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About matthewcelia

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  1. Tested this today (despite the bickering here) and found that I got 29m - hit record again, got 10 minutes more before the recording just stopped and the camera shut down. No data lost. But for live gigs that would like to shoot at 4k... this is a deal breaker. Really bummed out.
  2. I preordered it and plan on testing it against my A7s when it arrives. For me, I found the A7s to have a few too many gotchas. I found that when I rented a Shogun and went to film with it, it was so impractical because of the size. If I wanted a large set up camera, I'd get a URSA mini! I also didn't like how small the stills were. 5mpx in crop mode! I have a ton of amazing crop lenses that were rendered useless. Also, the lack of internal 4k and the need for a shoulder rig to stabilize all the time irked me. Despite it's amazing low light sensitivity, those small gotchas were annoying. Now if
  3. Hey baxterquinn - saw your post and it hit a nerve with me, mostly because I think everybody has gone through that depressions at some point or another. The idea that you "just make it" is film school bullshit fed to us in order to jack up tuition (although we do actually learn some stuff). Here's my short advice. 1. Keep making stuff. Something. Anything. Shoot it with your iPhone. But make it a story or a documentary. Challenge yourself to make a short 1 minute film every month about whatever. And then put it up on Facebook/youtube/etc whatever. Submit it to short film festivals with no ent
  4. I'm a big fan in FCPX of getting my skin tones to neutral by first cropping the image so i only have a swatch of skin showing. Then I open my vectorscope and adjust the color until it's close to the skin tone line (as mentioned above). I find this to be a good starting point and then I can start to work with the look. Overall, I think it's all about the tone you want to achieve and the color science behind it. Making sure your lights are high CRE makes it easier, for example. Try taking one of those pictures you posted above, shoot a test that's in similar lighting (the bathtub should be easy)
  5. Distribution has 0% to do with what kind of camera you shoot on. It's all about the story, target audience, cast, etc. Look at Tangerine: picked up for distribution by Magnolia pictures, shot completely on the iPhone 5s. You could shoot on the best camera in the world, with the best lighting, but if your story doesn't connect with an audience, you won't find distribution. Now, getting hired to film on the other hand, that's a different question. Producers always want to shoot the best quality they can afford that still works with the story, so being a DP with a 4k camera is probably a good ide
  6. Lenses hands down. Even getting a couple of Rokinon primes VASTLY improved the picture I got out of my T3i. Pretty incredible really. For picture profiles, I also used Vision Color with their LUTS and found the result to be very cinematic.
  7. Agree with Andrew. I have had no problems with skin tones on the A7s. In fact, I'm finding the footage incredibly beautiful and easy to work with. WAY better than my T3i was I think people just don't understand how to grade. Here is a hint: in FCPX there is a line in the vectorscope - this is your skin tone line. If you crop the image so only a piece of skin is showing, and move the highlight/midtone puck until the vectorscope is right on the line, then remove the crop and you've got a good starting point for your grade. Proper white balance, proper exposure help too.
  8. Brilliant app. Use it to circumvent my biggest gripe with my A7s, the filename reset every time I format the card. Using EditReady to wrap the files and batch rename them has made my workflow a ton better.
  9. Thanks jase. Shot all with a canon 70-200 2.8 is II with a commelite adaptor (which works great)
  10. Appreciate all the help I've gotten from this forum. Did some tests today on my day off with S-Log and really liked how I could grade it. If you have any questions let me know.
  11. lafilm, $2,500 vs. $350 is a very big difference. If it's the barrier between you making your film and not making your film, then put your money on stuff in front of the camera and not the body itself. I've shot loads with the T3i and think it looks pretty good. I did just upgrade to an A7s, but when you want to charge more for your work, you have to bring out the big boy tools. You can see my reel (all shot with a T3i) here: https://vimeo.com/115577741
  12. I wouldn't go so far as to say the Rebel cameras aren't fit for video. I think if you know what you are doing (and yes, use Magic Lantern) you can get a terrific image out of them. Even the upscaled video with a good color correction and sharp lenses (I use Rokinon) deliver pretty impressive results for the price. I shot a whole feature film on one that's been in several festivals. Heck, the surprise hit of Sundance was shot on an iPhone 5s. I don't think you should be concerned about whether it's true 1080p. All DSLR cameras, save a few of the highend ones like the A7s do some sort of line sk
  13. Yikes. Glad I went with the Commlite adaptor - and it was only $95 instead of $399. So far no issues.
  14. Anybody worth looking at FCPX should hit up the tutorials from Ripple Training. Not affiliated with those guys, but after editing with FCP7 for a decade, it took me only a day to get up to speed in FCPX after going through their training. Informative and worth it so you don't bang your head trying to do stuff "the old way". I found once you embraced the new way, it's hard to go back to a track based edit system.
  15. I do miss Batch Export in FCPX, but there are some work arounds. 1) You can try using a tool like Clip Exporter (http://www.clipexporter.com) 2) You can set up a custom destination and set it to be the default. This is helpful if you cut several projects (like a series of drum lessons I was doing) and you want to export 15 projects at once. You hit the keyboard shortcut, hit enter - repeat. Agreed, not as elegant. Then again I could point to things in any other NLE that's not elegant either. 3) Your workaround of using optimized media files is good. Optimized I believe is Prores 422. Be aware
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