|
Chitin posted:To be clear, he's looking for a DSLR? What's he already using for photography? Yup, he is looking for a DSLR so it can be used in a pinch for other things. He currently shoots with a Canon 60d and loves it for the still shots but the video quality is kind of lacking and he wanted to see what else was out there. He basically wants one camera for stills and one for recording.
|
#
?
May 6, 2013 17:12
|
|
|
|
| # ? Jun 8, 2024 17:10 |
|
|
Am I the only one that like s35 more? I have a Canon 5D MKII and a 16-35mm lens and I hardly ever go wider than 20mm. Sometimes 18. I prefer the extra punch I can get out of longer lenses. I'm just not a fan of ultra wide or fisheye effects.
|
|
#
?
May 6, 2013 19:57
|
|
|
There are a lot of 5D shooters out there that don't understand what S35 is. Nobody in this thread, but I run into so many people who are shocked that the C300 is not full frame (though I live in San Diego and we don't have a real industry here, I'm sure people in LA are smarter*) *lol nope
|
|
#
?
May 6, 2013 20:33
|
|
|
1st AD posted:There are a lot of 5D shooters out there that don't understand what S35 is. Nobody in this thread, but I run into so many people who are shocked that the C300 is not full frame (though I live in San Diego and we don't have a real industry here, I'm sure people in LA are smarter*) The problem is my business partner loves the full frame. We rented an FS700 for some slow mo stuff and he was so pissed because it was a crop sensor and 16mm was too punched in for what he wanted to do. Different strokes I guess. He loves the super distortion that a face really close to the lens and then moving away from it gives.
|
|
#
?
May 7, 2013 02:49
|
|
|
chimheil posted:The problem is my business partner loves the full frame. We rented an FS700 for some slow mo stuff and he was so pissed because it was a crop sensor and 16mm was too punched in for what he wanted to do. Different strokes I guess. He loves the super distortion that a face really close to the lens and then moving away from it gives. Buy him a fish-eye or a 10-20mm (Tonika 11-16mm) and make him happy. Like I said earlier, unless you're shooting something that requires microscopic depth of field or nothing but landscapes (video wise that is, stills is another game) you're better off with S35. Cheaper glass, more manageable DOF and the capacity to get in closer while being further away. Like anything FF is another choice being made for any given project, but my feeling for what you're trying to achieve it's totally unnecessary. FlyingCowOfDoom posted:... Everything we've found so far is that full frame is the most important part for video... Where the gently caress are people getting this idea? FlyingCowOfDoom posted:He currently shoots with a Canon 60d and loves it for the still shots but the video quality is kind of lacking
|
|
#
?
May 8, 2013 13:32
|
|
|
I have a GH3 and prefer the files from my D800 or XF300 in pretty much any situation I've encountered so far. The GH3 seems to be very noisy compared to the D800, even at base ISO, and the flat profile I have on the D800 is great whereas I haven't figured out anything I really like on the GH3 yet. Granted, I've only had the Gh3 for a couple weeks and probably need some time to figure it out. We also don't do anything particularly exciting in grading so it might not have had the chance to shine. And maybe I'm just a better video-er than the people I've hired as second camera on a projects lately, but even after telling people to set their poo poo as neutral as possible I've been getting horrifically over saturated reds and super crushed blacks from 5D MkIII shooters. Has anybody used the flaat profiles on Canon? That's what I've been using on my D800 and it cuts really well with the XF300 so I'm thinking about asking anyone we hire to install it. As for flyingcowdoom's dj buddy, I'm betting the video quality issue they're having at gigs is more about low light performance and how it handles weirdly colored stage lights than anything else.
|
|
#
?
May 8, 2013 17:04
|
|
|
powderific posted:
|
|
#
?
May 8, 2013 17:12
|
|
|
powderific posted:I have a GH3 and prefer the files from my D800 or XF300 in pretty much any situation I've encountered so far. The GH3 seems to be very noisy compared to the D800, even at base ISO, and the flat profile I have on the D800 is great whereas I haven't figured out anything I really like on the GH3 yet. Granted, I've only had the Gh3 for a couple weeks and probably need some time to figure it out. We also don't do anything particularly exciting in grading so it might not have had the chance to shine. Oversaturated reds are pretty characteristic of the last generation of Canon DSLR's (the mk3 seems to be better from the couple times I used one). This even affects photos, though you can easily tweak it if you shoot raw. I actually think Cinestyle makes this worse because a lot of midtone information is lost. Flat profiles are generally a bad idea because 8-bit video sucks. Shoot standard or neutral and try to light things to get them close to how you want the final image to be. If you want flexibility in a cheap package, you better get a Blackmagic Camera because there's nothing else that's close to the flexibility of raw (8-bit 4:2:2 is a joke, though Panny's 10-bit AVC-Intra is pretty decent - unfortunately they don't offer AVC-Intra in anything but their small chip TV cams). Also I think I would take the noise of the GH3 in some situations over the clean image of the D800 - I've run into nasty posterization at base ISO a few times. Overall I think the D800 and D600 are better cameras overall because of their photo capabilities and dynamic range (which somehow gets preserved in video despite the poo poo codec), but the GH3 has better codec and frame rate options. 1st AD fucked around with this message at 08:40 on May 9, 2013 |
|
#
?
May 9, 2013 08:36
|
|
|
Most of the problems I've encountered are, unfortunately, not in situations where I have control over the lighting. The last couple have been stage performances and I think gels on the stage lights are really exacerbating existing issues that might not be a problem in more normal conditions. I suppose it just comes with the territory when you're hiring people last minute for small projects. On the D800 I'm using the flaat_10 profile, which isn't as flat as cinestyle or whatever. It's more like what you describe—just a nice, neutral image that cuts well with my XF300. I should say I'm not exactly unhappy with the GH3 and the noise isn't that objectionable now that I've used it on a couple shoots—I didn't buy it for the codec anyway. My main motivation for picking it up was that it was cheap and would give me an option for a two camera system that'd fit in one bag when I'm flying (with the XF300 going carryon only is really tough). I'd been thinking about a D5200 but the GH3's ability to record till the card fills up, adapt a bunch of different lenses, and EVF swayed my decision.
|
|
#
?
May 9, 2013 17:37
|
|
|
1st AD posted:Oversaturated reds are pretty characteristic of the last generation of Canon DSLR's (the mk3 seems to be better from the couple times I used one). This even affects photos, though you can easily tweak it if you shoot raw. I actually think Cinestyle makes this worse because a lot of midtone information is lost. Flat profiles are generally a bad idea because 8-bit video sucks. Shoot standard or neutral and try to light things to get them close to how you want the final image to be. If you want flexibility in a cheap package, you better get a Blackmagic Camera because there's nothing else that's close to the flexibility of raw (8-bit 4:2:2 is a joke, though Panny's 10-bit AVC-Intra is pretty decent - unfortunately they don't offer AVC-Intra in anything but their small chip TV cams). I shot a lot of stuff on Cinestyle and it never came out good. Everything had a yellow cast regardless of whether it was indoors or out and it was not a WB issue because I was using Arri/Mole Richardson lights. Now I am just shooting neutral. Pulling keys out of the 8-bit h.264 is bad enough as is and cinestyle does not help at all. I really like the cinegammas from the FS700 and I am waiting for the right project/client to come around where I can rent an F5.
|
|
#
?
May 9, 2013 19:03
|
|
|
I've never had issues with cinestyle, it's saved my rear end a few times in fact by pulling the highlights back a little. Someone can feel free to correct me but I don't think it introduces any casts. I'd agree with 1stAD on the whole lossy mids point though.
|
|
#
?
May 10, 2013 08:40
|
|
|
The footage looks pretty yellow until you apply a curve.
|
|
#
?
May 10, 2013 08:44
|
|
|
powderific posted:As for flyingcowdoom's dj buddy, I'm betting the video quality issue they're having at gigs is more about low light performance and how it handles weirdly colored stage lights than anything else. This, low light mixed with bright lights that come in and out and what he has now isn't good enough to get quality video each time. @Xtimmy, this is from us talking to videographers here in Dallas. Granted most of them are pretty lovely and exist solely in the club scene, but they are the only ones with experience with what he's trying to do so far.
|
|
#
?
May 12, 2013 04:43
|
|
|
http://www.magiclantern.fm/forum/index.php?topic=5247.msg34074#msg34074 Magic Lantern has unlocked 1080p 14bit RAW recording on 5Dmk3, assuming you have a 1000x speed CF card. They're still ironing out the kinks though. EDIT: and there might be some RAW capabilities unlocked at lower resolutions for other Canon models if I'm not mistaken.
|
|
#
?
May 13, 2013 21:27
|
|
|
Jalumibnkrayal posted:Magic Lantern has unlocked 1080p 14bit RAW recording on 5Dmk3, assuming you have a 1000x speed CF card. Holy poo poo. Now I see why the thread title changed. This really makes me wanna get a 5D. I wonder what the T2i will have available through this?
|
|
#
?
May 14, 2013 03:54
|
|
|
Those magic lantern guys are freaking geniuses. Do you think they'll get served a cease and desist at this point? If the 5d internals can handle that kind of recording - I would be an unhappy c100 owner.
|
|
#
?
May 14, 2013 11:49
|
|
|
schmuckfeatures posted:I wonder what the T2i will have available through this? There are people using the same firmware to test modes on the T3i, but I haven't seen mention of the T2i. Edit: The buzzkill is the data rates required for HD RAW are about 8x higher than what normal class 10 SD cards are capable of. Would UHS SD cards allow the camera to record data faster, or is that also limited by the camera hardware? Jalumibnkrayal fucked around with this message at 15:52 on May 14, 2013 |
|
#
?
May 14, 2013 14:08
|
|
|
I'm pretty sure the 5D doesn't have a high speed SD card slot, so you're stuck with 1000x CF cards or nothing.
|
|
#
?
May 14, 2013 19:51
|
|
|
I was using a steadicam merlin for a long time and never felt satisfied with it. I may have never had it balanced properly, but I almost always needed to warp stabilize in post. I tried out a blackbird for this shoot and holy poo poo, what a difference. So easy to balance. None of the steadicam shots in the piece have stabilization on them: https://www.youtube.com/watch?v=MzlEGO8LmHA&hd=1
|
|
#
?
May 14, 2013 19:53
|
|
|
1st AD posted:I'm pretty sure the 5D doesn't have a high speed SD card slot, so you're stuck with 1000x CF cards or nothing. 5D doesn't have any type of SD card slot, but the T2i/T3i/etc do. I think they can do SDXC but I don't know about anything faster.
|
|
#
?
May 14, 2013 21:53
|
|
|
The 5Dmk3 takes both CF and SD cards.
|
|
#
?
May 14, 2013 21:59
|
|
|
1st AD posted:The 5Dmk3 takes both CF and SD cards. Ahh. Good to know.
|
|
#
?
May 15, 2013 12:44
|
|
|
Anyone know a decent wireless lav system that doesn't cost $2,000?
|
|
#
?
Jun 18, 2013 21:11
|
|
Cutie Pie Swag~
|
The Sennheiser Evolution G3 seems like a common choice for lavs in the $500-$600 range, and I know there's a Sony set that's supposedly comparable in the same price range. I've rented the Sennheiser stuff many times and it's done well enough for my purposes.
|
|
#
?
Jun 18, 2013 21:22
|
|
|
Anyone have any experience with the Samyang/Rokinon cine primes? The still versions of the same lenses are supposed to be great for the price, and since the alternative would be still lenses anyway I figure it might be worth buying something already declicked and measured in T-stops.
|
|
#
?
Jun 18, 2013 23:50
|
|
|
Chitin posted:Anyone have any experience with the Samyang/Rokinon cine primes? The still versions of the same lenses are supposed to be great for the price, and since the alternative would be still lenses anyway I figure it might be worth buying something already declicked and measured in T-stops. I think general consensus is "pretty darn good for the price, but they aren't Zeiss substitutes or anything." We're about to order a set for our 5D at work
|
|
#
?
Jun 19, 2013 00:38
|
|
|
BonoMan posted:I think general consensus is "pretty darn good for the price, but they aren't Zeiss substitutes or anything." The 35 is exceptionally good. The 24 is a bit soft wide open.
|
|
#
?
Jun 19, 2013 14:59
|
|
|
powderific posted:The Sennheiser Evolution G3 seems like a common choice for lavs in the $500-$600 range, and I know there's a Sony set that's supposedly comparable in the same price range. I've rented the Sennheiser stuff many times and it's done well enough for my purposes. Cool, I'll give it a look. Thanks!
|
|
#
?
Jun 20, 2013 19:14
|
|
|
So I'm shooting a short and I'm looking to get some advice. I've gotten very used to working with a RAW workflow be it RED or BMCC but these guys have no budget so we're on my 5d2. They want a bright, saturated image and I'm having nightmares of blown channels and awful swimmy unrecoverable highlights. At the moment I'm trying to put together a picture style for the 5d that'll boost the green/blue saturation slightly while leaving the reds/yellows more or less as is (to avoid messing with skintones too much)in order to get a closer in-camera image. I'm very wary of shooting flat profiles on a project that is then going to be graded to something not overly flat, as you can't push h.264 at all. Am I wasting my time by dicking around with this or does it sound like a reasonable idea and I'll just have to watch my clipping?
|
|
#
?
Aug 4, 2013 03:24
|
|
|
If you have fast enough CF cards you can shoot raw on the 5d mk 2. I'm not sure if you can get 1080p recording on it, but it'll still be better than h264. Don't expect much in the way of highlight recovery, however, DO expect to noise reduce the poo poo out of your footage.
|
|
#
?
Aug 4, 2013 03:28
|
|
|
1st AD posted:If you have fast enough CF cards you can shoot raw on the 5d mk 2. I'm not sure if you can get 1080p recording on it, but it'll still be better than h264. Don't expect much in the way of highlight recovery, however, DO expect to noise reduce the poo poo out of your footage. IIRC, though I haven't been following Magic Lantern as closely as I'd should the 5d2 can't do 1080p, which is part of the entry requirements for the short. It is something I should be looking into regardless though.
|
|
#
?
Aug 4, 2013 03:44
|
|
|
If you're looking for green and blue saturation, a combination of a cheap ND filter and custom white balance + picture style should get you close. If they want a bright image that's a bit tougher, I don't think any of the Canon DSLRs handle highlight rolloff particularly well and I'm assuming they don't have a big budget for high key lighting.
|
|
#
?
Aug 4, 2013 03:52
|
|
|
1st AD posted:If you're looking for green and blue saturation, a combination of a cheap ND filter and custom white balance + picture style should get you close. Highlight roll off on the 5d is a plague. Plus we can't set anything up for exteriors because it pushes us into another impact bracket with the local council so we pay more, YAYY! I think I'm going to Keep with a custom low contrast PP with some green/blue saturation bumped up and let the colourist handle the contrast. At least we have some lights for interiors.
|
|
#
?
Aug 4, 2013 04:04
|
|
|
How does the 5D3 handle raw compared to the 5D2? I'm tossing up between the 6D, 5D3 and D800 for product/interior photography but going big mainly for event/commercial filming. I really need accurate colours that pop- the design work I do is uniformly ultra-crisp and vibrant, it's what clients expect from me so I'd like to maintain that style across video. I've had a T3i lying around as my only video-capable dslr for a while now, and it just doesn't get the results I need for commercial work. For lenses I'd like to grab a fast 35mm that I'd shoot with 75% of the time, a zoom that covers everything up to 100mm+, and maybe an ultra-wide prime? How much distortion would something around 14mm or 17mm create on a full-frame when shooting crowds and interiors?
|
|
#
?
Aug 4, 2013 12:28
|
|
|
Creepy Goat posted:How does the 5D3 handle raw compared to the 5D2? I'm tossing up between the 6D, 5D3 and D800 for product/interior photography but going big mainly for event/commercial filming. This is how much distortion there is on the Canon 16-35mm F/2.8 on a 5d MKII at 16mm. http://i.imgur.com/UA2NiSl.jpg As far as visual distortion on crowds/interiors, it will look fine as long as you keep people away from the lens a little bit. If you have someone 2 feet away from the lens they will look monstrous compared to someone ten feet from the lens. Verticals will be curved, but if the viewer is paying attention to people in the shot it won't be as noticeable. The 16 does not suffer from the fisheye look that gopros have which is good. Some like that look but I hate it. chimheil fucked around with this message at 16:08 on Aug 4, 2013 |
|
#
?
Aug 4, 2013 15:37
|
|
|
I imagine slow panning might emphasise it more? When shooting events generally individual shots are much shorter, but interior stuff I tend to spend a lot longer on each shot to capture as much detail as possible. I'd love to splurge on the 17mm TS-E lens but it's a lot of money for a very specific use, and I have to grab-and-go often which makes it difficult/costly to rent. The distortion is definitely not as bad as I thought though, so I might try the 16-35 and a couple other focal lengths before I decide. I can understand how the GoPro 'effect' is popular in action-sports, as it gives a 'tunnel-vision' effect which works especially well when skydiving.
|
|
#
?
Aug 4, 2013 17:21
|
|
|
Hey guys, quick question. I been trying to do a couple video-related shorts for my portfolio for my job search post-college. Most of them would be both indoors and outdoors in public, but not necessarily very noisy environments, usually capturing a conversation or interview. I'm a marketing major, not a filmmaker, so I'm not looking exactly for professional, tv-ready work, just something with polish. With that in mind, I have a 60D already, and was looking into ways to improve the audio. Any ideas?
|
|
#
?
Aug 5, 2013 21:58
|
|
|
Record audio with a mic positioned over the subject, operated by boom. Or maybe use a lavalier mic if it's just a sit down interview and the subject is wearing stuff that's business casual or better.
|
|
#
?
Aug 5, 2013 22:11
|
|
|
Slowhanded posted:Hey guys, quick question. I been trying to do a couple video-related shorts for my portfolio for my job search post-college. Most of them would be both indoors and outdoors in public, but not necessarily very noisy environments, usually capturing a conversation or interview. Probably the cheapest / best way to go would be one of these: http://www.bhphotovideo.com/c/product/922914-REG/rode_smartlav_smart_lav_lav_mic_for.html Be ready to sync up the audio in post though, either manually or through plural eyes.
|
|
#
?
Aug 6, 2013 13:12
|
|
|
|
| # ? Jun 8, 2024 17:10 |
|
|
Hi all. I'm looking to get into the DSLR video scene, mostly to film (and also photograph) mountain biking, and I'm thinking about picking up a used Canon T4i to start out. I've been using GoPros for most of my videography up until now, but I'm looking for something a bit more robust as I've got a few projects I'd like to do over the next year. I'm a hobbyist first and foremost- I have a good conception of photography principals from shooting stills with my Canon XTI,and I'm not looking to make this into a business or anything like that. My questions are: 1. Is the T4i a good platform for video? 2. If so, what lenses (preferably lower cost) should I be looking into for filmmaking on a budget? What else would you advise?
|
|
#
?
Aug 9, 2013 01:55
|
|
