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August McCue

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Posts posted by August McCue

  1. On 6/21/2016 at 7:05 AM, tupp said:

    A Panasonic rep at the recent Cinegear insisted to me that the G7 HDMI output was 8 bit, 4:2:0.  However, the Ninja Assassin probably records that signal at 10 bit, 4:2:2 Prores.

    So it's not true 10 bit, 4:2:2 Right? Or am I missing something? I'v read that what you out put is all you can get so nothing will be enhanced by a recorder. I would LOVE to be wrong here btw.

  2.  

    1 hour ago, j.f.r. said:

    C100 Mark II and forget all of the other lower cost photo cameras.......

     

    It's a professional known tool where Canon has done all of the marketing for you. Sure an NX1 and GH4 (similar) can put out a nice image for the price, but realistically especially when forming a business you should definitely be as good or better than the current industry in gear, production, cost, total package, etc.

     

    Also owning a C100 will allow you to do other more professional jobs by marketing to an entire different set of clientele. Commercials, Documentaries and of course like you mentioned Weddings.

    I think at that price I'd be leaning toward a URSA 4.6k since the Mark II but I get what you're saying!

    Here's my question. Do you think owning a camera like that will really open you up to getting more clients? I love the thought of that and it makes some sense but I live in LA and most people I know get brought on and just rent what they need. I'm building to that point myself but I know of a cinematographer who seems to be working a ton and he said he's done buying cameras and just renting whatever he needs per shoot. So my question is are there commercial shoots that are looking for a DP with a camera? And would that spark more work?

    I mean I LOVE the idea of buying the camera I want and that also benefiting my business it's win win. But also I don't want to blow money when it's not going to spark much business.

    2 hours ago, TheRenaissanceMan said:

    I think the Personal-View links let you buy cameras that specifically have their record limits removed.

    The GX85 also lacks the 30-minute limit. 

    I'v never heard of Personal View. This is Interesting! Do they use a hack like magic lantern?

  3. Yeah man, I agree. Sounds exactly like what I'v been doing just got some new lights and grip gear myself. I really didn't want to spend money on the camera thats why I posted this to try and find a decent option for those kinda gigs but nothing more and the GH3 maybe a 4 sounds like a great option for what I need. I am at the point where I just want to rent out for projects that I need better cameras for. That is until I can save up for a Ursa 4.6k!

  4. Great suggestions, thanks!

    Yeah I was thinking if I spend the extra money on a C100 I could use it for film work but I'm not sure yet if I like the image more than my NX1. Besides it's dynamic range and low light. That Sony is interesting but it hurts me to spend that kinda money on something that I wouldnt really use for narrative work which is my real passion.

  5. I'v been growing my wedding videography business and now am offering a new package that will require a camera without a recording limit for a entire ceremony. I already own a NX1 that I float around with and LOVE but I need a second camera. I'm not super familiar with the camcorder world or ever know if that would be a good option to think about. If I had it for narrative filmmaking too that would be great but I'm pretty happy with the NX1 now so the main focus is an affordable cheap option. I'm assuming the GH4 would be the best option for me but would love to get opinions. Also I'm not interested in using magic lantern on a T2i or anything hacked like that.

     

     

  6. 8 hours ago, Omer Sehayek said:

    guys I am not such a newbie....I do it for living....i know about shutter speeds and WB. I do not know why I keep getting strobes but I know it's something only my NX-1 suffer from.....I get the strobe issue in any wedding I have done since I got the camera. It sometimes happens with certain street light....I mainly use it on the best quality with 25P shutter speed 50 (which give me the best results). going to any other frame rate and shutter speed will make strobing worse. I have noticed that 25P on HD give less strobe then 25P on 4k for some reason....but doesn't mind what I do I get a strobe you can see!!  Same place, I take my 5D or other canon camera.....no strobe at all with the same frame rate and shutter speed so it's something with the NX-1 system.   Knowing they got the issues with the WB make me wonder if it another problem with the camera.....it's kind of a bummer I didn't know about it before buying it....

    I don't know what your ISO is in those situations but I have noticed the Horizontal effect when I push the ISO in a low light setting with florescent light. But when I'm not pushing the ISO I don't see the issue arise. This camera is really weird at high ISO imo. 

  7. Dude so happy you started this thread.

    I'm getting my first lighting kit started and have been researching Aputure's light. So glad that I'm hearing good things about the quality of their lights. Good CRI, good output, LED, at that price seemed too good to be true at first. Anyways... Any suggestions on building my first official lighting package? Really want something that would cover most basic lighting situations.

  8. I just notice some horizontal line artifacts in the blown highlights and the deep shadows of my footage. When I check out the original H.265 file it's not there but when it's playing in premiere I notice little horizontal lines in those areas. It's shot in 120fps.

    I'm transcoding in rockmoutain to prores lt, square pixel, 1920 x 1080, shutter speed is 250. Am I missing something or is this an issue when in 120fps x 1080 shutter on the NX1?

     

  9. 13 minutes ago, Mattias Burling said:

    Made one of these today.
    It really is a compact little Raw Cinema Camera that also works as a great stills camera.

     

    Do you ever lose shots with the Magic Lantern? If you have a low budget but important shoot could it be risky to choose to shoot with Magic Lantern on this guy?

  10. 22 minutes ago, fuzzynormal said:

    I'm on a film festival committee.  Trust me when I say almost all indy movies look really good these days.  IQ looks on par with just about anything.  Even work that has limited dynamic range still looks pretty impressive.

    As for all the other stuff that's actually more important in making a narrative film... well, not so much.

    So, if you think what camera you're shooting with is what's holding you back.  IMHO, you're wrong.  So, you pick up and use what you're going to pick up and use.  That's it.  Stop thinking about the limitations of it.  You made the choice, move on.  Now, make smart lighting decisions.  Get a good audio guy (for god's sake please do this), concentrate on telling a good story, and find some actors that can actually do so.

    Trust me, no one's going to give two shit(es) if you're dynamic range in 10 stops or 13.  Your skin tone looks a little goofy?  Oh well, I forgive you if you're showing me some interesting characters on screen.

    But I want a camera that is going to make me look better than Spielberg and a Degree that's going to promise me a Avatar sized budget when I graduate! Kidding... Absolutely agree and I appreciate your sharing your thoughts man. Story is king and there are way more important things that go into making a film. I'v even seen great stuff from the T2i. The heart of this thread isn't  "Hey what gear is going to make me look pro." Because let's be real that doesn't work and even great cameras looks like crap in the wrong hands, this thread is coming from more of the heart of "Hey I'm a independent filmmaker and this worked for me" "I tried that and I got burned, stay away" or whatever it is even random stuff like "Hey I got a 3 man crew for a shoot in the middle of no where and need a dolly, whats portable and affordable". I find getting a little help from others or hearing their thoughts can be important and EOSHD is my favorite place to get info and hear other people out.

    Oh yeah, and I love the NX1 gonna hold on to that bad boy for along time until it crashes and burns but h.265 transcoding takes awhile with my set up when I'm in the field and I would love to do some on set editing quickly during down time to see what we're getting. I'm in a place financially where I could scoop something else so just checking out my options :) 

    Maybe there is no point to this thread and it won't stick, but I thought it would be cool to have something with the focus on Narrative filmmaking without tons of searching the forum.

  11. Don't get me wrong, I shoot weddings and I do lot of personal non narrative stuff but the reason I first ever picked up a camera was because of my passion for Narrative work. I believe we have hit a time for narrative filmmakers where there shouldn't anything be holding us back from making a professional looking film with a sub 4,000 budget for gear. I'd love to see this thread stick around for the Narrative filmmakers who don't got the mulah for alexa and c300 ii rentals for each project. BOOM!

    I'll kick it off. I'm looking at something that can give me a killer 1080p final product, have the option to watch the dailys without transcoding h.265 or a tough codec (sorry NX1 I will still love you and will keep you around), gradable image, color. I'm looking at scooping up a BMCC 2.5k, D750, c100, Ursa Mini, maybe even an LS300 once I see more.. I obviously won't scoop up anything until NAB is wrapped up but I'm not expecting much honestly that are going to change the game in this range (hope I'm wrong). Once again strictly narrative work, not dirt bikes, or weddings.

  12. On 11/21/2015 at 5:04 AM, Andrew Reid said:

    And you think the camera is the problem?

    There are two approaches you can use

    If you don't plan to grade the image and just want great colour out of the box stick it on 0-255, normal picture profile, avoid raising the black levels or using gamma DR. Don't forget to remap 0-255 to 16-235 in post to get rid of the harsh clip to highlights and crushed black details.

    Or you can raise the black levels and use gamma DR then grade it, do all sorts... To say quality decreases is not correct. You can apply a range of very artistic looks to the flatter output.

    I read in your guide that you suggest not touching the black level but I see here you mention raising them when using gamma DR. Was this a new discovery you had after the guide? I'v been wondering because I see a lot of people in here messing with the black levels and some are getting decent results.

  13. On 3/26/2016 at 0:21 AM, Mattias Burling said:

    Ive used the eos-m, 5dii and 5diii. It gets better the more you spend basically.

    Imo the 5diii is worth it. They arent to bad on the used market and you get an awesome raw shooter with no moire.

    I'v seen that Andrew, on his quality charts, groups the mark ii and mark iii together. Besides the grain the mark ii creates in camera that he talks about and the iso performance is there much of a gap between the too if any?

  14. Here are some other people talking about it on the Forum. Iv noticed the same thing as well when I scroll through the custom WB trying to dial in my kelvin. And like Kidzrevil said, I'v noticed a jump from green to magenta when in mixed lighting. Someone suggested using the preset white balances as a work around but I haven't test it. I like dialing in my exact look so it's kinda a bummer if it is true.

  15. Favortie lenses for the NX1. GO!

     

    The eoshd start up guide was crazy helpful for getting me started up on the NX1 when I switched over and now I'm starting to wonder what other glass people are enjoying and which glass is a must have.

  16. 1 hour ago, Mattias Burling said:

    Checkout my review of it. The ND is actually sharper and better than my top notch Genus Eclipse. Its an insanely good deal.

     

    I say its the best idea ever. And thats why the C100, C300 and all the ENG cameras I ever used are such great tools :)
    Also Fotodiox said this,

    "That problem comes up when you mount a variable ND on a wide lens. Let's say 24mm (sometimes even just 35mm!). The optics just don't work, and you get that cross-shaped defect. With the ND Throttle, you put the variable ND behind the lens, and so the effect works every time. You can now shoot variable ND with pretty much any lens in your collection."

    And I agree, no X and there are hard stops for the safe zones. 

    When this adapter is on the lowest setting does it still apply some level of ND? Or is it completely clear?

    You're videos are a huge help dude!

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