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EphraimP

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Posts posted by EphraimP

  1. 16 hours ago, kye said:

    I'd be curious to hear how many people commenting in this thread have calibrated displays and are viewing in controlled lighting conditions.  When comparing images with no reference (except pure aesthetic reaction and visual memory) these things factor in hugely.

    This is an interesting exercise so far, to me at least. In the real world, we can't be sure our viewers will be using calibrated monitors in controlled lighting conditions. In fact, we can be sure the vast majority won't.

    As a professional video producer for social media, generally a OMB, I was curious to see how other video pros and interested amateur would react to the subtle differences in these images on whatever screen they use. Having people view them on a variety of devices in a variety of conditions is even better, in that it replicates what the average viewer might be seeing. It would be helpful to know the viewing conditions of each commenter, but it's not necessary in that this isn't a scientific test. There are no right or wrong answers here.

    In fact, I myself have just connected a brand new ProArt 4K monitor to my editing system today. It's using factory calibration at the moment because my X-Rite system is coming tomorrow. These were graded on an HD Samsung TV that I've been using as a monitor for some time while waiting to invest in a new monitor. I used the histogram in Premiere to set the white point and the waveform monitor to set the tonal range, so they should be decent. Other than that, what I'm interested in is the response to the two different Rec. 709 LUTS I used.

    Both images look warmer to me on the ProArt, but the difference in shadow tonality, blue hue of the shirt and the skin tone difference are still apparent and I still favor one grade over the other. After I calibrate the monitor using the X-Rite devise, I'll judge them again determine if I need to tweak the colors at all.

    I'm interested to know if anyone can guess the camera I used, and how they came to that conclusion.

  2. Well, that's a bummer for folks at the lower end of video production. The Pre 3 II is a great little field recorder. If you can figure out a power solution, the 32-bit float is clutch in one-man-band situations where you can't be constantly trimming your audio levels.

    If you think the current inflation is a PITA, just be thankful you're not in the market for lumber in the US. Prices have risen ~300 percent. And this when lumber producers in the PNW, Oregon at least, have ramped up production in a big way after last year's fires. And here's me sitting here with a deck to rebuild that I've been putting off for about 3 years... My timing is great, as always.

  3. Very interesting results so far to this very unscientific poll. Thanks everyone for offering your opinions. I'm interested to see what others think. The only consistent input so far, and this includes friends I've asked the same question to via email, is that the shadow areas in A should be lifted.

  4. I'm playing around with some color grades for a super short video. I'm curious as to what others think of the two grades below. I'll name the camera and gamma/gamut later. As a side note, it would be interesting if anyone could guess.

    A:

    275577322_RIckHPostFireSprayCG1.thumb.jpg.dc1b35abf7f1c613340daf477622001f.jpg

    B:

    1421006842_RIckHPostFireSprayCG2.thumb.jpg.d1c3b3b28b2166332c058f0e7ea5e05b.jpg

  5. 24 minutes ago, scotchtape said:

    Someone should compare the cheapies to the expensive units   It's literally a piece of glass and a shroud, so if the glass is the same... Should get same results.

    I don't mind paying more for better quality, but for teleprompters it's hard for me to justify over $500, what else am I getting...

    I just "hacked" my cheap tmp500 into a poor man's eye direct, those are crazy prices!

     

    Oh, and the other thing to think about is rental. Is the unit you're considering high enough quality/from a known name brand that you can make money renting it?

    I already have a commitment from another shooter I work with to rent Ikan from me the 4-5 times a year he needs one. I'll charge him $50, which is about $20 less than it rents for commercially. Saves him money on a unit he was already renting and helps pay me back for the price difference of a cheaper unit.

  6. 1 minute ago, Mark Romero 2 said:

    Do you remember which app you guys used? I am looking for a decent android app. Ability to rewind would be nice.

    I had one app that would "listen" to what you said and would scroll automatically along with you. But they weren't perfect and they switched over from a flat initial price of like $20 to a subscription price with various levels, so I stopped using it.

    Yeah, I am using the Teleprompter Pro. $6.49 one-time fee. It works with either the remote that Ikan supplies or a Bluetooth keyboard. It's not voice activated. For the older Samsung tablet I've been using, I have to copy and paste the script I want to use, because I can't change the directory the app looks in for a Word or Text doc. I don't think that's an issue for all OS systems. Other than that, it's met my needs.

  7. 3 minutes ago, scotchtape said:

    Someone should compare the cheapies to the expensive units   It's literally a piece of glass and a shroud, so if the glass is the same... Should get same results.

    I don't mind paying more for better quality, but for teleprompters it's hard for me to justify over $500, what else am I getting...

    I just "hacked" my cheap tmp500 into a poor man's eye direct, those are crazy prices!

     

    Whether or not the glass is the same IS a question. I also think the build quality of the whole unit is part of it. Beyond the glass and shroud, there the mount for the tablet/screen, rod system and mounting system for the camera. The Ali one looks less flexible/adjustable than say the unit I bought, which uses a more convention 15mm rods like any other camera rig.

    Actually, I was thinking about buying longer rails for a rig, so it's nice that I can just use the ones from my prompter if necessary. Not that the rods alone justify the cost difference. 

    I can see glass and build quality, plus the addition of a remote, differentiating a ~$300 and a ~$700 system. What's the selling point/justification for a ~$2,000 teleprompter rig? I have no idea.

  8. I was just about to chime in with another ikan teleprompter recommendation. I recently picked up the Elite V2 Universal, which you can get with a remote that works with both iPad and Android-based teleprompters and probably some other tablet operating system. It is about $700, so way les than the $2K version but still out of your price range. If you could squeeze some more cash out of the budget, the Elite V2 does seem to be a nicely built unit.

    You do have to pay a couple bucks more for an prompter app for your tablet of choice that is compatible with remote. I think it's worth it. I used this on a shoot recently with talent that had never presented to camera before. Once she got the hang of using the remote, it was super helpful for her to control the speed of the prompter and rewind the script to the proper mark when redoing a take. I could stay behind the camera, so the shoot went pretty smooth.

    I like the image quality I got from the ikan. It matched up very well with my b-cam that wasn't using a prompter, so I don't think the glass degrades the image quality in any appreciable way. I only wish I'd gotten this thing sooner. I don't do a lot of stuff with direct-to-camera shots, but I can think of some I've recently done what would have turned out miles better with this thing. 

    Whichever way you go with your prompter decision, good luck. 

    1188460495_CarlyPresenting.thumb.jpg.a167d059dd33ffbcd4bffc0fac6be13d.jpg

  9. 19 minutes ago, Xavier Plagaro Mussard said:

    Maybe you can shoot your screen with the article opened. This way there is also your "layer" of art.

    Thought of that, don't have time. I am putting slight color burn transitions over them, and punching in or panning, so I've definitely modified them. I will probably put a text-on-screen crediting each publication and date, much as Anaconda recommended. 

  10. I'm editing a doc-style video for a local academic institution. They have provided me with a lot less b-roll and pics to use over talking head and VO segments than I expected, so I'm searching for content to fill the gap. I came across an old Vice article with a headline and topline photo that are just perfect for what I need. If I grabbed a screenshot of it and ran it for 3-5 seconds, would that count as fair use? The piece is definitely reporting/editorializing on the topic at hand, so it definitely can be considered newsworthy.

    I'm hoping someone who's had some experience with this can chime in. We in the US, so state-side legality is what I'm concerned with.

  11. Here's a deep dive into getting long cable runs with HDMI devices like ATEMs. He does go over to types of ethernet cables and sdi conversion. 

    In addition to getting your cable situation down, you'll want to figure out your networking. It's not a great idea to rely on wireless signal for the switcher, although you can do it if you are connecting the ATEM to a laptop with a USB-C cable. Getting an ethernet connection is key, so you'll need an little ethernet switch so you can plug your laptop and ATEM into the network wherever you'll be livestreaming. I use a little 5-port Netgear switch that was relatively cheap and works great. 

     

  12. 2 hours ago, ntblowz said:

    I m really impressed with C70 so far on this one limited shoot, the black is soo bloody clean! And the Stalman lut is really nice, more pop and nicer uniform skintone unlike Canon lut which can go over the place.

     

    Next few weeks will have some big project, so eager to shoot with it!  My R5's only grace is IBIS and FF look..

     

    Are you editing in Premiere or Resolve?

    Speaking of the FF look, are you using the Canon EF to R speedbooster, R lenses, or one of the other EF to R adapters? I picked up the Speedbooster and a 24-70 F4L to go with my 17-40 F4L and 70-200 F2.8L. I'm too busy editing projects to do more than point the C70 at my dog when he wonders into the office and jumps up on my futon and record a couple seconds of b-roll. I shot some 60p slow-mo in low light, 6,400 ISO I think, that looks fairly good in Clog 2. Haven't played with color grading it yet.

  13. Glad I didn't wait around for it and got the C70. Not sure the X-H2 would/will meet my personal wants for a cine/video camera anyway (xlr/mini xlr, internal ND, etc) but that was the pipe dream. The T3/T4 pretty great cameras. Biggest improvement I think Fuji needs if they keep with a mirrorless hybrid approach instead of a mini-cine direction is improved IBIS. Second biggest would be improved autofocus/autofocus consistency, and a lot of that has to do with lenses.

  14. Having a market thread is not a bad idea. I was more interested in moving my gear on quickly with as little hassle as possible, rather than maximizing the return I could get and increasing the risk of getting ripped off. The fact that it helps a fellow legit shooter is definitely a bonus. If that's the vibe people approach things with on the board, it could add value to the community.

  15. 24 minutes ago, MaverickTRD said:

    While I tend to agree and may seriously consider going the route of just monitor, I figure having a recorder will enable me to bypass the 30min recording limit. 
    however I haven’t had a single instance where one take was longer than 30 minutes either so I may be looking for a solution to a problem I don’t have 

    You make a good point here. Getting a recording monitor is more than about whether you want 422 instead of 420 10-bit. The recording limit is another advantage, though you haven't run up against it yet. You may in the future, if you ever need to shoot a live event or performance. The recording media is another advantage, as I mentioned further up. The codec is another big one for some folks; H.265 is a PITA to edit for a lot of folks. And, depending on your camera buying future, having a versatile unit that gives raw recording capabilities to many different cameras could be a bonus.

  16. This showed up Friday.  Of course, it was supposed to show up Wed and I had a job Friday I wanted to use it on. Oh well. Probably best to get some more time than that to get familiar with it before using it as an A cam on a job. Maybe I'll use it as a b-cam on a shoot this coming week

     that's lower stakes than what I was shooting Friday.

    DSCF3923.thumb.JPG.5c106a5bc2aaf0a9ff34c905065f21ea.JPG

  17. 11 hours ago, IronFilm said:

    Rental only makes no sense at all for the type of product they are, who does Atomos think they are....  Panavision?? HA!

    Perhaps they've got supply issues and can only make a limited amount at the moment, thus are testing the waters first before making their widely available for sale. 

    Not a very good way to test the waters, IMO. If they wanted to do that, they could have shipped a bunch to YT creators as Beta models and gauged response to those videos, something like that. Testing the waters by introducing a product into a market that doesn't fit really makes no sense to me.

    But whatever. I'm no marketing genius, just another one-man-band video production company doing the occasional paid livestream, so it really doesn't matter what I think. 

  18. The Ninja V+ might be interesting to someone with the right camera, but the Ninja stream is a kind of a joke. Rental only? For the fees they are expecting, you'd be much better off just buying an ATEM and 15-inch monitor, even for a single camera livestream workflow. I'm just not seeing a benefit this thing offers over livestream workflows/products already out there.

  19. I run Ninja Vs on my T3 and 4, as I've commented frequently. Haven't played with the new BMD 12G, but I have used the older BMD unit on one occasion. I definitely liked the feel and interface of the Ninja even though it's plastic. And unless you have a ton of high capacity SD cards sitting around, the Ninja's use of SSDs is a huge win. Why would you want to include ANOTHER cable to your monitoring situation and have to mount a usb-c drive somewhere on your camera. Also, if the 12G doesn't have focus peaking and zebras, it's hugely crippled for a monitor.

    As for recording/working with ProRes, as long as you can deal with the large file sizes, it's way nicer to work with than H.265. 

    There is a slight audio delay issue if you record audio direct to the ninja. It makes more sense to run audio into the camera and monitor from the Ninja. If you need to record two different audio sources and aren't using an externa recorder or pre-amp, having a second input on the monitor comes in handy, but you will need to re-sync in post to fix the delay issue. It's a small price to pay for the benefit of multiple audio sources if you need it. Again, a win for the Ninja.

    One of my units did have it's screen go black on a job, which totally sucked. Luckily it was just inside the warranty period and Atomos took care of it with relatively little hassle. Maybe worth buying an extended warranty. Because there are not a lot of people complaining about over all Ninja QC, as opposed to BMD's Pocket 4K and 6K, I wouldn't worry about it to much. If I got one with a weird color cast, I'd definitely warrantee it. 

  20.  

    4 hours ago, Rinad Amir said:

    Hey try using Resolves colour transformation to match them 

    If you got colour chart that would be bonus too.

     

    Sure, that would work for post. But if it were just post I was worried about I'd shoot everything in Log. I'm talking about a livestream. Unfortunately, while I could tweak BM cameras in the ATEM control software, can't do so for other cameras. It's not the end of the world if I don't get the cameras matched perfectly, but I'd like to get them as close as I can.

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