Jump to content


Popular Content

Showing content with the highest reputation on 10/20/2015 in all areas

  1. 4 points
    So, a couple years ago I was just fed up with outrageous prices of anything filmmaking related, and at the top of that list was lighting. $1300 for fluorescent lights? And LED's? Good luck. So I started researching anything and everything lighting, particularly LED's. Called around. Ordered samples. And half a dozen wildly different prototypes later, I finally have something that I think is usable for actual professional production (this is obviously a very subjective opinion and many will probably not agree). I have, however, already used them on a commercial shoot. I'm proud to show them here on EOSHD and would be happy to share my basic plans and parts were anyone interested. Below are the basic specs and some photos of the lights themselves and some test shots as well. Lets start with the best spec... price. $150. Takes me about 2 hours to build from start to finish. My math is soft tonight, but at one point I believe I calculated them to produce about half the lux of a 4 bank kino. Design is similar to a kino, but much lighter. 3 x 48" bulbs. Each bulb is switchable. I used the frosted bulbs instead of the clear ones. Putting talent in front of the clear ones is cruel. Fits in your hand and is easy to move around to Hollywood it (am I using that term correctly?). LED CRI is about 85. Not great but not really that bad either. I think there is some of the green tint that comes with some LED's, though I can't see it with my eyes. Only when I bring a raw file into Adobe camera raw with auto setting do I notice it, which shifts the Tint to about +25. Easy enough to deal with that. These are consumer Daylight, so slighter warmer than 5600K. I went with ballast compatible LED's because I tested tons of the other and the cheap drivers created horizontal banding in my footage. These are clean, and silent, and run warm but not hot. I've built 3 so far. Overall I am extremely happy with my lights, though the fixtures from aputure are also very attractive as well. I think these are very different lights with different applications, but those aputure ones look very promising. But at least I have my own lights that I can start really testing different lighting setups and so on. It is so easy to get these on a C stand. Lift them up. Tilt them. Spin them around. Whatever. Very excited. What I am most proud of is the design of the fixture itself. The bulbs can be replaced as LED tech improves and becomes less expensive. I like the bulbs I have, but if in a year or so inexpensive higher CRI bulbs become available I will replace mine if they are indeed an improvement. The bulbs I used are no longer available online (though the maker will still sell them to me at a massive discount). But I believe any ballast compatible LED bulbs will do. I used a steel stud track cut 48" as the main chassis. All the parts are attached to this. A steel stud (cut to roughly 46") fits perfectly into the track to close off the fixture and keep all the unsightly innards out of view. I used a 6" Impact Baby Pin. I don't like the Avenger ones. I line the baby pin centered in the fixture, mark and drill the holes. The ballast I used was this one. But there are bunches that are same basic price and size. This ballast fits nicely centered in between the bolts from the baby pin. Mark and drill holes for the ballast.I used these tombstones. That's for a pack of 10, you'll need 6 for 1 fixture. 3 tombstones side by side fit snuggly into the end of the steel track chassis. My second batch of tombstones needed a little sanding on each side to fit. Like I said, they fit pretty, very, snuggly. Place 3 in on each side of fixture so they fit right to the end. Mark and drill 1 hole for each tombstone. You'll need an additional nut or washers in between the tombstone and the fixture (as a spacer) to get it a bit higher.I used 3 of these switches from Home Depot. Mark and drill a hole for each. These switches interrupt the 3 same colored lines coming from the ballast, and then go to the tombstones at one end of the fixture. One switch per tombstone. I am not an electrical engineer, so it's possible there are better suited switches for this particular load, but these work for me.I used a clamp connector from Home Depot. I forget the exact size, but the smallest one. Mark and drill hole. You will probably need a 7/8" hole saw, but maybe there's more than one way to do this. This connector is for the main power cable.For the power cable I just used an extension cord. I new I was going to make a few so I bought a hundred footer and cut it into 4 lengths.This was the cheapest route. And bought 3 prong plugs to attach to the cords that needed it. I would drill all the holes first. Then attach the hardware. Takes me a little over an hour to do this. Then do the wiring, which is pretty easy. I also laid down some duct tape inside the steel stud track for additional shielding. I think this is a good idea. Once everything is connected, put your bulbs (T8 LED ballast compatible) in to test it. If all is well, remove bulbs, insert steel stud to cover up the wiring and screw that in. Insert bulbs again and then use gaffers tape at the ends to hold bulbs in place and cover up the ends and tombstones. Takes me just over 2 hours. One quick note: sometimes the bulbs will glow (very slightly) even when in the off position. Could be from the switches or an electromagnetic field or something. Haven't been able to solve this, but it doesn't affect my lighting at all as it is so minor. Also, unless you discover otherwise, using the ballast and the ballast compatible bulbs are 100% necessary. I have found these are the only ones that do not result in flicker and banding problems. Good luck. Please forgive my poor lighting skills ( now I can start practicing). Blown out portions are due to me forgetting to turn on zebras. Shot with BMCC and Sigma 18-35 in my garage with 1 of my lights with only 1 bulb on as the key and another one with just 1 bulb on as the fill.
  2. 3 points
    I've actually been thinking the same thing, sort of. I pre-ordered the URSA Mini 4.6k just to get in the queue, with the intention of purchasing if early reviews and a rental test were up to scratch. There's quite a shift in my business at the moment towards commercial & corporate work due to the diminishing funds in music, where music video budgets are in great decline. The URSA Mini 4.6k is going to have an amazing, cinematic image - but there are many benefits to the FS5 that can't be ignored (ND's, 240fps slow motion, reliability, size). I've got a bunch of DSLR sized gear here (sliders, gimbal tripod) that I couldn't use with the URSA Mini 4.6k. The FS5 would fit all of it. Now the Sony image.... I've been shooting on Sony much more than any other brand because of the HFR. Music videos need it. However, I've never loved any of the images. I used a C300 at the weekend on a viral and it speaks volumes how much better the colour rendition on the Canon is compared to Sony. It's softer sure! But overall much more pleasing. Much much more. So for me, I'd have to work much harder with FS5 images and make them sing. It would probably be the better camera to buy that adapts my business model. I'd have to swallow my zest for beautiful Blackmagic images and stick with Sony. But that's not what I want to do. It's sort of personal. The BM image is a massive deal. Massive. As for the A7S II - I'd use this as an A-cam on a very low budget shoot and as a B-cam on others. From all the cameras here - the FS5 is the best option to fit all purposes. But it's not the sexiest.
  3. 3 points
    I would first like to qualify the comments that follow by saying that I really appreciate your reviews and insights, they are informed and very valuable and I always look forward to reading them. That said, I can not help but notice that what was categorised as a "minor quibble" in your a7s review 15 months ago is now called "pixel-binned mush with moire and false colour". I quote this not as a criticism of your comments, but rather as proof that I feel that Sony has already become a victim of its own success. Maybe it should put the brakes on the incredible pace of its camera development, because what was "the best sensor I have ever shot on" last year is so quickly superseded. Given the incredibly rapid advances in technology that Sony can bring to market, it really is a very important question for professionals and enthusiasts alike as to whether we should keep upgrading or hold on to what we have. For years we had the same thing with stills photography and the sensor resolution "arms race". Thankfully common sense is just starting to prevail. Perhaps we need a similar reality-check with video? After all, how many people buying video-capable cameras really do need to shoot 4k professionally? For me personally, my a7s mark one will serve me well for years to come, and I relish the opportunity in the very near future to pick up a backup body at a bargain knock down price!
  4. 2 points

    Iscorama 54 MC flare examples

    This is in response to Rich's 50mm internal lens glare flare fest a few days ago. Quick & dirty - not the best as I couldn't find my really strong torch, so the iPhone's had to do. Messed a few up, but was multi-tasking or should that be working whilst doing this - so might have to have another go or do a comparison with other non-MC anamorphics. The real surprise was a lens that I only use for photos & have never used before with the 54 - couldn't f**king believe my eyes!
  5. 1 point
    New Leica SL announced. Mirorless similar to A7S but : 24mpx > A7S II 4K internally and 10 bit 4:2:2 output !!!! > A7x 120FPS in FHD with full frame sensor (no crop like A7SII) > A7x(if it is clean) World fastest AF > A7x Touch screen > A7x 4.4MP EVF with 0.8x magn > A7x 11 FPS for stills > A7x If it were not for the price... I would buy it. Of course this are specs and it might be that the image is way less good than A7S II. Leica SL camera tests and reviews: Test by Jono Slack on L-camera-forum. Official Leica SL site by Leica. Hands-on by TheVideoMode. Preview at TheVerge. Hands-on at Dpreview. Reviews at Reidreviews (for subscribers only). French review at Lesnumeriques. First look at Amateur Photographer. Hands-on at Digitalphotopro. Leica SL image samples: Dpreview. Lesnumeriques (Scroll down). Leica SL videos: New camera at a glance (Leica Forum). Hands-on video by TheVideoMode. 4K video sample by Lesnumeriques. Italian intorduction by Pmstudionews.
  6. 1 point
    Of course Leica are known for an "X factor", but that was back when someone else made the film and you could change it every roll. now the "film" is fixed, albeit still made by someone else: it's sensor and associated hardware and firmware. It will become obsolete, while an M1 can still be used with any film. that alone makes it hard to justify the prices.
  7. 1 point
    V-Log is a Panasonic 'brand' - that it has it at all is a clear sign of Panasonic's involvement.
  8. 1 point
    it says on dpreview that its got v-log L curve for movie mode
  9. 1 point
    full size hdmi! huge body, i love the styling and size. I wonder if the sensor glass is thinner so it works well with their premium M mount lenses via adaptor?
  10. 1 point
    I don't know, seems like there will be a lot to leica bout it B)
  11. 1 point
    I am not sure about that... Leica SL is clearly aimed at people that already have a LEICA S and were looking into something smaller . But really, this is a capable camera aimed at LEICA buyers.
  12. 1 point
    Leica SL has a log curve mode for video. It has also more features than A7S II (24mpx, 11fps, 10 bit output, weather sealing, 120fps without crop, ...)
  13. 1 point
    Forgive your lighting? Why? It looks like you know what you're doing. From what I've found, much like music, what you take away is as important as what you do. The space between the notes. Those that know what to "hear" are ahead of the game.
  14. 1 point
    It can't record 4K in crop mode Doug... Greyed out in the menus when mode dial set to movie, and if you enable it in stills mode - yes the live view will show the crop but hit record (when set to 4K XAVC-S) and crop mode will deactivate and you will get full frame. 120fps is an NTSC frame rate. It does 100fps in PAL. You can choose which is best. 120fps will give more flicker and banding with European light sources! I am not sure why you're not seeing 25fps in 4K... it does work. Switch to PAL in the menus Doug. That's what the A7S did over HDMI. Internally on A7S II, I repeat - it does NOT do 4K with APS-C crop. Sony disabled it. No upscaling. Quality not good enough. If you want to use APS-C lenses or Speed Booster you will need to get the A7R II or try the HDMI... I haven't yet but will do soon to the Odyssey.
  15. 1 point
    Yeah. Most online sites have either serious trolling, or serious bullying, or are overly moderated by some old school idiots.
  16. 1 point
    Everyone is welcome here. That's why I like this place (after I got banned from two sites recently)
  17. 1 point

    FS5 vs A7S II vs URSA mini 4.6k

    - No Nicolas, you could shoot them.
  18. 1 point
    I speak reasonably fluent German, apart from a host of other languages I stayed in Europe for a few years). But let's not speak in local languages. Let's stick to English. I saw some local chit-chatting in another thread. English Only.
  19. 1 point
    Simple grade done, on the couple near the traffic light in AE with the ColorFinesse plugin. Same grade applied to the other parts.
  20. 1 point
    The coal mines were part of the reason in the US we have worker's rights. One evil doesn't justify the other - all I'm saying is to ask people not to support companies that abuse their workers.
  21. 1 point
    Do check (google) because I do remember that the very widest of those C-mount lenses vignettes on the BMPCC - think 20 should be fine, but double check to be certain.
  22. 1 point
    100%. And I'm thinking, that just like any other fad, that at one point there could very well be a mass exodus away from these candy colours.
  23. 1 point
    I'm still waiting for the first example of a truly natural grade from the A7sii s-log3. All the graded footage so far looks like the instagram-filter s-log footage I really dislike (ymmv). For me the natural look is the acid test of a camera's capabilities. Washed out artistic grades hide a multitude of sins.
  24. 1 point
    Just did a long 4K recording run to test for overheating. Inconclusive as the battery died at 28mins Will try again tonight.
  25. 1 point
    Hey Everyone, Last month I finished editing my last job with my T3i (since then i've upgraded to the Nx1), most of my jobs are weddings, even though I like doing some of them, I'm burnt from having quite a few this summer. So I've been doing some tests lately with Luts and finally decided to grade a job with it, I very much liked the end result, got a "cinematic" feel, but theres always room for improvement, so I'd like to know what you guys think of the video in general (editting, grading, filming and so on). Password : Memoryshop Thank you guys
EOSHD C-LOG and Film Profiles for All Canon DSLRs
EOSHD Pro Color 3.0 for Sony cameras
EOSHD Pro LOG for Sony cameras
EOSHD 5D Mark III 3.5K RAW Shooter's Guide

  • Create New...