doing away with all current Alexa models, will no longer be selling them, and are releasing a whole new set, but don't worry because old cameras can be upgraded with the new parts, and each of the upgrades are optional. So we don't have to buy their new cameras outright. The new models are Alexa XT, XTM, XT Plus and XT Studio. I think it's pretty easy to figure out what each of those does. It's just the same as it is now but with a new card slot for RAW, new fan, lens filter slot and 4:3 sensors. -The new card slot replaces the two SxS slots. It records uncompressed RAW, ProRes or DNxHD to Codex's proprietary cards and are supposed to be much faster and more stable than, say, the Penelope SSD franken-drives. They only come in one size, 512 GB, which will record 50 mins. of RAW at 24 fps, and can overcrank at up to 120 fps. They say only having one drive size option is to keep the cost down of producing them. They also have a card adapter so we can still use the SxS cards, they will work the same as they used to, including NOT recording RAW. In addition to the huge data rig Codex sells that can download and transcode the footage, they also have simple USB 3 single slot card readers as well. -All of the cameras are 4:3 sensors so now they can all do 2x Anamorphic. -They have a new fan design, not that the old one was much of a problem, but they made it even more quiet, basically. -Now there is a space to put behind-the-lens filters in the lens mount, you also have to drop in a shim if you're doing that. Each of these are available separately to upgrade an older camera with, except the 4:3 upgrade. They didn't talk about that, not sure why or if I just missed it. They also have a few accessory releases, a new EVF mount and extension bracket (more sturdy and now you can mount rods to the top), heated eyecup, and two new Fiz units. The cheaper Fiz was only $6k and the other was $22k unfortunately I don't recall the difference between the two other than the more expensive one has a internally lit focus ring. It's hard to tell in the picture I took but it's lit up. They are also making colored plastic covers that sit on top of the card module that sticks out of the side of the body a little, a nice way to color code the cameras without using colored gaffe tape. Lastly they are making an Alexa built for broadcast studio TV, it's a module that is installed that sends out the sensor signal through fiber optic, so it can be manipulated from anywhere in the world. Whatever. The new cameras and upgrades are coming in May with only one major firmware update in June. I like that timetable much better than Sony's. Raw module upgrade - $15,000 Raw module Pro upgrade, (same thing but with 4 cards) - $31,430 in-camera filter module upgrade - $2,250 fan upgrade - $750 VF mounting bracket - $1,110 Fiber remote option - $15,700 I can take or leave everything but think that the RAW upgrade is a solid investment, anyway at least it's far cheaper than buying whole new Alexas.      
SquareDog fucked around with this message at 01:20 on Feb 27, 2013 |
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Feb 27, 2013 01:17
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SquareDog posted:blah blah blah terrible taste in cameras Sorry you have terrible taste in cameras. The Aaton is a specialty camera, not a TV/low budget workhorse. They are not made for mass production. I am sure they will sell fine for aaton.
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Feb 27, 2013 03:37
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some bts off my phone from a studio gig i did today..let me know if you guys want me to share more BTS pics..I usually try to get off at least one when i'm gaffing/1sting (if it's not an NDA type gig)...   and for the camera nerds (literally every single one of you in this thread) 
zer0spunk fucked around with this message at 04:38 on Feb 27, 2013 |
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Feb 27, 2013 04:32
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Mozzie posted:Sorry you have terrible taste in cameras. The Aaton is a specialty camera, not a TV/low budget workhorse. They are not made for mass production. I am sure they will sell fine for aaton. ah, internet anonymity. Seemed like high praise to me except for the price, not sure what was so offensive about it. In fact now I'm curious to know, if you wouldn't mind elaborating.
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Feb 27, 2013 05:32
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SquareDog posted:ah, internet anonymity. Seemed like high praise to me except for the price, not sure what was so offensive about it. In fact now I'm curious to know, if you wouldn't mind elaborating. whatever human being (USER WAS PUT ON PROBATION FOR THIS POST)
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Feb 28, 2013 06:13
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