CanonTheBarbarian

15 minutes ago, noone said:

It isn't a Metal band because I have not shot one of those for around three years but geez I would have loved to have an A7s when I did.

no one- I dont want to be to hard on you coz you delivered, but boy,,, if you think this is a good high iso image... good sum bad news son.. blue channel is clipped no?, you shot this with Canon 24TS? really just get CONTAX 28mm f2 hollywood, take just that lens and work on your framing and composition.... 

but good man for delivering

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thanks for sharing this, will use and report back

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36 minutes ago, pablogrollan said:

In this case I have to disagree... Not only is Spain the fastest growing economy in the EU -after a long and hard economic downturn- but also not every field is the same in every country. Filmmaking/advertising is big and with high rates in certain "not-so-developed" countries; for example, Czech Republic is full of qualified professionals working in international productions making a lot more than the average salary. In some countries, being a small producer or cameraman is a well paid job and in others not so much...

Here -Spain- 1000€ does not get you an experienced DP with Amira, lights, etc. Here, 1200€ gets you a nice DP -not top nor novice- without any gear, and hiring such a DP "mandatorily" involves renting a high end camera, lenses, lights and at least a couple of grips... Spain is not a super booming market in terms of filmmaking such as the UK or France, but it is ahead of most European countries and so are the rates -even if the median salary is lower-.

I'd never work for free unless the project really meant advancing in my career -and when you find such a project, normally it is well budgeted and everyone gets paid-; unpaid work spoils a certain type of client -the scum of the earth- who actually believe they can get that stuff for free. Once you have a portfolio, they are not going to pay you, either; they will keep offering you to work for free and if you decline they will look for someone younger/less experienced/probably worse that will agree to do it for free. In my experience those clients do not appreciate what you do and don't take you seriously. It doesn't matter if you are 21 and inexperienced, you should get paid according to your skills and what you bring to the table; after all your video is going to help them make a profit in some way. Really, if at least they had offered a 100€ flat rate per job they would've shown respect. If you can't afford it, don't buy it; just like you don't try to buy a Red Weapon and offer 500 € you should not conceive hiring somenone for free.

The fact that there are "specialists from the 90's" competing in the same market with kids form bad private media schools -which is true- just broadens that market. Not so long ago a commercial or a corporate video was something that only medium sized or large companies could afford. It was hard to make a corporate video for less than 7000-8000 € and a commercial was minimum triple that amount. Now there are many more products accessible to more companies with faster production and adjusted to the needs of each client. That doesn't mean there's no room for the novice -quite the opposite-, and there are "salary slots" depending on the job, but "for free" should never be one. Here 500 € for a job is not much, it could be an acceptable rate for somenone starting out -keep in mind that every job requires pre-production and post-production-, especially because it is very unlikely that you work every day and you'll have to survive on a couple jobs a month in the beginning.

very very good advice, never work for free. pablogrollan - are you living in spain?, I didnt know that there is such jooouicy market for filmmaking, is it more Madrid or Barcelona ? maybe it's time to move south 

thanks for good advice, 

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7 minutes ago, Gregormannschaft said:

Yeah so apparently this new camera was a new camcorder of interest to absolutely no-one. Sorry. SonyAlphaRumours still maintains that the A7SIII is coming very soon, but all those who said these rumor websites are probably garbage are right.

Also you can get really great colours out of the Sony A7SII very easily. I thought this was well known by now. 

great colors from Sony A7 series ? u wat mate???? f35, f55 sure but everything else is a fiasco - including  fs5 fs7 f700 oh boy, Master Andrew did great job with his colors for sony cams, but they are what they are, perhaps good for zombie movie or BW...

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1 hour ago, Juxx989 said:

 

i hope you subscribe bro, thanks for sharing

for your time...

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37 minutes ago, Shirozina said:

I just bought the 21mm Zeiss and paid for it by selling my A7s and 28mm Zeiss - thanks for the great advice!

fuarrrk, dats nice one bro contax 21mm is the best  still zeiss ever made srs , u got sum good price for a7s coz I think it's hard to sell for more than 500e used

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45 minutes ago, noone said:

I am still playing cos I am still just passing the time but I wonder which of the regulars "you" are?

Oh and samples showing how that 28mm lens (or is it 21 now?) replaces those other lenses since I need to learn.

My apologies for suggesting you ask your mum.

Maybe it should be your treating Physician?

still waiting for that 6 person metal band portrait using canon tilt shift on sony a7s...

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7 minutes ago, Snowfun said:

Damn, I bought the contact zeiss 28mm which was only a few hours ago “all I need...”

good job dave man on buying 28, 28mm is actually my favourite srs (contax f2, hnnnggg)

but dat boyo needed something to fit 6 people on one shot, he was using tilt shift for that, felt bad for him and advise to get wide 21mm, dats all cuz

pic of some CTBteam contax glass, mirin ?

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15 hours ago, salim said:

This is an interesting lens for me, since I really like 28mm focal length.  https://nikonrumors.com/2017/10/16/zeiss-to-announce-a-new-milvus-1-425-zf-2-lens.aspx/

i guess it's alrite, but much better to get contax 21mm f2.8 or hollywood 28 f2, dat organic zeissy look

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4 minutes ago, Mattias Burling said:

I really like the 5Dmkiii, always been a pleasure owning one for a number of reasons.
But who made the sensor isn't one of them. I couldn't care less about that.

Mattias - CTB approves your youtube channel!

but think about it, where is the prestige and charisma if they outsource their sensor ? how boring nikon became... leica got KODAK to do it for them (CCD hnnnnnnngggggg) which is super cool 

no one should care about paperspecs, dats why canon is so cool and thats why fuji has it's mojo but nikon, sony mehhh, not to mention GOOFY nikon controls oh boy

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g3 for the win

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i wouldn't take less than a 1000 for a work day (even if it's spain), link to your reel vid ?

keep us updated bro

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7 hours ago, noone said:

I use what I find right for the task at hand      ISO 12800 is sometimes not enough if I went to shoot at night and especially if you want to use a slower aperture at night or a faster shutter speed (ask your mum if you can stay up tonight and see).

  A 28mm lens alone isn't going to cut it when I want 300 2.8 or tilt shift or macro or to fit in a six or seven piece rock band and have them all in shot or a more blurred background or head/shoulders portrait or..

all you need is contax zeiss 21mm..., still waiting for that good looking stuff from a7s coz I never seen one (well unless in BW) 

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2 hours ago, Mattias Burling said:

The sensor is not made by Sony. Its an Israel based company if I remember correctly.

Any aliasing I will guess comes from a non full screen. Regular screen size artifacts. Unless I missed something. Everything I see is aliasing free.

Charts dont show image quality so I haven't even looked at those..

oh boy, still then don't make their own sensor...

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how can we take nikon seriously if they use sony sensor ... , what is left of that  once proud company... ? F3 was their pinnacle  really

it's seems that only canon and leica have charisma (and perhaps fuji) 

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1 minute ago, mercer said:

I decided a while ago that for short narrative films, there isn’t a better option, unless you want to go the BlackMagic Pocket/Micro route, but even then the FF sensor of the 5D3 and the native lenses with OIS wins, IMO. 

With that being said, I’d hate to discourage younger, newer filmmakers from going out and making a movie if they want to but cannot afford a 5D3. For me the best option is the 5D3. If you have a smaller budget, then there are a lot of options.

The idea that you need Raw or 4K to shoot a good narrative short film is pushed by people that lack creativity. The best advice is to buy the best camera you can afford, learn how to use it and make the best film you can with the resources you have.

Agreed!

5D mk2 and mk3 are the best value really, mk2 can be had for thousand bucks brb full frame raw, mk2 has also nice signature look to it

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30 minutes ago, noone said:

From the figures here on Ebay at least, no.

The 5Diii was dearer to start and cam be found cheaper often enough.

I am hardly a Sony fanboy (I use what camera suits me regardless of who makes it and the A7s just happens to be the camera I have liked the most ever for what I shoot though my favourite lens is a Canon that costs more than the camera, I am done with DSLRs though except for just playing around ).

Those are actual sold cameras and here at least, the 5Diii is doing ok but no better than the A7s.      Someone recently paid over $3000 for a new 5diii and someone else paid about a $1000 less for a new one, the same sort of thing applies to the A7s and the thing that stands out to me is just how little demand there is for ANY of these cameras so the price may be more down to demand on the day than anything (IE if there are two cameras and three people want them, the seller will do well but if there are ten cameras and only nine want them they will not do so well.

which lens is it ?  examples of acceptable looking footage from a7s (coz i never seen good colors from it)?

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8 minutes ago, noone said:

Nice camera Satoshi but to answer your question.

No, not for me.

Some of the main reasons,

A) it isn't the best for low light/high ISO

B) It has a mirror

C) It doesn't take five of my nine most used lenses at all and it isn't as good for me with my favourite CANON  lens as my Sony is.

D) It doesn't have a tilting LCD

E) it doesn't have an EVF

you use 9 lenses ? oh boi, all you need is contax zeiss 28mm f2.... the less you use the more creative you become

iso - u wat? 12800 still remains very profesional  with beautiful film grain like grain

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8 minutes ago, Snowfun said:

That would be a useful indicator if the question concerned the purchase of a lengthy tape measure. But I admit that as an inexperienced film maker I’m not sure how this helps.

That comment notwithstanding, i enjoy threads like this - I am always impressed by how the eye of an  experienced cinematographer sees so much more than I can. It is fascinating and slightly humbling to realise that things which, to me, look the same (even on repeat viewings!) actually reveal so much more.

c500 has 4K RAW and 120fps - it's no brainer bro... if you don't need slow mo mk3 raw video beats both when comes to aesthetics

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1 hour ago, EthanAlexander said:

Even with magic lanern:

No XLR, no EVF, poor live-view when recording raw (it's practically unusable in 3.5K), huge data rates, limited dynamic range...

Not to mention using raw on a paid shoot would be a risk most wouldn't (shouldn't) take. I've done it.. but I'm not into those risks anymore.

It's a great camera - Amazing image, built like a tank, pleasing skin tones. I may never sell mine.

But, ultimate? No way.

 

Also, please top approving your own posts. Every forum post in the history of the internet has been approved by the author of said post, or they wouldn't hit submit.

XLR - true dat, but with shotgun on for scrap audio and external recorder (which you should ALWAYS have for pro shoots) it's alrite (its so easy to sync nowdays)

1080p raw 24p live view is perfect (even with zebras and peaking) I used mk3 raw for many many paid jobs without stress, it always worked flawless 

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6 minutes ago, ade towell said:

yawn - are you also user Satoshi who has just repeated the same fanboy talk on another thread....

u wat mate?

c500 is miles better than already good c300, nice that you use contax zeiss

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9 minutes ago, tweak said:

I got a GH5 recently for specs needed for work (high res, high frame rate, anamorphic de-squeeze) and I still prefer 7D raw image and workflow. 5Dmk3 is even another step beyond that, image is amazing imo.

I feel your pain, gh5 would be alrite if not the sensor size that is basically is the same as in iphone camera

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brb robust and strong body with great ergonomic made for pros, not like sony toys

brb 14 bits 4:4:4 RAW video with motion cadence of gods - AESTHETICS OVERLOAD

brb easy RAW workflow, SSD > MLFS> resolve> ??? > profit (how is that any problem lol)

brb COLORS! I mean lets face it, NOTHING comes close (apart of almighty Leica) 

brb 3,5k RAW video and probably more to come - tour over  

Sony and panny cameras come and go, yet big Mark remains a modern classic, in 20years I will be still producing jooouicy stuff with my Mark while all the sonys a7 mk8 will just paper specs monsters but obsolete.

discuss!

Pic of my battered mk3 with most zeissy glass -contax zeiss (the best there is)

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