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No seriously, what did I say to garner such a reaction? I go to a lot of events like these (like I will again tomorrow) and I'd like to encourage discussion about camera systems higher than 5Ds and DIY speedrail dollys, not that I'm knocking such discussion, just trying to broaden the scope. So why the rudeness? You two disagree with my impression? GREAT! why? I'd honestly like to know. Talk, don't merely insult.
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Feb 28, 2013 09:47
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Homophobic insults are sooooo gay.
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Feb 28, 2013 09:50
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SquareDog posted:No seriously, what did I say to garner such a reaction? I go to a lot of events like these (like I will again tomorrow) and I'd like to encourage discussion about camera systems higher than 5Ds and DIY speedrail dollys, not that I'm knocking such discussion, just trying to broaden the scope. So why the rudeness? You two disagree with my impression? GREAT! why? I'd honestly like to know. Talk, don't merely insult. Sorry, I gave my sarcasm 40/60 of coming off as a joke (which it was). I'm intrigued by the Aaton, and can't wait to play with one. Of course, the showcase and product demo/show-offs are always different from on-set experiences, so as always, I'll reserve my opinion for after I've worked with it. I think one of the most corrosive developments in digital cinema is the rapid deployment of "game changer" digital cameras every few months. Reminds me too much of the "but can it run Crysis?" computer geek technology fetishism where possibility equals superiority. People who get a huge boner over the RED Epic shooting 5K when most TV shows shoot on the Alexa, or speak in absolutes regarding camera excellence. But hey, it's fun to fire for effect. Otherwise, much like any industry, speculators just embarrass themselves.
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Feb 28, 2013 18:33
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SquareDog posted:No seriously, what did I say to garner such a reaction? I go to a lot of events like these (like I will again tomorrow) and I'd like to encourage discussion about camera systems higher than 5Ds and DIY speedrail dollys, not that I'm knocking such discussion, just trying to broaden the scope. So why the rudeness? You two disagree with my impression? GREAT! why? I'd honestly like to know. Talk, don't merely insult. I appreciate your trip reports. The only thing I can think of is that people skim posts and then phrases jump out, for example 'I can take or leave everything..' You certainly don't deserve the responses even if they were intended as sarcasm.
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Feb 28, 2013 18:55
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Tiresias posted:
Sorry you got probated for that, I promise I didn't report you. It's funny, I thought to myself when I read it, "crap what if he gets probated, he'll think it was me."
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Feb 28, 2013 20:17
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Tiresias posted:I think one of the most corrosive developments in digital cinema is the rapid deployment of "game changer" digital cameras every few months. I know gently caress all about cameras as evidenced by my previous posts in this thread, but this sounds similar to what a co-worker was saying to me. For our purposes, we need a beefy camera that has good all-round performance but most importantly it has to take a beating... because designers are always trying to change the game you get great cameras with the durability of prototypes and nobody seems to spend any time making their great cameras tougher.
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Feb 28, 2013 22:40
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ineptmule posted:I know gently caress all about cameras as evidenced by my previous posts in this thread, but this sounds similar to what a co-worker was saying to me. We're still shooting on an HPX-500 because of toughness. You know what makes it great? Handling it with gloves on. Shooting in a 100km/hr rainstorm, grabbing it out of a bag, flicking the switch, shouldering it and shooting in about 30 seconds. Our President was at a conference and a guy was running around with a 5dmk2 on some kind of shoulder rig telling him how fantastic it was and all other cameras are obsolete. All I could think about is what that rig would be like running through the woods, or bouncing on the front of the boat and how much you'd have to take care not to snag, bend or otherwise get it messed up. Not to say his rig was no good, just not right for everything, just like our HPX500 or af100 is not right for everything. True story AF100 left outside in -55 Celsius for 3 days. Still ran.
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Mar 2, 2013 06:16
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Say what you will about the capture quality of some of their cameras, but panasonic makes durable poo poo.
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Mar 2, 2013 13:25
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I've been a super fan of Panasonic for years. Unfortunately it seems they are in a sad state. Nothing really exciting has been coming from them. Just iterations. I'm not sure if that is good or bad. Either they are consciously not getting caught up in the sensor size and capture size wars, and are just focussing on workhorse cameras for workhorse industries, or they financial woes have gutted their R&D.
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Mar 2, 2013 22:48
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What's a good BMC portable power supply that can give me something like 8 hours of shooting time (I'm obviously not shooting that much, but would like to not have to be tethered to an outlet at all)? I'm gonna use one in a couple of weeks for some behind the scenes work for a few days.
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Mar 2, 2013 22:53
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1st AD posted:What's a good BMC portable power supply that can give me something like 8 hours of shooting time (I'm obviously not shooting that much, but would like to not have to be tethered to an outlet at all)? I'm gonna use one in a couple of weeks for some behind the scenes work for a few days. The most cost effective route might be to go with something like this, for whatever batteries you own now. This one is for canon e6 but they make adapters for all the major brands: http://www.bhphotovideo.com/c/product/900542-REG/ikan_BMC_PWR_PW_E6_Blackmagic_DV_Top_Mount.html I use a Switronix PB70 but that only gets around 4-5 hours. I might pick up one of those as backup for a really long day.
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Mar 3, 2013 00:51
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Jesus, "usually ship l ships in 3-7 days.". That does not inspire confidence.
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Mar 3, 2013 00:56
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So in addition to all the stuff I'd written before on the F5/F55 which you can see in this link http://filmicdigital.com/hands-on-with-the-sony-f5-and-f55/ , I did find out some more info and got some important questions answered at the show at Abel Cine Tech last week. -First some good news: the timecode, power backplate, wifi PL mount and audio modules are all included in the box with each camera. Thanks Sony! -More good news. I noticed at the show when they showed XAVC footage that in one shot there was horrendous black outlines on high contrast edges, as I write this they have just released a new firmware update download that fixes this issue. Take that Canon! -I put the camera on my shoulder this time, it was the F5 without a Raw module or a battery. It fit well, was very light and the eyepiece was in the right spot. I think that with the raw module and a battery that it will be very well balanced. -The ISO differs between them (2000 on the F5, 1250 on the F55) because the F55 has extra parts surrounding each photosite allowing the sensor to be a global shutter. But the rolling shutter on the F5 is minimal anyway as evidenced in a fan test they showed. -Speaking of ISO. When you turn on RAW recording it locks the ISO to its base level. The idea is quality control and to make it behave like a film camera. 1250 and 2000 are very high ISO's to be locked at but that's why they include the internal .9 and 1.8 ND's. -As I said they are releasing new SxS Pro + cards which was disappointing but I found out that not only do the SxS Pro cards that we carry for the Alexa work but you really only need the SxS Pro + cards if you're recording 4K on the F55. -the debayered footage in the camera is 10-bit and the Raw footage is 16-bit with a 1/3.6 compression level which is excellent quality. -You can import LUTs but there are hardly any controls to manipulate the image in camera from what I could tell. -And for some bad news: They are charging a $20 fee for a license for their content browser. People have been up in arms about this online and they know it so maybe it'll be fixed someday but for now each camera comes with 4 licenses and any more are $20 a pop. Very annoying for a rental house. -While I was there and saw the cameras running side-by-side I thought that the F55 looked noticeably better, however as you can see from this footage, the F5 is nothing to sneeze at. http://vimeo.com/60984478 -The Element Technica power breakout baseplate is awesome and I wouldn't be surprised if it became a requirement by DP's and AC's. -The viewfinder connection still looks very breakable but ET is making small attachments to fix that issue. Sorry the pictures look like garbage, shot on my iPhone and jacked up for maximum visibility of the camera parts and not pretty faces.    Recorder  Raw Recorder media  Janky EVF connector  Awesome Element Technica power breakout baseplate with a voltage readout    Global shutter sensor structure and why it's 1250 ISO instead of 2000 ISO  Recording times  Baseplate alternatives 
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Mar 4, 2013 20:58
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Hey guys, I was wondering if anyone in the thread could point me in the direction of any good posts regarding the pros and cons of the Canon C300, or if anyone has had any good/bad experiences with them and has tips. I'm thinking of hiring one to shoot landscape shots for a documentary and at the moment I'm looking at either a C300 or shooting Super16mm on an Arri SR3. Thanks guys 
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Mar 5, 2013 21:22
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1st AD posted:What's a good BMC portable power supply that can give me something like 8 hours of shooting time (I'm obviously not shooting that much, but would like to not have to be tethered to an outlet at all)? I'm gonna use one in a couple of weeks for some behind the scenes work for a few days. Don't be a pussy. http://www.bhphotovideo.com/c/product/880952-REG/anton_bauer_abp_vclx_560_cine_vclx_battery.html (one of these will run it for days)
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Mar 5, 2013 21:54
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Quantum of Phallus posted:Hey guys, I was wondering if anyone in the thread could point me in the direction of any good posts regarding the pros and cons of the Canon C300, or if anyone has had any good/bad experiences with them and has tips. I never recommend the C300. Is it because it's a bad camera? No necessarily, it's not a terrible camera, it's usable and good images can be extracted from it, much like a DSLR. But they charge more than twice as much as it's worth, and that alone makes it a bad camera in my book. Cons: -It records a 50Mbs debayered HD video. To put that in to perspective it's much closer to a DSLR quality than a professional level camera in terms of compression/data-rate quality. -It's doesn't record RAW but costs more than a Red Scarlet or a and F5 with a Raw recorder. -You have to pay extra if you want a PL mount, the cinema standard lens mount. -it only goes up to 60 fps and only in 720p. An FS-700 that costs half as much can do 240 fps in 1080p and over 700 fps in 720p and looks just as good doing it. -the physical and menu design is poor and reflects a camera company that has never made a cinema camera before. -Canon is shady: there is an ongoing problem with C300 where there is severe color fringing in high contrast areas and not only will they not admit there is a problem but they have a firmware fix for it but won't admit publicly that it exists nor make it available to download for over a year now. If you want the firmware update you have to send it in to them, they install it on cameras that come in for repair whether it came in for that reason or not. So shady. -The image is good (after the firmware update) but you can get several cameras with as good or better image quality for less money. Pros: -The image looks good but not great (if you get the firmware update). -Media is cheap. -Footage doesn't take up much room on hard drives comparatively speaking. -Internal ND's It boggles my mind as to how this camera become popular. EDIT: If your choice is between that and film, choose film. SquareDog fucked around with this message at 23:00 on Mar 5, 2013 |
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Mar 5, 2013 22:57
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Cool, yeah, I was hoping to use film anyway, I just saw some low-light C300 stuff with it that looked great. I'd only be renting it though, not buying, I'd never buy one at the price they sell it for.
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Mar 5, 2013 23:02
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SquareDog posted:It boggles my mind as to how this camera become popular. Records to cheap media and everybody it seems has Canon lenses. Also, maybe you want to spend a ton on your camera but want to go really cheap on your post (and you haven't heard of the FS700), the C300 is good for that purpose I guess 
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Mar 5, 2013 23:09
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Here's a question for you. We have a Panasonic HPX-500 with Canon lens a whole rack of p2 cards, a Panasonic AF100, and a D800. HPX-500 is great but it is getting long in the tooth, and we work off the beaten path, and it is quite the pig to haul around. We could sell off our panasonic gear, while it still is not obsolete and step up in cameras. We'd keep the d800 as our stills shooter and b-cam. I think we could get $6000 for our 500, $3000 for our af100, another $1000 for the p2 cards which would give us around 10k to purchase a new a-cam that with adapters we could use our raft of nikon lenses with. So around that range does anything makes sense? We shoot nature doc stuff, science stuff, vistas, macros, interactions, and interviews. What would you do?
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Mar 5, 2013 23:10
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1st AD posted:Records to cheap media and everybody it seems has Canon lenses. Also, maybe you want to spend a ton on your camera but want to go really cheap on your post (and you haven't heard of the FS700), the C300 is good for that purpose I guess Good points.
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Mar 6, 2013 07:03
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The mass comm department at the community college where I got my start forever ago (the department head and I are friends still) just bought a C300, it's a good camera to help transition kids from DSLR to something more resembling production work. Better than nothing at that level.
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Mar 6, 2013 08:03
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Slim Killington posted:The mass comm department at the community college where I got my start forever ago (the department head and I are friends still) just bought a C300, it's a good camera to help transition kids from DSLR to something more resembling production work. Better than nothing at that level. I think the shame here is that they could have bought 2 FS700's which probably have a lot more in common with Sony's high-end equipment which would help them later in their careers. Also that C300 is going to bite the dust at some point and won't be replaceable at a moment's notice, unlike that 2nd FS700 sitting in storage.
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Mar 7, 2013 00:21
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SquareDog posted:So in addition to all the stuff I'd written before on the F5/F55 which you can see in this link http://filmicdigital.com/hands-on-with-the-sony-f5-and-f55/ , I did find out some more info and got some important questions answered at the show at Abel Cine Tech last week. This camera just looks better and better the more I read about it. My DP for a project Im directing recently worked 1st AC on the F55 for a Sony test shoot(Sony was having them show off the DR) and he said it was "the best camera hes ever worked with".
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Mar 7, 2013 10:38
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I was talking to him last night and they bought a C100 for the school, not a C300. Makes a little more sense.
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Mar 7, 2013 17:30
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Except that's overpriced too. But whatever, if the students don't have to pay to rent it then it'll be totally fine for them, it's just the school's loss.
SquareDog fucked around with this message at 09:14 on Mar 8, 2013 |
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Mar 8, 2013 08:50
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On paper the C100 looks terrible but when you shoot with it it's actually a really nice camera. It's very user friendly, should be a great camera to learn on.
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Mar 8, 2013 11:27
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From what I understand the students can't check out the C100 and are still going to be renting DSLRs and Sony Z5Us to film their projects, and the C100 is going to be used for the all-student documentary and all-student motion picture in those respective classes. I don't really get the purchase either, but the guy is a friend and my old teacher so I can't really question him.
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Mar 8, 2013 18:40
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I'm crossposting this here from the film business thread in CD because that thread looks kinda dead, so -- What's the take on how crucial joining a union is? I'm not certain what I want yet, but I've always had this inclination towards doing tasks that pretty much amount to (really elementary) gaffing. I like lighting still photos, pretty obsessed with the idea of working on a scaffold with lights, etc etc. What about certificates and stuff? Is there ever any crossover work? Is it often that the sets are small and you end up doing set construction as well? Set construction is also attractive to me. Basically -- do I need a certificate to say, erect scaffolding and work lighting on it?
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Mar 13, 2013 23:42
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I think the union question has a lot to do with what town you're in. If you're in LA it's probably a good idea, but somewhere like Seattle, unions are present but not all that necessary to find work. Let us know where you're at or check locally(your town probably has a message board or two for film professionals) to see if going union's worthwhile.
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Mar 14, 2013 05:55
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I'm not sure if this is the right place to ask this, but I have a bunch of Sony HDCam tapes with some footage I want to get digitized. I'm not sure where I should go to get it done? I realize this could be location specific, but are there some options at this point that aren't?
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Mar 25, 2013 01:00
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Stumpus posted:I'm not sure if this is the right place to ask this, but I have a bunch of Sony HDCam tapes with some footage I want to get digitized. I'm not sure where I should go to get it done? Do you have a deck, and where you located?
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Mar 25, 2013 03:30
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I have nothing, and am located in Albany NY.
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Mar 25, 2013 13:11
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I guess I'll cross post from the stupid questions thread: My organization has a decent handheld camcorder, but the microphone isn't so hot. We're looking to buy a separate microphone that'll be more reliable. Can anyone recommend one for under $300 dollars?
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Mar 25, 2013 14:09
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What kind of mic? Tie Clip? Rifle mic to go on top? If a rifle, get yourself a cheap second hand ME66. They're lovely
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Mar 25, 2013 16:34
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That looks like a good, solid option. Just because I'm going to have to present multiple options, can you recommend a decent rifle mic for really, stupid cheap, like under $100 cheap?
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Mar 25, 2013 21:37
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Cross-posting from Cinema Discusso, I did a write-up about my experience directing my first feature. http://forums.somethingawful.com/showthread.php?threadid=3540615
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Mar 27, 2013 18:50
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This caught my attention: http://www.kickstarter.com/projects/1324892969/open-source-ultra-bright-led-light-pad-with-wifi-a 8000 lumens, 88w, $400 and you can control it via wifi phone app. It has a big fuckoff heatsink and fan on the back, and it's kinda telling that they play background music in the video while the fan is operating. Can anyone see any other major downfalls? Any good/bad experiences with cree LED panels?
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Mar 28, 2013 17:01
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Jalumibnkrayal posted:This caught my attention: I'm just not a fan of how LED light looks. It's too harsh, and makes digital video look even more video-y.
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Mar 28, 2013 20:17
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The only LED lighting I'd be willing to use would be ARRI's L line. Other than that, I'm not big on LEDs either.
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Mar 28, 2013 20:19
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Arri's LED lights are crazy-awesome.
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Mar 28, 2013 22:48
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