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Chitin posted:Forgive my ignorance, but... "shooting Don Juan?" Because you turned "her" around and did it from behind.
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Jun 13, 2013 18:35
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Tiresias posted:Because you turned "her" around and did it from behind.
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Jun 13, 2013 20:27
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Finally found a monitor to go on my rig. No more trying to steadicam with the camera LCD screen and I can actually see where I'm putting my feet. Fantastic! Should help with my framing as well. I find it difficult to keep the headroom at the same height. Apparently that's always a hard part to learn when steadicamming.
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Jun 14, 2013 09:53
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Got another spec ad here, this one didn't win me a free trip to France but you can't win them all I guess! This one was for Chevy and part of the challenge was to use the Voice over dialog written by Jon Landau, James Cameron's producer. Used a buddy of mine who is a storyboard artist for Dreamworks Animation. https://www.youtube.com/watch?v=F88zpCc1dJc Here's our setup for shooting it.   DIRECTING! 
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Jun 14, 2013 16:47
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I'm working on a documentary right now and it has footage ranging from 1080 to 480 cellphone stuff and everything in between. The majority of it is 1080 or 720 footage. Is it worth purchasing magic bullet Instand HD to uprez everyhthing to 1080 when our final deliverable is going to be a 480 DVD? Or would it be better to just master at 720, downrez the 1080 stuff, and uprez the 480 stuff?
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Jun 14, 2013 19:21
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chimheil posted:Or would it be better to just master at 720, downrez the 1080 stuff, and uprez the 480 stuff? Having said that, check if you can also do your master in 1080. Chances are the system you're using is capable of it and you get the best quality master you can get with the source material (unless you only have 3 seconds worth of 1080 source material, clearly).
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Jun 14, 2013 20:00
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I wrote a little article for the FlySteadicam site on the making of "Seduced and Abandoned" and the use of Steadicam in that film. It's a bit wordy but I had fun writing it. Interestingly it wasn't until I sat down to write this that it occurred to me how much of my memories had become insanely hazy. Not so much because I'm getting old and senile, though that may certainly help, but simply because it was such an information overload on every single day that it's all become a blur! Even while watching the finished movie I saw things I'd completely forgotten about (we talked to Jessica Chastain? Oh drat...we did!) Anyway, for those of you interested in reading about the making of an insane movie, or just reading about Steadicam, have a look and let me know what you think! http://www.flysteadicam.com/the-little-rig-that-could/
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Jun 14, 2013 21:58
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Sagacity posted:This. Magic Bullet can't generate detail from thin air so an upconvert -> downconvert step won't gain you anything. The interviews are a 50/50 split between 1080 DLSR footage and 720 footage from an HPX170. A lot of the b-roll is also that way, but a lot of it is also 480.
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Jun 17, 2013 01:44
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Anyone else had a chance to check out Amir Mokri's work on Man Of Steel yet?
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Jun 17, 2013 01:46
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Not sure if this is the right thread, but does anybody have experience with projecting images onto a building facade? I've been approached to do an installation for a local museum's Halloween showcase and I was wondering what kind of projector I'd need to have rented. Specifically, I'd be projecting onto the white space of this building: https://www.google.com/search?q=oce...LEMa9ygGOoIGwDA Would 1080p projection be enough, or would they have to spring for 4k projection?
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Jun 17, 2013 02:14
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So I just used a Steadicam with a monitor for the first time... My loving back is killing me from looking down instead of forward at an LCD viewfinder. I genuinely think I may have to give up the monitor and stay with a viewfinder, because it was absolute agony after like 2 minutes.
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Jun 17, 2013 15:26
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You shouldn't be leaning to look down, you should only be moving your neck. Having the monitor actually makes it much easier to operate if you're wearing the rig and standing properly. If you have the viewfinder in front of you, you have to hold the sled further from your body in order to see it, which makes it seem heavier, which makes your operating suffer. What rig are you flying?
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Jun 17, 2013 16:14
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I posted this question in the "stupid little questions" thread, but I think it'd be more appropriate here. I'm a big fan of 16mm film, having a collection of old short films in that format, and even shot some stuff with a 16mm camera. Anyway, I'm hoping to upgrade to Super 16mm someday. I'm eyeing on Bolex, which I hear is pretty good. I want to use it to shoot animation, (I've shot animation on 16mm before, so I have experience with it) Anyone have experience with using Bolex? What's the best price I can get for the Super 16mm compatible camera?
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Jun 17, 2013 16:32
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Edit: That animation is outstanding! ^^^CaptainViolence posted:You shouldn't be leaning to look down, you should only be moving your neck. Having the monitor actually makes it much easier to operate if you're wearing the rig and standing properly. If you have the viewfinder in front of you, you have to hold the sled further from your body in order to see it, which makes it seem heavier, which makes your operating suffer. Glidecam 4000 pro, not the best rig in the world. I will have another go and see if I can correct my posture. I do have some lower back issues anyway which stops me doing a lot of other things like skating and jogging. I think the most important thing I need to do is make sure the vest is nice and tight. thehustler fucked around with this message at 21:24 on Jun 17, 2013 |
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Jun 17, 2013 21:22
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Mister Beeg posted:Anyone have experience with using Bolex? What's the best price I can get for the Super 16mm compatible camera? The only actual film I've shot was super 16 on a Bolex H16, it seemed like a robust little machine. A local artist who does a bunch of animation uses an old Bolex of some sort for his (it might be 8mm, though), and he's animating a feature right now. I don't know about pricing, but you can definitely do some great stuff with it. thehustler posted:Glidecam 4000 pro, not the best rig in the world. I will have another go and see if I can correct my posture. I do have some lower back issues anyway which stops me doing a lot of other things like skating and jogging. I think the most important thing I need to do is make sure the vest is nice and tight. Ouch. How does the arm connect to the vest on that one? I used to use a Glidecam V-2000 and it was like wearing some sort of medieval torture device because there was no real socket block to speak of and it was drat-near impossible to stand properly while wearing it with the sled attached because of that.
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Jun 17, 2013 22:06
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Forgive me, I don't know the terminology that well. It has two prongs on the arm and they slide into a big metal bit on the vest   Very visible on there.
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Jun 17, 2013 22:51
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CaptainViolence posted:The only actual film I've shot was super 16 on a Bolex H16, it seemed like a robust little machine. A local artist who does a bunch of animation uses an old Bolex of some sort for his (it might be 8mm, though), and he's animating a feature right now. I don't know about pricing, but you can definitely do some great stuff with it. Problem is that while it's possible to purchase standard Bolex at a reasonable price, the ones converted to Super 16mm is another matter. Many run up to couple thousand. Yeesh. How much did you pay for your's? Mister Beeg fucked around with this message at 01:10 on Jun 18, 2013 |
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Jun 18, 2013 00:49
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thehustler posted:Forgive me, I don't know the terminology that well. It has two prongs on the arm and they slide into a big metal bit on the vest  with a socket block to receive it. If you look at the whole assembly, like in this picture, you've got a series of screws that let you adjust the way the sled's weight hangs in balance with your body. You don't have that. As far as I was ever able to tell with the Glidecam I used, it was difficult (if not impossible) to operate with a proper stance because of that. I'm still pretty new to operating, so I bet someone like Steadiman would be able to give you much better advice, but I know that once I got an actual Tiffen-built Steadicam I stopped having to fight with the rig. Of course, then it became painfully obvious where my own weaknesses were as opposed to the rig's ...  Mister Beeg posted:Thanks for the info. I'll check it out. I remember hearing they were in the $500-$800 area, but I didn't realize that ours were converted. They were all school equipment, so they had been purchased many years before, but they all took super 16. I had no idea the H16 wasn't like that from the factory until right now.
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Jun 19, 2013 21:58
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Thanks CaptainViolence, much to think about! I don't think I'll ever get to use a proper Tiffen vest in my life. Got any of your stuff online so I can have a look, by the way? Steadiman if you're ever in the UK let me know so I can salivate over your rig and attempt to wear it.
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Jun 19, 2013 22:19
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CaptainViolence posted:I remember hearing they were in the $500-$800 area, but I didn't realize that ours were converted. They were all school equipment, so they had been purchased many years before, but they all took super 16. I had no idea the H16 wasn't like that from the factory until right now. Ah, okay. Thanks. I think I can deal with that. Off to eBay and see what's there!
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Jun 19, 2013 22:52
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Mister Beeg posted:Ah, okay. Thanks. Good luck! I haven't shot a ton on film, but what I did was really fun. Sorry I couldn't be more help! thehustler posted:Thanks CaptainViolence, much to think about! I don't think I'll ever get to use a proper Tiffen vest in my life. Got any of your stuff online so I can have a look, by the way? Nothing I've shot for has been released yet, but I've been meaning to cut together a reel. I only have a few clips of what I've shot but I can toss them on YouTube or something. And I would definitely recommend at least trying on a real Steadicam at some point (possibly at a workshop!) even if you don't plan on buying one. It'll help you understand the forces being exerted on your body and how you're interacting with them, and if that's not true then it's still really really fun. edit: Here's a start to a reel. I've only been operating for about 6 months so it's nowhere near Steadiman-quality or anything, but I'm pretty happy with the progress I've been making, especially compared to how I started. CaptainViolence fucked around with this message at 18:53 on Jun 20, 2013 |
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Jun 20, 2013 03:37
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Does anyone here have any experience with the Kick Light? I'm considering getting one for field macro photography/videography, and it seems like it's well-suited to the task. Does it pretty much work as advertised or are there any shortcomings to be aware of?
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Jun 25, 2013 05:48
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Hey guys, I've got an interview at Steiner Studios for a Lighting and Grip Technician job next week and was wondering if I could get some advice. Ive worked in the grip and electrical departments on a number of student and indie films. Ive got a pretty solid knowledge of the grip side of things but Im lacking in the electrician side, especially at the level of productions that shoot at Steiner. Can you guys recommend any books, websites, etc that would be good to check out and read before the interview to brush up on my electrician knowledge? Even catalogs and products in the lighting field typically used on large productions would be great to go through.
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Jul 4, 2013 00:39
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AccountSupervisor posted:Hey guys, I've got an interview at Steiner Studios for a Lighting and Grip Technician job next week and was wondering if I could get some advice. I've always enjoyed the "Set Lighting Technician's Handbook" I have an older version, but it's still very informative. Ask us some questions too!
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Jul 8, 2013 02:19
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So I have been shooting a new movie for the last few weeks using the Sony F55 and I've really fallen for that little camera. It was kind of thrust upon me at the last minute (was originally scheduled to be an Alexa show but they cut a sponsor deal so yeah) which pissed me off no end since the call was made a week before we were scheduled to start shooting. However after using it for a while I've really fallen for it. There's definitely some niggles that you need to work around though. An example being that the current firmware is stuck at the camera's native ISO of 1250 if you want to shoot RAW 4K. However it is rugged as hell, quick bootup time, great form factor (way better than the beast that is the F35 or F65) and the light sensitivity and lattitude is astounding. I lit an entire amusement park with just a bunch of kinos, a 2,5K bounced off a butterfly, and various bounce cards spread around and it worked great! I would not have dared to do that with, say, a RED. It's so sensitive, in fact, that the unit stills guy complained to me that he was having trouble taking stills since we were barely using any light! But it registered fine on the F55! Perfect for me since my lighting budget is barely existant and we have a lot of nights  . So yeah, very happily surprised and suitably impressed. It's taken away a lot of the stress I had going into this film. So yeah, good job Sony!
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Jul 11, 2013 12:53
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EnsGDT posted:I've always enjoyed the "Set Lighting Technician's Handbook" I have an older version, but it's still very informative. Picked this up and its exactly what I was looking for! Thanks so much Im blasting through it and I'm relieved I know about 75% of the info/gear in this book already but the more technical stuff on electrcian info is golden. Just got done with the interview and it went really well. Crossing my fingers! Anybody here ever work on something shot at Steiner?
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Jul 11, 2013 21:36
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Anyone have a film editing software recommendation for an amateur documentary film for a student project? Something under $500 that can do effects and help me cut/edit 30 hours of video. I'm on a PC.
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Jul 22, 2013 23:40
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Umph posted:Anyone have a film editing software recommendation for an amateur documentary film for a student project? Something under $500 that can do effects and help me cut/edit 30 hours of video. I'm on a PC. Are you a current student with a .edu address? You can get the Adobe Creative suite on the cloud for $30 a month. Otherwise you could just flat out buy Premiere CS6 for their student prices. And yes, the student versions are full working versions and you can use them on commercial pieces. I checked.
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Jul 23, 2013 00:57
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Umph posted:Anyone have a film editing software recommendation for an amateur documentary film for a student project? Something under $500 that can do effects and help me cut/edit 30 hours of video. I'm on a PC. Lightworks perhaps? http://www.lwks.com/ It's free. Edit: and here's the better thread to ask: http://forums.somethingawful.com/showthread.php?threadid=3367934
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Jul 23, 2013 03:52
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Umph posted:Anyone have a film editing software recommendation for an amateur documentary film for a student project? Something under $500 that can do effects and help me cut/edit 30 hours of video. I'm on a PC.
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Jul 24, 2013 04:31
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Thanks gang. I got Premiere at the student price. It seems sort of deep, I might try lightworks too. I was hoping to fond something that did snazzy effects easily, like text with moving video filing it in and stuff. Maybe a way to add animations without too much know-how. But premiere seems to do what I need and i'm sure what I want, wih plugins or something. Is lightworks more baby friendly?
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Jul 24, 2013 09:28
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Umph posted:Thanks gang. I got Premiere at the student price. It seems sort of deep, I might try lightworks too. I was hoping to fond something that did snazzy effects easily, like text with moving video filing it in and stuff. Maybe a way to add animations without too much know-how. But premiere seems to do what I need and i'm sure what I want, wih plugins or something. Is lightworks more baby friendly? Lightworks is probably a little harder to pick up because there are fewer training videos. I'd highly recommend a month of Lynda.com if you want to get the most out of Premiere Pro.
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Jul 24, 2013 13:14
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Landed the job at Steiner Studios as a Lighting and Grip Tech! Very excited, this is a big step for me. Thanks EnsGDT for the book advice, that thing really helped me prep for the interviews. If anybody here ever finds themselves working on anything shooting at Steiner, let me know!
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Jul 25, 2013 03:33
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AccountSupervisor posted:Landed the job at Steiner Studios as a Lighting and Grip Tech! Very excited, this is a big step for me. Congrats man! One step closer to Goon world dominance.
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Jul 25, 2013 20:10
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There's a Blackmagic Design event today. Not much good news coming out of it so far. Pocket Cinema Cameras will probably get into customer hands in August, and the 4K camera sounds like it is a few months out. It overheats during slo-mo, can only shoot in 4K mode (no 1080p), can only do 4k SDI (no 1080p), and still no footage available from it.
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Jul 25, 2013 21:55
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AccountSupervisor posted:Landed the job at Steiner Studios as a Lighting and Grip Tech! Very excited, this is a big step for me.
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Jul 26, 2013 12:21
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Jalumibnkrayal posted:There's a Blackmagic Design event today. Not much good news coming out of it so far. Pocket Cinema Cameras will probably get into customer hands in August, and the 4K camera sounds like it is a few months out. It overheats during slo-mo, can only shoot in 4K mode (no 1080p), can only do 4k SDI (no 1080p), and still no footage available from it. I went too, the new 4K camera still strikes me as a glorified hobbyist camera. A lot of their other hardware has become very affordable though, too bad I don't have a use for it.
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Jul 27, 2013 01:32
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Crossposting from the "short films" thread, because I am really super freakin' excited about this. So every year, the Asian American Film Lab (AAFL), a non-profit that promotes diversity in film and TV, hold a filmmaking competition called the 72-Hour Shootout, in which teams have 72 hours to make a short film incorporating a specific theme. The top ten selections are then screened at the Asian American International Film Festival (AAIFF) in NYC. I just found out about AAFL this past year, and consequently entered the Shootout for the first time this year as well. The circumstances under which our team came together were completely crazy but clearly purposeful, and though it the first time most of us worked together (the crew had worked together, though informally), we thought we came up with something pretty good, especially considering we had less than 72 hours to make it. I thought it was a great experience, but with the sheer number of competitors, didn't expect anything more from it. I was content merely with the experience, the networking, and the exposure to the judges, who included a commercial agent at a big agency here in NYC and the executive director of casting for ABC. Well, today was the screening at AAIFF, and the top ten films screened--among which was my team's entry, "Drawing Lines"! The winners weren't announced ahead of time, so everyone found out at the same time, at the screening itself. This is the first time I've ever had a film in a film festival, and it is absolutely exhilarating. I seriously don't know what to do with myself. Like I keep standing up to DO something and sitting back down again because I don't know what to do first. Compounding on this is the fact that my agent just called and told me I booked a role I just auditioned for a series on the Discovery network. I don't think he could tell how excited I was because I was still reeling from the film festival news, which came less than two hours before that! ANYWAY, we can't make it PUBLIC public yet because we're still submitting it to festivals, but here's a private link to our film, "Drawing Lines". The theme was "A Guest In My Own Country". http://www.vimeo.com/67605082, password "Lastman". I come in at around 3:50. Also: Steadiman posted:Congrats man! Hope you have a wonderful time there I was on set for a feature film ("Tracers") last week and I saw a Steadicam and I thought of you  True story.
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Jul 28, 2013 05:22
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AccountSupervisor posted:Anybody here ever work on something shot at Steiner? I've worked there before and was impressed AccountSupervisor posted:Landed the job at Steiner Studios as a Lighting and Grip Tech! Very excited, this is a big step for me. You're quite welcome. I'll hit you up next time I'm in NYC working! For further learning check out "The Grip Book"
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Jul 28, 2013 06:36
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So the company that I work for has a Sachtler ENG 2 CF tripod who's legs have got all gummed up after spending 3 weeks in Trinidad- so they no longer fall properly under their own weight. I have the honor of being tasked with fixing it despite having no experience doing that sort of thing. There's surprisingly little information I've been able to find on what the best approach it and I sure as hell don't want to blindly start taking it apart- does anyone happen to have experience cleaning/maintaining this sort of thing?
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Jul 29, 2013 15:43
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