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What's my best option if I want to rent a reasonably priced slow motion camera (~120-200 fps) to dick around for a weekend? A RED Raven?
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May 25, 2017 03:45
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Probably the FS700.
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May 25, 2017 05:08
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Chitin posted:What's your budget and what do you use it for? Short films and sketches. All of it for Youtube and/or Vimeo where 1080 is more than enough. The absolute most I think I can swing is $3000 and that's if I do some stuff like paying a bit up front and the rest in installments and maybe borrow a little money here or there. I suppose the smart thing to do would be to instead of spending $3000+ on something really big and fancy would be to get a Pocket camera for $1000 or so and then spending a bunch of money on better lights since my lighting equipment is mostly rickety DIY stuff and then rent a bigger and better camera if I ever get a chance to do anything for pay.
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May 26, 2017 02:15
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VoodooXT posted:Hey powder and keyframe, any further words about the Ursa Mini Pro since you guys have had it for like 2 months now? Quite enjoying mine as well. I ended up buying the blackmagic EVF which made shooting handheld and out in the sun a much more enjoyable thing. My only gripe is weight. Fucker is heavy when fully kitted out but at least it got me going back to the gym lifting weights on a regular basis so I can shoot with it for more than 10 minutes without my shoulder and arm getting tired. 
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Jun 4, 2017 22:08
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keyframe posted:Quite enjoying mine as well. I ended up buying the blackmagic EVF which made shooting handheld and out in the sun a much more enjoyable thing. I'm used to lifting F65s and Alexas so the UMP isn't a problem.
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Jun 4, 2017 22:21
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I'm very excited for the new panasonic cam. It's like an LT LT and answers pretty much my entire wish list. Decent codecs, doesn't use stupid p2 cards, small enough to fit on most gimbals, has the beautiful Varicam sensor, under $8k.... thinking I'll be having two nice cameras in the stable once it comes out, but I'm not sure how to justify keeping the ump at that point other than just needing a second camera available.
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Jun 5, 2017 02:23
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Has anyone here used an Easy Rig setup? Curious how intuitive it is in practice and if you can get nice smooth shots with it?
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Jun 6, 2017 16:28
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I think they suck but it probably depends on what you're doing with it. They're big and awkward and it's really challenging to move with any speed while you're wearing one. I know a lot of people love them though so it might just be me.
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Jun 6, 2017 16:55
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If by smooth you are imagining something like a steadicam or a gimbal, then no. What you do get though is the ability to do handheld shots at heights other than on your shoulder and also it significantly smooths out the shakiness of handheld shots, whilst still giving a handheld feel. They are also incredibly useful in conjunction with a gimbal, to take a lot of the weight off of your forearms allowing you to do longer takes and shoot for longer durations. I would personally never operate on a Movi or Ronin without an easyrig. tanglewood1420 fucked around with this message at 17:53 on Jun 6, 2017 |
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Jun 6, 2017 17:47
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tanglewood1420 posted:If by smooth you are imagining something like a steadicam or a gimbal, then no. What you do get though is the ability to do handheld shots at heights other than on your shoulder and also it significantly smooths out the shakiness of handheld shots, whilst still giving a handheld feel. That is what I was hoping for. I will see if there is a place in Vancouver that rents them before I pull the trigger on one.
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Jun 7, 2017 00:30
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keyframe posted:That is what I was hoping for. I will see if there is a place in Vancouver that rents them before I pull the trigger on one. Yeah, definitely rent one first. I loved using them when I was shooting with ENG cams (especially when working with a producer whose OTFs ran for twenty straight minutes), but a friend tried to use one with a pretty barebones RED Scarlet and gave up three shots in. I've never used one with a gimbal, but I think you need an extender to keep it from holding things right on your shoulder.
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Jun 7, 2017 00:41
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Guys can I get some lighting gear advice to buy/rent I will be shooting some real estate promo videos in the near future. All I have for lighting is a bounce card and a small led light. Want to build a dependable lighting kit that won't break the bank and rent the heavy duty expensive stuff when I need it. Any suggestions?
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Jun 13, 2017 01:40
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keyframe posted:Guys can I get some lighting gear advice to buy/rent What's your budget for purchases?
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Jun 13, 2017 02:41
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VoodooXT posted:What's your budget for purchases? 1000-1500$ for lighting.
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Jun 13, 2017 06:07
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keyframe posted:1000-1500$ for lighting. You can either buy a bunch of used tungsten units, or buy a few of the new cheaper slightly questionable LED units like Dracast.
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Jun 13, 2017 23:32
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Just go down to a hardware/auto store and get some LED worklights, even if its just to trial them and make sure there's no strobing. Always test just how cheap you can get away with.
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Jun 14, 2017 06:14
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Frogfingers posted:Just go down to a hardware/auto store and get some LED worklights, even if its just to trial them and make sure there's no strobing. Always test just how cheap you can get away with. Before you go out and do this, keyframe, I'll put in my two cents on this: most consumer LED worklights and LED bulbs aren't really designed with a high enough frequency to prevent strobing or pulsing, or designed for accurate color rendition, so be wary of going this route. I've done it before for lighting narrative shorts and I regretted the decision because I got a poo poo ton of pulsing in the form of a slow rolling bar moving vertically in my shots, and the color for the tungsten bulbs I was using were awful. It might be different now but I would at least be wary of that. Another thing I would warn against going with the really cheap route is the fact that keyframe stated he was going to be getting the equipment for real estate promo videos. If there's anything that kills your career in corporate video, it's looking massively unprofessional on set in front of your clients.
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Jun 14, 2017 08:14
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VoodooXT posted:Before you go out and do this, keyframe, I'll put in my two cents on this: most consumer LED worklights and LED bulbs aren't really designed with a high enough frequency to prevent strobing or pulsing, or designed for accurate color rendition, so be wary of going this route. I've done it before for lighting narrative shorts and I regretted the decision because I got a poo poo ton of pulsing in the form of a slow rolling bar moving vertically in my shots, and the color for the tungsten bulbs I was using were awful. It might be different now but I would at least be wary of that. I would for sure not recommend this for creative projects, especially around other people who know their rear end in a top hat from their elbow. But as long as you've tested a light and you know there isn't going to anything egregious in shot because of it, I would say yes, start off with that for real estate videos until you build-up a warchest for decent lighting if you continue on with this. Especially since lighting controlled creative projects and lighting open spaces for display will require different and specialised solutions both.
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Jun 14, 2017 10:13
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Got a new Ursa Mini Pro from Blackmagic after sending ours in for FPN and this camera doesn't seem much different in that regard to me. With my sample size of 2 I feel like 1600 ISO isn't super useable. It sucks because the non-fixed pattern noise is totally fine.
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Jun 14, 2017 20:39
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powderific posted:Got a new Ursa Mini Pro from Blackmagic after sending ours in for FPN and this camera doesn't seem much different in that regard to me. With my sample size of 2 I feel like 1600 ISO isn't super useable. It sucks because the non-fixed pattern noise is totally fine. Yeah, getting one without FPN is a bit of a crap shoot. The new black shading thing doesn't really help since I don't think it's meant to help with FPN but with equalizing the signals between the RGB channels. 
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Jun 15, 2017 00:35
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So are there models out there that don't have the FPN issue? I wonder how many times I'd have to send it back to get one of em. We can't really afford to be sending it out at the moment so I'm not sure what my best move is. At the moment I'm thinking deal with it, get an EVA1 when it comes out, and then relegate the BUMP to situations where there's looooots of light available. For the work we do I really could use a second camera so that wouldn't be the worst end. Just sucks that the BUMP isn't what it could be.
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Jun 15, 2017 03:07
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Everyone keeps telling me that the blackmagic pocket camera is really good. I saw Matt Scott said he cut stuff with other, more expensive cameras and it still held up. I'm thinking of getting on to chuck on my gimbal (came TV single) but then I saw that the micro cinema is basically the same sensor but it also does 60 frames a second. Any opinions on the two cameras? Obviously, I'm going to have to shell money for batteries, an IR filter and maybe battery plate but just curious for any stories of working with either camera. I know they both probably need a monitor, no big deal. Edit: it's mostly for fashion clients and narrative work, if that's important info. the_lion fucked around with this message at 12:55 on Jun 15, 2017 |
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Jun 15, 2017 10:20
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the_lion posted:Everyone keeps telling me that the blackmagic pocket camera is really good. I saw Matt Scott said he cut stuff with other, more expensive cameras and it still held up. While I've never used it, by and large it's pretty similar to the Pocket, which gives pretty fantastic images. It seems that BMD designed it to be a better version of the Pocket since it addresses some of the bigger complaints about the Pocket, like the form factor and battery. I think the best thing you're buying with BM cameras is their color science, absolutely wonderful stuff unlike RED where their color science doesn't match their sensor.
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Jun 15, 2017 17:50
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VoodooXT posted:Before you go out and do this, keyframe, I'll put in my two cents on this: most consumer LED worklights and LED bulbs aren't really designed with a high enough frequency to prevent strobing or pulsing, or designed for accurate color rendition, so be wary of going this route. I've done it before for lighting narrative shorts and I regretted the decision because I got a poo poo ton of pulsing in the form of a slow rolling bar moving vertically in my shots, and the color for the tungsten bulbs I was using were awful. It might be different now but I would at least be wary of that. Yea I am not trying to save money that much. I will gladly pay more for something dependable and solid.
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Jun 16, 2017 04:43
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VoodooXT posted:While I've never used it, by and large it's pretty similar to the Pocket, which gives pretty fantastic images. It seems that BMD designed it to be a better version of the Pocket since it addresses some of the bigger complaints about the Pocket, like the form factor and battery. I think the best thing you're buying with BM cameras is their color science, absolutely wonderful stuff unlike RED where their color science doesn't match their sensor. Thanks for the info. I've been torn between buying something like a GH5 and shooting ProRes, or one of these cameras for a while. GH5 would probably push the payload of the gimbal though. Coming from canon, where the colour science for skin is really good (no 4k though) it's good to know I'll still have that if I go blackmagic.
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Jun 17, 2017 08:56
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the_lion posted:Everyone keeps telling me that the blackmagic pocket camera is really good. I saw Matt Scott said he cut stuff with other, more expensive cameras and it still held up. It is a good rear end camera. Saw it used in a bunch of movies we worked on. I saw stuff shot with micro that cuts with Alexa footage. I have yet to see a gh5 footage that doesn't look like rear end in the dynamic range department.
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Jun 21, 2017 08:50
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keyframe posted:It is a good rear end camera. Saw it used in a bunch of movies we worked on. I saw stuff shot with micro that cuts with Alexa footage. I was tossing up between a Blackmagic (production camera) or a GH4 and it seemed pretty apparent to me the only way to the GH4 to the same level is by outputting straight onto an Atomos by spoofing log style on that. So you're essentially going to need the same setup as a pocket camera.
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Jun 21, 2017 09:45
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Anyone use a speedbooster on the micro? Just curious if there's a good one to go with. keyframe posted:It is a good rear end camera. Saw it used in a bunch of movies we worked on. I saw stuff shot with micro that cuts with Alexa footage. Good to know! Maybe I haven't done enough gh5 research here, but I was planning to use an atomos which would probably bypass the issue. The main reason I choose the micro instead is the weight: using my current lenses will be over the payload limit of my gimbal with the gh5. Frogfingers posted:I was tossing up between a Blackmagic (production camera) or a GH4 and it seemed pretty apparent to me the only way to the GH4 to the same level is by outputting straight onto an Atomos by spoofing log style on that. So you're essentially going to need the same setup as a pocket camera. Yeah, that's true. I figured the monitor/recorder was a given with both set-ups anyway. Shooting 4k is nice and all for cropping, but I think I'd rather have more control in post and a more filmic look.
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Jun 22, 2017 23:20
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the_lion posted:Anyone use a speedbooster on the micro? Just curious if there's a good one to go with. Metabones
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Jun 23, 2017 00:39
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Today I was working on location on a Tier 2 NYC show and we had to use two box trucks to get equipment from the trucks to set, three windy, hilly miles away. The truck with every piece of camera gear we used today lands and the door is completely up. I'm genuinely amazed the driver (not one of our guys) walked away with his life.
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Jun 23, 2017 06:20
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A question about shooting outdoors in the sunset/night time. I'll be lighting someone talking in a garden. Well, more of a graveyard. I have two lights (Aputure lightstorm and Aputure Amaran), but need to buy batteries for them. Should I buy batteries for both lights, or buy batteries for only one light and bounce the light with a reflector/bounceboard? We're going for a mysterious, historical vibe.
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Jul 1, 2017 07:12
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Bought a GH5 to test as a b-cam and returned it two days later. Really really did not like footage out of that camera. The size is also too big for my liking, it is almost like a canon 7D. Ended up picking up a A7SII and loving it so far. If you guys have any cage/accessory recommendations I would love to hear it.
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Jul 6, 2017 17:17
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Okay, i'm trying to figure out a good camera that the college I work at should go with. Just on specs and price alone, the black magic ursa mini (new one) sounds great. However, I know from what i've read that getting that a good copy of the usra mini (or pro) is actually quite hard. A lot of people have returned these or regretted buying one. From what i've read, there's a problem with the sensor tinting things purple. (I forget where I read this, but pretty sure it was the black magic forums). So i'm looking at some sort of camera that shoots things raw at a reasonable res that will be less problematic/more stable. Good raw shooting cameras i'm not familiar with (i don't shoot raw 98% of the time besides magic lantern fuckarounds) so any advice would be stellar! Students mostly use this camera to shoot for VFX green screen or shooting documentary type footage.
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Jul 18, 2017 13:11
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What's the best bang for buck right now on a gimbal for something the size and weight of a C100?
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Jul 18, 2017 20:26
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the_lion posted:Okay, i'm trying to figure out a good camera that the college I work at should go with. The purple tint issue is fixed long ago. Pro doesn't have it. BM quality control is much better nowadays compared to their older days. I can't recommend the mini pro enough.
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Jul 18, 2017 20:28
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They kinda suck in low light but not sure you're gonna find anything else in the same price range with raw. Ours has been very stable. I'm not super psyched about it but it was the best option we could afford.
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Jul 18, 2017 20:53
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keyframe posted:The purple tint issue is fixed long ago. Pro doesn't have it. It is? That's good to know! It was the lowest priced camera that did what we were looking for. powderific posted:They kinda suck in low light but not sure you're gonna find anything else in the same price range with raw. Ours has been very stable. I'm not super psyched about it but it was the best option we could afford. I don't think the low light will be an issue, we have lights for vfx shots. I'm assuming you mean night shooting, probably won't be used for that too much.
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Jul 18, 2017 23:06
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In that case it's the best thing I can think of, I'd say go for it. Just to be clear though, you are looking at the 4.6k yeah?
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Jul 19, 2017 03:45
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powderific posted:In that case it's the best thing I can think of, I'd say go for it. Just to be clear though, you are looking at the 4.6k yeah? Yeah, just the 4.6k I read the older ursa has fixed noise pattern issues.
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Jul 19, 2017 08:32
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Do any of you guys own a a7s2? Would appreciate some tips on settings for getting the best footage out of it.
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Jul 19, 2017 16:18
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