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Nobody seems to be too into 3d and all but after 3 days of shooting with the Panny camera, I can tell you this. It seriously fucks with your balance. I actually felt like I hurt something in my brain yesterday when changing the convergence. I was watching on the monitor while I did it and I won't be doing that again. When you're shooting you get the good and the bad at the same time and it's always changing unlike in a finished production. It seriously causes brain grief.
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Jun 3, 2010 00:46
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I'll keep yammering about 3d because hey, it's all I've got to contribute. I'm not one of those film guys. But, with all the push to shallow depth of field, 3d seems to be pushing the other way. One of the great things about the panny cam and its small sensors is depth of field. You want it in 3d. Apparently the RED 3d rigs need to ISO up to 800 in order to get usable 3d depth of field. I've got no idea if that is true or not, but that's what I've been told. It's interesting if it is true because it goes to show there is no such thing as one camera to rule them all. Lots of different cameras for lots of different uses. Has anyone here output 3d from an edit? We're working on the footage in FCP using the dashwood plugin, but I don't know about the final hop. When we export to a file how do we actually play that back on a consumer screen? I know there are 4-5 different ways to output to file, but can you play from a file? Or does it need to be authored into a 3d blu-ray or something. So many questions. After using the camera for a while I'm not convinced film is where 3d is going to be the big win. Nature docs are going to be where 3d is at. The sense of immediacy when shooting animals in 3d is staggering. That's the biggest wow I've seen to date.
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Jun 4, 2010 17:43
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Scarlet is dead in the water. Now with iPhone 4 and iMovie, you've got production and post production all in one tiny package. No need for those big bulky cameras or edit systems anymore. At least with iMovie on the iPhone I know why FCP hasn't seen any love in a while. Maybe they'll get back to it now.
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Jun 8, 2010 15:39
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Oh my lord I hate hate hate compressor. So much promise and so temperamental. Whether it's outputs, or Final Cut Server using it to do its thing, it's always compressor that is the weak link. I loves Episode and Episode Pro. Love it. Stable and faster with quality output. DId I mention I love episode?
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Jun 9, 2010 00:52
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Scarlet delayed again...oh my. http://reduser.net/forum/showthread.php?t=46375 Too much time given to Sony and Panasonic. One thing I have to say about RED fans, particularly REDuser participants...they certainly are a patient and accepting bunch. I was at the Panny demo for the 3dA1 3d camera and all people were complaining about on the pre-release, pre-beta, factory sample that they had in their hands, was that there weren't enough knee settings and it was an infinite focus ring. Geez. How about Panasonic just built a camera where your 3d camera concerns are reduced to a single dial? RED gets all the breaks from their fans. Anyway, ignore if you wish, reduser.net is like a car crash in many of its forums and I just can't look away.
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Jun 14, 2010 22:13
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Does anyone know any good charts for focal length conversions? I thought Canon had one. For instance, I'm pretty clear when it comes to what lenses do on a 1.5 crop Nikon stills sensor. I know that a 20mm lens equals roughly a 30mm for a 35mm sensor. What I get confused on is our canon lens for our 2/3 mount camera. It's a canon 17x7.6. I know it's 7.6mm at the widest with a 17x zoom. I assume at it's widest it is roughly equivalent to a 32mm lens on a 35mm sensor. I sound like a dumbass when trying to rent lenses and I want to change that.
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Jun 22, 2010 22:00
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schmuckfeatures posted:Nice, there are some really good shots in here. That's why they say those cameras are good tools for specific uses, but not really great all-arounders. As always, there is a compromise.
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Jul 13, 2010 18:32
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There really shouldn't be any problem going into Prores HQ. Calling it lossy is a little odd, especially where you are coming from with your original footage. I'd look at if SimpleMovieX does any rerendering, which I imagine it would if you are stitching all the clips together, then you are way better going into prores. Prores certainly isn't going to throw away any information from those DSLR h.264 clips.
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Oct 2, 2010 03:10
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this is in 2 threads now, but the reason to go to Prores is if you are doing any colour or effects work. Rerendering a clip with colour or effects on it in h.264 is going to be worse then step up to prores, and rendering your effects in that. h.264 will fall apart with multiple renders, prores won't.
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Oct 2, 2010 22:15
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butterypancakes posted:
Sure is, I'm just not sure if I can "man up" enough to ever use it. Cool tech, such a shame that Jannard is such an rear end.
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Oct 6, 2010 16:02
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butterypancakes posted:You actually don't have to talk to him to use a RED camera, he might not even show up on set. That is true but his "man up" comment in a nutshell, perfectly describes a "film guy" attitude that I loathe. I don't really care about RED cameras truthfully as they aren't appropriate for any of my applications. I like following them more for how they are pushing the industry and how the big boys respond, which is fascinating. His personality, and the follower personality is so wrapped in RED it is really a bizarre study.
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Oct 6, 2010 19:57
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If you can wait you might want to take a look at the new Panny AF-100. It looks to be a remarkable camera. Footage should be out in the next few weeks, and it will be on sale in the next few months. It has all the good things of a VDSLR with none of the bad and all the good things of a pro video camera. It's around the 5k range. It's not a P2 cam so recording media is cheap. Canon and Sony currently have no response to it. It records to the Panny version of AVCHD, so that's why you have cost savings.
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Oct 11, 2010 21:41
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From what I recall the EX cameras and HDV are also 4:2:0. The real key is what Panasonic have done to the codec, how they are encoding. So many are waiting on footage to see if this really is the camera that Panasonic promises.
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Oct 12, 2010 01:51
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Footage from the AF-100 http://vimeo.com/15765280 Can't really tell a lot from that. Weird though, I don't really think this is the big footage release from Panasonic. They have recently said they aren't interested in releasing pre-release camera footage. Then this comes out. The guy also breaks NDA I think. He mentions camera issues he had. Panny is pretty clear that when you get your hands on a factory sample, you are not allowed to talk about any issues with camera function and menu etc. There point being that the internet will magnify issues that just haven't been fixed yet.
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Oct 12, 2010 19:28
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Pretty dead in here so I'm going to talk purchases. Looks like I'm going to pick up a Panasonic AF-100 as a second camera. The thought of throwing a 150 Nikon Macro on it and getting some really unique nature footage is too tempting. That along with the Panasonic and the advantages of the HDSLR's without the disadvantages of the HDSLR's and the fact it will be shipping in six weeks, and the fact we have a project that will pay for it make it so worthwhile. It seems like it will be a ton of fun to shoot with. If we can get an underwater housing for it, I'll be in heaven. It seems, from early reviews, that Panasonic did exactly what they said they would...take a big sensor and build a camera totally optimized for HD video and HD video only. Nice http://vimeo.com/16129196
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Oct 26, 2010 05:08
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New projects purchase frenzy - Dedo light kit - 6 Rosco litepanels - bunch o' stands Preorder AF-100 soon to buy -cineslider Fun Fun fun. Also a 150-500 stills lens that we'll double purpose once birger comes out with their mythical AF-100 adapter, and red giant particular, and cameratracker. and and and
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Nov 2, 2010 01:48
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snugglysheep posted:I recently worked on a shoot for Panasonic shot on a pre-production GH2. It seemed like a solid camera although a lot of settings were buried in on-screen menus. The dealbreaker for me was the resolution of the LCD. The camera had decent focus assist options, but it was incredibly difficult to determine critical focus on the screen. Thing about a pre-production camera is performance can change dramatically, and so can the menu system. It might well be the way you describe when it's released but I wouldn't count on it. A lot changes between pre-production and production. For m4/3 there are lenses that are plenty wide enough that are not that expensive. Wide is good, but super-wide is kind of a novelty isn't it?
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Nov 6, 2010 16:37
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Most popular formats. At low level: News: no one knows what is going on. You talk to researchers and they have no idea about format. Normally you send 720p h.264 .mov and no one ever complains. The promo units want Avid DnxHD or however you spell it. Footage sales to production companies (for discovery, major broadcasters) take your pick. They normally want our DVCPRO HD .mov, or prores files. We use an accellion system to send our files out. Client gets a link that they can download huge files from. If we're sending out bulk footage we fedex it out. The big boys have a private, digital, highspeed, encrypted network they send their files through.
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Nov 17, 2010 17:00
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Our best tool is our copy of Episode. We just ask how someone wants the footage, what works best for them, then we just render out to whatever format they want. I always tell people we can get them whatever they need as long as it isn't tape based. I like doing it on our end because I've seen some horrific transcodes that others have done with our footage. Our lifesaver for footage is FCSvr. We've always got a backup. When in the field I have multiple hard-drives so the footage is always in two different places, and when the footage travels it travels in different bags. I still remember a 3 day shoot in Toronto for a reality show. There were nearly 1000 people at the tryouts, and we had done soooo many interviews with identified characters and found characters. The crew was about 60 people with six camera crews. We had all been flown in. An arena had been rented. Our timeline was ridiculous. In short, there was no chance for a redo. Given all that I watched the series director, why he had the duffel I don't know, put a duffel containing all the field tapes on the baggage belt at the airport. By the time I got to him it was already into the mystery land of baggage handling. I asked him if he realized he just let our entire shoot disappear down a conveyor belt. Really we're talking 300k of value at least. He sweated the entire flight until it popped out last at our destination. In some ways life is easier when you are digital file instead of tape.
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Nov 17, 2010 21:20
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Mozzie posted:More so it means the mounting plate isn't consistent to where the sensor is, meaning each time two red ones are put on a rig they have to be carefully calibrated for depth, you can't trust that they'll match up just because the mounting distance isn't identical. Isn't careful calibration what makes shooting 3d so hard anyway. From what I've heard careful calibration isn't anything held to just RED when doing 3d. That said, there sure are a lot of RED 3D rigs around. That's why Panny created the 3DA1. If you don't have the time and really need to run and gun, there is a camera for that. Not that the image quality matches RED but there is always a compromise.
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Nov 25, 2010 17:16
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Mozzie posted:I can say in a professional capacity that the 3DA1 sucks a fat one and is going to contribute greatly to people hating 3D. (non adjustable Inter-axial distance, or as Panasonic calls it the old way, inter-optical) It's an awesome camera for low cost production. There is a whole tier of broadcast production that needs the 3da1 for it's run and gun abilities. Shoot with it's limitations in mind and it's fine. Used properly it can look awesome and get into places that a big rig can't ( without huge view and money). No it's not RED but sometimes that's okay.
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Nov 25, 2010 23:13
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Two Worlds posted:He didn't say videography, he said cinematography. That's shooting a movie, not someone's wedding. And that is obnoxious and inaccurate.
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Nov 27, 2010 22:51
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Just placed the order for the AF-100. I'm crazy excited about getting this camera. Matched with a nikon adapter we're going to be able to do so many great things. Super-wide, telephoto, macro, it's going to be such a good companion for our 2/3 inch hpx-500 which is a total workhorse, but renting specialty $40 000 lenses for it is no fun.
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Nov 28, 2010 18:40
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Over ten years directing broadcast TV, mostly reality, now running a private documentary production unit for a large non-profit. Never worked in drama, never wanted to. Did work with a 1st AD for Night at the Museum who was "slumming" it in TV between film gigs. Classic lovely film attitude. The good guys don't have it, but it is rife in the industry. I've developed a keen distrust of indy filmmakers "slumming" it.
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Dec 1, 2010 16:58
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It's time to man up in here. As to the picture? Why? Why? Why? Couldn't you just save a lot of money by buying a better camera instead of all that gack? Or at least rent one?
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Dec 3, 2010 07:50
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bassguitarhero posted:...but then I'm not a film student so I probably shouldn't go around telling other people how to do their jobs. Hah! Funny. When you are a student it's the best time to tell people how to do their jobs. It's the only time in your life you'll be that sure of yourself.
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Dec 3, 2010 20:06
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AbdominalSnowman posted:Right now I'm just looking for some simple basics to make short films with a few friends over the break, I am going to school out in podunk nowhere and there isn't a community college anywhere close, or a film program at the university. I would love to take a few classes eventually, but that is going to be a couple years away at the least. To be honest, most of your first stuff you shoot will probably be pretty horrible so I wouldn't worry about contests too much at the moment. I mean this in the most helpful way. I like to think I'm awesome at what I do. I've been paid to do it for over a decade and I make a good living, but my first projects from school were awful. I thought too big, and I had nowhere near the developed skills to pull off the scope I was aiming for. Not to say it wasn't worth trying, it totally is and it teaches a lot, but don't get too hung up on quality too soon. Hell you can learn a lot using stills to tell a story in a slide show. That teaches you a ton about visual storytelling and sequencing. I started learning when I was 10 using a camcorder and editing in camera. Start shooting small stuff now, with whatever you have, and who cares if the audio isn't great. or your camera kind of sucks. You'll be learning. Have fun, shoot lots, try anything, but don't think to big. You'll get there as a natural progression. Then again, maybe you're different than me, and a zillion other students I've seen since I graduated, and this is horrible advice. Who really knows?
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Dec 11, 2010 00:46
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I can't say enough about the kessler cineslider. Awesome system if you are looking for a slider. Great service too.
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Dec 17, 2010 16:37
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SquareDog - any idea when you're getting your AF-100's? We're patiently awaiting our order and apparently they are starting to trickle out. I've got a whole closet full of lenses I can't wait to attach to an as yet non-existent camera. So looking forward to the AF100. Larger sensor goodness with SDI, proper audio, proper monitoring. It's going to be such an awesome complement to our hpx-500
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Dec 24, 2010 19:29
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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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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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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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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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dvxuser has a whole bunch of people messing with scene files at the moment. Some are tweaking for minimal noise, others are tweaking for range etc. early favorites seem to be cinegamma v with a norm 2 matrix. Rolling shutter is minimal, you can spray the camera around without it being as bad as you'd think. Moire...nope, none. Had a 500mm lens on the camera and as long as I was moving the camera, following action, it was fine, but when i just held the camera still, every little bump, and heartbeat made it the picture go jello-ish. Awesome to have the xlr's in. VFR 1080 at 60p is beautiful The ability to dial the WB up and down to customize it is nice. Basically you set white balance then alter it incrementally if you want. big hiccup with the camera is that when recording VFR, no audio is recorded (like every Panny I've ever used) however the meters still show audio, and the headphones still play audio. So if you slip into VFR by accident, say 1080p30 VFR, it will look like regular video, and you will be monitoring good sound, but no good sound will be recorded. It's pretty much the number 1 firmware fix.
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Jan 27, 2011 22:17
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Pretty sure you can take a white balance then adjust it up and down using a dial. The panasonic 7-14 wide is a fun lens with that camera. The 100 records 4:2:0 because it is avchd. Next step up would be intra and that would add thousands to the price. Results are really good with avchd and ppl are just recommending outboard recording if doing picky green screen or heavy color correction.
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Mar 1, 2011 23:41
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The difference is nothing like a bumped up HDV cam. HDV was and is awful. The Panasonic AVCHD is really good. People testing have basically said there is no perceivable difference between native codec and outboard recording. They say if they really get into the peeping they can see a difference and that if you were exclusive green screen the colour depth would make a difference, but there really is no need for something like the nano on a 100. I shot in a snowstorm with the 100 and it held up beautifully.
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Mar 2, 2011 05:56
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Since this is steadicam time, any advice on a steadicam rig for an af100 with something like a nikon 17-50 on it? What would you buy to be easy to set up and reliable, but trying to watch price as much as possible? We have money, we just don't have feature money. Are equipment is well used in challenging situations so it has to be sturdy.
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Mar 18, 2011 18:10
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Tiresias posted:Maybe look into a Flyer or Zephyr? The AF100 is yet another camera that creates the conundrum: how do you work when your lens weighs way more (or has the potential to weigh more) than yout camera? Don't have a budget yet. Consider our camera. 5k for the camera instead of 20k plus. Miller tripod with compass head 1.5k So that's the kind of range we are in.
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Mar 19, 2011 02:08
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For the price I sure would hope the F3 is better than the AF100. If it wasn't, Sony would have a problem on their hands.
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Apr 21, 2011 07:17
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SquareDog posted:I was skeptical but the shortcomings of the AF-100 make it worth the price difference. It surprised me too because I expected a lot more from the AF-100. What do you see as the big shortcomings of the af100? It has been humming along fine for us.
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Apr 21, 2011 21:41
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