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Showing content with the highest reputation on 03/07/2018 in all areas

  1. 3 points
    I can't speculate on real estate, but I will always air on the side of properly setting up a shot in narrative work, even as a one man band. Take the time and effort. When you're sitting in the editor's chair you won't be kicking yourself constantly and this is where coverage and proper set up matters greatly. Of course a lot of clients are laymen and they have the misconception that filming is a pointed camera and some lights, they don't have any spacial awareness of what makes up a good shot/scene, and why would they? All they ever see is the finished product. I'm constantly pushing back on those misconceptions. It comes down to approach. You have to be willing to educate people about the craft and justify your position in a respectful/tactful way. It's not an easy thing, almost everyone is going to come at it skeptically, because time is money, but you have to have a good pitch and explain value, or what they're getting for their buck. You have to read the language of each client. There will always be some adversarial clients that are not worth that battle. If they insist on shit, just give them the shit they asked for. Yeah, your standards are challenged, but money is one shade of green at the end of the day.
  2. 3 points
    Parker

    Lenses

    Hey @mercer The Rokinon 50mm Cine DS lens has been my main go-to for the last year or so, used on virtually all my projects. I wouldn't say it is "super modern," it is very sharp across the frame but not quite as contrasty as say the Sigma art series lenses, which are kind of my benchmark for that ultra-contrasty/modern look. I used to really love my Rokinon 85 (and I still do) but the minimum focus distance on the 50 is so much easier to work with that's it has been pretty much bolted onto my camera since I bought it. Here's a project I just finished up last week that is shot primarily with the 50mm (the wider interview shot and some of the B-Roll is on the Sigma 18-35, so you can see the 50 cuts well with it). Password is usu2018
  3. 2 points
    @Matthew Hartman So true! "Education" is a big part of our job, especially if you care for a lasting relationship with a customer. That goes with directors as well, being firstly, and mostly, a sound man, puts me in the place to have to constantly inform them about sound, and try to educate them on the fly, so to make my life easier, my job worthier, and save them some money in the process!
  4. 2 points
    @Matthew Hartman haha! no it's not, it's all about 20 stops of dynamic range, 9 axis IBIS and millions of ISO! By the way, a simple ND filter on a window, it costs a few dozen dollars (re-usable of course), and saves you a few thousands dollars of lighting equipment. When I was really young, and starting in the business I covered hundreds of windows with ND filters (and black curtains)! Of,course I do not expect @Mark Romero 2 to spend 20 hours to cover everything with ND filter, and if you have 20 and 30 minutes, don't worry about the dynamic range, just go there with your gimbal and shoot everything you can! But the difference sometimes, is not the cameras or the equipment, nor the budget, but time. If you can't take the time (or talk your customers to give you the time), then maybe you can't do it. Certainly not in 30 minutes. But do not worry, if they do not give you the time, then they do not care!
  5. 2 points
    This is probably the worst advice I've ever come across. There is so much work for still photographers out there its insane. For every corporate video or commercial there is need for at least ten times as many stills. But luck is not the way to get a piece of the action.
  6. 2 points
    Django

    Sony a7 III discussion

    smartphone users take snapshots.. as do point & shoot camera users. chances are people investing in a FF A7 series are serious about photography (wether enthusiasts or pro) hence indeed buttons & overall ergonomics being of importance. touch screens are cool and a welcome addition, but when you're eye is on the EVF/OVF, nothing beats dials, wheels & buttons imo. especially when shooting manual. wrong again pal. Pros want best of both worlds, they want the performance & ergonomics of DSLRs along with the advantages of mirrorless (EVF, IBIS, no mirror slap, no AA, more AF points/spread, adapting lenses, better video etc) with the added benefit of weight/size usually still being inferior to flagship DSLRs. And with every body generation going in this direction, more pro photogs (or simply DSLR advocates) are switching over. That being said the majority of pros are still clinging on to DSLRs for performance, durability & ergonomic reasons. In any case I welcome this direction from Sony/Fuji and predict A7iii will sell like hot cakes, in fact it is currently already the number one best selling mirrorless camera a week only after it's announcement: https://www.amazon.com/Best-Sellers-Electronics-Mirrorless-Cameras/zgbs/electronics/3109924011 Seems like they're not off to a bad strategy..
  7. 2 points
    LOL! Yes, if you DON'T look like a complete derp, then you are doing it wrong. On the other hand, just because one normally looks like a derp doesn't mean one will be naturally good at using a gimbal
  8. 2 points
    Robert Collins

    Sony a7 III discussion

    Sorry. This is an 'A7' thread' and I have bought at 7 x A7 cameras - which is probably 7 more than you - why should you tell me what is off topic? 'I’ve got small hands. We don’t need tiny flagship cameras. What we need are cameras with buttons, dials and handgrips that don’t feel cramped. And even small cameras can benefit from chunkier dials and a beefier hand grip.' This sort of comment - which sort of is 'well if you make the camera bigger I might eventually buy it' is on topic while my comments about 'why I am a multiple customer of this camera is off topic' - give me a break!
  9. 1 point
    dbp

    How stills killed casual video for me

    As always, I think the experiences are largely going to be dependent on your market. I'm based in Vancouver right now. Definitely plenty of folks making money solely with photography and video. I'm far from rich but I've managed to pay my bills doing nothing but freelance video work for 5 years now. It's funny because there's more competition than ever thanks to increased desire and the low cost of equipment. But there's also more video/photo media than ever. It's possible to find your way, but it certainly won't be easy. I can also only speak on the industry in the last 8 years or so, since I'm in my mid thirties. I have noticed on a pattern on forums like these, where the older folks in their 50s and 60s have a different view on the current market. Seems it was easier to make a solid living then, where-as now it seems like there's the high end and a tooooooooooooooon of work at the low, barely scraping by end.
  10. 1 point
    Matthew Hartman

    How Important is 10-Bit Really?

    I sure wish this conversation could be a little more laymen.
  11. 1 point
    I attach my Z Crane v1 gimbal to a shock-absorbed boom arm mounted to a vest. Two things happen here. The fourth axis is shock-absorbed, where these 3-axis gimbals totally fall apart the most, and I'm also not wearing out my arms holding up a metal pistol grip all day. Spent muscles are shaky muscles.
  12. 1 point
    @Kisaha Oh, don't get me wrong, I'm very grateful to enjoy my US-based prices, the European VAT tax alone would drive me insane and seems unjustly high, on top of already higher prices. But my experience with my Audio Technica system has been great, actually. It has been just fine for talking heads, as well as mic'ing up grooms at weddings. The range is impressive, and I've never had any of the dreaded blips and audio bugs of the Sennheisers. Initially I worried there might be some kind of interference with things like wifi and that, since the 2.4 ghz band is pretty crowded, but I have had it for... at least two or three years now... and never had any problems. Like @IronFilm said, it's a minor drawback that the receiver doesn't have user-replaceable batteries, but it lasts a long time and I always have USB battery packs with my gear just in case. The transmitter just runs on standard double AA batteries, so I just keep some eneloops charged all the time and throw them in when I go shoot. The receiver also has a little display with battery, channel and signal strength information, so you can see the battery levels of both at a glance, which is pretty cool. I would say the build quality is not as robust as mics like the G3's. No metal to speak of, the transmitter is a touch bigger, and pretty plasticky, but still easy enough to hide. The receiver is also larger than the competition with the dual antennas attached. But like I said, I got it for a song, and haven't had any issues.
  13. 1 point
    This type of attitude is a sure way of failing at it. That's for sure. I don't have the energy to go into long texts about adapting to how the industry is developing, branching out, multi tasking, etc. But in short you are wrong. The only once that won't make it is the guy expecting to sit at home and then get approached by clients who just want someone to press a shutter button. I have worked as a journalist, in marketing and public relations for small companies as well as huge global players and government agencies for over ten years now. And believe me, there is a lot of jobs where being skilled as a photographer is more than just icing on the resume.
  14. 1 point
    scotchtape

    are those gimbals a good buy?

    There are so many tracking shots with telephoto lenses in films, I don't understand why you think they are seizure inducing... Common shots are cityscapes and Aerials as well as tracking characters. Not to mention smaller frame = lower costs (set design) Gimbal makes both of these accessible to those of us with no budget where we couldn't do this before (including interesting parallax in urban landscapes). Also the movement can be subtle (as it often is in 24p to avoid judder) so I'm not sure why you think we are swinging the camera wildly around.
  15. 1 point
    webrunner5

    7" on camera monitors

    Honest question. Why would you pay 1500 bucks for a SmallHD 7" monitor with a 1000 nits when you can buy a Atomos 4k Recorder with 1500 nits for the same money or a lot less with the Flame?? I mean everyone sort of Needs a Recorder. And you don't Have to record with it.
  16. 1 point
    jonpais

    How Important is 10-Bit Really?

    No, the GH5, the GH5s, the Sony a7r III, the a7 III and others shoot HLG as well. Vesku was just pointing out that there’s a way to shoot 8-bit HLG on the Panasonic.
  17. 1 point
    JurijTurnsek

    Sony a7 III discussion

    TIL that you are a professional photographer (the one's that matter, anyway) if you shoot meaningless sports spectacles, where you basically spray and pray for two hours and then brag about the cost of your telephoto lenses. Maybe we should ask some wedding photographers that might even like a lighter, smaller body, since they handle their cams for many more hours per working day. Or maybe there are different tools for different jobs? Sports photographers already have "the perfect tools", so why are you complaining about a product that could be heaven-sent for most and just not big enough for you?
  18. 1 point
    Danyyyel

    Sony a7 III discussion

    No pros are people like me who have to spend 4 to 12 hours holding a camera. Believe me it can get quite painful if you don't have a good grip to hold your camera, more so that you will at least have a 24-70 most of the time on your camera. Secondly is we are actual human beings and muscle memory is going to be always faster than looking into endless menus, until someday we have brain controlled cameras.
  19. 1 point
    Dan Wake

    are those gimbals a good buy?

    I hope my gimbal will be enough to stabilise this
  20. 1 point
    It is math. Half are below the median.
  21. 1 point
    Inazuma

    Sony a7 III discussion

    Indeed I think manufacturers have to find a better approach. Perhaps minimal buttons and a much larger rear touch screen is the way forward.
  22. 1 point
    Matt Holder

    Roger Deakins - at last

    Nominated 14 times - finally got one in the bag! Congrats Rog! (not that you needed this kind of validation - your and your crews work speaks for itself)
  23. 1 point
    Watched them all. Mesmerized. 🤤 subb'd. I also figured out where mojo comes from. From your all's Moms. 😈
  24. 1 point
    Matthew Hartman

    are those gimbals a good buy?

    Yeah, if that effect is an induced seizure. 🤣
  25. 1 point
    Matt Kieley

    Lenses

    Thanks @mercer that means a lot. I had the NX1 in early 2015 and sold it (to someone here on this forum) when I got an apartment with my girlfriend, so I could have some extra money in the bank. The 50 was definitely nice, even if I didn't have it long enough to use it on a shoot. I did sound for a web series which was shot on the Blackmagic Production Camera 4K with Rokinon lenses. I lent the DP my Rokinon 50mm and he absolutely loved it. I don't think I have any NX1 footage besides the footage of the two videos I posted. I don't save most of my test footage.
  26. 1 point
    webrunner5

    How Important is 10-Bit Really?

    This article is about TV's but it has a lot of good info in it about HDR, and well 8 bit Ain't cutting it. Sorry. https://dgit.com/4k-hdr-guide-45905/ And this article is probably more than you want to read LoL. But some Really good stuff in it. Even I understand a little about it. http://www.murideo.com/news/what-you-need-to-know-about-uhdtv-hdr-hlg-wcg
  27. 1 point
    Here is some of the gear Red screen productions have been using lately "Ruben Sarian" Ceo of Red screen productions Canon EOS C200,Sigma 18-35 f1.8 etc https://www.sharegrid.com/losangeles/people/ruben-redscreenproductions-com
  28. 1 point
    here is quite a cool "behind the scenes" Red Screen productions put together.
  29. 1 point
    fuzzynormal

    Stock Footage - Getty Image Etc.

    Can't really afford to jump on a plane unless I'm getting paid, so it's actually a silly biz model for me. Of course, for more affluent people that want an excuse to go somewhere on their own dime and "work," it's a decent rationalization. That's not snark. It's part of the reality of creative crafts. One sees it in many creative fields.
  30. 1 point
    Can you post some frames? In my experience F3 is up there with the C300ii and the Red. I found it much easier to work with than FS7 or FS700.
  31. 1 point
    @Yurolov where have you seen the IBIS being super jittery?? I just had another look at that video. It appears at least some of those clips were taken on different days. There are clouds in some of the Fuji clips, where its completely clear in Panasonic ones. And yeh, the Fuji looks overexposed. He may have knocked that exposure dial accidentally.
  32. 1 point
    IronFilm

    Sound Devices 633 vs Sonosax SX-R4+

    hahaha! It is funny, because it has a small gain of truth to it :-P I assumed you wrote AC for "Air Conditioning"
  33. 1 point
    Had a very quick go at one today during lunch break.. i'm in love with Eterna.. however RS seemed kinda bad (not A6500 bad but noticeable) any solid numbers yet?
  34. 1 point
    Well... that is kind of what I thought at first, too. I thought they had to be either bouncing light off the ceiling or bounce off a wall or through a scrim. But looking at it closely I don't see ANY reflections for either bounced light or shoot through light. I can see reflections or practical lighting in the ample glass and chrome, but I don't see any telltale signs of bounced / shoot through lighting. There is a ton of glass in the shots (windows, shower doors, mirrors, pictures in glass) and using bounced or scrimmed lighting you would expect to see either direct reflections of the light itself, or reflections of the wall, or the shadow of the camera person. Yeah, that is basically my fate. Had to photograph a house once where they gave me 20 minutes and I had to shoot while the owner / wife was having a mental breakdown (she was being forced to sell the house due to a divorce settlement) AND they had five maids (cleaning crew, technically) cleaning the house while I was in there trying to shoot. So ideally I would like to keep lighting to a minimum.
  35. 1 point
    Since when did we start blaming cameras for "over exposure"?
  36. 1 point
    They're just using a ton of fill for the inside. You could blast a few HMI or Daylight LEDs into a bleached muslin sheet on the opposing wall. Then if you still have a decent amount of light to play with use more diffusion 4 ft from the wall.
  37. 1 point
    Kisaha

    Sony a7 III discussion

    I don't have any cows, CIPA statistics are very easy to read and comprehend, and since the peak a lot of things happened, Goldman Sachs happened, the political climate has changed through out the world, Brexit happened (is happening right now, actually), and now mobile phones have good enough quality to - as Casey Neistat calls them - Casual As F$%# users take a few snapshots per day. Why to stop arguing? If the A7 bodies were good as they were, Sony wouldn't change them, right? And I can not see how you fail to realize that a Panasonic 12-35mm m43 is 2.66x2.91" (67.6x73.8) and 305gr, an APS-C Fuji 16-55 is 3.28x4.17"(83.3x106mm) and 655g and the Sony 24-70 is 3.45x5.35" (87.6x136mm) and 886g. Don't you think it could problematic using a full frame workhorse lens, on a m43 body for 5-10 hours per working day? Do you think the market for an A7Riii + 24-70mm = 5800euros in my country, is targeting the entry level market and casual users?
  38. 1 point
    Kisaha

    Sony a7 III discussion

    @Robert Collins Did you even read the CIPA numbers that you posted? ILC sell around 12.000.000 per year, and stabilizing greatly. what is declining is the cheap compact camera market, which honestly this segment is better with their mobile phones. The older A7 cameras were terrible for pro use, using full frame workhorse zooms, terrible battery etc the new designs are is the right direction. Stop confusing m43, APS-C and full frame ergonomics. The lenses are very different in weight and size.
  39. 1 point
    Robert Collins

    Sony a7 III discussion

    Nope. Sorry, I simply will not accept that because you are so WRONG. The complete collapse of the global camera business in a world where photography has increased 'exponentially' is entirely due to ''pros' talking ergonomics' = 'it should work with a 400 f2.8' rather than listening to 'economists'. You can all prattle on about how an A7 series doesnt balance with a 400 2.8 lens as long as you like but you should recognize that as well as getting a smaller demographic, a more impoverished demographic you are 'literally' a 'dying demographic'. In a world whereby 99% (almost exactly) of photographers use smart phones, where are you in a position to define 'ergonomics'?
  40. 1 point
    I know most of us know a decent amount about shooting Homes, but this guide is pretty good at telling most of what you Need to know. http://www.chrisfeltus.com/guides/ultimate-guide-to-real-estate-video-and-photography/
  41. 1 point
    8K is the future, buying a 4K domain would be like having an HD reference in your site or something like "eos" or both...
  42. 1 point
    sounds like you guys are talking more about post-production wow factor tricks than actual camera inherent mojo.. it seems shooting super-slomo at super shallow DOF + a LUT gets instant mojo approval yet i believe there's also mojo on the hardware side. not that many cams have it imo.. it's a mix of color science, motion cadence, dynamic range, sensor type etc.. obvious mojo cams to me are Alexas, BMPCC 2.5K, 5D3 ML Raw, 1DC, Digital Bolex, D750, Fujis.. of course one shouldn't underestimate the lens pairing either..
  43. 1 point
    Alex Uzan

    How Important is 10-Bit Really?

    Actually, well exposed you can do wonderful things with 8 bit, if you choose the right software. But if you shoot log/HLG or plan to do a lot of grading/keying/vfx insert, and don't want any banding or artefact, 10bit is nessecary for perfect results. That being said, "perfect" depends a lot of your sensitivity, your eyes, and of course, the broadcast media. Since I have a GH5 with its 10 bit, my videos are not fundamentally better, but I'm more satisfied about what I can do in postprod
  44. 1 point
    tupp

    How Important is 10-Bit Really?

    Here is a 1-bit image (in an 8-bit PNG container): If you download this image and zoom into it, you will see that it consists only of black and white dots -- no grey shades (except for a few unavoidable PNG artifacts near the center). It is essentially a 1-bit image. If you zoom out gradually, you should at some point be able to eliminate most of the moire and see a continuous gradation from black to white. Now, the question is: how can a 1-bit image consisting of only black and white dots exhibit continuous gradation from black to white? The answer is resolution. If an image has fine enough resolution, it can produce zillions of shades, which, of course readily applies to each color channel in an RGB digital image. So, resolution is integral to color depth.
  45. 1 point
    Crop mode on the eos m has a area which is slightly larger than super 8mm, it's somewhere between 1/2" and 1/1.7" sensor size, depending on which resolution and aspect ratio you pick, so super 16 lenses would be fine on the eos m. For example, 1800x1024 resolution on eos m is a 4.66x crop from full frame, whilst super 16 is approx 3x crop. One of my no-brand adapters seems like your Fotodiox one, where the 6-66mm ends up exactly upside down. With this particular adapter I've been able to get closest to parfocal performance, so it's probably the best option for this lens. I made a video to test parfocal performance and vignetting in 16:9 and 4:3 aspect ratios, using this adapter. Movie crop mode records slightly off centre horizontally, so if you want 4:3 aspect ratio and are getting vignetting - you have to recentre the image in post... which I've done below in the 4:3 shots:
  46. 1 point
  47. 1 point
    Novim

    How stills killed casual video for me

    With the stills you can basically do 3 things: 1) print some of them (the best way); 2) put some of them on the net (well, a mediocre way, since they loose their precious IQ, and get lost into net galaxies of pics), 3) bury them into a hard disk folder and essentially forget them. And there is perhaps a 4th way: sometimes to combine stills and video sequences into a short video, organize them as a story, put there some humor and irony, music etc. Then your stills could then gain a new life and perhaps remain less forgotten. I'm for this playful combo of different rhytms of stills and video shots into videos, esp. as personal small projects that keep you on both sides of the image devide.
  48. 1 point
    mat33

    How stills killed casual video for me

    When I started imaging more seriously, I was shooting 95% video/5% stills. I have now shifted to the opposite, and often when I head out my dedicated camera is incapable of shooting video. A lot of my casual shooting involves family and the kids, and with video you just end up observing the moments behind a camera worrying about getting the shot rather than whats happening. I find with stills, I can get the shots I want and still be involved for the majority of the activity. For me the entire workflow has become key -take some shots-->pop SD card into iPad/iphone adapter-->load into LR mobile-->adjust then and there or later on desktop at home or on phone when have spare moment, very very fast and flexible and has changed the way I work. I have just got an instax printer, and am enjoying the merging of digital and analog - its been great seeing how both adults and kids react to actually being to hold a photo of themselves rather than just seeing it on a phone screen (for most kids it all they know), and sticking 'real' photos of the kids on the fridge is magic.
  49. 1 point
    When i started shooting (stills) all i did was grab the camera walk around the city where i live and try to look for interesting things happening around me and i do remember the feeling i had when i actually captured something nice! And at the time i was using medium format so i only had 12 chances to get something awesome, and i really miss the ritual of going out shooting and then developing those rolls just to find what came out of it, they werent always the best picture one could take but it was my own personal ritual which i think i will go back to.
  50. 1 point
    Kisaha

    Samsung NX Speed Booster

    @Juxx989 As it is, the S is 16-50mm, both wider, and has much more reach at the tele end. It is stabilized, with very good protection from the elements. The 18-35 is faster, but it is not wide enough, as I use my S and Other lenses, extensively at 16mm, and not tele enough for wid ish portraits. I would be much more interested on a wider one, like the Fuji 10-24 but with 2.8f, or a 2-2.8f, an ultra wide S lens, that was my dream when I bought the NX1! A lens like that would be on my camera 85% of the time. Now, the adapter issue. I told before, not a while ago, that a NX adapter to whatever mount, is necessary, as we are moving through the years and are no new NX cameras manufactured. A lot of people took that wrong, I am not going to defend my position. For me is obvious that an active adapter to whatever mount, is necessary for a dying brand. As cameras will become obsolete, or die first, there will be a lot of thousands of lenses around, probably for cheap, that will beg to be used on other cameras. This is a serious business as well. There will be a lot of buyers, more so than the speed boosted ones. Right now I have 4 NX, so I am set for the next couple of years, until the industry moves up a bit, but I also have 7-8 lenses, that I would like to use with a different camera. The NX lens collection was an excellent one, a lot of people underestimated it, but in reality it a great small selection of lenses. 12-24 is my go to lens lately. Small pancakes like the 16/30 ones. The fish eye is my second favorite Lens. The workhorse 16-50S. My favorite 45mm. Very good and cheap generic ones, like the PZ and the 50-200. There is an amazing 85mm and a very good macro. It is a shame so much good glass to go to waste forever. My dream would be a Nikon-Samsung co operation and an official active adapter, working on S35 mode on the new Nikon full frame mirrorless. Nikon is moving away from Sony, maybe a strategical co operation with Samsung will be their saving boat, and Samsung can sell a few hundreds of thousands of ram, CPU, sensors, and whatever Nikon needs.
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


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