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M Carter

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Everything posted by M Carter

  1. Thanks, it was a lot of fun though post really was a beat-down time wise. Still kinda torn about the Z6 or the Fuji X-T3 with its 60p/4K 10 bit and H265 bit rates, but my guess is I'll grab one by spring and still keep the Z6. Already having some Nikon glass made the Z attractive though, but if I keep getting music video bookings, the Fuji would really be handy for cleaner slowmo and efx shots. My next purchase will likely be the little native kit zoom in the Z mount, the 16-50 - looks like that would be a great gimbal lens with the camera set to APS-C.
  2. Thanks - it was shot 24p greenscreen, in my tiny studio space. I shot it 24 to synch the vocals, when we shot it I just had a rough visual idea and had done zero tests for style, in fact I didn't decide to posterize the time for a "stop-motion" ish look until I was well into it. I edited/delivered 1080, since I relied on slow mo for most of the girl's scenes. If I'd had more time, I would have worked more on the time effects to see if I could get a better sense of synching, but this went from "can you shoot a video??" to delivered in like 9 days, much of which was spent trying to find a model
  3. (OK, I could have shot this with about any 4K camera, but... it was a shit-ton of post...)
  4. Yeah, overall I'm pleased, but man, the simplicity of working with the NX1 will be MISSED. I'd go on about what the NX2 coulda been, but I'd just sound like a grumpy old man. And for 80% of what I do, it kicks ass, but I need to streamline my stuff and I worry about a 3 year old body (though it's functionally and aesthetically like-new at least). I did find how to set the shutter for video, so I'll get a wired remote for rigs. For me, the most kickass thing about the NX1? Stick it on a gimbal with that $150 kit zoom (16-50 OIS), turn on the AF, and just run around a factory or shoot a mus
  5. Well, I did it, NX gear will be up for sale before long. I've shot Nikon since the mid-90's (man, I still have film bodies with forscher Polaroid backs on 'em)... so felt like a good choice, and I'll likely dump the DSLRs when I get some time. But the NX1 as a video cam has been a fantastic camera for my work, commercial & nonprofit marketing stuff. Looks amazing with all my old and new Nikkors. I even shot it with 1960's Canon FL glass which was really pretty. Did a green screen shoot about 2 days after I got it - just enough time to figure out the menus and customize things up.
  6. M Carter

    Girls on film

    I'm assuming the negative comment was more about production? The OP video (to me) looked choppy, sort of TV-soap-opera-ey, lots of over-saturated shots; really "video" look, when these days it's gotten really easy to do something a little more "filmic", which would suit the scenics and people much better. Just my .02, really has nothing to do with the subject matter.
  7. While that lens is impressive, if I were doing editorial stills at an event like that, practicality would probably cause me to choose some sort of 70-200 2.8. the framing control of a solid zoom seems like I'd get more shots. I'd gran that 200 for fashion or editorial portraits every time though... And the NX1. Damn, 6 years on and it's still kickass. The tiny 16-50 kit zoom (not the bigger "S") makes for a monster gimbal rig with reliable AF. You can literally run around a location with that thing and nail 95% of your shots. I do find the 8 bit pretty limiting though, and the low-light p
  8. So you're saying you don't believe Nikon will release the battery grip they've announced for two of their full-frame pro bodies? Like, are battery grips that rare in the market for full-frame cameras? The Nikon MB-N10 battery pack for Nikon Z mirrorless cameras has been registered with the Korean Communications Commission, which suggests it will have some sort of wireless or Bluetooth connectivity (the registration is for communication-capable devices). Both Atomos and Nikon have announces ProRes raw from the Z cameras to the Ninja V. Talk is indeed cheap, but two major companies partneri
  9. All good news for the Z. By the time I'm ready to pull the trigger I should be able to rent one for a few days and try it out. I don't use grips for video but I do for stills; the Z grip is in production, Nikon says it will be a dual-battery grip - not sure what you're thinking?
  10. In decent light, it's really something - at least with the tiny 16-50 kit lens - I generally use it on the 16mm end so granted, it's not a lot of work for the AF, but still... shot a music video last week and I used the gimbal to basically do a dolly shot, but I RAN from 20 feet away, right up to the singer. Nx nailed focus the shot is just "WTF?!?!?" My main-squeeze Nikon lens for video is the huge old 28-70 2.8S which should work fine on the Z adapter (but it's too heavy for how I use the gimbal). I'll probably spring for the wide Z zoom as I don't have a really wide S lens. If I'm n
  11. So later this year, it's time to replace my NX1 with… what?? I do lots of industrial/business/medical stuff, talking heads in the office, then manufacturing or process in the big facility - a music vid every month or two. One-man-band. It's a great gig, I'm happy as a clam. The big NX1 game changer for me has been video AF on a gimbal. Never thought video AF would mean jack to me, but the NX1 with the cheap little OIS kit lens is the biggest game changer I've encountered in a decade of doing this. I can literally run around a factory and get killer shots. Clients think it's drone vid
  12. M Carter

    NX2 rumors

    Seeing how this thread is populated by many NX users... what's next when the gear begins to fail, gets damaged, etc? For me: 4k for 1080 delivery is a massive editing gamechanger for corporate interviews; the NX1 4K works fantastically for this use. Footage is very clean, and I've grabbed B-roll in factories and offices up to 2000iso; sometimes needs NR that high, sometimes is fine - 4k to 1080 often solves many noise issues. APS-C looks fantastic with my Nikkors and even antique 1960's Canon FL primes. Really dislike going smaller sensor. AF with the kit lens is pretty amazing
  13. Everything I own has a custom WB button - even Nikon DSLRs do, but it's a little bit hidden. Keep in mind that custom white balance is different than just setting a Kelvin color temp (orange-blue axis) - it also adjusts the tint axis (magenta-green) and is far more useful, though I tend to keep an old 82A filter handy and balance through that to push the look a bit warmer. You can use a scrap of 1/4 CTB as well.
  14. I think you need to think about how you're defining "video" for this discussion. Kids are sending video messages with vertical framing, they don't care about bitrate, color rendering, how far the footage can be pushed, frame rate, color depth, or what the actual resolution is. "Staying behind" for a phone is a completely different thing than "staying behind for a semi-pro stills product you also want professionals to be able to shoot video with". Both phones and prosumer stills cameras have added video on, but beyond that your comparison doesn't seem to have a thing to do with this discussion.
  15. Hey, I agree that people "demanding" Nikon release something like an NX1 or GH5 don't realize what a niche market they are. That said, I make my living in good part from corporate videos. Gigs in the range of $2-$5k. I shoot 90% of that stuff with the NX1 and Nikkor glass. If I have to catch some sort of live event stuff, I take a shoulder mount video camera. I read all of these new camera announcements, hoping something will come out the beats the NX1 or will be there when it finally dies. I don't care what an aging German TV guy says, I do work that clients love, they feel I overdeliver
  16. This. The NX1 showed what could be done. Yeah, it's flawed in some ways, but for a first time outing, it's one badass camera. I actually own a Nikon Super-8 camera. For the era and the media, it's pretty badass. Great mix of value and features. Nikon could easily do a sub-$2k cinema camera. Not holding my breath.
  17. Hell, just paying for RX5 is no fun...
  18. I'd say if you can get your hands on one, try an AT4053b. Pretty remarkable mic for the $$ ($599 new, they do show up used). They're a popular studio mic for some so there seems to be more of them around. Hyper, good rejection and natural rolloff off-axis, nice warm-full sound with some "sparkle" to the highs. Popular when sound guys suggest a first "pro" microphone. None of the handling issues you get with the Oktava.
  19. With the Dr 60D, it's either phantom or mic power. OST makes an XLR barrel-extension type thing that drops phantom to mic power for about $100. One of the big names (AT? Rode? Senn?) makes one but it's like $175; there's also an eBay seller from Britain that makes one for about $65 (bought one, works great). Need to make sure that what you get is wired for your mic though. I feel ya, if you're one-man it's tough to deal with wireless with confidence. I tend to skip it whenever possible, an XLR-to-lav power solution is a great thing to have. I like the idea of using that Tascam bel
  20. I've been on shoots with cheap wireless and lots of problems. Even the Sennheiser G3s can get the occasional interference. My personal rule is "wireless only if you absolutely need wireless". If you want a really high-end lav solution for mid-level bucks, get an OST lav (they have a tiny button lav you can hide in a tie knot, and two side-address omnis, one has a treble bump that's nice under clothes) and their XLR barrel converter that takes phantom power from your recorder and converts to mic power, so you can use your lavs direct-wired, powered, and all-balanced XLR from mic to r
  21. Man - so how does one synch in that case? The Canon sends just the video to the recorder. So you need an external recorder for audio. But the footage has no audio. So - time code? Clapper boards and prayer? Or can you record to the camera card as well, synch that, and then replace with the recorder footage? And is sending a 4-2-0 signal to a 4-2-2 recorder worth all that hassle (sure, it can record 4-2-2 but it ain't getting 4-2-2)? Can the average viewer even see a difference? Or is your goal to leave the set with ProRes ready to go? And I gotta agree, plugging a 1/8 mic into a DSLR
  22. HAs Nikon ever made a 28 that comes close to the AIS 2.8? That thing is a legend.
  23. I've got a feelworld (branded "SeeTec" but the same thing). I've used it once or twice (I shoot in Texas and it's been helpful outdoors). Used it for crane shots, stuck it on its own stand. It's worth about the $175 they ask for it. Distorted, wonky color, typical "wow, everything's in focus, I had no idea" peaking. You can do accurate work with it, but if you're used to a modern electronic EVF (Damn, the NX1's is awesome) or even a decent one (like on many video cameras) you'll have to wrap your brain around it and be sure of focus. All you guys wanting a thousand-nits-super-bright OLED
  24. I've been really pleased with the DR60D, original model. I've tested the hell out of it, a lot of my audio goes through pro tools and haven't been disappointed. I run a good mic into it (AT4053) and overall, getting really crisp and present, punchy dialogue. I'm not really a pixel-peeper of audio though, if it sounds good it sounds good. I've stuck in in an audio bag and had guys boom with it, no issues - it's not an awesome form factor but man, for the bucks, been really happy.
  25. I generally use a small monitor and for critical setups, I use the camera's LCD for framing and color, and use the montior at 1:1 with peaking on, and look for eyelashes/eye catchlights/pores/ to get best focus. Most people seem to have found that even if a recorder can do 422, if it's getting 420, the benefits aren't always worth the extra gear and cost and hassle. Metaphor alert: I can record a tiny AM radio into ProTools with an Apogee preamp and killer mic - it's still gonna sound like a tiny AM radio. The recorder isn't getting a raw signal, it's getting a visually-compressed feed that ha
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