Jump to content

IronFilm

Members
  • Posts

    9,057
  • Joined

  • Last visited

Reputation Activity

  1. Like
    IronFilm reacted to Zak Forsman in The small film festivals and the good vs bad of the democratization of filmmaking.   
    You've got to research your festivals. And then have the willpower NOT to submit to the shitty ones just because it looks like an easy in. There are 100% legit regional festivals that have huge sponsors and attract audiences to the festival. They don't simply rely on who the filmmakers can bring.
    I'm leaving in a few days for the Phoenix Film Festival. This is a regional fest in a largely conservative state that attracts more than 23,000 ticket buyers of independent cinema every year. I had a feature-length movie world premiere there in 2013 and we sold out 2 of our 3 screenings without lifting a finger. There are many more like this... deadCENTER in Oklahoma City, Dances With Films in LA, Cinequest, Austin, Sidewalk in Alabama. 
    It takes work but there are ways to learn which festivals to submit to. Moviemaker magazine puts out yearly lists of great festivals worth the submission fee. This makes it easy to avoid festivals like the Buffalo-Niagara Fest that pressures filmmakers to buy advertising in their program and whose screenings are routinely attended only by other filmmakers who happened to travel in for the festival.
    All in all, there are too many festivals, I agree. Most suck. But there are a select number that do a great job and serve a large audience that's hungry for independent movies. They might be harder to get into, but that's the point right? They have to be more discerning because they've built a reputation based on the movies they program each year. Which points to the real difference i see between successful fests and unsuccessful ones. Successful festivals make the experience of the festival AND the films they screen into the main attraction, unsuccessful ones rely only on who the films attract, which as we know, often doesn't amount to jack shit.
    I've learned to navigate through the garbage and thankfully, it's been more years than i can count where i had the misfortune to attend a festival I'd describe as "lonely".
  2. Like
    IronFilm reacted to tosvus in Canon Rumors says GH4 competitor will be fixed lens in smaller C100 style body   
    ​I think the problem I that Canon have shown themselves to be very cynical with lower priced cameras in the past.. Withholding features to protect their own high end equipment won't win them any favor with the majority of visitors to this site. By all means though, if the can come out with a price competitive camera for once, that would be great!!
  3. Like
    IronFilm reacted to Mattias Burling in NX1 Lens   
    It's just upscaled. 
    I did some tests a while back that showed that youtubes compression is so bad that hd upscaled and 4k looks pretty much the same.
    But when upscaled youtube enables three times the bitrate and when viewed in 1080p the resolution is back to normal but you still gained the higher bitrate. 
    Same with good HD from the bmpc and 4k downscaled, on youtube it looks the same.
  4. Like
    IronFilm reacted to AaronChicago in Canon Rumors says GH4 competitor will be fixed lens in smaller C100 style body   
    ​Sales doesn't mean jack shit to you and I. We don't profit from any of these companies. We only benefit from forward thinking technology and manageable price points. Look at Beats headphones. 2nd worst reviewed headphones on the market, yet they're extremely popular and have killer marketing.
  5. Like
    IronFilm reacted to lafilm in The small film festivals and the good vs bad of the democratization of filmmaking.   
    I will never understand how any human being can be offended by anything...especially art.
    In the last 10 -20 years, I've heard so many stories like this about a movie, or a song, or what a celebrity says (like latest Charlie Sheen incident when he called out Obama for being a douschebag).
    Dont let other people sway your emotions in such a drastic way/ in any way. It's human nature that were all different and like different types of entertainment.
    If someone like porn, or death metal, or rap music about killing cops, so be it.
    Until someone does it for real (rape, murder, cop killer, etc...) it's all FAKE.
    I don't subscribe to the theory that Entertainment:  Movies, Video Games, Pornography makes someone in real life go out and kill someone.
    Kids today that respond violently in real life and blame entertainment for their actions are very weak-minded followers..and frankly already had a few screws loose before they watched "that movie".
    People that are easily offended should ask themselves why?
    I believe its a generational concept.
    10, 20, 30 years ago when me and my buddies went to see violent movies at the drive-ins, we never heard the words "offensive". Never.
    This new "politically correct" generation (I like the term "brainwashed generation") is becoming a (what this Obama government wants) sheepish, follow the leader Socialist society. 
    Which in the long term will be far more dangerous to kids than violent video games, movies, and hard core rap music.
    Use the brain you were born with people. Don't let other people have the power to "offend" you with their art.
    We're all different.
    If someone wants to shoot a film about guys raping "whores", or a movie about neo-Nazis torturing and murdering "Niggers" and "Kikes"...or if Ice Cube wants to shoot a movie about his song of "Killing LA Pigs " (cops)  let these artists create without getting your panties in an uproar.
    Grow a pair and accept it. 
    Like filmmaker Spike Lee says: "I'm a black man, not an african-american, and I don't think brothers should be fucking white girls. Let whitey fuck his own and lets keep our black people whole".
    You think that comment is going to stop me from enjoying a Spike Lee film like "Do The Right Thing"?
    Hell no.
    Dude has a right to say or do whatever he damn well pleases...without being called out in this ridiculous PC society as a racist.
    Wer're all different and we say and shoot and enjoy different things in life.
    Accept it and don't let some strange filmmaker get a rise out of you.
    Man, bring back the 1970's.
     
     
  6. Like
    IronFilm reacted to theJesusHorse in Am I stupid to consider a D750?   
    I just got a D750 yesterday and I'm very impressed with it's performance. Lots of detail, no moire, great dynamic range. I have it matched with the optically stablized Tamron 24-70mm f/2.8 and the results are excellent.
  7. Like
    IronFilm reacted to AaronChicago in Canon Rumors says GH4 competitor will be fixed lens in smaller C100 style body   
    1 year too late. I'm sure Panasonic will release a forward thinking camera this year that will render the Canon competitor irrelevant.
  8. Like
    IronFilm reacted to jpb in New Fairchild Sensor - Same DR of the Pocket and Cinema, but in 4.5k   
    ​this Fairchild LTN sensor is a dream for a camera manufacturer, with its 4608x2592 pixel count,
    it scans images from which you can extract  4096x2304  Super35  16x9 images for 4K delivery
    while you send to the viewfinder the entire non cropped image displaying the standard +12%
    out of frame field of view that all professionnal filmmakers request.
    When designing the Aaton Delta Penelope, to clearly differentiate the extra field image
    from the recorded one we were showing it in +/- bright b&w as shown in the attached image.
    It would be good if a manufacturer could offer that option which better emulates a film camera OVF.

  9. Like
    IronFilm reacted to Flynn in Deciding on camera body for documentary work   
    I'd also consider the LX100.
  10. Like
    IronFilm reacted to Flynn in Deciding on camera body for documentary work   
    I'd also consider the Nikon 5300. Love the Nikon look straight out of the camera and you have a fantastic choice of lenses. And I second the RX10 as being a great all in one solution.
  11. Like
    IronFilm reacted to fuzzynormal in Deciding on camera body for documentary work   
    ​Yes, by all means, stop playing with toys.  At least buy gear that makes you appear like a professional behind the lens and next to the cool camera stuff because that's what the viewer will truly appreciate when they watch the final product. [rolls eyes]
    Never mind these option that give you professional level imaging for a few hundred bucks, just use gear that has brand prestige among industry people.  Such as a RED.  It's so great.  And your favorite gritty movie was once shot with it.   
    If you do otherwise, you're not going to be prestigious or taken seriously by other guys that appear professional next to cool camera stuff.  
    Well, unless you actually capture a compelling story and create an emotional and memorable film...which depending on your circumstances, using a toy camera might give you the best chance of acquiring, but, hey, whatever.  As long as you look good in your PR shot when you're pointing and standing next to a big camera with a huge matte box.
    And you'll never make money!  
    As a documentarian that's probably going to be true no matter what gear you use.
    Anyway, the "you-must-use-this" snob attitude (and it is a legitimate snob attitude) about specific brands is ridiculous.  Sure, some people in the "biz" embrace it, and maybe it even helps them in their certain industry circles, but it doesn't mean it's an attitude we all need to share or assume that outlook works for one's particular needs.  If you have the skill and the story, you can shoot the damn thing on a smartphone.  As a documentary film maker, if you start with thinking about the story you'll always be better off than starting by thinking about the gear.
    My opinion is that too many people get that backwards.
  12. Like
    IronFilm reacted to M Carter in I need help to understand better the Tescam DR 60d MKII. and Tescam Vs. Zoom H6.   
    Works fine for me and is very useful.
    I have the original, not the MKII - you really need to do some tests with the unit - my meters are very conservative, and if I set levels at what seems proper, I have pretty weak tracks. The self-noise of the 60D is fine, but I'd really like a beefy waveform. Set it to really hit the peaks and use the minus-6 backups.
    The limiter is very natural sounding - I use it all the time. It's not a total brickwall, but it helps.
    One of those Anker USB phone batteries will power the DR-60 for hours or days. The the 60D is very picky about internal batteries and will report "dead battery" for batteries with a lot of juice left, esp. with rechargeables. Any USB power source (like a little phone charging brick) will power it via USB if necessary when you're in the studio.
    One final tip - just do the quick format for cards - the full format, myself and many people give up after ten minutes or so and disconnect power.
  13. Like
    IronFilm got a reaction from 1tkman in Positive Locking Canon EF and Nikon adapters by Ciecio7 (for E-Mount / Sony A7S / Micro 43 / GH4 / FZ Mount / F55)   
    Once again MX Mount is getting no love  :-/
  14. Like
    IronFilm reacted to jgharding in Deciding on camera body for documentary work   
    Might be a controversial choice, but at that end of the budget scale I'd be tempted to a Sony RX100 MK 2 or 3 and little vari ND.
    Screw a little handle into the bottom and away you go, stabilised and easy. Very unobtrusive so people don't get intimidated. I used to use one before I had a C100.
  15. Like
    IronFilm reacted to The Chris in Deciding on camera body for documentary work   
    I would suggest something like the Sony RX10 or Panasonic FZ1000 if you don't want to go with a traditional video camera. Both use the same sensor, have mic inputs, the Sony has the faster lens, the Panny shoots 4k and had a fully articulating screen. If you're dipping your toes into doc work, these are great options. 
    Bob Krist is a National Geographic photographer and he shoots a lot of his stuff with the RX10. Here's a couple good reads from him.  Check out his Vimeo page, stunning work, lots of it shot on the RX10.
    http://www.oldmaninmotion.com/four-great-still-shooting-feats-my-sub-1k-mirrorless-can-do-that-my-3k-dslr-cant/
    http://www.oldmaninmotion.com/mirrorless-mirrorless-on-the-wall-2/#more-538
  16. Like
    IronFilm reacted to ac6000cw in Deciding on camera body for documentary work   
    ​....and you could buy two of those in almost new condition for £500, or one and a good used lens - the G6 is an underrated camera, it's got some features (like focus peaking) that the GH3 doesn't even have. Unfortunately the GH4 is well beyond the budget of the OP.
    In low light with the G6, I use a second-hand Tamron 17-50mm F2.8 (non-VR, Nikon fit) on a cheap Camdiox focal reducer to get the equivalent of a 12-35mm F2.0 zoom - total cost about £220, and it's easy to manually focus with the aid of focus peaking.
  17. Like
    IronFilm reacted to Cinegain in Panasonic buying advice : LX100 or FZ1000 ?   
    ​Well yeah, every option should (although some only ever so briefly) be considered.
    But we're not talking price range here per se. It's mostly because they are comparable to a considerate degree. Both are 4K capable hybrids, with built-in stabilization and they share the fact that they're non-interchangeable lens systems with flexible optics. And then you're going to throw a 1080p RAW recording cinema camera in the mix that doesn't even take stills or includes glass with a decent range of coverage and sensitivity. If you're considering the LX100 and the FZ1000 I don't really see how you think the BMPCC fits in there in terms of comparability. Sure; from a price point they're close, but they're different sorts of cameras altogether.
    The LX100 is nice as allround everyday camera. Don't add no nothing, just have it with you (perhaps some neutral density filters) and go about your day, always having that little powerhouse with you if the occasion arises. Same goes for the FZ1000, though it's more an allround travel cam with a higher degree of flexibility, but with some added chunkiness to it. Both have their ups and downs. Surely you can use them in a production environment as well. Though perhaps in limited capacity and rather as added specialty to another camera that's being used as main cam.
    Sure, you can consider numerous other cameras, like the BMPCC, but then you might as well consider everything... from the GM1, GM5, G6, GX7, GH3, NX500, A5100, A6000, D5300 and D5500 all the way to the GoPro Hero4 BLK or everything upwards from that for that matter, GH4, NX1, A7S, D750, D810, 5DmkIII, 1D C and upwards of that even. And actually. You should. You should consider each and every single camera out there. Might even throw in the E-M5II, don't know why one would, but you can consider it for a brief second. Same goes for the Arri Alexa Mini, although it might be entirely out of your price range (but hey, renting is still a thing). Or hey, forget what I said, just use your smartphone instead!
    The BMPCC is great because it's pushable due to its RAW recording possibilities. It's small and easily adaptable within a modular system. Footage looks great. Nice 'n flat, pretty great dynamic range for such a sensor. And... and... em. Hum. Well. Em. What's not to like, really? Well... perhaps... it's not for stills, so forget hybrid use. No built-in stabilization. Bad crop/difficult to get wide shots. Doesn't come with glass, you probably end up buying a couple of primes and having to swap 'em all the time. Not particularly high frame rates. Fills your cards up rather quickly. Goes through batteries like it's nothing. Screen isn't the most ideal. This is not a point-'n-shoot, you need to carefully set-up your shot. No blind use with mode and setting dials and tons of (customizable) buttons, just some navigation buttons. Not to mention it's all rather just basic functionality. Audio handling is poorly done. Oh. And last summer it was on sale with spectacular prizes. People were anticipating a successor soon... or a catch. Nope. Nothing of the kind. But the knowledge of putting down money for a camera, of which the amount months back would've bought you 2 of 'em (with no apparent reason other than the fact they can), that kinda stings, doesn't it? Anyways. In the end... it's great if you use it purposely. But it requires a very different approach than the LX100 or FZ1000.
    Listen, I have the BMPCC... but not instead of the LX100 or FZ1000. They simply can't replace one another. That's why I have all three. And the GH4. And the GH2. And the E-M1. And the D5300. And several action cams. Although, surely that's the most ideal situation: not having to choose one to stick with, just have plenty of tools so you can put each tool to each specific use without compromising due to of the drawbacks a single solution would bring with it. Bit tougher if you have to pick one. It will depend on how you use it. Hybrid (stills/video) or not (video only)? Does size and weight constrict you? Do you need an all-in-one solution with a spontaneous point-'n-shoot character? Do you mind swapping out lenses and rigging your gear? How are you going to handle power supply? Are you going to use it in a production environment? Quality requirements? Gradeability? Need for slowmotion? Storage/archiving? Would you need specific system requirements for quick editting turnarounds? There's a lot that can make you go one way or another. There isn't a universal solution that meets the requirements of all shooters out there. Pick something that suits your individual needs the best... which can be any camera, really... just not sure if you want to take a too long look at the BMPCC, when you were thinking a LX100 / FZ1000 would nicely fit in your way of shooting. They might be similar at initial purchase, but are pretty much worlds apart. And with the BMPCC you're not even there yet after getting the camera itself...
  18. Like
    IronFilm reacted to Danyyyel in Deciding on camera body for documentary work   
    For that low, camera like the Nikon D5300 would be very good compared to the Canon 5d2 because of no moire aliasing and better resolution. It will have a big advantages compared to gh3 (and most low cost m43 and Sony cameras) in low light. You will be getting 5d mark 3 low light quality out of it and that is very very important for Doc work. Super DR and colour is also two other advantages. It does have two drawback like absence of peaking and you will have exit video to change aperture. Those can be mitigated with a good viewfinder loupe for about $ 60 and buying older Nikon lens with aperture ring. You have 50 years of lens to chose from and it will be a lasting investment because they will mount on about every camera brand. One thing not to forget about when doing doc is investing in at least some good microphone and recorder.
  19. Like
    IronFilm reacted to Nikkor in Deciding on camera body for documentary work   
    The moire filter is going to add to the cost. The video quality is very primitive and unless you want to use ml raw (not really suited for documentary) any recent camera is much better.
    gh3, d5200, etc...
    Welcome to the forum 
  20. Like
    IronFilm got a reaction from jpb in Possibly giving up my Sony a7s for Samsung NX1   
    As the house is probably burning at night, AND the a7s cost more, I'd of course grab the Sony!
  21. Like
    IronFilm got a reaction from Geoff CB in Possibly giving up my Sony a7s for Samsung NX1   
    As the house is probably burning at night, AND the a7s cost more, I'd of course grab the Sony!
  22. Like
    IronFilm reacted to enny in Speed Booster?   
    Your post is 2013 new review difference is really small and personal choice  which one to get
    http://blog.josephmoore.name/2014/11/01/comparing-focal-adapters-the-metabones-speed-booster-vs-the-rj-photo-lens-turbo/
  23. Like
    IronFilm reacted to austinchimp in Possibly giving up my Sony a7s for Samsung NX1   
    I've found the key to getting accurate skin tones on the A7s to be ALWAYS do a good manual white balance, and using the right picture profile.
    Like you, I do corporate work where you can't get away with arty skin tones. When required you need a straightforward look that just looks right and doesn't draw attention to itself.
    I tried S-Log and I'm still finding my way into it, but I'd recommend Kholi's picture profiles from another message board. I won't link to it here as I'm not sure if that's against the rules, but you can find it easy enough with a google search or drop me a message and I'll point you in the right direction.
    This profile really gave me colour which matches almost exactly with my 5D mk2. It's from a guy called Spreeni who slightly modified one of Kholi's profiles. It's a cine2 profile which is relatively flat but perks right up with minor colour correction and is much easier than S-Log 2 to deal with. Try this out before you drop your A7s altogether. And remember to do that white balance! I recently got an Expodisc 2 and it's really helped a lot.
     
    Black Level: -11
    Gamma : Cine2
    Black Gamma > Range: Wide , Level: +7
    Knee > Mode: Manual , Auto Set > Max Point: 95 , Sensitivity: Mid, Manual Set > Point: 105%, Slope: 0
    Colore Mode: Pro
    Saturation: +6
    Color Phase 0
    Color Depth > R+3, G-3, B+1,, C-3, M-1, Y-0
    Detail > Level, -5 Adjust > Mode; Manual, V/H Balance: -2, B/W Balance Type3, Limit: 0, Crispening:0, hi_light Detail: 0
     
    White balance: No Grid setting needed !
  24. Like
    IronFilm got a reaction from Cinegain in Speed Booster?   
    I recommend RJ Lens Turbo, it costs a mere fraction of the Metabones standard 0.7x focal reducer. And yes, it comes in C/Y mount (or you could use a dumb EF, which they sell too). RJ Lens Turbo is what I use myself on my BMPCC (RJ Lens Turbo is really the only good Chinese alternative focal reducer for m4/3. as I'll agree all the others are rubbish! Except for Mitakon if you're looking for one for Sony E mount). 

    Otherwise, splurge out and get the dedicated BMPCC Metabones speedbooster, but just remember you won't be able to use it on a GH4 (or GH5...) if you get one of those in the future. 
  25. Like
    IronFilm reacted to Andrew Reid in Fisticuffs end new "Top Gear" series - how the BBC risked biggest franchise over catering fracas   
    ​It's a storm in a yorkshire teacup!
    It goes without saying bullying and fist fighting are unacceptable. You're absolutely right, if the producer had hit Clarkson he would be dead and buried. Career over.
    But if the Queen smacks Prince Philip in the mouth if he hasn't cooked he goose properly, you don't throw out the entire royal family.
    The producer and Clarkson until last week had had a happy working relationship for a decade.
    James May says he can't remember what happened because he was "blind drunk" as a result of that drink in the pub on an empty stomach.
     
    In the 70's and 80's we had professional snooker players swigging beer on TV during the world championship. In the modern professional climate, a hellraiser or firebrand is considered someone who pops outside for a cig break occasionally.
    The BBC needs its hellraisers like Clarkson. Otherwise blandness will ensue. I'm tempted to say it already has looking at 99% of their presenters.
    The BBC are indeed between a rock and a hard place politically on this one, they had to act.
    Agree 100% for them to turn a blind eye to bad behaviour now would be political suicide given the current climate.
    However you have to give creative license to your hellraisers and some leeway morally, as inevitably they occasionally throw a wobbly or cause a fracas.
    He's not the pope. He's not an Ambassador for Good Manners. Clarkson's responsibility to us is to entertain us, not morally reinforce our values.
    He should absolutely 100% apologise to his producer, take him out for a lunch and have a hug in front of the cameras on the next episode as well.
    It really should be that simple. Otherwise, he will be off to Sky like half the BBC F1 team. Jobs will go. Extreme Facilities supply Top Gear with GH2 / GH4 drones for example and their contract is with the BBC. Sad to kill such a consistently creative and popular show over a bit of bad behaviour.
    If Clarkson is not bigger than the show, as the BBC claim, then pulling the show because of Clarkson implies the opposite.
    Also I was really looking forward to the Ferrari vs McLaren vs Audi shootout
    I'm not even a petrol head. I like the humour. I like the bravado and the journeys. It's a travel adventure and spectacularly filmed in parts.
    Of course some of the blog post is speculation, none of us are truly a first party to what went on. We get our info through the papers and the internet. Therefore we have to remember that there's a whole section of the left wing political spectrum out to get Clarkson because he's a buddy of Cameron. Most of the earlier Top Gear controversies were hyped in just the same way, in order to damage Clarkson and Cameron's popularity with the public. In some ways, Clarkson actually doesn't deserve the reputation of oaf. In real life I expect he's a caring dad. He's playing it up for the cameras in the same way an actor would play a character. At this rate we'll be hanging Eastenders characters in the street when they murder someone! Occasionally a flippant remark will be attributed to him rather than to the script. Nobody is going to be pitch perfect over a thousand hours of scripted television especially when it's also improvised on top of that. You are going to have a joke go wrong or cross a line or go creatively wrong and it's simply unreasonable for the BBC to have no tolerance and to pander to every person who might be offended because they claim "Clarkson's a racist dickhead". That isn't a sustainable way to run a broadcaster. They had 150,000 complaints over the way a dog was handled on Crufts! A bloody dog show!! Looking at the numbers, you have to say Crufts is cruel and should be taken off the air. At this rate the BBC will have a lot of empty spaces in their schedules....
×
×
  • Create New...