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Great! All the justification I need, mashing buy now.
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May 7, 2015 17:26
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Make sure you have a decent power solution if you're gonna use it for docu work. I have a v-mount battery with an adapter for the BMPCC, but I've heard that certain cell phone battery chargers with a 12v tap can also work.
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May 7, 2015 17:41
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1st AD posted:Make sure you have a decent power solution if you're gonna use it for docu work. I have a v-mount battery with an adapter for the BMPCC, but I've heard that certain cell phone battery chargers with a 12v tap can also work. Yeah I'm getting the V Mount adapter as well. I have full access to our camera room at work (even for personal projects) so I'll be piggy backing off of our glass and batteries and other stuff.
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May 7, 2015 18:27
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Does anyone have recommendations for how to safely manage footage when shooting "in the field" for extended periods? Somewhere with poor internet infrastructure, so uploading is probably not an option. My best idea so far is to keep a stack of SD cards with footage and use a laptop to make backups to blu-ray discs. Another option would be to buy twice as many SD cards and then each one gets copied to a second card. I'm off the idea of shooting 4k because holy poo poo managing the storage would be very difficult on my theoretical budget. I don't anticipate having time to sit down with the raw footage and trim out useless stuff. I want to just keep everything until I'm done. Does that make sense? 1st AD posted:Make sure you have a decent power solution if you're gonna use it for docu work. I have a v-mount battery with an adapter for the BMPCC, but I've heard that certain cell phone battery chargers with a 12v tap can also work. Could you or anyone else please talk more about this? What are the options for carrying tons of battery capacity?
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May 7, 2015 19:55
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DNova posted:Does anyone have recommendations for how to safely manage footage when shooting "in the field" for extended periods? Somewhere with poor internet infrastructure, so uploading is probably not an option. My best idea so far is to keep a stack of SD cards with footage and use a laptop to make backups to blu-ray discs. Another option would be to buy twice as many SD cards and then each one gets copied to a second card. I would get a laptop, two (or three if you can afford it) external HDDs and use something like ShotPut Pro (http://www.imagineproducts.com/?main_page=product_info&products_id=2) to do checksum transfers to multiple drives simultaneously. And then if you ever get to a spot that has internet for a few days, back up to the cloud if possible (depending on how much footage you have). quote:Could you or anyone else please talk more about this? What are the options for carrying tons of battery capacity? https://vimeo.com/89122776 That's iKans' BlackMagic solutions, but it should give you an idea of what he's talking about. What camera are you using?
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May 7, 2015 20:14
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BonoMan posted:I would get a laptop, two (or three if you can afford it) external HDDs and use something like ShotPut Pro (http://www.imagineproducts.com/?main_page=product_info&products_id=2) to do checksum transfers to multiple drives simultaneously. Buying a few external hard drives wouldn't be a budgetary problem but I worry about mechanical drives in what could be some rough handling situations. I think I would probably have at least 1 external in any case but I'm kind of paranoid. I haven't chosen a camera yet.
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May 7, 2015 20:29
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DNova posted:Buying a few external hard drives wouldn't be a budgetary problem but I worry about mechanical drives in what could be some rough handling situations. I think I would probably have at least 1 external in any case but I'm kind of paranoid. They should be fine as long as you aren't doing rough stuff WHILST transferring. You should get a pelican case(s) to house everything as well if you're doing some rough travels (or hell, really you should always have them). Definitely don't just throw anything in a backpack and head out. That said, if you have the budget, you could probably do an SSD solution...you'll just have more drives and spend more money. Traditional HDDs are gonna give you the best amount of storage for your buck of course.
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May 7, 2015 20:32
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I'd do SSDs since the write speeds will make your life a lot easier especially if you need to dump cards in the field with a laptop or something. DNova posted:Could you or anyone else please talk more about this? What are the options for carrying tons of battery capacity? V-mount batteries are the way to go for powering cameras - high capacity external batteries that can provide power for 4 or more hours. They do add bulk to your existing rig however and they do take a while to charge when empty. Also not cheap, but I think the price per watt hour is probably better than regular batteries.
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May 7, 2015 21:26
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32MB OF ESRAM posted:If you can wait until July they just released a new camera for the same price with WAY more features and a better form factor than the Pocket Cam. That thing has to tank the sales of the pocketcam when it's released and I bet they cut the price again to get rid of them. I'm baffled that they're billing this as an action cam when a stabilized, ultrawide, lightweight micro 4/3 lens straight up does not exist. I imagine the "standard" lens they're imagining here is the panny 14mm pancake, but without a heavy speedbooster that's a 42mm equivalent. I guess you could get the 8mm fisheye but it adds 1/3 of a pound which is not going to make drone operators happy. Even then, that's what you would call a "medium shot" for a go pro. Also, again, no stabilization at all.
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May 7, 2015 21:51
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Dr. Fishopolis posted:I'm baffled that they're billing this as an action cam when a stabilized, ultrawide, lightweight micro 4/3 lens straight up does not exist. I imagine the "standard" lens they're imagining here is the panny 14mm pancake, but without a heavy speedbooster that's a 42mm equivalent. I guess you could get the 8mm fisheye but it adds 1/3 of a pound which is not going to make drone operators happy. Even then, that's what you would call a "medium shot" for a go pro. Also, again, no stabilization at all. I think it's less "extreme sport action" and more "cinema action" maybe? So not really in competition with GoPro. More as a replacement for people that try to put f'ing GoPro footage into movies. So you're still rigging it up pretty decently (not mounting on your head or anything) where weight isn't a *huge* issue.
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May 7, 2015 22:04
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Dr. Fishopolis posted:I'm baffled that they're billing this as an action cam when a stabilized, ultrawide, lightweight micro 4/3 lens straight up does not exist. I imagine the "standard" lens they're imagining here is the panny 14mm pancake, but without a heavy speedbooster that's a 42mm equivalent. I guess you could get the 8mm fisheye but it adds 1/3 of a pound which is not going to make drone operators happy. Even then, that's what you would call a "medium shot" for a go pro. Also, again, no stabilization at all. I am assuming a 3-axis gimbal connected with a vibration plate will take care of the need for lens stabilization, but you're still left with a narrow FOV. If you're sending it up 200+ft. that may not be as big an issue as it would be if you were shooting vehicle interiors. I've stayed away from m43, is the lens situation really that dire? I thought it was sort of the next big thing.
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May 7, 2015 22:33
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The lens situation isn't that dire but the BMPCC (and presumably the new one) have a much larger crop factor than standard MFT. Also nobody's thought to put OIS in a 10mm lens in any system because what?
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May 8, 2015 02:13
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The BMPCC and the new micro use the super 16-sized sensor, which crops down to 2.88x, while regular MFT is 2x. Panasonic makes a 7-14 f/4 zoom without stabilization, and the 12-35 is a 2.8 with stabilization, so I think that's the shortest stabilized focal length they have. Voigtlander makes a series of ultra fast 0.95 lenses for mft down to 17.5(with a 10.5 announced last year, still no release date), and Veydra make the only real MFT cinema lenses with their smallest being a 12mm. So yeah, other than a 7.5mm fisheye from rokinon, there's not a whole lot to choose from on the wide end for MFT, so the speedbooster is almost necessary if you want to have lenses that work on more than 3 or 4 real camera systems.
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May 8, 2015 07:13
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EnsGDT, you on the NBC Upfront job again this year at Steiner?
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May 8, 2015 18:29
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BMPCC + Cage + Extra Batteries + Extra 95/mbs Cards + Speed booster sober ordered. About to kick this documentary into high gear.
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May 8, 2015 20:48
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BonoMan posted:BMPCC + Cage + Extra Batteries + Extra 95/mbs Cards + Speed booster sober ordered. About to kick this documentary into high gear. Talk as much about this as possible thank you.
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May 8, 2015 21:08
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32MB OF ESRAM posted:I am assuming a 3-axis gimbal connected with a vibration plate will take care of the need for lens stabilization, but you're still left with a narrow FOV. If you're sending it up 200+ft. that may not be as big an issue as it would be if you were shooting vehicle interiors. I've stayed away from m43, is the lens situation really that dire? I thought it was sort of the next big thing. There's plenty of great lenses for m4/3, but the BMPCC and this new thing are a super16 sized sensor which really screws things up. There's a speedbooster that mitigates that somewhat but it's heavy and you lose the lens electronics so it's really just for manual primes. Chitin posted:Also nobody's thought to put OIS in a 10mm lens in any system because what? I'm certainly not saying anyone should make that lens, but in-body IS has been a thing for like a decade now.
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May 8, 2015 21:12
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DNova posted:Talk as much about this as possible thank you. Sorry did I go overboard? Just got a little excited.
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May 8, 2015 21:24
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BonoMan posted:Sorry did I go overboard? Just got a little excited. No no I am completely serious. You're where I want to be in ~12-18 months. Tell me all the things.
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May 8, 2015 21:27
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DNova posted:No no I am completely serious. You're where I want to be in ~12-18 months. Tell me all the things. Ah, poo poo gotcha. Totally misread what you wrote. I'll take it to PMs so we don't gunk up the thread!
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May 8, 2015 21:27
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As long as you're talking about how you're shooting it and your process and experiences shooting it, I say post it here. It's related and a good aside from the normal technical conversation.
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May 8, 2015 22:31
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DNova posted:No no I am completely serious. You're where I want to be in ~12-18 months. Tell me all the things. BonoMan posted:Ah, poo poo gotcha. Totally misread what you wrote. I'll take it to PMs so we don't gunk up the thread!
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May 9, 2015 06:28
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I was trying to decide on a XF100 vs XF300 for a new camera kit for my place of work, and I think I had it down to the XF100 as I couldn't justify the extra expense of a XF300, but now I hear there's an XF200 and I'm not sure what to do. What does the XF200 do that an XF100 can't? Conversely, is there any major difference between the XF200 and XF300 that I'd need to consider? Have tried looking with google for XF200 vs other things but there's not much out there unfortunately. All I know is that I definitely don't need the x05's because I don't need the extra connectivity. Edit: Alternatively, I hear the PXW-X70 is really good and over a grand in price less than an XF200. Any thoughts on that one? thehustler fucked around with this message at 15:21 on May 12, 2015 |
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May 12, 2015 14:45
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Got my Pocket Cinema Camera in and holy lol poo poo people aren't joking about the battery life. Took a fully charged battery and *only updated the camera's firmware* and it's already down to 50%.
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May 13, 2015 17:42
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ON the XF cameras, when I had my 300 I knew a few people who'd actually dropped down the the 100 from it because they didn't feel like it was enough of a quality bump and they wanted a smaller camera. I didn't like that the 100 only had one control ring and that was pretty well a dealbreaker for me. Looks like the 200 has the extra control rings which I feel like would be worth the expense if that's the kind of camera you're going for. The PXW-X70 certainly looks good on paper. I wish the layout was more like their professional cameras than their consumer camcorders though. That control ring doesn't look very nice to use. Have you looked into used? I sold my XF300 for about what an XF200 costs new a bit under a year ago.
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May 13, 2015 18:10
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Do we have anyone here with an Ursa? I am going to be pulling the trigger on Ursa Mini when it is available in June and would love to hear how you liked working with the Ursa.
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May 14, 2015 06:31
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keyframe posted:Do we have anyone here with an Ursa? I am going to be pulling the trigger on Ursa Mini when it is available in June and would love to hear how you liked working with the Ursa. A lot of people weren't happy about the fixed noise pattern from memory. That said, I'm interested in the mini - at least the version with the updated sensor depending on how well it compares to the Kinemax and BMCC in terms of look and usability.
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May 14, 2015 08:07
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All my complaints are sensor-related, I love the body itself. Wonderful to work with. Except the big-rear end glaretastic screen outside, but that's easy enough to deal with.
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May 14, 2015 15:40
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Blackmagic made like 5 or 6 cameras using the same 4k sensor that was riddled with FPN issues despite it being a known problem after the first 4k model was out. I'm assuming the updated Ursa is a new sensor, but I wouldn't hold my breath on them fixing any issues after it ships. It's a miracle that the original BMCC was pretty much a dependable platform compared to almost everything else they've made.
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May 14, 2015 18:01
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Every time I see footage from the kinemini everybody oohs and aahs but all I see is it rendering every color into some variation of baby poo brown. I feel like I'm taking crazy pills.
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May 15, 2015 23:30
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That camera and the footage from the Digital Bolex look like poo poo to me.
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May 15, 2015 23:54
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1st AD posted:Blackmagic made like 5 or 6 cameras using the same 4k sensor that was riddled with FPN issues despite it being a known problem after the first 4k model was out. Yea I am waiting to see if the 4k one is using the same sensor as the production camera ones or a new one. It is never a good idea to buy BM cameras before it is tested by others anyway.
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May 17, 2015 23:19
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1st AD posted:That camera and the footage from the Digital Bolex look like poo poo to me. Digital Bolex times 100, my god that's the ugliest picture I've seen.
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May 17, 2015 23:23
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1st AD posted:That camera and the footage from the Digital Bolex look like poo poo to me. I still refuse to believe that is a real product that someone is selling to the public.
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May 18, 2015 07:20
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I hadn't seen Bolex footage until now for some reason and yup, that poo poo stands out bad - average grade or not. https://vimeo.com/128428344 Comparison of Red One MX, Sony F-35, Digital Bolex 16, Ursa Mini 4.6K and the Arri Alexa Mini
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May 21, 2015 11:41
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the_lion posted:I hadn't seen Bolex footage until now for some reason and yup, that poo poo stands out bad - average grade or not. Hahahah no way. I kept hearing it was bad, but never actually saw any footage either. Just assumed the difference would be something that didn't really stand out to me...but dear god no. That poo poo is legit bad.
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May 21, 2015 13:23
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So Amazon had a "Mystery Camera" sale the other day for $599. I got a wild hair up my rear end and bought it because I can just return it if I didn't like it. Turned out to be a Panasonic DMC-FZ1000. Of course they advertised the mystery deal as regularly going for $899 and turns out it's only about a $150 savings. http://www.amazon.com/Panasonic-Lum...ords=dmc-fz1000 I'm actually thinking of actually keeping it as a sort of all purpose camera for this documentary we're doing. I have a pocket cinema camera for money shots, a Nikon D600 for "less than money shots" and now this... We also are involving a bunch of students that want to learn so now I'm feeling like it might be a good camera to user for interviews/let the students use. Am I being dumb? I should probably just return it for some other piece of kit shouldn't I? edit: Nah, I'll just return it. On second thought the kids can just use their iPhones! BonoMan fucked around with this message at 15:29 on May 22, 2015 |
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May 22, 2015 15:25
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BonoMan posted:So Amazon had a "Mystery Camera" sale the other day for $599. I got a wild hair up my rear end and bought it because I can just return it if I didn't like it. Turned out to be a Panasonic DMC-FZ1000. Of course they advertised the mystery deal as regularly going for $899 and turns out it's only about a $150 savings. Talk about your project!!! There's a film school in the city where I live, and I want to get some experience in all aspects of film production without going to film school. Do film school students typically have a use for volunteers who would need some coaching up in order to be helpful? I wouldn't know where to begin to get involved though.
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May 22, 2015 15:47
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DNova posted:Talk about your project!!! Typically film school students kind of band together to all help each other's projects.... but they might need volunteers you never know! I'd straight up go to some of the faculty and ask them. Give them your info. Some may scoff if they feel you're trying to latch on without actually attending (aka "paying") but the worst they can do is say no. As for our project, it's pretty simple right now. It actually got pared down a bit. A local high school has an old church on their property... your typical one room whiteboard early 1900s Mississippi church (that they bought from the original location/town that owned it about 15 years ago). The high school is holding a $40Million funding/donation drive (yes... forty million. It is not a poor school) to build some new on-campus facilities. One of which is a healthplex that will be on the site of the old church. Well there happens to be a town about 15 miles away that wants the church. This town used to be big in the 1800s along the Natchez Trace and has an incredibly crazy history. There really isn't anything at all left of it anymore of the old town, but they did hold a farmer's market out there for the past few years. I'm talking this crazy picturesque "nestled in cedar trees with lights strewn about" farmer's market you only see in movies. It got so popular that a group of incredibly wealthy people got together and decided to develop the land. At first I thought it was a dumb idea, but they are building a totally sustainable village out there. Restaurants that have their own butcher shops that source their cattle from *literally* 50 yards away across the street. Rooftop gardens to do farm to table meals, an amphitheater, mercantile, barber shop, cooking school and a myriad of other things. It's super cool. Most of it is already built and it just looks like this old antique, but incredibly modern town. Anyway they decided they wanted the church because it'd be a great place to hold weddings, events, etc and the look totally fit this vibe they are building out there. But of course to MOVE the Church they will have to cut it in half, remove the roof, halve the walls and hinge them down. A crazy three week project that culminates in a long single day move (weather permitting) to go out to its new location. So they've hired us to do a mini-doc on it. Originally the idea ballooned out to encompass the insane history of this almost extinct town, but I had to pump the brakes on that as it was getting unmanageable in scope. We've spun that off into a separate project. The school that's doing the fundraising is providing student volunteers to help out wherever they can (and they get service hour credits). As for the technicalities, so far we've been shooting on our D600, 5D Mkiii, Blackmagic Pocket Cinema Cam. We'll be doing a timelapse with a GoPro 4 of the entire dismantling process (and reconstruction). We'll take our RED One MX (almost time to put this baby out to pasture but it still shoots a beautiful image) and BMPCC out there for some nice cinematic shots and when the move comes we'll supplement our package with four additional cameras and crew to try to capture the entire process as well as possible. In the meantime we are shooting all of the preparation work (meetings with architects, the moving company, deconsecration of the church etc) and compiling as much research as we can on the history of the church. That's very little "camera talk" but it should give a background for any future technical talk. I'll try to keep the story stuff to a minimum from here on out!
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May 22, 2015 16:19
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BonoMan posted:Typically film school students kind of band together to all help each other's projects.... but they might need volunteers you never know! I'd straight up go to some of the faculty and ask them. Give them your info. Some may scoff if they feel you're trying to latch on without actually attending (aka "paying") but the worst they can do is say no. Yeah I think approaching faculty may be the wrong approach for this reason. BonoMan posted:As for our project, it's pretty simple right now. It actually got pared down a bit. A local high school has an old church on their property... your typical one room whiteboard early 1900s Mississippi church (that they bought from the original location/town that owned it about 15 years ago). The high school is holding a $40Million funding/donation drive (yes... forty million. It is not a poor school) to build some new on-campus facilities. One of which is a healthplex that will be on the site of the old church. I am interested in this story, aside from technical aspects of production. I want to see it when its done, if possible. I also want you to talk as much as possible about all the aspects of production. This thread isn't that busy, and I don't think I'm alone in hoping you'll keep us up to date on what you are doing.
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May 22, 2015 16:39
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