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Liam

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  1. Like
    Liam reacted to Justin Bacle in AF 100 and Recorder PLUS ultimate low price 1080p/720p 3chip camcorders ?   
    I have an AF100 and like it a lot. It's my go to camera for events where I just need the most reliable camera with low recording media and battery needs. 
    You basically plug a Mic, an SD card and two batteries and you're good for an entire day of shooting.
    That said, the image can be great, but you have to be very careful with you exposure and white balance. The DR of this camera is around 10-11 stops, and the codec is weak. You can plug an Atomos samurai and get better recording codec though. But you won't get the possibility to do so much in post (you just get 4:2:2 All-I instead of 4:2:0 AVCHD). The image you get is a bit soft, but you can still add a good amount of sharpness in post without destroying the image.
    I got mine 2 years ago for 1300€ including a 7-14mm and 14-140mm. I think it is still a great all in one solution for the price, even to this day.
    Here is one of the videos I shot, in poor lighting conditions, for a night event with the AF100. I was using Minolta MD glass. 
     
  2. Like
    Liam reacted to John Brawley in Ursa vs. C500 vs. C300 for best cinematic image?   
    I often see this "low light" thing coming up with regards to Ursa 4.6K....
    Some of my favourite frames from the Ursa 4.6K, including some low light shots.  Most of the car interiors are lit available light with a single matchstick and some cyan outside on the windscreen.  These are frames I've take from dallies on a series called Queen Of The South. There are graded in CDL (no kets or secondaries) and no noise reduction.  I've also included some before and after frames of a scene in the first episode in the series where we ended up shooting well after sunset with no lighting.  Again, no NR.
    JB












    I would add, I own a 7q and a 7q+.
    I couldn’t think of anything worse as an operator than having to rely on an external recorder that you have to power and cable reliably. It will get in the way, especially for hand held. 
    JB
  3. Like
    Liam reacted to IronFilm in Help me choose a 12 bit 444 2K cam   
    If you have a decent grip plus lighting crew, then it hardly is any worse than shooting with an original RED One! :-P 
  4. Like
    Liam got a reaction from PannySVHS in Can we finally agree that 5D mk3 is the ultimate after so many years ? ..   
    So I guess you're right, Canon the Barbie. 5diii by a landslide. Maybe even the original 5d. Mods can kill the thread now
  5. Sad
    Liam got a reaction from jonpais in Can we finally agree that 5D mk3 is the ultimate after so many years ? ..   
    "We" as in you and your other two accounts?
  6. Like
    Liam got a reaction from noone in Can we finally agree that 5D mk3 is the ultimate after so many years ? ..   
    "We" as in you and your other two accounts?
  7. Like
    Liam got a reaction from hansel in Can we finally agree that 5D mk3 is the ultimate after so many years ? ..   
    "We" as in you and your other two accounts?
  8. Thanks
    Liam got a reaction from CanonTheBarbarian in Can we finally agree that 5D mk3 is the ultimate after so many years ? ..   
    So I guess you're right, Canon the Barbie. 5diii by a landslide. Maybe even the original 5d. Mods can kill the thread now
  9. Like
    Liam got a reaction from noone in Can we finally agree that 5D mk3 is the ultimate after so many years ? ..   
    So I guess you're right, Canon the Barbie. 5diii by a landslide. Maybe even the original 5d. Mods can kill the thread now
  10. Like
    Liam reacted to PannySVHS in Can we finally agree that 5D mk3 is the ultimate after so many years ? ..   
    i love my stuff!
    PANNYSVHS APPROVED

  11. Like
    Liam got a reaction from PannySVHS in AF 100 and Recorder PLUS ultimate low price 1080p/720p 3chip camcorders ?   
    @PannySVHS nice image! Probably too nice Again, I'm just thinking if it's the appeal of that ccd camcorder image being inherently nice, like a film stock - that's so cool because it's the opposite of what all current cameras are trying to do, look "perfect". And they all fall a little short. You might as well go all in and allow low resolution, aliasing, etc. maybe even recording to tapes for the fun of the workflow
    You're not falling short of perfection if THIS is your camera --
     
    But I understand your interest and can stop talking on this point since it's probably not helpful
  12. Like
    Liam reacted to ade towell in Can we finally agree that 5D mk3 is the ultimate after so many years ? ..   
    yawn - are you also user Satoshi who has just repeated the same fanboy talk on another thread....
  13. Like
    Liam reacted to fuzzynormal in AF 100 and Recorder PLUS ultimate low price 1080p/720p 3chip camcorders ?   
    If you want shallow DOF and a vintage look on stuff out of a cheap 3ccd, you can always just pick up an old Letus35 lens adapter.  Seriously.  Man, that'll take the edge off, give you nice motion cadence, and look cool doing it.  Goofy way to go, but it works.
    What you're alluding to is a real and interesting dilemma.  With even consumer cameras/lenses looking pristine and wonderful, and everyone has 'em, what does one do to differentiate --but still have something that looks nice?
    Personally, I absolutely want my IQ to have flaws.  It fits the sorts of stories I like to tell.  Ramshackle and shabby a little, but still well crafted. Slight chroma aberration on the edges of frame?  A smidge of ignetting?  Check and check.  I want the viewer to sense that what they're watching is not "normal."  Thank goodness for the legacy flaws of 24fps!
    Now, when I do corporate stuff, I slap on my OlyPro lenses @f4 and 60fps.  Otherwise, let's keep other stories in visual dream-land.
  14. Like
    Liam reacted to PannySVHS in AF 100 and Recorder PLUS ultimate low price 1080p/720p 3chip camcorders ?   
    Hey guys, I like the image out of the EX1, which is comparable to a GH2  when it comes to color fidelity and low light performance. That in combination with the super fun pro camcorder body with a nice zoom lens with rings for aperture, focus and zoom. It has NDs, great stabilization, great controls, stupid menu:) Very versatile, fun to use, nice image. And CCD magic, guys! That EX1 mojo with its triple CCD magic:)
    Now, finding a EX1 below 1000EU is not possible.  So I started looking for alternatives, which turned out to be either cheap with not convincing image or expensive with a nice image. Speaking of Sony PDW 200, the pimped EX1 here. So I figured, if there might be some HDV camcorder in the great body of an EX1.There are some like a Sony HVR Z5, which can even be used with an additional flash recorder instead of DV Tape. But image didnt convince me enough, too much aliasing going on. So I became to open this thread.
    Sony F3 is the ongoing darling of this forum and really tempting. Still not a cheap package with an external rekorder. AF100 has the image of a GH2 in a real camera body. For 500EU it would be tempting. So my question was, if it gives out a better image quality to a recorder, like intraframe 8bit 422. And if it was easy to rig up and use as a shoulder camera for longer shoots.
    FS700 with a Shogun is ridicilous in the sense that it is so small and light and that it puts out such a great image, but I don´t like the ergos and price is still prosumer region:)
    There was a thread about DVX100 mojo. I look for something like that with a much better image and without tapes, for an amateur auteur price:) I think the most compelling cameras I found in the 3chip category besides the legendary EX1 are Sony AX2000 and Panasonic AC90, the latter still around 1500, though. AX2000 for 500EU would be worth a look for me, it is still runnig for 800 plus. So there are no "cheap" 3CCD or 3CMOS EX1 style cameras. I wouldnt mind trying modern 1inch cams like the X70, but these guys are not cheap at all. That´s why I was looking for alternatives, that and some CCD magic. Though the AX2000 has 3 CMOS chips. But it writes to cards, has a nice and stabilized lens,  has NDs and puts out an appealing image.
    Hey Liam, Sony AX2000 might have some appeal:) So far my first pick.
     
     
  15. Like
    Liam got a reaction from PannySVHS in AF 100 and Recorder PLUS ultimate low price 1080p/720p 3chip camcorders ?   
    I'm definitely interested in some older 3 chip camcorders, but the appeal to me might include.. dv tapes, low resolution, some noise. If you want a great, high res, clean image, it might not be the way to go. That just seems like 2 different things to me. Are there other specific features that would make these ideal to you other than charm? They ARE movie cameras as opposed to photo cameras, with a whole different feel using it, so I can respect that of course
  16. Like
    Liam got a reaction from kaylee in How long should my episodic youtube series be?   
    ...?
     
  17. Like
    Liam reacted to Andrew Reid in Nikon D850 vs everything   
    Meanwhile, in the real world:




    (All full frame. Flat profile. Sharpness on zero)
  18. Like
    Liam reacted to kaylee in How long should my episodic youtube series be?   
    UPDATE: okay ive got it!! (that was a long bath)
    im basically gonna make a pilot, like 14 min long, divided into 3 parts, so theyre 4:56ish (under 5 min episodes)
    thereby acknowledging all the folks on this board and irl who have said "45 min?!? you might as well make a feature!!!" as well as peeps who have wisely stated "Keep the episodes short, thats what I watch"
    netflix, here i come~!
    p.s. been working on show themes. mind u this is spooky and supernatural. thinking about using this as a background track
     
  19. Like
    Liam reacted to Andrew Reid in Nikon D850 vs everything   
    Hard to argue with Slashcam's results but you will notice in 4K FX the horizontal resolution is very good indeed. This counts for a lot in the real world.
    This is not a moire camera. It may show some on a chart, yes. All do.
    I very much doubt it is line-skipping. The results would be much worse if it was.
    The difference in real-world resolution between the full frame FX mode and Super 35mm is tiny.
    The other advantages over Sony outweigh the difference in res anyway... better codec for starters.
    D850 FX 4K:

    5D Mark IV 1.7x crop 4K:

    You will see that the D850 actually out-resolves the 1:1 full pixel readout of the 1.7x crop 4K on the 5D Mark IV horizontally...
    And that the Canon 4K has worse moire issues... even without binning or line skipping.
    So whatever the D850 pixel binning is doing from 46MP down to 8MP for 4K it is doing it well enough as to not be noticeable in the real-world vs a 1:1 readout... Very impressive.
    Let's throw in the A7S II, 1D C and GH4 as well...
    1D C... Soft, and moire patterns especially horizontally....

    A7S II full frame 4K... Still moire. Oversharpened PP settings used though.

    GH4... Moire present again!

    These all look worse than the Nikon's 4K in this test and as we know, in the real world they offer some of the best images around.
    https://www.slashcam.de/4K-Kamera-Vergleich-u-show_von-i-49-u-mode-i-docompare.html
  20. Like
    Liam reacted to D.M.Weiss in EOSHD+SamsungNX1+SLRMagic=Feature Film Distribution   
    Distributor just got back to me. It is streaming for free to Prime members in US, UK, Canada, Australia, South Africa, New Zealand, Norway, Sweden and Finland. I hope this helps. Let me know if it isn't working tomorrow. 
    Cheers!
    David
     
  21. Like
    Liam reacted to Thomas Hill in How long should my episodic youtube series be?   
    It all depends on the story. Once you have it as tight as possible, is it a 30-40 minute story or is it a 15 minute story?
  22. Like
    Liam reacted to D.M.Weiss in EOSHD+SamsungNX1+SLRMagic=Feature Film Distribution   
    Hey Salim.
    Thank you! I will do my best to outline some of what I experienced. First off, I looked at making the film as my film school. I had done short doc work and commercial work before, but nothing as big and complex as this. We are fortunate in the middle of America that a lot of people love to be involved in filmmaking. We had a ton of volunteers, but we signed contracts with each of them offering everyone a piece of the pie, if the film made money. For me, it's really about creating enough revenue, so that I can keep making films and share with the people who help make it happen. When we first started we had many delays, we would shoot one weekend and then it was two weeks before we could get back together. Everyone had their regular jobs, so it took us about 6 months to complete the film. If I had any type of budget I would have everyone take off two weeks and we would knock it out, but I didn't have that option. The cameras were great, but I did have a few issues with the lenses and NX1 manual mode when I first started. We finally got it down properly and it was good to go. We only had a Arri 1K and Arri three light kit when we first started. I bought a ton of c-stands and 2 Digital juice Flag kits. That really helped control our lighting setups. Most of the lighting on actors is bounced light, which I love the most. I wish I had known more about actually directing talent. That was something I have studied ever since. Jason Levering and I co-directed and that was complicated as well, but we both adapted and kept pushing each other. 
    When it comes to festivals, I would say enter the festivals that you think the film will fit in the best. Have people watch it and have them give you their honest opinion. I had a fantastic editor give me some amazing insights and I ended up re-cutting part of the film. It's nothing personal and you have to look at it that way. We were fortunate to sign with Circus Roads Films who is a sales agent. They reviewed the movie and liked it. I would recommend them if you have a solid film. They took it out and got us a couple offers, but they didn't fit what we needed, so we went back to the festival circuit to build the film. Then we signed a deal with Indie Rights. They have a fantastic reputation with treating their filmmakers well, so we were happy to sign. There is never any guarantee on money. I think if you are going to make any kind of money you need someone taking your film to AFM and Cannes, which Indie Rights will do. They will sell the rights to different countries and that can be a nice revenue stream. On the other hand, if you have a massive following, it could be better to self distribute online. It just depends on the film and where you want to go with it. I hope this helps out. It is a little vague, because I have no idea how much money the film will actually generate. 
    Best!
    David
     
  23. Like
    Liam got a reaction from D.M.Weiss in Hey, documentary filmmakers! Editing tips?   
    To be clear, I'm kind of unintereted in actual documentaries. But some of my favorite fiction filmmakers have taken a lot of inspiration from them. I'll definitely mostly have to practice, but it's clearly an artform I could stand to learn more about from the pros.
    And thanks for all the input and resources so far
  24. Like
    Liam reacted to mercer in One Camera - For Life?   
    I am sooo tempted to buy an a7s for its amazing lowlight 1080p and then some external 4K ProRes. But it’s still a few hundred away from a must buy for me. When I can get a like new one for $1000 or less, I’m on it. 
    With that being said, I would stick with my 5D3, unless I could afford a C200 or an Alexa Mini. 
    I’ve also been really impressed with a lot of the LS300 footage I’ve been seeing lately. I’m just waiting for an indie film to use that camera. I can’t believe nobody has yet. A friend of mine sent me this link and it looks amazing...
     
  25. Like
    Liam reacted to D.M.Weiss in EOSHD+SamsungNX1+SLRMagic=Feature Film Distribution   
    Ok, so how does that all add up? Simple, I started reading Andrew's site a few years ago and learned everything I needed to know about the Samsung NX1 and SLR Magic Anamorphot 1.33x adapter. I decided to use them on our first feature film. After numerous film festivals and special events our film, Black Luck, signed an International distribution deal with Indie Rights. Yes, we probably would have done the film without this knowledge, but I'm not sure it would have had the same look or feel. The camera and adapter worked amazingly well and proved that a no budget indie thriller can still have a high production value. I can't thank Andrew enough for educating me and so many other filmmakers about the possibilities of shooting a feature film with these great tools.
    Cheers!
    David 
    P.S. If you want to check the film out, it just launched on Amazon Prime. Read the reviews as well. This isn't some masterpiece of cinema, but it is a satisfying movie created with passion. 

    https://www.amazon.com/Black-Luck-Garrett-Sheeks/dp/B0764KD2K8/ref=sr_1_2?s=instant-video&ie=UTF8&qid=1507185936&sr=1-2&keywords=indie+rights
     
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