IronFilm
-
Posts
9,087 -
Joined
-
Last visited
Content Type
Profiles
Forums
Articles
Posts posted by IronFilm
-
-
2 minutes ago, kye said:
but I was surprised to discover that ultramarathons are super common.
They are now!!!
But back when I was a serious running (twice a day running training! Every day, all year round) then I think in my city (Auckland, the biggest by far in all of NZ) we only had one ultramarathon each year!
It's only in the last 10-ish-ish years that ultramarathons have seen their massive boom in popularity.
-
19 minutes ago, kye said:
I have seen various snippets over the years of influencers talking about the craft and lots of them have a far more developed sense of things than you'd imagine. Not all of them of course, but definitely a lot of them.
One of the things they're often very aware of is the aesthetic of various types of production. In todays terms, things shot on a phone have a certain look that tends to be viewed as more authentic and less produced. If you're making content that plays better if your viewers think that things are unplanned and 'real' then this aesthetic would help that, and if you want to appear as a professional authoritative source then maybe some nice lighting and shallower DOF would suit better.
As a few examples, Gerald Undone seems more like an authority figure with a nice studio setup rather than shooting on a phone while unboxing things on his floor, Chefs that want to be taken seriously have professional looking kitchens and have nice lighting and cameras, but not everyone wants to look professional.
A bit of searching revealed this channel - a kids show that looks like it's shot on a smartphone.
https://www.youtube.com/@KidsDianaShow/about
BUT, the channel has 112M subs and 93 BILLION views! I have no idea if they do paid content but the YT ad revenue alone would probably buy them an Alexa. I suspect part of their allure is that the content sort-of looks like it was made by the kids themselves. Maybe it is, and maybe there's an entire production team, but the aesthetic is deliberate.Back at the start of the covid era I worked on a major tv advertising campaign, bankrolled by the govt with oodles of cash to raise awareness about covid, with a top notch tv advertising agency running the show, with top flight director / DoP / etc, skilled crew of a 1st AC (and all the other ACs) and a Gaffer (with all their LX Assists) and full size lighting truck, and an Art Department, video village, etc etc... oh, and me of course! 😉 Doing sound.
Of course an ARRI Alexa was used.
But how they did they shoot it? With as much emphasis on "natural looking" lighting (even if there were a dozen lights used in the process of crafting that look!), and in absolutely every single case the talent (big name famous celebrities/personalities/sportspeople) would always be "holding the camera" (of course it's impossible for them to hold this big heavy ARRI! So they'd just have their hand on the edge of the mattebox, and both the talent and Camera Op would be carefully timing their movements to stay in sync with each other, this might take a few goes).
Why was this done? To make the videos look as "authentic" as possible, like they're just causally filming something themselves to be sharing personally with you the viewer.
-
-
-
"Tascam has announced the DR-10L Pro, this is the newest addition to the DR-10L family. While the Pro version maintains a similar form factor and functionality, it adds the ability to record in 32-Bit Float and offers Atomos Wireless Time-Code-Sync Support."
Battery life has gone up from 10.5hrs to 24.5hrs (based on two AAA lithium batteries)
Has a high-visibility OLED display, with lots of physical menu buttons for navigation.
Has a headphone output so you can monitor the audio before/during/after recordings.
Has an app for Android and iOS phones, you can add metadata (including project name, scene name, and take number) to the audio file. The app also gives you visual confirmation of the input audio with a waveform display over time. You can name each DR10L Pro via the app, for easy identification.
The DR10L can now take MicroSD cards sizes up to a massive 512GB. (previous limit was 32GB)
Comes with a free copy of iZotope RX Elements.
Available now to preorder:
https://www.bhphotovideo.com/c/product/1773575-REG/tascam_dr_10l_pro_personal_recorder.html
- MurtlandPhoto, Juank and ntblowz
-
3
-
The Barkely Marathons though is a bit like having a 100m race and saying "a requirement of the race is that you must be finished in under 9.7 seconds", of course only very very few athletes would ever be able to "complete" this race.
I feel that's a bit of what The Barkely Marathons has done, to make it artificially even harder. As neither the distance or the terrain is outrageously super exceptionally hard when you compare it to some of the hardest ever off road ultra marathons there are in the world.
It is the artificially extra very low time constraint (along with all the other weird things they do) which exist to great "the legend" which is The Barkely Marathons.
-
1 hour ago, kye said:
If they overheat then they're not for influencers... The best way to shorten your record times is to:
- Develop script & storyboard
- Shoot in controlled situations
- Create the excitement deliberately
Plenty of us here need to be able to record for an hour or three while recording interviews / documentaries / conferences / weddings / etc
-
4 hours ago, Llaasseerr said:
OK I don't get it because that's what I was saying I would plan to do, but you said that wouldn't work. You said "There is not a single camera on earth that I would want to trust to keep accurate timecode with a timecode box on it." Maybe you meant _without_?
WHOOPS!!
Yes indeed, that's obviously one very very big typo.
- kye and Llaasseerr
-
2
-
52 minutes ago, MrSMW said:
Even Forrest Gump would choke.
Heh, I've had a few people shout that at me while I am running! I look a little like that.
Have a facebook friend who has gone well past her 100th daily marathon in a row. she's gunning for the female world record (I think it is over 200 days in a row??). And her plans for after that? She wants to run the fastest ever length of New Zealand! (she used to hold the record, which she set back when she was a teenager, but someone else has recently broken that record)
-
4 hours ago, kye said:
Well, if that's what you want to do then don't let me stop you, but social media is bad for your health in many ways and something like this might be one of them!!
Oh I dunno, doing an Ironman each day doesn't seem to crazy to me??
When I was (kinda, not really) a "professional" cyclist then I'd 10hrs/day of cycling month after month after month.
On the topic of cycling and Netflix, the biggest sporting event of the year just started this weekend!! Tour de France, and the greatest ever sprinter (arguably... greatest ever cyclist) is reading his last ever Tour de France, and there is currently right now a Netflix film being made about him, "Mark Cavendish: Never Enough":
https://www.netflix.com/nz/title/81568626
Going to be released next month, once the race is over. A very quick turn around indeed!!!
Last month Netflix released another cycling doco on the Tour de France, about last year's race:
Been a lot of great cycling docos coming out lately, there just came out last month a documentary about America's first ever Tour de France winner (not just the first American, first ever non-European!!):
This is a netflix cycling doco from a few years back, but is fantastic for any sports enthusiasts, not just cycling fans. Because it goes into a deep dive undercover look into doping (the filmmaker, Bryan Fogel, is himself a quite serious amateur cyclist, so he started out by doping himself!! ) :
Team Jumbo-Visma did really amazing docos for their own YouTube channel during the last tour, such as:
Just in general, it's amazing the very high standard of quality you can see from youtube channels covering various sports. Such as GCN Racing (why would I ever ever want to subscribe to a sports tv channel?? Youtube does it so much better than any broadcast tv I could get):
https://www.youtube.com/@gcnracing
4 hours ago, kye said:It also reminds me of the doco The Barkely Marathons which used to be on Netflix but doesn't seem to be available any more - if you haven't seen it I highly recommend it 🙂
oh yes, I've known about The Barkely Marathons for many many years! Being the super keen former runner I once was.
But I reckon the Sri Chinmoy 3100 Mile Race (a kiwi woman won it last year! And set the race record) is a far far more impressive feat of human endurance racing than The Barkely Marathons is. At least the The Barkely Marathons are all completely over and done with in a rather short span of time.
https://3100.srichinmoyraces.org/
Only 49 people have ever completed this race! Why aim for climbing Mt Everest or going into outer space? When you could be a member of an even rarer club!! 😉
Perhaps my biggest regret from my sporting life is that I never raced an ultra marathon myself (although, I certainly ran longer than a marathon numerous times in training just for fun).
-
6 hours ago, Llaasseerr said:
I know you're a Sony guy (mainly the older cams) and a sound guy, so do you think the FX3 is just never going to work well enough for timecode?
It is pretty simple, if you have the hardware for it, then do timecode always with the FX3.
All the "issues" I seem to come across with TC and the FX3/FX30 when I read about it online seem to be from users messing it up themselves with user errors.
Perhaps some cases reported it seems to be just a frame or two off, a very small difference, but also a consistent difference across the entire production. Honestly even some high end cameras have this issues pop up. Not a massively big deal as there are easy tools to just offset everything by the correct amount to then match for the whole project.
6 hours ago, Llaasseerr said:I do not yet have a lot of experience with timecode on set - my realm has been mainly post. I had assumed that keeping the TC unit plugged in was the only way to guarantee a more low-end camera with true TC-in to stay in sync vs. syncing it at the start of the day and unplugging it, and then the camera drifting a few frames by EOD.
Doesn't matter if it is a low end camera or a high end camera.
One timecode box per camera.
2 cameras? Two timecode boxes.
5 cameras? Five timecode boxes.
6 hours ago, Llaasseerr said:Are you saying a camera needs a more expensive solution like genlock?
Only need genlock for very niche usages such as: 3D filming, live switching, or very lowing recording lengths (such as entire Opera performances). But even in those niche cases, most people won't use genlock, and still be perfectly happy enough.
6 hours ago, Llaasseerr said:Overall, do you think the TC solution for an FX3 or even an FX6 (which has proper BNC TC in) is a waste of time? For either cameras I would want to use a Deity or TentacleSync unit, but I would have to use the proprietary cable for the FX3.
Definitely not a waste of time. Do it!!
6 hours ago, Llaasseerr said:There were some people reporting issue with the Sony cable, which is why I mentioned it. But I don't know the specifics.
I haven't kept up with the details of what's going on with that, but considering the target market using it, I wouldn't be surprised if one or more of: 1) they damaged the cable and/or 2) they're not using it right
-
-
7 hours ago, kye said:
But for a weekly upload schedule you might need to branch out somewhat 🙂
I could have a daily upload schedule if I wanted to. This guy had a plan to do an Ironman every single day:
-
-
On 5/18/2023 at 2:00 PM, Llaasseerr said:
On the issue of timecode, it seems like people want it to stay synced if you unplug the generator. I mean it should and that would be great, but if you need to keep it connected I can live with that. Those units are small enough.
There is not a single camera on earth that I would want to trust to keep accurate timecode with a timecode box on it. (perhaps the ARRI cameras.... but I'd rather not, even ARRI cameras have been known to have timecode bugs, and I don't want to become the first person to discover "a new bug" simply because I wouldn't put a timecode box on one!)
On 5/15/2023 at 5:56 PM, kye said:Incidentally, this guys YT channel is very high quality, in terms of production design as well as quality of information. He's a DP-first and tech second kind of guy, so things are all practical and level-headed. My only criticism is that his uploads are few and sometimes far between, but maybe that's a fundamental problem of expertise - those that have it are elsewhere doing things in the real world instead of just being on YT.
Indeed, the more I work, the less I tend to upload to my YT channel.
On 5/18/2023 at 1:29 PM, Llaasseerr said:1. Timecode glitches. I'm kind of hoping that if you get the Deity unit and their cable (instead of the Sony cable) that it works properly.
I highly doubt it is just a cable issue
-
double double double post
-
double double post
-
double post
-
On 7/2/2023 at 3:54 AM, kye said:
These folks are using generative fill to create matt environments for videos... Interesting stuff.
Saw that this morning, shared it with a mate.
Certainly is an interesting development/approach when you think about.
How many adverts out there only a few seconds long per scene? (or even shorter!)
If the talent are not doing massive movements, you immediately make location scouting & art department waaaaay easier! And you can do far more epic videos.
-
6 minutes ago, IronFilm said:
Does this train of logic make any sense at all? Is the Sony EX3 really the best choice here if you want to get a handful of cameras on the dirt cheap to live stream sports games?
Maybe the best approach is using a mix of cameras:
One or two Sony EX3 cameras for when you need the absolute max reach.
One to three Sony EX1 cameras (cheaper!) for more middle of the road general coverage?
One Sony CX900 next to the vision mixing desk, because it doesn't matter if it is using flimsy HDMI rather than proper SDI, as it is only a very short traveling distance to get back to the switcher.
ah, I forgot last, but not least:
One Sony PMW-F3 for the locked off unmanned angles. (as it doesn't matter what lens is being used here, if the camera is unmanned)
-
On 6/30/2023 at 1:03 PM, fuzzynormal said:
I'll chime in with a contrary opinion and a dark horse suggestion: Weathered sealed OM (Olympus) cams/lenses shooting 4k 8-bit --probably considered sort of low-end these days, right? OM cams definitely fly under the radar with videographers, but they have some useful features.
Let yourself settle for 1080, and you can get OM cameras for mere pennies these days:
-
On 6/30/2023 at 5:10 PM, ntblowz said:
I m not sure that statement is true, as I m pretty sure the S5II/X boosted the Panasonic market a bit with the magical pdaf.
I hope so!
But I fear it might be too little too late?
If they'd released magical AF back in the era of GH3/GH4/GH5 then Panasonic would surely have a slam dunk success, and be running laughing to the bank.
On 6/30/2023 at 5:10 PM, ntblowz said:Even this year I still see people buying blackmagic pocket 6k for those aspiring filmmakers over other brand.
True, people are still getting it as their first A Cam.
But I'd imagine people who are buying it as a secondary additional camera, have likely seen a sharp nose dive.
-
On 6/30/2023 at 12:55 PM, D Verco said:Quote
Sensor is still Super35 6K provided by CMOSIS, but there are full frame bodies planned. Apparently since the FX3 and FX30 launched both Blackmagic and Panasonic have seen a sharp downturn in sales and both are looking to expand their share of the prosumer cinema market.
That would not surprise me in the slightest.
In the low / mid range then the Sony FX6/FX9 are extremely dominant. And the FX30/FX3 are the natural partners to that.
Especially with the FX30 being priced very similar-ish to the Pocket 6K G2 camera.
Why would a shooter ever want to get a Pocket as their B Cam to their FX9/FX6??
It wasn't like back in the Sony FS7/FS5 era. When the a7 series (let along their APS-C models!) were crippled enough it made sense to consider perhaps a Panasonic GH4 / GH5 / OG Pocket / Pocket 4K / etc
-
On 7/1/2023 at 12:22 AM, PannySVHS said:
Cool! What are you studying?
Doing another degree, in Computer Science.
On 7/1/2023 at 12:22 AM, PannySVHS said:@IronFilm Panny HPX250 would be something, with 10bit 422 up to 60p, juicy codec, perfectly resolved 1080p.
Have checked out the Panasonic HPX250 before, is about 3 or 4 year younger than the Sony EX3? But a bit more prosumer orientated than the EX3.
HPX250 was roughly half the price at launch (US$4K-ish) of what the Sony EX3 was at launch (US$8K-ish street prices).
Seems that on eBay these days they cost roughly the same: $500-ish plus.
https://www.ebay.com/itm/115833842126
I wonder how they perform head to head in low light? (I'd assume the EX3 wins? As it is a 1/2-inch type image sensor, vs a 1/3-inch sensor on the HPX250)
While the Sony EX3 doesn't have internal 10bit (but it has internal 50mbs 4:2:2 1080p), it can output 10bit over SDI! And 1080 video recorders are cheap as chip (https://www.ebay.com/itm/195787133267) these days , so quite easy to squeeze maximum performance out the Sony EX3.
But I don't think these old camcorder cameras should be about getting the optimal possible image performance out of them?
Rather about benefiting from their ease of use features, such as built in NDs, or the SDI outputs.
It is what makes the Sony EX3 so appealing to me, because you can adapt B4 lenses to the EX3 lens mount, to get truly huge zoom reach!
And I've often thought about dabbling in live sports streaming, if I ever get back into the camera side of filmmaking / video productions. I think it could be a productive little niche for me. (but I shouldn't.... I am already spreading myself too thinly in life!!)
And a B4 mount is super useful for live sports productions. The Sony EX3 just seems like a cheaper / more user friendly option than some of the more pure B4 cameras.
For instance the cheapest "proper B4 broadcast camera" from Sony might be this Sony XDCAM PDW-700:
https://www.ebay.com/itm/225563250916 Still costs US$1.3K without a lens 😕
Sometimes I think, "ah ha! I found a cheap one..." like this Sony PDW-F330: https://www.ebay.com/itm/225563250916 until I remember d'oh, this one lacks SDI! Got to pay much more for the Sony PDW-F350 if I want SDI.
The Panasonic broadcast cameras seem to have been slow to embrace FHD, were stuck on 720 for a few too many years, thus it tends to be when I look for older broadcast Panasonic B4 cameras they tend to be more expensive if I want 1080 as I have to go for a somewhat more recent Panasonic body.
Plus Panasonic lacks any camcorders which not a B4 mount but allow B4 lenses to be put on them (such as is the case with the Sony EX3), so there isn't that cheaper loop hole to go for with Panasonic.
Does this train of logic make any sense at all? Is the Sony EX3 really the best choice here if you want to get a handful of cameras on the dirt cheap to live stream sports games?
Maybe the best approach is using a mix of cameras:
One or two Sony EX3 cameras for when you need the absolute max reach.
One to three Sony EX1 cameras (cheaper!) for more middle of the road general coverage?
One Sony CX900 next to the vision mixing desk, because it doesn't matter if it is using flimsy HDMI rather than proper SDI, as it is only a very short traveling distance to get back to the switcher.
On 7/1/2023 at 12:22 AM, PannySVHS said:No need to post shaky Ex1 test videos from 1982 and especially not that maaaaany 😂
ah, didn't you see that "shaky EX1 video" also had a Sony PMW-F3 in it? 😉
A6700 - FX30 sensor 👀
In: Cameras
Posted
Indeed, it is far too much to expect actors to give their best possible acting performances and to operate the camera too