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In that vein, can someone recommend a budget not-shotgun for indoors? Right now we have an ME66/K6 combo as our main mic, with a Studio Projects B1 large diaphram condenser for VO work. Almost all of our work is indoors and most of that is in highly reflective environments. I don't need it to be self powered like the ME66/K6--we just got a fantastic deal on that combo.
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Apr 19, 2011 19:54
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I've looked at those Oktava's before, but the reviews suggested they were super sensitive to handling noise and tricky to use on a boom. Any personal experience with em?
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Apr 20, 2011 15:15
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I've had an XF300 for a few months. It's been pretty great, but, as moon potato mentioned, low light stuff isn't its strong suit. I'm guessing most offices are probably well-lit enough that it wouldn't be a problem. What are you using right now?
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Jun 25, 2011 01:45
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I don't think something like an AF100 or whatever would make much sense for Gunjin though. Seems like a more traditional video camera would be easier and faster all around. I seriously doubt they need or even want the cinematic qualities of a big sensor camera rolling prime lenses for internal corporate video.
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Jun 29, 2011 18:23
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Could you use the macro focusing rail sideways like a teensy tiny slider? Cause that might look sweet. I don't actually know anything as I've never done macro video so this may be a silly idea.
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Aug 17, 2011 21:08
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Any of you fellas have a suggestion for where to sell used gear? We have a Canon XF300 that, though an excellent camera that served us well on the projects we bought if for, isn't quite what we need right now. We'd be better off with something like an AF100 or NEX-FS100u. My 5d does most of what we want visually, but the actual video camera features of the XF300 (XLR inputs and ergonomics in particular) have made certain shots sooo much easier. If we could combine a bit of that large sensor look with the right ergonomics it'd be perfect. I figure if we get a decent price on XF300 we could move on to something that works better with what we need right now, but I've never sold video gear before.
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Aug 23, 2011 19:34
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I'm curious the new SLR body with more robust video features they mentioned. My work is pretty evenly split between stills and video so it'd be cool to get a two in one upgrade.
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Nov 4, 2011 16:35
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clockworkjoe posted:I'm looking for a HD video camera so I can shoot web videos as bonus material for my podcast - tabletop game demos, interviews, convention panels, etc. I have several XLR mics so an XLR port or two would be great. I definitely want something that doesn't require tapes but memory sticks/cards whatever are fine. I don't know that there's anything for $1500 new, but you might be able to track something down used. Seems like $2000 is about the starting point for video cameras that have XLR inputs built in. Canon, JVC, Sony, and Panasonic all have pretty nice little cameras at about that range. I like the looks of this Canon: http://www.bhphotovideo.com/c/product/749467-REG/Canon_4922B002_XA10_HD_Professional_Camcorder.html If you didn't mind syncing the audio in post, you could also look at DSLR video with a field recorder of some kind.
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Nov 6, 2011 02:03
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Anyone ever used/heard of edelkrone? This little go go gadget rig would be really handy for me if it was at least somewhat decent: http://www.edelkrone.com/the-pocket-rig/
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Apr 27, 2012 22:57
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This thread isn't Alexa specific and is more about 1st AC, but there's some decent info within: http://www.dvxuser.com/V6/showthread.php?219838-1st-AC-tips-and-tricks
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Apr 30, 2012 22:58
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Yeah, if you want to shoot your kids and gently caress around with cinematic stuff on the side a DSLR would be great. I mean, you can take stills too and they're right in your budget range.
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May 18, 2012 15:48
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I moved from a 5D II that I regularly used in productions to a D800. I haven't had a chance to use the D800 on a production yet, but I've been happy with the few tests I've done so far. We've hit a lull in our business since I picked it up, unfortunately. Look at comparisons of the D4's full frame video to the D800. The D4 isn't great. It's visibly, noticeably soft. I'm not great at pixel peeping and it still stood out on the samples I looked at. Oddly, the crop mode looks quite good. On the stills side I'm sure the D4 is better suited to high speed nature stuff, but it's not a great option if you really need the video to shine. If file size is an issue between the D800 and the D4 $3k will buy you a lot of storage. Is there something in particular you'd like to see out of the video? Most of my work is documentary and interview stuff, but I could shoot some tests if you had a situation in mind and it'd help.
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May 28, 2012 19:42
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Can you tell us anything about this project? It'd help if we knew what you were trying to do.
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Jun 3, 2012 06:13
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They might think about an af100 since they're already used to Panasonic. I suppose it depends on what they're shooting though.
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Jun 22, 2012 18:33
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Yeah, I agree, but he specifically mentioned that they wanted interchangeable lenses. edit: unless I'm misreading that and he's actually specifically asking for something that DOESN'T have interchangeable lenses. In which case I second your suggestions.
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Jun 22, 2012 20:19
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What don't you like about them, or, what have you been doing where they're a pain? There's definitely plenty of options that won't need proprietary cards. Both of 1st AD's recommendations use regular cards.
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Jun 22, 2012 21:01
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Mordiceius posted:The main thing I don't like about our current cameras is that we can't do anything with depth of field on them. Well, small chip HD camcorders aren't going to do much different there. The AF100 and FS100 are both over $4k, especially when you factor in lenses. You might want to try a cheapish DSLR or GH2 to supplement your "normal" cameras. DSLR's are a whole new raft of issues to deal with but I don't think you're going to have much luck getting shallow DOF in that budget without going DSLR.
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Jun 25, 2012 22:46
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Yeah, that's pretty big jump to take over the FS100—especially when you're also in need of lenses. What do you think the FS700 is going to get you over the FS100 that you actually need/want?
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Jul 10, 2012 18:00
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You should do one on 180 degrees that covers both shutter angles and the 180 degree rule. I wouldn't mind seeing something on genlock, timecode, and all that stuff. Our productions are DSLR heavy so we just sync everything manually in post, but I've assisted on shoots where they sync everything up at the beginning of the shoot and always wondered what exactly went into it.
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Aug 1, 2012 16:58
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Apparently you can still buy the battery and charger: http://www.chamblesscineequip.com/catalog/miscellaneous_camera_accessories.htm http://www.bolex.ch/NEW/?p=6#7 I don't have any personal experience but depending on how big the compartment is I don't know that it'd be particularly difficult to jury rig some other 12v battery.
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Sep 23, 2012 22:41
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the posted:My 12-year-old brother has really gotten into video production/editing lately. He's been making a lot of fairly impressive stuff for youtube lately. It's something he's really passionate about, and my parents are trying to encourage it in him. He might just want to keep saving for the time being; it looks like the flip is actually serving him pretty well and I don't think $250 is enough to get something enough better to be worth dropping the money on. Maybe if your parents want to encourage it they could kick in a little?
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Nov 26, 2012 18:25
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I don't have any involvement with reality TV so I don't know how much this reflects the broader experience, but it's pretty crazy. The History Channel and Red Line films apparently gave their new reality show's star complete responsibility for and control of logistics, safety, and a lot of other things they probably should have had nothing at all to do with. http://i-was-waving-not-drowning.tumblr.com/post/39847297986/reality-tvs-risk-reward Some choice quotes: quote:On “Bamazon,” the star of the show was given complete control of the production’s budget. A person with ZERO experience in producing a dangerous television program in an extraordinarily inhospitable environment was given $1.6 million to handle the production logistics. quote:The star of “Bamazon” had already been dropping the ball left and right over the course of the production. He didn’t bother with a risk assessment or put together a medical evacuation plan until the day before we left the U.S. to begin filming. Once on location he had left two of my camera crews stranded in the jungle without food, water or transportation for several days. quote:The evacuation plan that the star had submitted turned out to be falsified. He had simply cut and pasted names and numbers from the web — never bothering to line up hospitals, medical evacuation, transportation out of the jungle or proper medical care. He had promised that there were Medivac helicopters on standby. He put in fake names and numbers of local hospitals, counting on the fact that we would never need them. And History and Red Line chose to ignore all the correspondence regarding his incompetence, opting instead to “hope for the best.”
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Jan 7, 2013 22:34
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Well, it's a lady for one. And two, the issue is that they claimed to have things like health insurance, medical plans, etc., but didn't, so they were hosed when something went wrong. Also, if the production company gives so few fucks about your safety, it hardly seems like talking about it on Tumblr is somehow dishonorable. Seems like a bit of misguided loyalty. Why would you worry about covering up for a company that barely cares if you die on a shoot?
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Jan 8, 2013 15:29
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I don't know if you're looking for specific names, but we used this guy to do a budget for a commercial series, and the main production company we work with uses him for documentary feature stuff: http://www.philipruddy.com/commercial.html From my limited experience with him he seemed good.
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Jan 18, 2013 20:49
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How close are you to whatever you're shooting? It might help if you could tell us at least a little bit about the subject/setting.
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Feb 4, 2013 21:45
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Blackmagic makes one that uses USB 3.0, which'll be available on most laptops, and it takes HD-SDI or HDMI which opens up a lot of different camera options. Teradek makes a bunch of live streaming related gear that might also work and isn't that expensive.
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Feb 4, 2013 23:29
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Chitin posted:I sort of figure that we're seeing in video the same thing that photographers were dealing with five or six years ago where everyone was cramming as many megapixels into their camera as possible at the expense of any other feature. The doctors and lawyers ate it up, the pros stood around going "OK, but why?" and eventually even the most entry level camera was capable of making a poster-sized image at 240dpi and everyone moved on to competing for more sensible things like low light performance. I think you're underestimating how much the "prosumer," and even relatively low end consumer, market values low light performance. Maybe doctors and lawyers were eating up pure numbers, but in photography increases in megapixels coincided pretty well with increases in high iso performance, noise, and dynamic range, especially in the last couple generations of sensors. The more megapixels at the expense of everything else seemed to be more of a low/midrange point and shoot thing than an SLR thing, which is where I'd put prosumers. Even on non-photography tech blogs people seem to get pretty excited about high iso performance when a new camera comes out, and it's probably the most noticeable difference between current sensors and those from 5 years ago. On each generation of the 5d I remember people talking as much about how good it looked at high sensitivities as they did the resolution. I'd think the video market would be pretty similar in that regard, especially since the folks on the lower end of the market are also going to be more likely to work only with available light. I'll grant you there are plenty of people chasing specs, but I'd say it's more a matter of the manufacturers wanting to sell based on those specs than the consumer wanting it.
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Apr 16, 2013 18:59
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Having that same post in three different threads is kindof confusing since I follow all of them. I responded in the other one but wanted to agree here with BeavisNuke that a handycam type thing is probably the way to go.
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May 4, 2013 19:30
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I recommend the GH3 and 12-35 2.8 BevisNuke recommended as I'm selling a set in the buy/sell thread. It's clearly the best camera for your purposes. From the test footage I've seen it looks like the pocket cinema camera does pretty OK in low light. It also has an active mount so you could use that Vario X lens's image stabilization. Really, it'd help to know what it's gonna be for.
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Aug 6, 2013 15:39
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Walnut Crunch posted: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. What about D3200 or D5200? Maybe with a Tokina 11-16 or Rokinon 14mm. GH3 or G6 wouldn't be a bad choice either but wide lenses are less available. You could use the Olympus 12mm f2 but they're $750.
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Aug 9, 2013 15:30
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Walnut Crunch posted:Seems the 5500's and any nikon crop body lacks aperture control in video mode. That's kind of surprising. D600 doesn't have it either. It's stupid. You have to turn off live view, adjust aperture, and then go back into live view.
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Aug 10, 2013 01:29
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I dunno, if I knew I was going to be doing a lot of available light indoor stuff I think I'd want something more along the lines of a DSLR. I have an XF300 and it's a great camera, but it's very noticeably more noisy than my DSLR's in even low-ish light situations.
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Aug 10, 2013 04:11
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What do you do for backups with that big of array? Have a full second one? Or maybe just backups for individual projects?
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Aug 10, 2013 21:19
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Sometime in the next few months I may be traveling to South America for a 10 day video project and, since I've never traveled out of country for a shoot, I'm looking for some advice on getting the gear out there safely (and gear in general.) So far for travel shoots I've been able to get away with cameras carryon and having either Lensrentals or local rental houses deliver anything else I need to the location. I don't think that's going to be an option here so I'm wondering what the best way to get everything there would be? Besides the camera, which would ideally be in carryon, I'm going to need a laptop and drives to dump to, a good tripod, monopod, and some location lighting for video diary type interviews along the way. I can't talk to much about the subject yet, but it's going to be heavily run and gun where I'm embedded with a group of people as they travel. We did a pilot shoot with the group last year in the states, but it was much shorter. Conditions ranged from outside during broad daylight to dimly lit bars at night. I own an XF300 and D800, and wound up using the XF300 pretty extensively for its very long lens, built in ND's, viewfinder, audio, etc. Basically the extra stuff you get in a normal camcorder type thing. Since then we did another run and gun heavy project where I tried to stick more with my DSLR kit by using a Juicedlink for audio and variable ND's. I also had access to a GH3 which was extremely helpful in exterior shoots where I had trouble seeing the screen on my D800. We had a Zacuto EVF along but I couldn't use it as it made me nauseous for some reason (?). Overall I'm happy with the results, but I hated the way the Juicedlink attached to the camera as it got in the way and made the camera difficult to hold. For this shoot, I'd really like to avoid bringing the XF300 if I can. Its flexibility would be extremely useful, but it takes up so much space it's hard to bring anything else carryon, and once the shoot starts I basically need a PA with me at all times if I want to switch between DSLR and XF300. And I'd rather have the image from my D800 if I have a choice. To make that a possibility, I need: a significantly better way to mount the Juicedlink, some way to shoot 60p slow motion stuff, and some EVF solution that won't make me feel like I'm going to vomit. Either that or a rent something that'll work better. I want to have as little rig bullshit as possible and, if I rented, it'd be great if whatever I used had a decent zoom with either IS or a shoulder mount. So far I've looked at the Redrock Micro ultra cage and a couple others for the juicedlink. Most stuff looks like it's best used as part of a bulky rig though. For rentals I'm a bit out of my depth as the only thing I've used outside standard DSLR fare is the FS700, which isn't quite what I'm looking for ergonomically. The C300 seemed like it might be a good option since all the menus are identical to my XF300 so it'd be an easy switch. Edit: oh, also, my ME66/K6 combo is waaaay to long to use hotshoe mounted on a DSLR. It's crazy. So I'd like to find something smaller of equivalent quality that isn't too expensive. powderific fucked around with this message at 19:48 on Dec 2, 2013 |
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Dec 2, 2013 19:40
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The GH4 doesn't need the breakout box to do 4K. Edit: I suppose I should include more info. The GH4 records 4k internally with h.264 at 100 Mbits/sec. It's 8 bit 4:2:0. The breakout box is for uncompressed 4:2:2 10 bit 4k. Double edit: Slim, I don't think 4k is a best buy selling point for the GH4 or the Black Magic Production Camera. Do you seriously think those two cameras are aimed at your teenage niece? powderific fucked around with this message at 04:33 on Feb 11, 2014 |
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Feb 11, 2014 04:27
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Sure, but you could have said the same thing for HD. Or for still cameras with more than, like, 5 megapixels. There will be cameras that have a big 4k sticker on the box that make lovely images and use it as a selling point anyway. Just like there are crappy cameras that have a lot of megapixels. That doesn't mean that 4k elsewhere isn't going to be useful. The GH4 having 4k is worth talking about because they're early to market and it's an affordable package. It's a headline feature on the camera because of that and it'd be pretty silly for them to not put it in their marketing. Even then, I doubt they'll have big rear end display in many stores cause I don't think Panasonic is going to put that much behind its retail merchandising. I've never seen a GH series camera in a big box store before. GoPro's amazing demo reels and the countless interesting GoPro videos on YouTube are what attract your average consumer. The 4k 15p doesn't seem particularly useful to me, granted, but the little camera's specs actually are pretty leading edge.
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Feb 11, 2014 06:56
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SquareDog posted:This makes it essentially worthless as anything other than a hobbyist camera. This is kindof ridiculous. Sure, there's a level where 4:2:0 isn't going to be ideal, but there is a lot of not hobbyist work being shot on 4:2:0 cameras. What camera do you consider acceptable for non-hobbyist work? It's not like the world of camera using professionals is exclusively those shooting features.
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Feb 11, 2014 16:18
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Do you think that everything below the $20k mark is essentially the same or something? Maybe you're so used to higher end stuff that anything below it seems like different shades of the same garbage so you may as well but the cheapest one? I've had multicamera shoots with the T2i next to a GH3, D5200/D5300, and D800, and the T2i was a noticeable step down from any of the others to my eye. Enough so that I'd happily spend extra money for one of those other cameras. We don't know the Gh4's pricing yet, but the Gh3's pricing seemed fine and even discounting 4k the Gh4 has a good number of meaningful upgrades. I'm not saying that it's a be all and end all gamechanger or anything, but there's enough difference there to, uh, make a difference to many people.
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Feb 11, 2014 18:32
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Honestly, I wasn't that impressed with that video either. But there are legitimate reasons a person might buy a GH4 over a BMPC. It's way smaller and easier to use handheld, plus it has a built in EVF. You get higher framerates available for 1080p. The GH4 probably does a little better in low light. And not everyone is going to need the dock thing, which makes the price difference larger.
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Feb 12, 2014 22:45
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I'm bummed that there aren't any large sensor shoulder cams sub $20k or so. The F5 looks great and we're going to rent one for an upcoming project, but as a small ad agency with in-house production we need something cheaper for our lower budget work. Building a decent, shoulder mountable around a large sensor should be doable under $10k. I mean, there are (relatively) cheap small sensor shoulder mount cameras like the JVC-GM750, and then the cheap but sad image quality large sensor Sony EA50UH. It's frustrating that there just aren't any good options in that realm.
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Feb 14, 2014 16:49
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