IronFilm
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Posts posted by IronFilm
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7 hours ago, kye said:
There is a deep divide in the vlogging community about where the flip screen should be.. those that use in-camera sound and prefer the screen flips over the top because it looks more natural if they look at the screen while shooting, and those that use an external microphone which is mounted in the hot-shoe of the camera and therefore they prefer a side-flipping screen like Canon.
I'd be running a lav, thus I vote for a screen that flips up/down!
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27 minutes ago, Sage said:
The H4n scared me off
Yup, no Zoom recorder would interest me professionally other than the F series. (well I have the H1 which I purchased when I was the student)
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On 5/7/2018 at 3:53 AM, mercer said:
I’ve used the H1 and the DR-05 but they’re both a little big for my set up. Right now, I have two Olympus LS-7 field recorders and I love the quality and how small they are. I can have one attached to the top of my camera with a small shotgun and then have another in my actor’s pocket with a lav. They will do fine if need be, but I figured I’d explore my options.
An H1 is "too big"?! The mind boggles....
Perhaps get a Tascam DR10L to use on talent?
On 5/7/2018 at 3:53 AM, mercer said:And I’ve heard/seen some filmmakers use the whole recorder attached to a boom pole using only the onboard mic.
Please no.
Just because people have done this (I've also seen people use broom sticks as boom poles! ha), doesn't mean you should do it!!
I wrote up last year my thoughts on the best pics for a recorder:
http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/
The only notable changes since then in this niche is the MixPre10T announced and the Marantz PMD-706 shipping.2 hours ago, Sage said:Thoughts on these?
https://www.sounddevices.com/products/recorders/mixpre-3
Its hard to beat SD preamps
Zoom F series pre amps are right up there at the same level.
And the Zoom F4 has more features and a lower price than the MixPre3.
Personally the only strong reason to get the MixPre3 in my eyes is its small size, it is shockingly small. So if teeny is what you want, go for MixPre3! -
2 hours ago, Kisaha said:
The magic word is 1", when everything becomes 1", then they would be comparable to a real camera and I will care more about them.
Wish there is a camera with a 1" sensor but a prime lens rather than the zoom lens of a RX100/RX10/etc
Something like a fusion between a RX0, RX1, XF100, and a RX100.
A compact camera with a 1" sensor and a prime lens, that can easily slip into even a tight jean's pocket. -
I'm going to get to work with a Venice tomorrow! :-D
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On 5/4/2018 at 9:14 PM, Aussie Ash said:
Thom Hogan has been saying two entry level mirrorless APS-C bodies in the US $500-$1000 bracket to be announced in the next few months followed by a full frame around US $2,000 four or five months later.D5600 is already due for update perhaps it is
the last of the D5000 series ??
Fingers crossed for a D5600 update with no crop 4K and focus peaking in 4K! -
That is exactly the film I was thinking of! When Mercer wrote this:
On 5/2/2018 at 2:30 AM, mercer said:Man, if I had a family, I would make an epic John Hughes-esque family comedy/thriller at Great Adventure. Everybody would just think I was an overexuberant Dad shooting my kids for family videos. Now that would be guerrilla shooting... but NO I would not use an Amira, or an Alexa... maybe a Siri though.
Even better, I’d take the whole family on a cruise and make a found footage film. Give each member an iPhone and create some kind of silly found footage plot... and then I could write off the vacation as a business expense.
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It was a "paid" shoot, the rate was waaaay low (was less than half what I'm getting on the feature I'm starting on today!).
In fact, I half suspect I was either the highest paid or second highest paid crew member on set every day (with the possible likely exception being the gaffer who was bringing a full transit truck to set each day for lighting).
The "1st AD" was also the producer, as he'd struggled to find a 1st AD, so he did both!
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I've done sound for a short film which was done with an EVA1 (the first in the country).
Personally if I was in the market for a small-mid sized camera (not a stills one) then EVA1 would be my top choice if for whatever reason an FS7 wasn't an option (for instance if it is just a bit too big to fit into the "small-mid" sized category). -
3 hours ago, Don Kotlos said:
Because the Nikon lenses have a manual lever that controls the aperture. So the adaptor needs to move that lever. Here is a Vello adapter that does that and costs $400:
https://www.bhphotovideo.com/c/product/1349066-REG/vello_lae_se_nfv5_nikon_f_to_sony.html
But if you don't need AF/AE then you can get Nikon F to mirrorless adapters for around twenty bucks each.
Although of course when Nikon makes theirs it will need to have maximum compatibility of features. -
5 hours ago, HockeyFan12 said:
At least you have a shot list I'd assume? How does the AD schedule the day without one?
Shockingly on the film I just wrapped on yesterday, we didn't have an AD (well, technically we had one..... but practically speaking? nah)
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Dodged a bullet! Almost recorded leafblowers:
Be bold and just ask:
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10 hours ago, HockeyFan12 said:
I don’t think having a script and boards is abnormal, I thought everyone here did
The feature I'm working on now, has a script (which seems to be in a constant state of flux...). But no story boards.
10 hours ago, HockeyFan12 said:My understanding (based on SAG rates) has been that ultra low budget is under $625,000 and low budget is between $625,000 and $2.5 million, but there's lots of budget manipulation so it's usually in fact higher.
Exactly. Even a hundred grand would still be ultra low budget.
If you're talking say sub $10K , then I would just call that as "No budget", as it is merely a rounding error.
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40 minutes ago, mercer said:
But I will add... I don’t know if I really understand why somebody would spend the time and money, with the state of indie film distribution being the way it is, on anything over $50,000... unless you have some kind of name attached to the project?
By NZ's standards we have a few very minor "names" attached to it.
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54 minutes ago, mercer said:
Idk, I think we need to define (or redefine) ultra low budget feature if an Amira is being used to shoot it.
Anything that costs less than a nice new car is definitely ultra low budget.
1 hour ago, jonpais said:seriously?
The DoP believes the production got it from Panavision for free for three weeks.
I'm very skeptical, I personally reckon they are paying "something" but it is an extremely good deal such as say a one day rental.
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1 hour ago, Django said:
sounds cool, care to elaborate?
Shoot off season, have full insurance, tell them only experienced professionals will touch it.
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5 hours ago, kye said:
If I was shooting indoor vlogs with the camera on a tripod I would consider an ex cinema camera if it had good IQ and codecs
Like the Sony PMW-F3 ;-)
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3 hours ago, kye said:
I've seen quite a few vloggers get stopped by the police or security guards, who insist on saying that photography is not permitted, despite it being a public place. I just did a bit of googling to find any easy examples, and found one mention of someone that got stopped for taking photographs of the moon!
Heh, I just today got asked "WHAT ARE YOU DOING??" when I pulled out my iPhone to snap a few pics in a pet shop to send the pics of kitties to my gf on my FB messenger.
But once I explained it to her though, she was all cool with it.
Anyway, my point is you can get given sh*t for using ANY camera! Just ignore the haters.
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10 hours ago, Django said:
wait what... tons and tons of content gets shot on ARRIs for YT.. ?! who? where? how?
Sure, as a percentage of videos on YouTube it wouldn't be anything at all. But as a gross number? It would be huge! Every single day of the year without fail there would be content destined eventually for YouTube that is being shot with an ARRI.
10 hours ago, Django said:if IQ isn't "that important" as guy above states.. and for "no budget festival-oriented narrative video" why are we talking a $40K 10lbs body exactly?!
Because if you spin some deals it can indeed be dirt cheap to shoot on an ARRI if you really wish to.
I'm on the third week of an ultra low budget feature film which is being shot on an AMIRA. You can see it in the background of quite a few of my recent uploads, such as today's:
This scene was shot so super simple, yes the 1st A.C. had a wireless follow focus and Teradeck for his monitor, but lighting was just a scrim and bounce held each by someone from the lighting team. (Plus careful judgement and timing with the clouds, to keep the look consistent for across the scene)
4 hours ago, jhnkng said:Hahaha totally -- I recently worked on a job where we had an Alexa Mini to shoot an Instagram Ad. Just. For. Instagram. It was truly the most ludicrous job I've ever worked on.
I'm not even surprised. I've worked on Instagram shoots too.
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If you don't already use belts, you should, they're life changing. Here I am demonstrating a thigh mount:
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The DoP just mentioned that their V mount batteries last around twenty minutes on our AMIRA :-o
And yet people complain about the battery life of the original BMPCC....
(although yeah, you can buy V mount batteries which last much longer on the AMIRA)
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6 hours ago, Django said:
while the innovative multi-viewfinder combines a high resolution OLED eyepiece with a fold-away LCD monitor that provides both a live view and full access to camera functions.
I damn love that fold out monitor on the AMIRA! Has been so useful for me in recent week's a small the camera operator has been quite generous in positioning it for me keep an eye on it for framing while booming.
6 hours ago, Django said:
• Internal ND filters (0.6/1.2/2.1)
• OLED eyepiece and fold-away LCD monitor
• Multi-channel audio – easy-access controlsAm not a fan of dovetails on an ultra small crew, unless you have too, Sony VCT for me!
AMIRA certainly has the friendliest audio of all the ARRI cameras.
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50 minutes ago, HockeyFan12 said:
And going back to another thread, for documentary-oriented videos, the Amira for instance would be an appropriate camera for a single operator (except to the extent that its size attracts attention), but for narrative videos it wouldn't because it's too big to put on a small slider dolly, not great in low light, etc. And for YouTube it would be overkill anyway!
Arguably the AMIRA is better suited to narrative than anything else you might shoot with it. Especially for small crews (& by that I mean anything that just has at most a 2nd AC, I'd still count that as a pretty small crew).
As for an ARRI being overkill for YouTube? Nah, tonnes and tonnes of content for the web gets shot on an ARRI.
Audio Recorders?
In: Cameras
Posted
Not a great supporter of using a dedicated external pre amp prior to your recorder in this day and age if you're on a low budget (bit different when people only say had an H4n, then putting in say a MixPre/302 could make a massive difference, but we're in 2018 now), as the added cost/size/weight/complexity just doesn't add up to make sense.
With the price of the Beachtek DXA-MICRO PRO Audio Adapter I'd suggest to just buy a Tascam DR60Dmk2 instead, which has pretty darn good pre amps for its low low price and you get a recorder with it too! ;-)
(I checked the listed specs for each, and yes the Tascam has a better S/N Ratio than the Beachtek)
As a low end pre amp (which all of these are, except the MixPre3, which is a recorder too) is *not* likely to outperform a solid recorder's pre amps such as say the Zoom F4 (or even a DR60Dmk2).
And the Zoom F4 is an even greater bargain! ;-)