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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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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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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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BeavisNuke posted:There's no gimbal at all. I am basically relying on piloting skills, wind speed, and warp stabilizer to smooth it out. I hope eventually someone makes a cheap gimbal for it. Crazy fun to play with. Dominant impressions from NAB... 4k and quadcopters (and octos). I did expect there to be 4k everything but did not expect to see as many quads as I did. DJI was being borderline irresponsible flying their quads over the packed crowds. It went about 3 feet over my head. In a place with all manner of RF disturbance I guess they felt their odds of crashing into the crowd and slicing and dicing people was slim. So glad they could take that chance for me. Really that is going to be the thing that sets off quad backlash. Well, one of two things. Either someone is going to crash their quad into a crowd and hurt a kid or hospitalize a few people, or someone is going to use them to get celeb vids that will get the things banned. Still want one. Canon really went all out. Their booth was huge, presentation was amazing, and the c300 dark room was a pretty cool idea. Outside on the monitors you're thinking...hey that looks good...then you go inside and wonder how the hell they are shooting in such low light. Pretty concrete demonstration. Loved that their hulking wall of the canon theatre totally blocked out 80% of the giant Panasonic sign. Someone didn't plan right, or conversely did. On that note, I love how the back wall of the red presentation area, was actually an exterior wall of the blackmagic area, and that wall was covered with ads for BM's 4k cameras at super cheap. Prices a soccer mom could love. Kind of a ballsy and obnoxious display that couldn't be by accident. Also Philip Bloom made a huge impression. There he was at Kessler, chest hair hanging out, surrounded by a huge crowd of people hanging on his every word (what is his credibility again?). He was having some kind of audio problem, which seemed appropriate. J
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Apr 14, 2013 08:17
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Tiresias posted:'murica. I don't think they were displaying much story hardware at all at NAB. Maybe next year.
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Apr 14, 2013 22:33
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What is the go-to mid-range camera these days? Is it F5 and then everything else? I'm in a bit of a transition period. We currently have an HPX-500 that has been a workhorse, an AF-100, and a D800. The 500 doesn't make it out of the closet much. The 100 is our go to, and the 800 does double duty. We shoot a lot of wildlife and low-light and we have a ton of Nikon glass. We need another A cam to hold us for 5 years or so. Something with proper XLR and all the layout you'd expect on a camera being used in at times challenging situations. The F5 seems about as high as we could hope to reach dollar wise. I'd be looking at replacing with a camera that could hold it's own for another 5 years like our 500 did. I'm doing my research but I'm curious what the collective wisdom is.
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May 14, 2013 23:42
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Moon Potato posted:You wouldn't happen to know how well the AI-S 600/4 and 800/5.6 perform with teleconverters on, do you? I'm going to be shooting for a bird-heavy documentary over the next year, and we're exploring our options for 1000mm+ solutions that resolve well at 4K. Sorry can't help there. We did have a Sigma 150-500 to see if we could cheat some telephoto out of cheap glass. That ended pretty much as you'd expect. Slow lens and stupid slow autofocus. So slow it just could not be used with birds. Also soft.
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May 15, 2013 06:24
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Moon Potato posted:I've heard from a couple people who got decent results out of it by never zooming past 400mm or so, but I don't think I've come across anyone who's kept using it for more than a project or two before trading it in for something better. What's your lens of choice for extreme telephoto shots? We currently don't have one. The big boys of the Nikon line are where we'd like to go but we don't have the cash for them at the moment. Right now the most we go is 150, or borrow a 70-200, we just don't have the lens we really need. Also the autofocus is when we try and grab stills. Fairly useless. It's good until you put a critical eye to it, then it's just a shame that the lens didn't help you out more.
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May 16, 2013 06:18
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Moon Potato posted:Thanks for your input. After some more digging, I'm finding complaints about purple fringing for the AIS Nikon super telephotos. I guess that means we'll have to try to hunt down a decent price on a used Sigma or contemporary Nikkor. You've been hearing that about the 400 and 500mm current Nikons? Hmmm. We were just considering that route ourselves.
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May 17, 2013 00:13
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We're just an in house production unit, but we've been going bonkers with jellyfish. I think we did not bad with this one... http://youtu.be/Mssq2Sp1a0Q Used combo of d800 and af100
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Jun 13, 2013 18:26
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I take all our Miller stuff to the local reps. They strip it down, get all the salt and sand out of them and send them back for not much at all.
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Jul 29, 2013 21:57
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We're building a 360 rig for a projection installation we're doing and we're currently spec'ing cameras. We're trying to keep our budgets down and that's difficult as we need 7 cameras. We've been experimenting a bit with our d800 and if we were to go full frame with a 24mm lens it would work out pretty well. Doing the rig with d600's would be about $15000 grand which is a stretch. Gopros would have too much distortion. That leads us to something like the GH3, or pocket cinema, or...anyone have some good suggestions? We're built around nikon and panasonic gear so that's why we're leaning to the nikon glass
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Aug 8, 2013 21:53
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| # ¿ May 21, 2024 07:01 |
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Seems the 5500's and any nikon crop body lacks aperture control in video mode. That's kind of surprising. What's amazing is with our 800 and just rotating it, the stitches work incredibly well. It's not the way we'd go, but I just find it surprising that for hacking around, we can get good results.
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Aug 9, 2013 19:39
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