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1st AD posted:I hate shorts like that because people are really bad at acting in those, whether it be through lack of skill or because of the writer's awful voice and dialogue infecting the entire script. That's gorgeous as poo poo. AND under two minutes. Perfect. Speaking of gorgeous, I'm as straight as they come, but I'd probably jump that hat maker. Good lord that guy is ridiculously good looking.
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Jul 30, 2014 22:15
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That video is a successful one because it makes me really, really want one of those hats. Product and corporate videos are easy that way though, because they're like music videos in the sense that nothing really has to have rhyme or reason – all you need is engaging visuals and motion. It's almost cheating. I've seen narratives shot that way because it's "arty" and there's zero thought into what the camera is supposed to be conveying. Yeah it's arty, cool, but nobody is paying attention to the action or dialogue because the visual is so distracting and mismatched to your purpose. Then to really make it awful they pull some "I think I'm David Lynch" editing because that's arty too. Never mind that it entirely does not fit or work, but hey, we're already not making intentional choices anywhere else, right? You have to know what filmmaking tools to exercise in the right places, you can't shallow everything out and shoot the whole thing on a Steadicam with no forethought at all like some loving art student because "omg we got a steadicam" and then put your entire rig on a Pilot sled even though it's not weight rated for that, not that you even know what it's weight rated for or that it's something you need to check. It always hurts to hear someone say the old, "everything in a film is intentional" because thanks to loving YouTube and Vimeo and independent filmmaking, it really isn't any more.
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Jul 30, 2014 22:36
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Slim Killington posted:It always hurts to hear someone say the old, "everything in a film is intentional" because thanks to loving YouTube and Vimeo and independent filmmaking, it really isn't any more. Should be "everything shot on film is intentional" Its too easy to just shoot anything and everything these days without thought. Then its all on the editing process.
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Jul 31, 2014 09:56
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1st AD posted:I hate shorts like that because people are really bad at acting in those, whether it be through lack of skill or because of the writer's awful voice and dialogue infecting the entire script. I thought the cut you poster earlier in the thread was much better!
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Jul 31, 2014 11:04
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1st AD posted:I hate shorts like that because people are really bad at acting in those, whether it be through lack of skill or because of the writer's awful voice and dialogue infecting the entire script. There's a typo in the description (camera camera)
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Jul 31, 2014 11:10
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Shooting outdoors in a couple weeks and haven't worked with HMIs much. Planning to shoot 60p and the extra cost for flicker free ballast is getting on my nerves. Is a 1,200W PAR enough to fill in shadows or use as a rim if I'm planning to fly some 6x6 diffusion? Or should I spring for the 4k, which is the next light up that even offers FF as an option? Bonus question: and do I need to rent a larger butterfly? Logistically this has to happen between 9am and noon, sadly.
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Aug 5, 2014 01:38
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So this isn't something a bounce can handle? I mean if you really need to shoot a wide at 60p then I guess you need the 4k, but for mediums and closeups on one figure I think the 1200 through the 6x silk should be fine. I guess I need more details, otherwise I'd just suggest you go get a piece of 8x4 foam insulation from home depot and cut it in half. You get two bounces with a silver side and a beadboard in one with that.
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Aug 8, 2014 06:30
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Slim Pickens posted:So this isn't something a bounce can handle? I mean if you really need to shoot a wide at 60p then I guess you need the 4k, but for mediums and closeups on one figure I think the 1200 through the 6x silk should be fine. I guess I need more details, otherwise I'd just suggest you go get a piece of 8x4 foam insulation from home depot and cut it in half. You get two bounces with a silver side and a beadboard in one with that. I'd rather go a little wider and have more control than a bounce would generally allow. The sun will be largely backlighting the talent, so my current plan is to fly a 6x6 butterfly between the sun and the talent, then light up the face using an Arri M18 set to spot through some light diffusion. I may add some bounce to that as well, especially for the close up. The fixture will be around 8-10 feet from the talent. I'm open to being told I'm insane but I think this method gives me more flexibility. This is for a television commercial so I'm not looking for huge ratios.
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Aug 8, 2014 18:03
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I'm thinking about putting together a youtube series and I was looking at the gopro. Is it worth it or are there better options for 3-400?
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Aug 9, 2014 15:21
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A GoPro is great for very specific things, I wouldn't sit down and watch an entire episode of something (let alone a series) shot on one. A T3i would be a smarter entry-level product for that format.
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Aug 9, 2014 15:30
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I wouldn't shoot everything on a gopro,that fish eye lens effect is annoying when it isn't being used for trick shots. I shoot a lot on a t3i and I think it's great, a solid entry-level camera if you need one. You can also shoot on iPhones and stuff like that in a pinch if you can find a good, well-lit location with good sound-proofing. I sometimes record podcasts for comedians like Greg Proops and last week I had to switch to my phone to catch the last 20 minutes of his show and they were fine with the quality.
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Aug 9, 2014 16:46
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Thirding the t3i. I make my living in video and it's the only camera I actually personally own.
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Aug 9, 2014 18:00
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Thanks for the advice guys. I don't own a regular camera either so it seems like a more reasonable investment to get a dslr i can use for stills and video for personal use as well as this project.bassguitarhero posted:a good, well-lit location with good sound-proofing This is the biggest issue I'm having in the planning stage here. It's going to be a weekly youtube series relating to bartending and I was obviously going to film in the bar I work in, but it has that very dark moody lighting style even during the day with all the lights up. Is there any kind of advice you'd give to working with that? Is it going to look weird to have dark golden bar lighting and then natural light from windows coming in only on one side? My biggest reasoning for wanting a step up from the cellphone is to lend a little more weight and professionalism to the videos, one of the selling points is that they are coming from a 'professional' rather than random amateur vloggers so that even though it'll be a diy youtube series the production and branding will helpfully lead people to take the videos more seriously than they would other people.
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Aug 10, 2014 00:28
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If you want it to look pro then you're going to need some lights because there's nothing cheap that'll look good in the dark. Bars are notoriously dark so what I would do is test a shot on a nice available phone and if it's not acceptable then you need lights more than a camera. You get enough light in there and any cheap camera will look better.
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Aug 10, 2014 00:41
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I would suggest China balls as a good, cheap lighting solution.
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Aug 10, 2014 01:35
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Chitin posted:Thirding the t3i. I make my living in video and it's the only camera I actually personally own. May I ask what you do and what other gear you use (lenses/tripods/lighting?)
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Aug 10, 2014 18:51
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I'll also recommend the T3i, nice little camera that shoots good images. If you have the know-how, you can buy old cheap theater fresnels and refurbish them for film use.
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Aug 10, 2014 21:07
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MixMasterMalaria posted:May I ask what you do and what other gear you use (lenses/tripods/lighting?) I work full time in house as a video producer for a college (in the marketing department). I also do a fair amount of freelancing. At the college I shoot most things on an AF100, freelancing I'll rent what the job requires - next week I'm shooting an ad on an F5. I own a six-head tungsten light kit totalling about 3,500 watts, mostly open face, a full set of Nikon manual primes from 28-200mm, and a Sekonic light meter which seems to have just given up the ghost sadly.
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Aug 11, 2014 03:33
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Pardon if this isn't the right thread, but does anyone know where to source some Regular/Double 8mm film, preferably in color and in 25ft reels? New, new old stock, expired old stock, I'm fine with most anything as long as it at least works. Not much a film maker, but my grandpa gave me his old Bolex D-8LA and I want to give it a try since it's in perfect working condition and there's places that can develop it near me.
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Aug 13, 2014 07:51
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B&H probably.
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Aug 13, 2014 08:16
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Film you say!?
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Aug 14, 2014 09:40
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I'm gonna AC for the first time in forever. Of course I come to find out that aside from a handful of dolly shots the thing is gonna be handheld, so I'm relegated to offloading red mags and slating. So uh, I kind of don't know how to slate? Like I doubt it's rocket science, but I don't want to look like a moron so help me please not look dumb. What's appropriate to write and other than sound sync with the clapper do I need to do anything else?
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Aug 15, 2014 02:27
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Don't clap on MOS takes and get laughed at.
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Aug 15, 2014 02:49
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Just follow this handy tutorial. https://www.youtube.com/watch?v=Ul04AA3R4d0 I'd just talk with scripty to see how they want the slate to read, but I think it'll usually go scene #, shot letter and take number. Read it phonetically "Scene five alpha take three, mark". Saying "mark"'s optional, I guess, it's a verbal indicator that the next loud sound is the clapper, not a book falling or anything else. Make the letters big and readable, get it in frame so you can see the whole thing if possible, then once you hear camera and sound speed, read it, clap and get out of the way, basically. I guess look up an article on blackandblue for how to slate as well, I kinda skimmed over the basics.
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Aug 15, 2014 03:42
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1st AD posted:I'm gonna AC for the first time in forever. Of course I come to find out that aside from a handful of dolly shots the thing is gonna be handheld, so I'm relegated to offloading red mags and slating. For every 10mm on the lens, place the slate a foot out from it. 50mm lens? 5 feet from the lens, and the slate should be an easy to find/read size for the operator/editor. 150mm lens? 15 feet. Best slating trick I learned when I was a 2nd. Soft sticks for when you're close to talent. Charm the scripty and you'll be set. Don't be the 2nd AC who's always holding onto the slate. Change the info when needed, and set that fucker down next to the camera until the next take is up. Keep your ear turned for the AD and try to time it so that when they start asking for last looks, and is about to call for sound speed, the slate is in hand and you're set to walk in front of the lens - don't go out there and stand around waiting for them. 9 times out of 10 something will have to be changed anyways, so it's really best to wait till right before sound speed to run out and slate.
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Aug 15, 2014 05:22
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1st AD posted:I'm gonna AC for the first time in forever. Of course I come to find out that aside from a handful of dolly shots the thing is gonna be handheld, so I'm relegated to offloading red mags and slating. Don't forget to flip the slate over for a tailslate (and try to be fast with those because people tend to forget about tailslates and cut the camera before you have a chance to slate) and if you're right next to an actor's ears (for a close up or something), please, slate very quietly! Soft sticks are your friend. Both the actor and the sound dept will hate you if you slate too loud for a close up, though they won't be able to articulate it since their ears will be ringing.
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Aug 15, 2014 10:29
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Quick question ya'll why the FRICK does the Blackmagic Ursa shoot to stupid CF cards instead of SSDs??
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Aug 18, 2014 06:42
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Cutie Pie Swag~
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Probably because Arri did it first. Cfast is kind of funny because even Atomos has a dirt cheap Cfast recorder...but the media for it costs more than the old one + SSD's. But here's what someone from BMD on their forums actually said about it: quote:Hi, I think that so many people complained about the limited number of SSD's on their whitelist AND lots of people using unapproved drives complained about dropping frames, so they decided not to bother with SSD's on their new 4k models. 1st AD fucked around with this message at 07:06 on Aug 18, 2014 |
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Aug 18, 2014 07:04
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Arri switched to CFast 2.0 as their go-to standard, after the Codex mags anyway. They didn't support the new big SxS cards that the F55 uses. Of course they changed their minds and with the newest software they can use the new SxS cards again, after we'd already returned our SxS Pro cards and purchased 6 CFast cards.
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Aug 18, 2014 07:28
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Cute as heck posted:Quick question ya'll why the FRICK does the Blackmagic Ursa shoot to stupid CF cards instead of SSDs?? Because SSDs aren't really made to be inserted and removed a million times, or tossed in a bag, or any of the other things we expect of professional media? You're spending six grand in a camera, I'd be pissed if it shot to a format as unreliable as SSD.
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Aug 18, 2014 08:28
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Slim Killington posted:edit RE: buying a starter camera, Hey, this is great advice and I'll definitely take it to heart. Sorry to respond so late, haha. My objective is not just video blogging, I want to take a lot of beautiful video in the moment during my stay in Japan. I think I'm going to pick up the equipment sometime this week. This is the list I've put together, based on all the advice given: Canon EOS Rebel T3i Rode NTG2 Condenser Shotgun Microphone Rode smartLav Lavalier Condenser Microphone for Smartphones Manfrotto MKC3-H01 Compact Series Tripod I thought I'd run it by all of you, what do you think? It totals out to around $900 which is well within my budget. I was also looking at the Nikon D5300 which was recommended as well. That said, it's a little more expensive. Can anyone explain the main differences between the two cameras? If they're significant enough, I'd be willing to spend a little bit more to get the D5300. e: Slim Killington posted:The only thing I wouldn't give my seal of approval to is that tripod, the head on it is really janky. The rest are good, solid choices. Can you recommend something else within that price range? VVV Red and Black fucked around with this message at 00:13 on Aug 26, 2014 |
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Aug 26, 2014 00:01
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The only thing I wouldn't give my seal of approval to is that tripod, the head on it is really janky. The legs are nice and firm and quality I'd expect from Manfrotto but that pistol head is hard to use, hard to level, and feels like it's gonna break at any second. The rest are good, solid choices.
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Aug 26, 2014 00:10
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I'd say go with an even cheaper tripod, like less than $20, and don't worry about pans or whatever just yet. Save that for when you can get a fluid head, or borrow a friend's good tripod for a shot where you specifically need a pan or something. Manfrotto is a great company, but that tripod just isn't gonna give you what you want. This is my little engine that could tripod: Vivitar VPT2457 It's crappy and really lightweight and hasn't broken and I adore it. I use it just as much as my expensive tripod. I bought it because I was on my way to a shoot and realized I'd forgotten my tripod at home, so on the way I went into a crappy electronics store and bought this one. It handled the shoot perfectly well and I've had it for years now.
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Aug 26, 2014 08:21
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Chomskyan posted:
I'd just get this thing: http://www.amazon.com/Manfrotto-MK3...keywords=tripod Looks like the same tripod you've already picked out but without the pistol grip head.
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Aug 26, 2014 16:13
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Just finished a documentary I shot in Ferguson right after the killing of Mike Brown. It's rough, but I opted to get it finished and in the news cycle faster: https://www.youtube.com/watch?v=G1sdBPVzQpI FERGUSON: No Justice, No Peace
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Aug 26, 2014 20:44
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So I hear you guys like student films? I recently graduated from the School of Visual Arts in NYC and these are the two thesis films I was cinematographer on. These are actually the first two films Ive ever been only the DP on. I mostly do grip and electric and I directed and shot some of my earlier student films but this is really the first time I took on the full role as DP. Was a varying experience....pretty much ended up directing the second one(Beauty in the Breakdown) due to the director pretty much being completely absentee other than calling action and cut most of the time. The other one was good minus incredibly poor planning by the director which led to me pretty much having to improvise the entire shot list on set. Both of these were also my first time shooting with a RED. We had a Scarlet with some nice Zeiss Primes and some Canon lenses. That said, Im pretty proud of my work here. Theres PLENTY to criticize though, which is why I love posting work here(really hard to get genuine feedback out of people you know). Have at me! Melancholy Nights https://www.vimeo.com/95819389 password: mnfinal Shot this on the RED Scarlet and the Sony F3 Beauty in the Breakdown https://www.vimeo.com/92263709 password: beauty Shot on the RED Scarlet.
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Aug 27, 2014 01:29
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https://www.youtube.com/watch?v=D2hWUJKLteM My last spec ad, for Rolo candy. Shot entirely on a Phantom Miro with a Pix 240 recorder.
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Sep 1, 2014 19:28
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I'm trying to find a battery for a Sony BVW-35 Betacam SP field recorder. Are there any affordable Li-ion or NiMH batteries (compatible with BP-90A or NP-1B batteries) that'll work with it, or am I stuck with nicads?
atomicthumbs fucked around with this message at 07:38 on Sep 2, 2014 |
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Sep 2, 2014 07:16
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SquareDog posted:https://www.youtube.com/watch?v=D2hWUJKLteM
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Sep 3, 2014 14:47
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Thanks, I had worked as a Phantom tech for a spell so I was quite comfortable using it. Unfortunately this one was the one without a screen on it, still needed to use a laptop to control it. EDIT: However, it was a bitch and a half to color correct, tough to get rid of the green cast even in Resolve. Some of the shots still didn't turn out quite right. SquareDog fucked around with this message at 08:52 on Sep 4, 2014 |
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Sep 4, 2014 08:49
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