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Fuckin' sweet we just today got two Fisher 10 dollies on lease at FSU film. According to our dean they will "change out world POV and perhaps cure cancer." Goodbye Panther dollies, hello dollies that actually move around well. Anything I should know ahead of time? Other than that they are very heavy? EnsGDT fucked around with this message at 04:49 on Jan 5, 2011 |
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Jan 5, 2011 04:46
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EnsGDT posted:Anything I should know ahead of time? Other than that they are very heavy? One thing that annoyed me about the kids I worked with at my school with our Fisher is that they never put the parking brake on when it was just chillin'. Crabbing is tons of fun. Dunno what the camera package will be like, but make sure you put some sand on the back to help keep the weight centered. If the hydraulic for the boom arm dies and you don't have a plug to recharge it, you can hand charge it with one of the poles on the back. Lots of pumping, but it helps in a bind. Dunno what your experience is with dollies, but if you get really good at pushes, pulls and stops, people will bow down at your feet to work on their poo poo.
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Jan 5, 2011 05:20
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Most of the shows will be a RED camera package from what I understand. I'll remember the bit about the parking break. I love being a dolly grip for sure. I started in undergrad with wheelchairs and skateboards, graduated up to a doorway dolly, and then got the Panther dolly when I started here. The Fisher is a welcome upgrade that I can't wait to learn.
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Jan 5, 2011 05:35
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Who can resist the call of the DOLLY PARTY? WHO? Oh, anyone who wants to keep their back functioning. Dolly is the easy part, best advice I can give (from the union dolly grips I know) is: never push and pull with a grip on the push bars. If you're pushing, push with your open palm. If you're pulling, cup the push bar but don't grip the bar completely. When pushing/pulling, you want the momentum to make the move, you're just getting it moving, monitoring the speed, and gently stopping. If you grip the push bar, then any shift in weight, shoulder positioning, etc may result in unintended fluctuations of speed, bumps, etc. If you want to be a rock star on the dolly, learn to lay track QUICK. Listen to your operator, hear where their lens needs to end, and where it needs to begin. Drop marks, and determine how much track you need. Remember: there's no such thing as a 1 stick of 8' dolly move. The dolly takes up roughly 5', so your "move" is about 2 feet plus 12 inches of start/stop. However long you think the move is, add a stick of 8'. Determine the high point, and which side of the track is on the high point. Level from there. Walk down the track from the high point to the first adjoining section, lay the box level on the track (not on the seam between tracks, but just on the track you just walked past) and physically lift the track until the bubble is level. Wedge it up. Now place the box level on the other side of the seam, and wedge the track until the bubble is level. Don't bother wedging the ties in between, it's not necessary yet. Now place the box level directly over the seam, 2' on one side of the track and 2' on the other side, still parallel to the track. Does the box level "seesaw" over the seam? If yes, then one or the other is not level. If it sits perfectly on the track, no seesaw, then move on to the next adjoining seam. Continue this process until you've leveled one whole side of the dolly track. Now, lay the box level perpendicular to the track (so it rests on both pipes) an inch or two from the end of the track. Lift the unleveled side until the box level says it's level, then wedge the end tie. Now walk back to the next adjoining spot, place the box level straddling both pipes a few inches from the adjoining spot (before the seam), lift the unleveled side until the box level says it's level, and wedge the tie. Now put the box level on the other side of the seam, and wedge the unleveled side accordingly. Continue this process until the other side of the track is wedged up and you're back where you started. Now, take your box level and test a few places at random. Every seam should not "seesaw", and anywhere you lay the box level should read as level, regardless if it's parallel to the pipe or perpendicular. Once everything checks out as "level", you "fill it in". Take the wedges, and lay them under every tie that doesn't have a wedge but is currently "floating above the ground". Be careful not to alter the height of the track; remember, you're just building up the wedges to support the track exactly where it is now, without raising it. Once every tie is wedged up, and you think are satisfied, now you put the dolly on to "go for a ride". Get your dolly party to lift up the dolly and lay it on the tracks. Once on the track, take it for a tour of the track. You're mostly looking to see if there's any gross bumps when traversing the seams. If you really want to be thorough (convince them you give a drat, and you'll get the call back): add a standard sandbag or shotbag to every tie on the track. If you're happy, and the track is level, you can be the go-getter who greases the track before camera arrives (front elements of lenses HATE aerosol cans with harsh chemicals, so just do it now). Easiest way to do this is to walk the track, pushing the dolly, and spray the Pledge directly onto the wheels as they're making contact. This keeps the Pledge focused, and you're not spraying the stuff onto your wood or tile floors, making the ground slippery and hazardous. Now that your dolly is level and silent, you're "ready for camera". It's not uncommon to assist the camera department by mounting the head to your dolly, or you can let them do it (Chapman or Fisher, you still need tiny hands to get reach in with the castle nut). Level the head using the leveling screws and the head's bubble level. Invite the camera op and his assistant onboard, and take them for a ride. Now you'll get the sign-off from the operator that there are no bumps. Sounds difficult? Shouldn't. Assuming you have a grip helping, if you're working on mostly level ground and loads of track, solid ground with a mild decline and only a few sticks, etc, then I think it should take you only 2 minutes per seam/end to level the track. Therefore, if you're leveling 2 sticks of 8, from the time you lock the adjoining buckles to "connect" the track, it should take you NO MORE than 6 minutes total to level that track (2 ends + 1 seam = 3 leveling points; level both sides, fill in the wedges). If the ground is soft (dolly track on grass), make it 3 minutes per seam or end that rests on/over grass. If there's a huge decline, and you can't go "lay of the land", so you need to make a bridge out of apple boxes, then add 1 minute to the previous estimates. Moral of the story: everyone thinks dolly "takes too long". That's simply not true. It just takes longer than sticks. Handheld still does rehearsals, same as Steadicam or jib moves. Once they know you can do your job right, and quick, they'll decide on what is the right shot, NOT what's "fastest". Other considerations: - Wedges get kicked because some knucklehead will always want to walk around/on/near your track. You can minimize the chances of wedges getting kicked out by placing them under ties perpendicular to the ties and just outside of the pipe. - When building track on loose surfaces (uncut grass), lay sandbags on the ties BEFORE you start leveling. If you build the track without any real weight on it, the moment you lay the dolly on the track, the wedges will sink into the loose ground. If you start the leveling process with weight on the track, you can an accurate representation of where the dolly sits when under load (which is the whole point). Likewise, everywhere you lay the box level, push down on the track with all your strength to determine the amount of sink you may encounter. Level accordingly. - If you can, request an onboard monitor so you can see the shot. You're a part of the moving shot, not just a gorilla that lifts Fisher 10's or humps a box level. Learn to operate the operator, figure out hand signals, and work out with them what they want in a shot.  Me and 2 other guys did this: 40 feet of dolly track, 5 sticks of 8', traversing a trough/washout that was 12" lower than the two ends. Still wishing I had photos of the track I built earlier this year: 4 sticks of 8', two 45's, uneven ground traversing sidewalk and grass.
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Jan 5, 2011 08:23
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Tiresias posted:
Very nice. Great post. I remember last year building up 2 sticks of 8', a 45, and another 8' on the far side on a 45 degree angle sloping asphalt hill. Tapped the grip truck straight out of apple boxes to make that work. Killer part is that shot never made it into the final cut :P
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Jan 5, 2011 10:29
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Myself and a couple friends are going to start shooting some short films for fun next month, and I've been pricing out an equipment list of stuff we'll need. Our initial budget is something like $1500 (yay tax returns), then around another $300 per month after that for additional equipment. I've been trying to price out cheap recommended equipment on sites like indymogul, but keep overblowing the budget by a mile. I don't want to get complete poo poo gear just to be within the budget and find myself immediately looking to upgrade. I'd rather just start off with minimal equipment I can afford and save for the decent gear instead. I'd appreciate any critiques and suggestions Rebel T2i $700 Zoom h4n $300 Rode Videomic $150 Rode Deadcat Windmuff $40 DIY IndyMogul Boompole $40 SanDisk Extreme III 32gb SHDC Card (x2) $330 2 TB HDD for comp to dump footage/audio $100 1/8" to XLR converters for Rode Videomic $20 1TB External HD for dumping footage $70 8-10ft XLR Cable $?? Right there I've overshot the initial budget pretty drastically. I suppose I could cut a few things to start with like one of the class 10 SDHC cards and just deal with one 32gb for the time being. I have no idea how quickly they fill up with video though. The external HD is for when we're shooting at different locations and I only have my laptop with me to empty the SDHC cards from the camera and h4n. The reason I have settled on the T2i is that it records pretty good video, and I'm taking Photography 1 as an elective this semester so I need a DSLR anyway, two birds and all that. Some other items I would really like to get is a decent tripod, extra battery and battery grip, and some lighting. What do you guys think?
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Jan 5, 2011 10:45
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MisterFreshman posted:Myself and a couple friends are going to start shooting some short films for fun next month, and I've been pricing out an equipment list of stuff we'll need. Our initial budget is something like $1500 (yay tax returns), then around another $300 per month after that for additional equipment. I've been trying to price out cheap recommended equipment on sites like indymogul, but keep overblowing the budget by a mile. I don't want to get complete poo poo gear just to be within the budget and find myself immediately looking to upgrade. I'd rather just start off with minimal equipment I can afford and save for the decent gear instead. You'll be able to do way more with a Sennheiser ME66 than a Videomic, and it's only $50 more, plus a little extra for a shock mount. As for a budget boom pole for it, I took a cheap tripod mic stand I had laying around, stretched it out as far as it could safely go, and used that as one. Worked perfectly. You can get a cheap one at SamAsh or somewhere like that. Much cheaper than doing a DIY boompole, plus you can use it as a stand.
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Jan 5, 2011 12:01
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codyclarke posted:You'll be able to do way more with a Sennheiser ME66 than a Videomic, and it's only $50 more, plus a little extra for a shock mount. As for a budget boom pole for it, I took a cheap tripod mic stand I had laying around, stretched it out as far as it could safely go, and used that as one. Worked perfectly. You can get a cheap one at SamAsh or somewhere like that. Much cheaper than doing a DIY boompole, plus you can use it as a stand. Could you elaborate on the difference and what it can do? I have no idea what I'm looking for with shotgun mics and their capabilities. The only thing I saw while googling for shotgun mics was the Rode pop up in almost every search result and people recommending XLR converter jacks and cable to reduce the interference that a normal 10+ foot cable would have.
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Jan 5, 2011 13:05
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Tiresias posted:Who can resist the call of the DOLLY PARTY? WHO? I'll tell you who! PEOPLE PRETENDING NOT TO HEAR ME ON THE RADIOOOOOOOO  Great post man, cheers!
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Jan 5, 2011 15:09
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MisterFreshman posted:Could you elaborate on the difference and what it can do? I have no idea what I'm looking for with shotgun mics and their capabilities. The only thing I saw while googling for shotgun mics was the Rode pop up in almost every search result and people recommending XLR converter jacks and cable to reduce the interference that a normal 10+ foot cable would have. I've never experienced any 'interference' with XLR cables and whatnot, so I can't really comment on that, but: The Rode Videomic's big selling point is you can put it on top of your camera, but that's not really anything you're gonna need. Even in applications where your camera is way up close to your subject, it's still better to use a boom pole or a tripod stand to give yourself a little more flexibility in mic/camera placement so you can get the cleanest audio and best-composed shot. For $50 more, the ME66 sounds much better than the Videomic. I used it on a shoot with a Rode NTG2 and could hardly tell the difference. And if you buy a tripod stand, that can double as both a boom (when fully extended) and a tripod stand, so you're covered as far as placing the microphone where ever you want.
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Jan 5, 2011 21:06
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MisterFreshman posted:I'd appreciate any critiques and suggestions As a complete scrub who's started messing around similarly with a GH2, one thing that's been a big help to me is a variable ND filter. I bought a cheap ($40 or so) one on ebay as described at http://cheesycam.com/nature-fader-nd-variable-neutral-density-filters/. It's been a big help in not just allowing a thinner depth of field in brighter light, but also in making it so much easier to keep a 180 degree shutter in varying light conditions. And to my untrained eye it doesn't seem to affect visual quality noticeably. If you're going to have lenses with multiple sizes, get a filter larger than all of them with the appropriate step up filter rings.
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Jan 6, 2011 01:09
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Could anyone recommend to me some decent lavaliere mics that could be used on this badboy: http://tascam.com/product/dr-07/specifications/ I'm looking at around the $100-150 range. They'll be used primarily for interviews and documentary-style segments, but it would be cool to have the option to use them for music as well. Audio equipment is way beyond my comprehension.
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Jan 6, 2011 18:38
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I have an Audio Technica AT831b that's in pretty bad shape now (only works w/ phantom power and you have to spend about 5 minutes turning everything off/on on the power module and on the camera to get them to sync) but when it's working it's quite nice. What you want is a lav mic with a power module, a little box the lav runs into that you can put a battery in. That will power the mic and then you can run an XLR-mini jack converter from the power module into your recording device.
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Jan 6, 2011 19:31
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MisterFreshman posted:Myself and a couple friends are going to start shooting some short films for fun next month, and I've been pricing out an equipment list of stuff we'll need. Our initial budget is something like $1500 (yay tax returns), then around another $300 per month after that for additional equipment. I've been trying to price out cheap recommended equipment on sites like indymogul, but keep overblowing the budget by a mile. I don't want to get complete poo poo gear just to be within the budget and find myself immediately looking to upgrade. I'd rather just start off with minimal equipment I can afford and save for the decent gear instead. Like people were saying an ME66 is a good mic, and for $50 more why not? Also you NEED a tripod, even if its a cheaper one just for locked off shots. As for lighting, right now you can get way with some 500 watt cheap halogen work lamps, and some china balls. But what I suggest you do is get gels, it will make the difference. As far as gels get diffusion, ND, and color correcting gels to start, and then move on from there. Lighting really is important, learn it, and you will see a massive increase in the quality of your work. Montasque fucked around with this message at 19:02 on Jan 7, 2011 |
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Jan 7, 2011 19:00
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Thanks for the hints, I've revised my list. Looks like I'm even more overbudget but that's fine if it takes a couple extra months to get the equipment. Going to be using it for some business work too so I can justify the purchases to the boss as well.
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Jan 10, 2011 23:42
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I'm going to go to Sundance for the first time next week, what should I expect or look out for?
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Jan 11, 2011 21:28
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1st AD posted:I'm going to go to Sundance for the first time next week, what should I expect or look out for? - A very busy first weekend, a kinda slow week, a dead second weekend. - Movies with big name actors will be sold out. No name films will be mostly available. - If you want to wait-list a movie, get there for the initial number handout well in advance. Return at the prescribed time. I'll be at Sundance, Saturday to Saturday. Drop me a line if you want to meet up and chat. Chances are, I'll be running from one screening to another, but I'm down to grab coffee and say howdy.
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Jan 11, 2011 22:02
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Yeah I'm pretty much there only for the opening weekend - I'll be working 11-4 most days just covering stuff for a website, leaving on Monday. Hopefully I'll have time to sit in on some movies.
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Jan 12, 2011 08:23
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So, with all the "indie"/student filmmakers getting those new video DSLRs and Canon and Panasonic putting CMOS chips into their professional camcorders, does nobody care about rolling shutter effects? I know first hand how ugly this gets with the DSLRs, but are the new camcorders similarly bad when there is a lot of movement/flashes of light?
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Jan 15, 2011 12:43
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There are plugins which fix the rolling shutter effect in post (somewhat). I think as the cameras become more ubiquitous people are just overlooking the moire and rolling shutter. Take the good with the bad, I suppose.
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Jan 15, 2011 17:05
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Or you buy next generation like the AF-100 and say goodbye to Moire, and have significantly less jello.
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Jan 15, 2011 17:22
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I worked on a production that shot more than half of it's footage on DSLR; moire and rolling shutter is not overlooked, they just have to minimize it's affects with choices in location, costuming, and shot framing that will minimize the effects of jello and moire.
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Jan 15, 2011 18:31
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But if they're spending all that effort on changing the entire look of your film just to accomodate the fact that they're using a cheap camera, doesn't that strike you as a bit weird?
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Jan 17, 2011 13:00
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If you go into the shoot knowing the limitations of your camera and working with that from the beginning, it's not that time-consuming. Especially if you're incorporating these ideas (and knowledge of what cam you're using) in pre-pro, then you can avoid those problems altogether. If I write a script or create storyboards & a shotlist knowing we'll be shooting on a T2i then I can avoid a lot of those major pitfalls right off the bat.
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Jan 17, 2011 17:29
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bassguitarhero posted:If you go into the shoot knowing the limitations of your camera and working with that from the beginning, it's not that time-consuming. Especially if you're incorporating these ideas (and knowledge of what cam you're using) in pre-pro, then you can avoid those problems altogether. If I write a script or create storyboards & a shotlist knowing we'll be shooting on a T2i then I can avoid a lot of those major pitfalls right off the bat. Sure, but I get the feeling that not many people do that. I recently had a rock concert in post-production which was filmed with CMOS cameras, which was horrible since the lightshow got chopped up pretty badly.
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Jan 17, 2011 18:16
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There will always be people out there who use the wrong tool for the job, or just plain don't know how to use the tools. Regardless, I don't think that diminishes the value of newer technology. Sometimes people care too much about what camera is being used to shoot something, instead of looking at the production as a whole.
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Jan 17, 2011 20:47
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People at the production company I worked for some years ago would do exactly that. When something looked good, they demanded to know which camera was used. After they got their answer (typically far less high-tech than they expected) they usually went "oh but they probably shot uncompressed as well".
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Jan 18, 2011 09:21
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A LOT of people just go by name brand, the same as anything else. Some people will swear up and down by Sony, some will swear up and down by Canon. I've seen countless ads of people demanding that they get everything shot on a 5D and that's generally the only piece of information they offer in the ad, and the fact the camera man HAS a 5d is more important than the camera man having 5 years of experience. You will always find people who don't know what they're talking about and do everything they can to fake it by spouting whatever they've most recently heard of. I've seen people demanding run-n-gun docs shot on a 5D and that is almost as bad as wanting it shot on 16mm by a 1 man crew. Cameras are tools and really it's about the person wielding the tool and how well they wield it, but people don't know that, they just put all their stock in the tool and hope it goes well. This is because they don't actually know anything about the tools or the industry but just want to look like they do. It's part and parcel of any creative industry where people want all the perks of looking like creative visionaries without having to put in the effort of learning the tools and techniques. EDIT: When I first got out of film school, the HVX-200 had just come out while everybody was still demanding the DVX-100, and after a drunk driver totaled my car, I bought the HVX and started replying to everything I could with "I've got the next-gen DVX," and even tho I'd been out of school for a month with zero experience, I got a TON of jobs just with the name of the camera. It worked great for building me a solid demo right off the bat, but I certainly wasn't exactly getting top-notch jobs since the people hiring me didn't really know what they were talking about other than they needed something shot and had "heard" about this camera or that camera. bassguitarhero fucked around with this message at 18:21 on Jan 18, 2011 |
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Jan 18, 2011 18:18
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Everyone knows Panasonic are the best cameras. Jeez. some people. btw I got the next next gen dvx, the af...
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Jan 18, 2011 23:57
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whoa, how'd I miss this thread entirely??? here's a photoblog of stills of my dp work while i'm recutting my reel... https://www.arivisual.com I shoot on everything, but right now, most of my work this last year has been on 7ds. i don't see that going anywhere for the next year, sorry af-100/101 and sony F3. recutting my reel has been a huge pain. I'm not big on forcing myself to edit. I'm not enjoying going through huge amounts of footage from 6+ years of shooting. and even though I've been really aggressive about it, I still have 4 people that owe me footage that I chase daily. granted, down from quite a bit more, but still pretty weak. oh, I'm NYC based. though, at some point I'd like to be LA based. gently caress your winters east coast. as to why people are choosing the 7d for the shoots over the 5d..price, 60fps, 1.6x crop not the end of the world. i don't have much sway on a project when it comes to choosing the camera system if it's a low budget project. all i can do is inform the director of the limitations of that camera and suggest something else if i'm being asked to do things that i know will be a nightmare on that setup. i'd rather have them invest the 60 bucks in some fast EF glass instead if they choose the 7d anyway. and as someone who pulls focus, i'd rather be pulling wide open on a 7 over a 5 any day. lesser of the two evils by far. zer0spunk fucked around with this message at 09:14 on Jan 19, 2011 |
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Jan 19, 2011 08:51
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I have a feeling the 5d, 7d etc are about to fall out of favour really soon. The Panny shipping camera, and the Sony soon to ship camera bring professional features, better resolution, long recording times and no moire to the large sensor. So no more workarounds. I assume Canon's next offerings are going to address some of the known issues with their current crop of cameras. I just think professional productions are going to move away from the current crop of HDSLR's very quickly as they have known weaknesses that are quickly being addressed with new cameras.
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Jan 19, 2011 16:46
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I think another year for the 5d/7d dominance is pretty reasonable. It will take time for the new panasonic/Sony offerings to filter out, but it will also take time for customers to hear about them. You need to start seeing completed projects that wow people before folks start going over. At least as far as indie video cinema goes, a lot of what pushes camera adoption aren't the camera folks as much as the folks with the budgets and what hot cameras they've been hearing about. It also depends on how well/if at all/ canon addresses the limitations in their cameras. If those are handled well in the next iteration, it may buy them some time on the top. Right now my dream camera would be the af-100 cos I do a lot of shooting as the sole person, so I need to handle camera and audio, and I'd much rather have a full-featured video cam for the audio options available to me plus quick setup. I simply can't run-n-gun on those DSLR cams in the way I'd need to, but they have lit up the industry. Every single ad I see online is asking for a cam op with one, whichis pretty bad news for everybody else. They're pretty popular on a level that's self-sustaining so that will take some time to shift. Most of my gigs these days are from word-of-mouth and my HVX isn't going anywhere, but if I needed to break in, the canons will still be solid purchases for a while to come. If you've got the money, the panny/Sony would be better future-proofing but be ready to spend months answering ads with a prepared line about how these cameras can give the same DoF as canons and do even more.
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Jan 19, 2011 17:11
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bassguitarhero posted:I think another year for the 5d/7d dominance is pretty reasonable. It will take time for the new panasonic/Sony offerings to filter out, but it will also take time for customers to hear about them. You need to start seeing completed projects that wow people before folks start going over. A lot of people overlook the T2i, but I think it's going to be the belle of the ball if these custom firmware hacks continue to unlock capabilities without introducing new problems. Zebra stripes, manual gain control, unlocked "natural" ISOs, programmable rack focusing, and bitrate control are all available now. I don't think the 7d can do any of those, and the 5d can't shoot 60fps.
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Jan 19, 2011 19:28
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It might be different in LA, but having a $1300 viable camera has made things even more accessible then they already were. Panny and sony are tripping if they think they are going to replace that market with systems that are 10 grand and up. It's not the same market, but then the question is, when they are in the high end business do they really care about competing with canon dslrs? Do they really care about the zero budget market? Should they? I'm not even that thrilled with the af-100. Give me the f3 over it anyday if you want to go that route... I hate camera discussions...can we talk about lighting innovations instead of what the newest cmos indie superstar is? Arri L series LED fresnels. Best in show at NAB 2011, huge on sets by 2012. Calling it now. I want to get my hands on one so bad.
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Jan 19, 2011 19:37
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zer0spunk posted:
Not thrilled with the f3, give me a RED anyday if you want to go that route. I love camera conversations. f3 is a $16000 camera. AF-100 is a $4000 camera. Big difference. We just bought a dedo kit. Not LED but man is it fun to work with.
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Jan 19, 2011 20:52
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Walnut Crunch posted:Not thrilled with the f3, give me a RED anyday if you want to go that route. Weird, every place I've seen it's it's 4800-5000 for just the body. When you factor in everything else you need, it gets expensive quickly (bricks, rails, ff, mbox,, head and sticks, zoom or some primes, sd cards, reader, storage space and something to dump to, etc etc.) I haven't been that impressed with it, and I don't think people are going to stop using their HVX's for certain things and canon bodies for others. I've played with it, I'm not impressed, but that's me, it's awkward, and the crop is pretty depressing compared to the fov of a f3 (http://vimeo.com/18257718) I'm a firm believer that a camera's a camera, and it's all about lighting. But I also choose gaffing over a/cing if the rates better, so there you go. and yeah, dedos are fun..last bigger budget show I gaffed we had em in the order so I stuck one on an arm, rigged it to the dolly, doored it down and gave the subject that 40's "visor" noir thing..let it go a lil O, so it was slightly warmer then the 1.2 briese we had for the key (it was on a redmx w/ vp glass) and the client loved it..oh fashion people. zer0spunk fucked around with this message at 21:43 on Jan 19, 2011 |
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Jan 19, 2011 21:13
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zer0spunk posted:When you factor in everything else you need, it gets expensive quickly (bricks, rails, ff, mbox,, head and sticks, zoom or some primes, sd cards, reader, storage space and something to dump to, etc etc.) This is true for every single camera in the history of forever. It's almost as if...the price of the camera is not significant when you factor in the cost of all the accessories needed to get the camera production-ready.
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Jan 19, 2011 21:46
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1st AD posted:This is true for every single camera in the history of forever. It's almost as if...the price of the camera is not significant when you factor in the cost of all the accessories needed to get the camera production-ready. Thus why, before the RED, even camera body owners (SR3, F900, etc) maintained mostly incomplete kits and got productions to rent the accessories necessary for the gig. I knew owners that didn't even own sticks and a head, or a matte box. Why buy sticks and a head if the gig has the camera living on a jib? Why own a matte box if the gigs want specific lenses and specific filters that aren't 4x5? The pursuit of owning a complete camera package requires much deeper pockets than people anticipate. In the case of DSLR's, the accessories are all 3rd party, and good luck finding a decent production mode.
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Jan 19, 2011 22:43
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Not true, certain camera systems are significantly less, especially when you factor in fixed lens bodies vs interchangeable systems. Regardless, the point is 4800 for a body vs 1400 for a body. If you're going to run audio into a recorder, that's a tough sell for a low budget producer/director.Tiresias posted:
I think zacuto and redrock have been doing a decent job on that front..not a fan? zer0spunk fucked around with this message at 22:52 on Jan 19, 2011 |
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Jan 19, 2011 22:44
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| # ? Jun 6, 2024 17:12 |
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zer0spunk posted:I think zacuto and redrock have been doing a decent job on that front..not a fan? When it comes to production, "decent" gets you to the end of the day, but rarely gets the call back. In the end, it still looks janky as hell.
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Jan 19, 2011 23:15
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