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Hoping this is the right thread to ask this, but i'm having a weird issue. Few months ago upgraded to a second hand v low shutter count 5dMk4 from my long in the tooth Mk2, and for the most part, all is well, I do nightclub stuff mostly, and the extra usable ISO range is amazing, except when I go to do my regular and V lazy crowd shot of whatever venue I'm in and  High ISO, cranking exposure up a lil, and maxing the clarity on Lightroom. This is cropped in a lil, the pattern is completely symmetrical I used to do this exact same thing with my Mk2 (admittedly on a lower ISO) but never really noticed much beyond a bit of noise in the shadows. What's worse is in the develop window in Lightroom this is loving INVISIBLE and I only caught it after a venue i work in had uploaded a batch to their facebook. It will be visible in develop if i zoom right in, and its visible in Library view if i zoom in and then zoom back out till it fits the screen. In-camera high iso reduction seems to have no effect, Lightroom's own image enhancement feature absolutely slaps it down to nothing, but that requires creating another DNG. Heres a vid of what this looks like in LR with a pic of my couch. vid
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Nov 7, 2023 03:15
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| # ¿ May 17, 2024 01:36 |
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RillAkBea posted:I may be wrong but I think that's the vignetting correction going bonkers? Interesting! That seems to be part of it, if i turn distortion off, it flattens out the pattern entirely, but its still putting a ton of white pixels in the black areas making them solarize out. What's odd here is its the very same lens as on the previous camera and the exact same settings 
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Nov 7, 2023 03:42
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Beve Stuscemi posted:Perfect, ordered a kit from amazon. There is a known fault with the 5DMk1 that can cause the mirror to detatch, which happened too me, and any registered Canon service place will do the repair for free, and when i put mine in, they did a sensor clean as well while they were at it. Worth getting that checked if you plan to use it long term (assuming they still offer that fix for free)
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Nov 8, 2023 05:58
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Beve Stuscemi posted:
This happens to me all the drat time working in a busy club, someone on the dancefloor inevitably bonks into me and it gets turned jsut enough that I don't notice it, and its generally dark enough that i dont spot it in the viewfinder.
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Nov 9, 2023 05:21
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Every year i tell myself I should maybe start a new Lightroom catalog, but 
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Dec 25, 2023 00:31
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Been a busy year, I do clubnights, usually giving 120-150 per night, so nearly 3x that actually taken to account for the one person in the group blinking/a light swinging round and washing out everyone faces, and this year more often than not im doing 3 nights a week. What really gets the numbers up is before each clubnight im doing a live performance of some sort in an adjoining venue, on a Wednesday its a 2 and half hour drag show usually with 3 or 4 sets of 3-4 performers per night, I end up massively overshooting pretty much every time as I never really know when they about to do rip out some wild moves and disappear off the stage into the crowd where the spotlight isn't and it's about 4 stops darker. Weekends I start in the lounge part of a venue where they have some cabaret acts on, chill if its just a singer, sometimes its a trio of burlesque performers so once again wildly overshooting as i have only a few minutes for each performance so always trying to make sure i get enough decent ones where both a pose and facial expression are working, which often, they are not.
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Dec 25, 2023 02:34
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Would this be the right thread to ask advice for how to up my game somewhat in my regular work gig? I'm so seldom happy with the results I get under the stage lights, im either washing everything out with my flash or getting extremely black blacks in the shadows shooting available light, but that's not always a viable strategy as the lit area on the stage is very narrow. Generally shooting about 4000iso, 200 shutter and f5 or so on a Canon 5Dmk4 with a 24-70, and a 600ex2 flashgun, with a diffuser cap fitted, usually dialled down about 2-2&1/2 stop in exposure compensation and often this gives.. acceptable i guess results? On the occasion its someone still enough to shoot available light i half my shutter and ISO. When the performer on is a more static singer, its less of an issue, that's not the majority though, many are doing burlesque and are pretty high speed and ive only a couple of minutes to rattle off as many as possible, plus they are all over the stage where it is dramatically less bright. Nightmare mode is when there are 2 or more onstage as they will invariably be under different colours with wildly different intensities, or they move back against the curtain, and/or wearing extremely dark colours. On a rare occasion (usually for the hoop acts) the curtains open so im left with a trio of windows reflecting my flash back at me and messing up my metering even more. Heres some examples plus a shot and rough diagram of the space itself https://imgur.com/a/t0rvBBp And a rough diagram of the layout, the red x's being about the only spots i can stab without obstructing customers, the tables can be in slightly different configurations, meaning im often limited in how much i can shoot without peoples heads in frame. I *usually* have at least one of the light on white, but sometimes performers want something specific and i work within that but i feel my results are often kinda flat. Anyone have any tips/harsh language would be appreciated.
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Mar 19, 2024 18:17
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Bottom Liner posted:Lighting is definitely workable there, biggest issue is how close they are to that curtain, leaving you no room for composition or separation. I agree with Ducks that the wide shots are going to do more for you considering the lack of stage space. Come check the concert thread for more ideas/examples of a variety of lighting/editing/spaces. See, i find shooting wider tend to make things worse, as I think my meter is pulling in mor eof the curtain and it ends up sometimes flattening everything out, but every now and then gives me a good result. (also the sides of the stage are a bit of a mess). Also experimented a few times with spot metering and trying to keep it on someones face if they're in dark clothing but again this was all over the place in terms of results. Slotducks posted:A couple things from the concert side come to mind: I've a 50mm 1.8 ive used a few times (and an old lensbaby2.0 when i know someone's staying put and wearing something sparkly) By shutter drag do you mean longer exposure with flash on top? If so then yes, results have been inconsistent on the stage, but that's how i do most of my other shots in the venue, ie performers sometimes approach the stage coming through the crowd rather than the doorway right beside the stage, where i switch to ceiling bounce and shutter speed about /40th. I do occasionally go round to get a wide shot when all the tables and seating are filled, its not really a spot I can linger in though due to it being right between the main entrance and where the que for the bar tends to sprawl out. I should have added also, this is a regular fri-sat gig and they generally want en uploaded on the sunday/monday, so I'm really aiming to get better in camera shots than spending a long time editing (usually ending up with 250 images I deem suitable) Also thanks for the input, already digging through the concert thread now, and seeing use of the calibration tool in LR that I was fully unaware of till now
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Mar 20, 2024 17:29
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Bottom Liner posted:I highly recommend keeping exposure compensation on an easy to flick dial when shooting live entertainment. Constantly changing and dynamic lighting is a nightmare for digital meters, so being able to over/under quickly as needed if a big help. I have it set to my lens ring on the RF system so I can flick it up and down quickly, and I use it a lot, usually in the -1 to -2 stops, but sometimes +1 or so too. Yeah that image in particular i clocked in the other thread and my head kind of exploded, that all encompassing magenta is something i regularly encounter in my other regular gig when the lighting guy out of what i can only assume is intense hatred of me specifically turns the main white spotlight between performances to that colour , previously ive been using only the white balance and find that moving that at all gives everything else a particularly horrid green haze. I'm generally shooting manual on a couple of custom registered modes so i can flick between them swiftly if someone moves off the stage and into the crowd then back and dial up and down as neccesary when they move about the stage area, i feel like the times i think ive nailed it though its purely by accident.
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Mar 20, 2024 18:39
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| # ¿ May 17, 2024 01:36 |
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Slotducks posted:I mean going even slower - I'll post a few examples of what I mean: A long time ago when i used to shoot live bands that is in fact how i used to do it (though admittedly less well than that), it's not the vibe my regular gig is looking for though Side Note: yes, yes indeed, i think im stil part of that goon mw2 group
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Mar 20, 2024 20:25
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