Gregormannschaft

13 minutes ago, webrunner5 said:

You have to be making some good money, or be pretty serious to buy a C200 or a Eva1, FS7 mk II. If you want to make money I think you Have to have one, or rent them a lot. But things are changing so fast I would almost be afraid to get into a system anymore.  I think I would buy a used Arri Alexa for 8 grand than a new above camera if you make your money on Sticks. It is such a proven, beautiful output camera. But media cost for it are Yikes kind of money!

I think the average person on sticks will be happy enough with this new 4K BMPCC, and a Speedbooster. I guess how good the AF is on it will determine other uses.

I think it depends what work you're doing, really. @IronFilmand @zerocool22 conversation was quite interesting.

I'm at a point in time where I'm building up my portfolio and network to be working on jobs constantly, and I think investing in a camera like the C200 could be a good idea. Personally I feel you can tell the difference in quality between something like the C200 and a A7SII or a GH5. It's also a differentiator. So many people are 'grinding small businesses' and using GH5s and A7s which means investing in a C200 could certainly help secure some bigger, better paying work from clients who are looking for above average quality.

Naturally that also means better lighting, gimbals and sound. And, obviously, experierience comes into it. Just jumping from a Sony A7S to something like this without really getting to the point where you are getting the maximum you can from that kind of camera would be a bad idea.  For me though, I feel I'm at a point where moving up to a more dedicated video camera would actually help develop my skills.

I also don't really see the negatives with 'grinding small businesses'. I get that it's not as 'professional' as being on a set, as part of a bigger team, but there is an attractive element of it in that you often have a lot of control and often get to have a lot of input into the final tone and look of the video. Obviously, putting 'DoP' as your job title is a bit much, but I don't really buy into this idea that you must be doing narrative work or on a large set to truly be called a professional. 

9 minutes ago, Robert Collins said:

I've had the 24-105 for almost 6 months. Where it is particularly good for video is that the 'OIS' of the lens works very well with IBIS for handheld (particularly useful at the long end.) For some reason ibis alone doesnt seem to work as well for video (with Sony). So that is a plus relative to the 24-70 GM (not that I have tried it) which doesnt have OIS. After getting the 24-105 I sold my 24-70 Zony f4 which doesnt really compare.

I'm actually selling my rarely used Sony 24-105 after deciding to invest in a C200. If you're in Europe/Germany give me a shout. It's a great lens, but I want to up my game.

5 hours ago, jonpais said:

That must be it! Thanks.

 

The Cine gammas also tend to need a bit of correction work in post as well. Check out Andrew’s latest EOSHD color if you haven’t already, was hugely impressed with what he got from the A7III straight out of camera.

SLOG2 with Geoff’s GFILM is also one I’d highly recommend trying out for great colour and a decent amount of DR.

3 hours ago, TwoScoops said:

Besides the quick edits, cool location and amazing model help. Imagine it with a fat chick. ?

Digital Bolex on a shoulder rig would probably give a better version of what this is trying to be. 

Grow up

I'd also imagine you need a camera with as little rolling shutter as possible. It's a beautiful look.

Didn't realise he'd been banned. Miss his otherworldly charm.

1 minute ago, jonpais said:

I merely asked scotchtape if he was using original batteries. I don’t see why I should have to search through YT when I’ve already seen half a dozen reviews. What’s your point?

You seem to be picking fights with everyone since that debacle with someone calling you out rudely a few weeks back, that's all. I can't remember this place ever being as nasty as this and it becomes a slog to read through – it's not only you, though.

5 hours ago, jonpais said:

Thanks, I’ll pass.

Jon, maybe take some time out from the forum.

Unless there are performance related benefits to the Ronin S I'm not if an improvement in build quality is really all that exciting. What I'd switch for is better movement, I'd love for them to somehow move it away from the stiff, occasionally robotic movement of most 3-axis gimbals and introduce a little sway. If they manage to do that I'll switch.

8 hours ago, kidzrevil said:

@Gregormannschaft thank you ! Its a 1/8 black pro mist but it still came out kinda heavy ! I may give up shooting with diffusion filters for a while 

Don't. Own it, I love the look. Watched this earlier today and both the director and the DoP appear to be big fans of using diffusion wherever possible.

On 5/5/2018 at 3:20 AM, kidzrevil said:

Asahi Super Takumar 55mm f1.8 w/ Lens Turbo

 

Stellar stuff as always. Did you use a little more diffusion than usual?

On 27/04/2018 at 8:41 PM, Geoff CB said:

For those who are interested the Tamron 28-75 2.8 is now on preorder. $800 for a 28-75 in E-mount seems like a hell of a deal.

https://www.bhphotovideo.com/c/product/1393332-REG/tamron_a036_28_75mm_f_2_8_di_iii.html

I recently bought the Sony 24-105 f4, even though this looked interesting. The Sony is a really nice lens, very sharp for a 'travel' zoom with surprisingly nice, soft bokeh.

Need a bit of assistance from anyone who's used CC in Premiere at all.

I've almost completed a 15min doc, and I've perhaps stupidly decided to make the closed captions within Premiere - I wanted to do both closed and open captions. Only problem is now I want to move a section from the end to the middle, but changing the timing of the captions is a nightmare. I can cut the captions bar and move it around, which works when previewing, but the timing of the captions remains the same so it will be broken when feeding the srt file into Vimeo or Youtube.

Is there a solution I'm missing, or is it really this cumbersome?

13 minutes ago, Don Kotlos said:

@Gregormannschaft

There are 3 ways of getting this:

1. With a lens that has an internal or external servo. A couple of examples are the Sonys FE PZ 28-135 or the Sony E PZ 18-105. They are usually parfocal, but  a very good AF should work as well. The external servo lenses are expensive! 

2. Manual zooming potentially with a follow-focus mechanism attached to the zoom ring. It is not very easy to get the same smoothness as with the servo. 

3. Digital zoom. Sony has even a Clear image zoom function that you can get smoothly get with a cheap remote. With A7rII I could get a 2X magnification and you can do even more in post if you start from a 4K footage. Of course this will give you the worse IQ and the zoom range is limited, but it is the cheapest way to get smoothness. 

Cheers @Don Kotlos. Looks like option 1 would be the route to go down for my circumstances, I might try and rent one of those lenses out and have a play around.

Little lensologist advice needed. I've seen a few videos recently (and yet struggle to find those videos again) which feature some lovely smooth zoom ins to people's faces. I love this style and would love to try and replicate it. Any idea what I'd be looking at buying? Would it only be possible with a par-focal cine lens?

Let me know if my description is a little too vague. Basically, think wide shot, that quickly zooms into someones face, smoothly and in focus.

Re: everything above.

@jonpais For what it's worth, you may have to accept the occasional remark on the internet about a grey haired white man living in an Asian country posting videos of teen girls posing for the camera. The situation is so culturally and historically loaded, however unfair or inaccurate that may be for your individual situation.

@markr041 You're being immature. There's no need to label Jon 'sick', and I have no clue how anyone would be shocked (SHOCKED) at Jon's video. You're picking a fight and what you have said and directly insinuated is incredibly insulting towards Jon.

1 hour ago, salim said:

Hi @Robert Collins - thanks for input!  
Yes, I am addicted to high res. I often shoot multi-row panos with my Nikon D800e/D810 and prior to that with my Canon. I often (depending on the subject and how fast the light is changing) shoot between 100 megapixels to close to 1 gigapixels. So, I'm leaning towards the A7Riii. On fred miranda, I learned about Greentoe and some people told me they got their A7Riii for about $3-400 below MSRP. That makes the price differential not that bad, and I know I'll miss the 30-40 megapixels image size. I'm just waiting for a solid in depth side-by-side video autofocus comparison. The alternative is to buy both the A7riii and A7iii and shoot two camera at once for a short movie I am planning to shoot. This way I have a backup and get both to shoot the dialogues for both sides, etc. Only reason I do not want to do that, is I love the color from my Nikon and I'm just hoping the D850 sensor will end up in a mirrorless in a few months or even canon might do something out of character and release a really competitive 4k camera. 

I have a few of my panos here but I have a ton that I need to gradually upload, https://www.eyeem.com/u/photojournalist

 

Thanks, again!!!

Terrific shots in there. How do you find EyeEm? I have a few friends who work there and even their smartphone pics seem to sell.

Hands up to doing this as well, although I've always been happy with my end results. How would one convert to the correct colour space in Premiere or FCPX? 

8 minutes ago, Don Kotlos said:

Other than the imminent release of A7sIII ? 

Joking aside, it seems the only real downside is the excessive noise reduction at higher ISOs with gammas different than slog as illustrated in the video that @Simon Young posted. 

Other than that I believe you will be very satisfied. 

Crazy move to make, feel like I'd be silly not to sell before the average Joe realises just how good the A73 is.

Thinking about selling my A7S2 for this. I'd get around 1700€, which means I'd be spending around 500€ for a whole host of improvements. Are there any major downsides to doing this?

Bloody hell, guys. There's plenty of other posts like these from other organisation with similar offers of work. Up to the individual to weigh up whether they want to do it based on the exposure, experience and their situation.  No need to label them old hags. 

Entries closed. Is there even a single active female poster on this forum?!

On 2/25/2018 at 4:11 AM, DaveAltizer said:

This was such a simple shoot, but the story really just fell into place and came together. This is a little piece on my Great Uncle that I shot several years ago on my 7D and a 24mm L Prime lens. This video changed my career...

 

I remember watching this back when it was a fresh staff pick, absolutely love the end scene with the digital slate. Nothing better than a really well made short doc. So much great stuff in here.

17 hours ago, Danilo Del Tufo said:

Sorry for that, this was my third test with Rawlight, colors look more nice than my previous tests. I've used Magic Bullet looks and it added some sharpening, but I believe it still looks natural. Believe me, without this MB preset it looked more ugly, it was necessary I think. Did you see my first and second tests too, they are overexposed than this one.

I personally think the sharpening went a little too far. But as mercer said, keep experimenting and sharing your results. Personally I'm a fan of footage that's creamy and soft and a little bit dreamy. Colours look very nice, though. I'd love to grab a C200 but it would be the extra costs associated (new editing rig, storage media, gimbal) that would make it all a little too expensive.

On 13/04/2018 at 9:28 PM, Danilo Del Tufo said:

EOS C200: Third Test - Available Light - codec Rawlight - lens canon 50mm 1.4 - ISO 800 - ND 6.

 

Nice. Maybe add a little more sharpening?

2 minutes ago, kye said:

I'm arguing that having a camera with higher DR is worthwhile and the answer isn't always to just work around the limitations of your camera.

I've been around enough narrative, documentary, ENG and other types of shooting to realise that what I'm trying to do is at the pointy-end of making the best of situations you may have almost no control over.

Most of the time on here I'll talk about something valuable to me and someone will say that I don't need it and all I have to do is change something I don't have control over but they assume everyone does.

I get where you're coming from, and no one can argue against having more DR to play with, zero rolling shutter and beautiful colours...but, to play devil's advocate, no one is going to look at slightly blown out highlights in an otherwise important scene for a doc or ENG piece and say, 'Ah shame, this would have been much more effective with those highlights and more shadow detail'. Nice to have, but not critical.