hansel

Hey Andrew,

sorry if you know this already. Not sure if there are any "i" buttons on the d850? On my d750 there is one on the right side of the cam which lets you toggle screen overlays in live view. This lets you remove (pretty much) any overlay but the red rectangle. The other "i" button on the left lets you open a sub menu to change different things, including framerate, while in live view....

Does this work on the d850?

Best.

1 hour ago, Liam said:

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

Ok, then just over shoot everything, keep the camera running between takes and do the tripping cameraman ducking for cover thing.

It is mindblowing how many external pages/cookies/skripts are loaded on many many websites. I am using uMatrix, I am sure there are many other browser add-ons like that, which show how many pages/cookies/scripts are loaded and from which sites.

This Eoshd thread is trying to load (three external scripts and two external css sheets):

www.eoshd.com

fonts.googleapis.com

gstatic.com

fonts.gstatic.com

redditmedia.com

embed.redditmedia.com

google-analytics.com

viglink.com

cdn.viglink.com

Not saying there is something wrong with it. Just saying, to know is to care. Load the german news paper Die Zeit and be spooked on how many third party sites are having their fingers in there.

Secondly, yes the internet is fucked.

I think @Andrew Reid is looking at it from a real world 'perspective'. You are all probably right but apllied this means that you shoot with a 24mm lens 3m away from the subject and then crop in later to gain the same perspective/framing as you would be shooting with a 85mm from the same distance? This sounds like a stupid idea just to proof the point of "same perspective". Also the idea of shooting with a 2x crop chip and use a F0.6 to blur out the background. Are there lenses with an fstop like that? So my question would be:

Can you copy the same shot/framing/perspective and DOF with medium format and lens of 50mm F2.8 wide open compareable on an MFT camera without speedbooster and croping, etc.? I mean physically what lens would you shoot with that really exist? I can't do the math really but wouldn't this be in need of something roughly around 25mm F0.7?

1 hour ago, Tim Sewell said:

11. The long term benefits of sunscreen have been proved by scientists

For that creamy dreamy look, I love it :D also keeps the focusring lubricated when manically racking.

It is better to get your stuff in front of ten right people that in front of 10.000 lurkers on Instagram. No one gives a damn what you publish on Vimeo, etc... unless you can make it seen. For this you need some kind of credible release plattform (film festival, fashion show, exhibition, features etc.... Collaborations with other circles work for us pretty well to get new people recognise what we are doing....

I shoot the Heliopan Vario ND for 4 years and it was working very well.

The only other tip I have is get the biggest filter you can e.g. 77mm. You can always step up to the filter but step down you can't!

24 minutes ago, Phil A said:

Because you don't want no blurry pictures shot with a shutter speed of 1/50?

There will be frame variable shutter speeds or some other trick and of coure sharpness and aperature is freely selectable in post...:o

I think there are two major points that might keep Nikon alive for like the next 30 years or so. Firstly, It is not just the Camera that has the latest whoohaaa, it is also Lenses. People buy into systems. An example, a guy that started photography at end of the 90ies might still have Nikon film stuff lots of lenses and is to live the earth for probably about another 25years. Someone who thinks of himself as an amateur photographer has a fair amount of income at the end of his life will probably just buy what Nikon thows at him OR switch to a Sony compact and get rid of all the old gear :D if he can not be bothered anymore...

5 hours ago, Kisaha said:

All the rest of your philology isn't relevant to anything really, because I have those for some years and I am still doing my job and hobby, while for all the Nikon's 100 years, there isn't one camera that I can do the same. Deny a reality doesn't make it a non-reality, it makes you live in denial.

Lack of video capabilities do not help being competitive in 2017 where billion of minutes are been uploaded every day. In the near future people will be choosing their "photos" from their videos.

Secondly, there is the argument which Andrew brought to the table with his 1dxII. Got a camera will shot, done aka. shut up and shoot aka. what is good enough? GAS is just not getting you any good pictures, knowing your gear does though. This competitivenes argument is kind of used. Yes, it would be great if Canon and Nikon would have a FF dslr/mirrowless with 120fps in 4k with IBIS, RAW editable in body, straight up to YouPorn..... on the other hand I really don't care....

On the otherhand I do agree that Nikon hast to pull the finger out and f...ing get going with DEVELOPING a vision of what their future cameras shold do and then kind of execute on that....

Yeah, same. If the follow up of d750/500 has got fullframe 4k and 120p I am done. If I would ever shoot some proper (meaning not web based) commercial stuff I can rent a real camera. I thought NX1 would be great but a waste of money for being a dead system. Then Sonya 6300, well. Andrew is right,  just get that 1dxII and a couple of lenses and done, no need to fool around with crop nonsense. My 30 year old nikkors can pop on my F2, F100 and d750 that makes it pretty easy going for what I need....Not that I like Nikon but it does the job ok for fools like me. And I just sold old Glass with a fair markup, Not sure if e.g. Sony stuff will have the same value down the line.....

Hey,

I hope you don't cruzify me for trolling but I am spending my time at a fair at the moment and there are video crews shooting all the time at our stand and it is quite interesting to see what they are shooting with and how.

All the standarts have been here but I just wanted to share this one that blew me away...

Flatpack all-in-one video rig. There is a mic plugged in which a lady is holding interviewing the bearded gentleman, LED light on top and mic holder, too.

sorry for the poor photo quality

@dahlfors @Kurtisso @Mathias Burling.... Sorry guys but you got me a bit excited. Is it as easy as 40 bucks for 100ft b&w 16mm reversal film, home develop and then project or scan it? Can I pop a Speedbooster on C-Mount......AAAhhh, so many questions maybe you can point me towards a good forum?

Best

Are some of you guys still shooting film? I have recently started to shoot analog stills again after a 10 years abstinence or so and I have to say I am blown away how awesome the stuff is looking adding to this the  darkroom experience. Makes me want to get a 16mm camera or something altough I would feel slightly cuckoo....

1 hour ago, Nikkor said:

The 85 1.4 D doesn't feel solid. The G and D render differently, I prefer the G.

I haven't had the 1.4D in hands but other full metal AF-D's like the 20-35 2.8 are filthy tanks compared to the plastic shells of the cheaper D versions. Yes I really liked the 1.8G I tested, too

Is anybody shooting with a Nikkor 85mm. Coming from a crop camera I had shot a 50mm 1.4 Canon pretty much straight for 4 years. Recently had the chance to use a 85mm 1.8G on my d750. After the first 5 min I knew what I have been missing the last 8 month or so after my upgrade. The way this slight tele frames when sitting with people oh I just love it.

Maybe somebody has some first hand knowledge on some of the 85's of Nikon. As I am not so font of plastic I am levitating towards the 85mm 1.4D because it will probaly last me a lifetime and AF is something I need in day to day photo stuff. I have a new G lens and its great but I don't trust it a bit longevity wise...

Am also with Andrew on this one. It is simple, you don't critique your business partner (in a bad way) in public. You would not tell a director his movie is shit while you still expect to keep working for the movie. Either you shout your mouth and take the money or stand up for your opinion.

I prefer this site stays open and opininated as is. There will always be people doing whatever they are passionate about and there will always be people thinking they are in need of selling out.

I think unless you aren't gaining anything from the shoot, expertise, prestige or money wise, get out.

In general it makes sense to set up a proper contract that identifies the stages of work. Prep, shoot, edit, rental costs, travel, etc. Allocate time to the individual stages/ deliverables. Have a rough time/money estimate in the end to get signed off before starting to work. If you can't calculate time it takes, work over weeks or month ----> hourly/daily/weekly rate or combo.

Two important things to state in the contract is time range in when this Is due to happen and that individual stages are dependent on clients support and info. Examples are if the thing drags on. Tell them time is running out. And refer them to your high hourly rate after date x. If they don't deliver things, you can't edit e.g. music, text. Refer them to the hourly rate, get last stages paid and if necessary time wise get out.

If you are working with someone awesome and you can learn, be generous but don't let your self be exploited.

Hey,

if you are into or looking for classical music I find this is pretty nice. https://musopen.org/music/
If you open an account you can download most of it with a clear CC logo stating what you can do with it. Most of of it is public domain anyway. jippy

4 hours ago, mercer said:

Which Nikon camera do you have?

I have the d750 for about 7 month now (better late then never). Two days ago I got a F2 as a backup body ;o ---> snatched it of the internetz for a good price and lots of accessorries.

I bought the d750 with the 24-120 f4 kit lens. The lens is quite nice. I got it mainly for its range and VR but I have it out on sale right now. I feel like I am not using it enough. It vignetts quite a lot and on the last shoot I put it on after one of the primes and it looked like it was almost 2 stops darker than my fiddy at F4. I don't know math but I felt kind of weird about it.

Once it is gone I might slowly go a bit more up market with my manual primes. I have enough of electronic crap that fails and becomes worthless ---> I go AF-D and AI-S it's enough for my little world. In 30 years I'll pop my AI-S on my F2 or what ever camera and it will most likely do. Also the price will be relativley stable for them.

Dear @mercer,

I pretty much only shoot with AIS lenses. I don't have any expensive cinelenses but handling the "ice" gives me uncontrolable hard-ons, if not to say they are rather pleasing my tactile sense. I never had a problem metering them. If I am out and about I pretty much only use auto ISO. But maybe you are using different metering mode than I do....

I agree with @dahlfors.

The d750 was my first Nikon and I do have Issues with the usability still after 6 Month that upset my workflow pretty much every time. Also I find it rather clanky... flip out flash and mode dial are looking/feeling quite fragile to me. Been on crop before, I would/should have waited for the d500 as it is a different league quality wise. Saying that, now that I have tasted the full frame, it feels quite nice to have a bigger sensor/lenses going with it, and I would probably not go back to a crop...

...unless it is stuffed with "proper" video features...120fps, peaking, some kind of AF support etc....don't care for 4k atm, my phone has got more processing power than my computer.

2 hours ago, TheRenaissanceMan said:

Also, I almost forgot China Balls! Insanely cheap, but used in all kinds of production from two guys in their dorm room to Roger freaking Deakins. Pop an incandecent bulb, flourescent, or even a rolled-up LED strip inside and you've got a soft, even light that's easy to rig where you need it.

Ha, China Balls, brilliant idea!

5 minutes ago, Dan Wake said:

thanks for advice. have you tryed to add a dimmer to them? and another cool thig could be to use the technique of the bouncing light using for example e white bed sheet (info grabbed from roger deakins forum).

what do you think about doing white balance with those lights is it ok?

No never tried to dim them. I have been bouncing and softboxing them though, works ok. I think whitebalance can be trouble but it really depends what you are shooting and what other light sources there are...

Hey Dan,

I have been trying to light things with cheap tungsten for the last few years and I think it really depends on what you are trying to do with them. They do the job very well for their price but also can be a pain in the ass to work with for instance if you want to get even exposure over an area. They get hot and in a small studio you will get hot, too.

I got the Dedos last night. A lady got them for a theater production and had them laying around for quite a while untill she decided to put them online for sale. I had a good fiddle with the set and the way they work beam/flood and light fall or lack thereof made me getting them. Thanks again!