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Gregormannschaft

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About Gregormannschaft

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  1. C200 as A cam, BMPCC4K for B cam and gimbal work, and Sony A7SII for the odd shoot. It will likely get sold soon which is a shame, it's been incredibly reliable over the years.
  2. Well, what about driving around in Lambos with a RED?
  3. I really like PotatoJet's channel, not gonna lie. He strikes a good balance between being really charismatic and entertaining and actually knowing what he's talking about. He posted something about the Edelkrone slider recently and it seemed pretty obvious it was a product that had been sent to him for review, which is pretty standard in other industries. He's also done some other posts on lighting breakdowns and how to plan short film shoots which I found useful. So he's good. There are some really awful channels out there that just flaunt this luxurious lifestyle that they just happen to be filming with the latest RED camera. They're gross.
  4. This is true, but it still requires a sizeable investment over time to buy new drives and media. I find things get cheaper, but sizes go up. The RAWLite out of the C200 is just about manageable to the moment, with 256GB getting you about 30 mins of record time. This is nicely broken down. I purchased a second hand (never used) C200 from a production house 2 years back for just over 5k euros which was a great deal at the time. So if you buy second hand you can easily get cheaper prices. I'm not entirely sure why you'd want the 1DXIII if you're doing both video and photo. It offers the extreme best of both world, but do many jobs really require you to be shooting 5K Raw and using a top of the line professional photo camera? I guess the middle broadcast codec is a great thing to have for some photojournalists out there and the more I think about it the more I think that's who will really end up buying and using this camera to its full ability. The rest of us probably specialise on one side or the other. Doing only video, once you have internal NDs and built in XLR audio it's very hard to go back.
  5. The specs are really nice, but 13 minutes or so on a 256GB card is crazy. It's nice to have the option and it's great there's a ton of codec options in there but that's a serious cinema camera bitrate for serious productions. Maybe it'll be used as a B or crash cam on some bigger productions. I'm not entirely sure who this is for to be honest. It's a couple more grand more expensive than the C200 I bought a couple of years ago. My hopes for a middle codec have completely disappeared, but I can't see myself seriously requiring more than the Canon RawLite format. Once you start shooting in these really nice, thick codecs it quickly shows up other areas of your production that could be improved like lenses, lighting and sound. I'd argue that if you have a camera that can shoot decent RAW and you like shooting with it, there will be no real reason to upgrade for a long time. It's going to be too big for a lot of shooters used to mirrorless, and it's too expensive to be used as a B cam. I'm currently using the BMPCC4K as my B cam and gimbal cam and it pairs really well with the C200. You would have to have a very particular use case to warrant splashing out on the 1DXIII as a B cam. Serious hybrid photographers maybe?
  6. This is true, but I'm a big fan of the Light Dome for documentary lighting. I use it a lot in corporate spaces, and it means I can change locations and really quickly and easily. I use a light wand as a hair light, and a small LED as a fill (if needed, I prefer to get as much contrast as possible usually).
  7. I'Ve always liked shooting with that lens. Wide open it produces a really filmic bloom while still retaining a lot of sharpness. Wish I lived Stateside, it's much more expensive in Europe.
  8. Gregormannschaft

    Lenses

    This is exactly what I was after, thanks so much. I actually found a good deal on the 50 1.4 and it has a lovely clean look from f2.4 and above, below the sharpness really takes a hit.
  9. Thinking about selling my A7SII and buying the 4K BMPCC. Does anyone have any experience with using this on a gimbal? Is it a hassle to balance? I currently run the A7SII as a B-CAM for my C200, but the slow mo quality is really getting to the point where it sticks out like a sore thumb. I run it nice and light with manual focus lenses on the Zhiyun Crane v2, so I'd be looking to upgrade both the camera and the gimbal.
  10. Gregormannschaft

    Lenses

    You're certainly right, but the level of fringing is a bit mad. Still, some of the footage looks great, will just avoid shooting wide open in the future.
  11. Gregormannschaft

    Lenses

    I was going to buy the Jupiter 9 a while back but decided against it. Now looking at getting a slightly cleaner set of lenses with a 35 1.4, 50 1.4 and 85 1.4 set of Contax Zeiss Planar. Anyone have any experience with these? I used the 85 1.4 ZE lens (which is said to be the same lens as the Contax 85mm rehoused in a modern body) recently on a shoot and was surprised at how much purple fringing there was wide open. Other than that it was nice and clean and relatively contrasty. Not a lot of vintage character but a nice lens.
  12. I'm editing CRM on a mid-2014 MBP (16GB ram, i7). I don't know about multi-cam, but I can edit the CRM files natively within FCPX without any LUTS applied. As soon as I apply any LUTS, or colour correction, the whole thing falls apart. It's not a massive issue though, just create proxy files and you should have no problem.
  13. We have a Wally Dolly at work that is an absolute breeze to setup, and can get you a solid 6-9ft of smooth movement. Might be worth looking into for rental, it’s relatively easy to transport.
  14. Haven't posted on here in ages but still lurk, just wanted to say you've done an amazing job kaylee. I don't really 'get' the story, but I'm all for films being mood pieces and trying to evoke a particular feeling rather than being as accessible as possible. I'll try not to repeat what others have said on the visuals, but I really really liked what you did with colour. The opening shots of the man on the bus, at work and then on the subway home were stunning. My favourite set of shots has to be the woman travelling on the bus which felt very cinematic. I liked the idea with the very dark shots and they'd probably look beautiful in a pitch black room, but I couldn't much on my monitor during the day. I like the idea though, did you underexpose these or did you push the levels down in post?
  15. The C300 Mark II image is certainly superior if you're comparing the C200's 8bit codec vs anything higher on the C300 Mark II. Colour graduation, noise, sharpness are all noticeably better from the C300 Mark II. I'd be curious how RawLite holds up in these tests though, I know Ed did a few test videos with it and I'd be interested in why it couldn't get close to the Alexa image.
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