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Disgruntled Bovine posted:I'm using a GH5. When you say an actual stabilizer what do you mean? Something like this gimbal (this is just a first googled one... no idea about this brand): https://www.evogimbals.com/products...AiABEgKgVvD_BwE In that configuration you'd probably still get vertical vibrations, but if you mount it horizontally, then you could potentially offset the vertical shocks/vibrations. Anything else should be able to be minimized with a warp stabilizer, etc.
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# ? Mar 21, 2018 18:14 |
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# ? May 30, 2024 13:32 |
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I don't think a gimbal would work for me. I tend to shoot the train approaching, then quickly pan around and shoot it receding. A Gimbal would still be catching up after the pan and I'd have to cut more of the video out as a result. I'm leaning towards the wire rope isolators, but I'm concerned that they will be too prone to tilting. Really what I need is damping of major excursions in the Z axis, with only very minor damping in X and Y. Most of the ground shaking is Z axis. Ultimately if I could put a wire rope isolator on each foot of the tripod, with a rod through their center holes to prevent much movement in the X and Y axes that would probably be ideal. I haven't figure out how to make that work yet though. I think if I mount the isolator between the head and the tripod, or the head and the camera, I'm going to have issues with rotation about the Z axis on fast pans.
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# ? Mar 22, 2018 01:20 |
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Disgruntled Bovine posted:I don't think a gimbal would work for me. I tend to shoot the train approaching, then quickly pan around and shoot it receding. A Gimbal would still be catching up after the pan and I'd have to cut more of the video out as a result. I'm leaning towards the wire rope isolators, but I'm concerned that they will be too prone to tilting. Really what I need is damping of major excursions in the Z axis, with only very minor damping in X and Y. Most of the ground shaking is Z axis. Ultimately if I could put a wire rope isolator on each foot of the tripod, with a rod through their center holes to prevent much movement in the X and Y axes that would probably be ideal. I haven't figure out how to make that work yet though. I think if I mount the isolator between the head and the tripod, or the head and the camera, I'm going to have issues with rotation about the Z axis on fast pans. I'm not sure a gimbal is going to be that slow catching up. At the very least you could just rent one and try it.
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# ? Mar 22, 2018 01:59 |
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I've never had a problem with fast pans on a gimbal. I've only ever used my (cheap, knock-off) gimbal head with my 500mm f/4.5 supertele but I can swing that thing around pretty quickly, I think. \/\/\/ Thanks! Yeah, I'm thinking of a different thing. ExecuDork fucked around with this message at 22:15 on Mar 22, 2018 |
# ? Mar 22, 2018 20:03 |
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The last few folks are talking about gyro stabilized, motorized gimbals typically used as a steadicam replacement kinda thing, while I assume you're talking about the gimbal head things people use for long telephoto lenses which are a different thing.
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# ? Mar 22, 2018 21:28 |
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You can adjust the auto (follow) and manual pan speeds on the motorized gimbals or just lock it and manually pan.
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# ? Mar 23, 2018 03:17 |
Lessons I learned from my first day of filming: * Know exactly what the scene looks like in your head. You can film a whole minute of footage in less than an hour if you’re prepared before arriving and only shoot what you need because you already visited the site and decided what looks good. * If you need a dolly shot on a road without a dolly, roll at 2 MPH with the camera out the window and use Adobe Premiere Pro’s image stabilization whan you get home. The results are incredible. * Before sound mixing, edit action footage into your rough cut with the sound muted. Your brain interprets the jump in background noise between shots as a rough gap between shots, and muting it lets you see how the transitions will look after final mixing. chitoryu12 fucked around with this message at 04:37 on Mar 26, 2018 |
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# ? Mar 26, 2018 04:34 |
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So I'm still exploring the idea of using wire rope stabilizers on the tripod feet. Haven't pulled the trigger on them yet as I haven't found a good source that sells the individual units for a reasonable price directly to consumers. Here's an example of the type of shocks/vibration I'm trying to eliminate. https://www.youtube.com/watch?v=yhaYuA4eI9w&t=438s I have experimented with using warp stabilizer (not on this clip) and it does help. I think part of the problem was also the frozen ground, as with things warming up this week the vibrations aren't as bad. These Miller carbon legs are definitely worse than my smaller aluminum Manfrotto when it comes to transmitting these shocks to the camera, but it would be hard to give up the superior performance against wind-induced vibrations.
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# ? Mar 28, 2018 17:08 |
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Disgruntled Bovine posted:So I'm still exploring the idea of using wire rope stabilizers on the tripod feet. Haven't pulled the trigger on them yet as I haven't found a good source that sells the individual units for a reasonable price directly to consumers. Looks like rolling shutter isn't helping on that either. My vote is still for a handheld gyro gimbal unless it just absolutely has to be on a tripod.
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# ? Mar 28, 2018 18:17 |
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Forgive me if you've already tried something like these, but: https://www.bhphotovideo.com/c/product/233741-REG/Meade_07368_Vibration_Isolation_Pads.html They're meant for a bit of a different purpose (dampening vibrations on telescopes and spotting scopes) but I would imagine that vibration reduction for telescopic/telephoto would translate to some pretty decent vibration reduction for wide angle as well.
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# ? Mar 28, 2018 18:29 |
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We just won for Best Cinematography, Best Editing, and Best Sound Design at a local 48 Hour Film Contest. Shot on an Alexa with Cooke anamorphics. DOP was a friend of mine who works professionally in the commercial world as a cinematographer. We managed to bang off some incredible production value, however, I could use another shot or two for the ending, it is way too rushed, and lacking the magic needed to end this story properly. Anyways, enjoy! https://www.youtube.com/watch?v=bRfLQ-70XxU
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# ? Apr 18, 2018 02:07 |
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Hey guys is there a good Sony A7III for video guide anyone knows of?
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# ? Apr 27, 2018 06:48 |
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DJI just released the Crane competitor , Ronin-S https://www.newsshooter.com/2018/05...ially-released/
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# ? May 29, 2018 16:31 |
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keyframe posted:Hey guys is there a good Sony A7III for video guide anyone knows of? keyframe posted:DJI just released the Crane competitor , Ronin-S melon cat fucked around with this message at 19:55 on Jun 6, 2018 |
# ? Jun 6, 2018 19:48 |
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melon cat posted:I'm seeing a lot of photo-video guides on YT, but nothing specifically for video. Was there something specific that you needed to know? Just wondering if a Sony shooter like me might be able to give you some helpful info. Phew I thought this thread was dead. I am basically going full on sony with a fs5mk2 and a a7iii and was wondering about the best resources for shooting with slog2 and 3. I have a 5 min documentary style interview coming up in a month and I am trying to do as many tests as I can between now and then and see if I can match the footage of the two cameras in grading.
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# ? Jun 6, 2018 23:49 |
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keyframe posted:Phew I thought this thread was dead.
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# ? Jun 7, 2018 02:22 |
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I've shot with Sony cameras extensively (Sony F5, F55, and F65) and my advice is to always shoot Slog3 with SGamut3.cine. Slog3 because the exposure curve mimics the D log E curve of a film stock; Slog2 is pretty useless as it's packing the majority of data in the highlights, which the majority of image information won't be. SGamut3.cine because you're sort of in the largest color gamut possible, except the cine flavor of it which actually narrows the gamut a little bit to make coloring easier. As for ISO and exposure, it's highly recommended to rate the sensor slower than what Sony recommends. For example, Sony will tell you the native ISO of the F5 is 2000 ISO and the F55 as 1250 ISO; it's a little bullshit so you're better off rating it two thirds to a stop slower than what Sony tells you.
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# ? Jun 7, 2018 06:51 |
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keyframe posted:Phew I thought this thread was dead. I work in a corporate AV team and our new senior manager wants us to all get Sony A7iii cameras for our main run-and-gun cameras (and MacBook Pros for editing anywhere). Not going to say no to that.
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# ? Jun 7, 2018 23:37 |
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spookygonk posted:I work in a corporate AV team and our new senior manager wants us to all get Sony A7iii cameras for our main run-and-gun cameras (and MacBook Pros for editing anywhere). Not going to say no to that. It is an amazing camera really. I am using mine with a smallrig cage/handle and a shogun inferno on top for recording (will be moved over to fs5 when I get it and replaced with a ninja V on the a7iii). It is just amazing what it can do for the price. I would recommend getting an external recorder because the sony codec is hell for editing with.
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# ? Jun 8, 2018 21:26 |
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I need help with making a briefcase look like it's filled to the top with money: I'm doing a video where there's a big reveal of a suitcase full of money. Except... the suitcase that I have is quite large, and I wasn't able to buy enough fake money to make it look like it's filled to the brim with money. It turns out that fake money (I went to local Chinatown and bought the realest-looking joss paper that I could find) is surprisingly expensive. About $1 per wad. And I bought 12 wads. But my money only fills the bottom of the briefcase. I'd probably have to buy triple that amount to really "fill" the briefcase. How can I make the briefcase look "fuller"? Ideas I was considering:
The money will appear on-screen fairly quickly and won't get ruffled around. Just the big reveal, a "whoh" moment, then the briefcase get snapped shut. keyframe posted:It is an amazing camera really. I am using mine with a smallrig cage/handle and a shogun inferno on top for recording (will be moved over to fs5 when I get it and replaced with a ninja V on the a7iii). It is just amazing what it can do for the price. I would recommend getting an external recorder because the sony codec is hell for editing with. melon cat fucked around with this message at 13:20 on Jun 10, 2018 |
# ? Jun 9, 2018 22:55 |
melon cat posted:I need help with making a briefcase look like it's filled to the top with money: First option should work, or cutting up pieces of paper in roughly the shape and size of banknotes to act as filler on the underside. If you have access to an office paper cutter, that shouldn't take very long and paper is cheap as hell.
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# ? Jun 9, 2018 23:56 |
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melon cat posted:
It is much better than it was on a7sii.
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# ? Jun 11, 2018 06:08 |
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melon cat posted:I need help with making a briefcase look like it's filled to the top with money: This, except take a photo of the money as it looks in the case now from the top down, make a printout of that and sit it under the notes after you place the foam in. It should add some depth to the case and will look good enough to get away with if the shot is quick enough/captured from a distance.
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# ? Jun 12, 2018 18:08 |
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Got my Ronin-S in the mail today. It is heavy but amazing build quality and features. I balanced a a7iii with the 24-70 on it and it worked great. Had a Crane v2 before and I prefer the ronin in pretty much every way.
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# ? Jun 19, 2018 17:16 |
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keyframe posted:Got my Ronin-S in the mail today. It is heavy but amazing build quality and features. I balanced a a7iii with the 24-70 on it and it worked great. Had a Crane v2 before and I prefer the ronin in pretty much every way. Sweet! My buddy just sold me his Crane-M so he could put the money towards a Ronin-S. I just have a Canon m100 and a few GoPros so it's overkill for me but his A6500+lens was just a bit too much. Super happy with it so far even though it's a budget solution.
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# ? Jun 19, 2018 19:27 |
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I just got my FS5 ii today. I just don't know how I lived without that variable nd before this.
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# ? Jun 23, 2018 05:13 |
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keyframe posted:I just got my FS5 ii today. I just don't know how I lived without that variable nd before this. Having internal ND is such a godsend, I couldn't live without it. So much easier than dealing with 4x5.65" ND filters and matte box filter trays.
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# ? Jun 23, 2018 05:19 |
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VoodooXT posted:Having internal ND is such a godsend, I couldn't live without it. So much easier than dealing with 4x5.65" ND filters and matte box filter trays. Yea it works amazingly well in auto ND mode too. I did a test shot where I walked outside from inside and the transition was seamless. Excited to try shooting some prores raw test footage tomorrow.
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# ? Jun 23, 2018 08:35 |
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keyframe posted:Got my Ronin-S in the mail today. It is heavy but amazing build quality and features. I balanced a a7iii with the 24-70 on it and it worked great. Had a Crane v2 before and I prefer the ronin in pretty much every way. melon cat fucked around with this message at 21:00 on Jun 24, 2018 |
# ? Jun 24, 2018 20:50 |
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I think freefly has much better movement in their majestic mode than DJI but it’s a pretty penny to get into that world. Usually I just rent a movi if I need something even though I could have paid for a ronin if some kind at this point.
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# ? Jun 24, 2018 21:32 |
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melon cat posted:How's the turning/pans on the Ronin-S? Because I've used pretty much every gimbal out there and the only one that had a smooth pan was the Ronin-M. The Zhiyun Cranes (from the V1, to V2, and 2) all have a jerky, unreliable pan. I was even considering learning how to use a Glidecam because of how annoying every single hand-held gimbal has been with their pans. Still learning the modes and haven't changed any settings yet but initial impression is it is much smoother and better than my crane v2 was in every way possible.
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# ? Jun 25, 2018 05:37 |
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Sorry for multiple posts but I picked up a easy rig minimax today and used it for the first time. I have never been so happy to spend money in my life, it is a life changer. I am wondering if there is anything I can do to use it with the ronin s? I wonder if some kind of stick out attachment in the back would work.
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# ? Jun 25, 2018 23:12 |
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keyframe posted:Still learning the modes and haven't changed any settings yet but initial impression is it is much smoother and better than my crane v2 was in every way possible. As for the Easy Rig- I don't think there's any way right now to hook it up to the Ronin-S. They do have plans to release additional accessories, but I don't think the single-handed gimbals are meant to be used with the Easy Rig (the Ronin MX/M are better-suited for that). powderific posted:I think freefly has much better movement in their majestic mode than DJI but it’s a pretty penny to get into that world. Usually I just rent a movi if I need something even though I could have paid for a ronin if some kind at this point. melon cat fucked around with this message at 21:38 on Jun 27, 2018 |
# ? Jun 27, 2018 16:29 |
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melon cat posted:That's really great to hear. Do you think the follow-focus is good enough to compensate for cameras with autofocus issues (like my GH5)? Asking because the only reason why I've been keeping my a6500 around is for its AF capabilities for when I need gimbal shots. Otherwise I'd much prefer to sell it and throw my GH5 onto the Ronin-S. I have no idea how good the follow focus is because it doesn't support sony cameras yet, I think currently it only works with the GH5. On the A7iii you only have control over start/stop recording.
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# ? Jun 29, 2018 08:22 |
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BonoMan posted:Looks like rolling shutter isn't helping on that either. My vote is still for a handheld gyro gimbal unless it just absolutely has to be on a tripod. Old callback here, but I've found that the use of a set of Celestron vibration supression pads (https://www.amazon.com/Celestron-93503-Vibration-Suppression-Pads/dp/B0000665V7) and the detailed analysis options on warp stabilizer has made a pretty big difference for my vibration issues. Rolling shutter is still a problem, but I can't afford a global shutter camera so I'll just have to live with it. On an unrelated note, does anyone have any opinions about how to get better color out of the GH5 at night? It seems like no matter what I do my shots end up with an ugly orange cast to them, and I don't seem to be good enough at color correction (or 150 mbps 4K60p doesn't leave enough room to push it) to get the colors looking natural. I'm generally shooting at ISO 1600, which is pretty much the limit with the GH5 without unacceptable levels of noise, and I know that hurts dynamic range and color accuracy as well. I have one LED light panel, and I've ordered a second, but it's difficult to light a subject as big as a train with small portable lights so I am generally reliant on ambient street and security lighting which is usually very orange. I've tried compensating by pushing white balance way down but it still comes out more orange/yellow than the lighting appears in person. Maybe this is a question for the editing topic, but I thought maybe there would be a better way to get accurate color balance in-camera that I'm not familiar with.
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# ? Jul 26, 2018 17:24 |
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Disgruntled Bovine posted:Old callback here, but I've found that the use of a set of Celestron vibration supression pads (https://www.amazon.com/Celestron-93503-Vibration-Suppression-Pads/dp/B0000665V7) and the detailed analysis options on warp stabilizer has made a pretty big difference for my vibration issues. Rolling shutter is still a problem, but I can't afford a global shutter camera so I'll just have to live with it. This isn't GH5 specific but you could start carrying a neutral grey card around and shoot that for a few seconds before shooting your subject. This should give you the ability to correct perfectly no matter what your conditions were. Not just any grey, there is a specific type of card you want, they will probably have a few color boxes on them as well. Photography/video stores should have them.
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# ? Jul 26, 2018 17:28 |
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Sodium vapor lamps are like 90% yellow light so they're always gonna be tough to correct. Can you set a custom white balance with a white card on the GH5? That'd probably get you closer at least. edit: sorta beaten, but also you can just use a white piece of paper if you don't care that much about perfection.
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# ? Jul 26, 2018 17:41 |
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powderific posted:Sodium vapor lamps are like 90% yellow light so they're always gonna be tough to correct. Can you set a custom white balance with a white card on the GH5? That'd probably get you closer at least. I can set a custom white balance yeah. The main issue I think I'd have is I'm usually shooting a decent distance from my subject (at least 15-20 feet) and the lens I use at night is a 17.5mm prime, so it would take something the size of a bedsheet to white balance off of near where my subject will be. I guess that wouldn't matter if the lights are behind me, but that's not always the case. I'll try getting a large white card and experiment a bit. The other thing I tried was an expodisc, but I find it really doesn't work at all at night. Edit: Or, you know, I could just walk my camera over to where I'm trying to set white balance haha. Disgruntled Bovine fucked around with this message at 23:37 on Jul 26, 2018 |
# ? Jul 26, 2018 23:19 |
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The big issue is that low pressure sodium vapor lamps only really output the orange-y lights so there literally isn't any other colors of light available. It's not like tungsten lights where there's the most intensity towards the yellow end of things but you have lots of other color light too. You can make the orange look more blue or less saturated but the other wavelengths aren't there to give you color differentiation. High pressure sodium vapor bulbs have some extra elements in them to help balance things out, but it's still the some of the worst possible light for photography. With raw files and a good sensor recovering some color info isn't as terrible, but it's gonna be tough with normal video files.
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# ? Jul 26, 2018 23:32 |
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# ? May 30, 2024 13:32 |
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powderific posted:The big issue is that low pressure sodium vapor lamps only really output the orange-y lights so there literally isn't any other colors of light available. It's not like tungsten lights where there's the most intensity towards the yellow end of things but you have lots of other color light too. Good point, probably explains why trying to fix it in post doesn't really work.
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# ? Jul 26, 2018 23:38 |