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Everything posted by EphraimP

  1. I'm tearing my hair out here trying to figure out if there is an EF mount adapter that's worth buying for my X-T3. I have the 17-40 F4L; that range is covered by my Fuji 18-55 so wouldn't be worth adapting without a speed booster. I have a 70-200 F2.8 L USM that I absolutely love and would be the main target for adapting. And I have the wonderfully weird 180 3.5 L macro that I tried to get rid of but never could and am pretty happy I didn't, though I really never use the beast. I know that the Fringer is the best for autofocus, but sounds like it's not good enough for video autofocus, so
  2. X-T3 is affordable and has one of the best codecs out there in cameras under $5,000 and the images look great with either the built in film looks or graded Log. I think most people would agree. Autofocus is only ok. I can trust it for well lit sit down interviews, but it can be hit and miss for fast action b-roll. Great 60p and usable 120. Not a ton of third party glass, but Fuji's native lenses are nice and not extremely expensive compared to, say, EF mount L glass or Canon's new R mount. It's fine in low light at 1600 and usable up to maybe 8000 if you nail exposure. Fuji has an 8-16 F
  3. Eterna is great. Also, overlook Classic Chrome. It's also a nice look if you aren't shooting Log. Actually, I wish Fuji made a log to Chrome conversion. If you're shooting h265, you'll save on file size, but, as you probably know, it's a lot harder on your computer.
  4. I use a Windows machine, so sounds like the extFS app isn't necessary. What medium did you use to deliver your DCPs to cinemas?
  5. What I read about it said that the Premiere versions doesn't work well. Maybe that's bad info. Better sound quality? Better features?
  6. You ever work for a nonprofit? It's like squeezing liquid from a stone. And I know, cause I gotta get the liquid in the stone in the first place. Actually, though, I just got them to buy a bit of gear for my next project, coupla drives and a Mixpre3 ii, a year's subscription to Artlist and insurance for my gear. I put a wireless mic on the expense list, but it got stripped out. I'm going to see if I can get it put back in if I get more funding for the project. It's hobby level for now, hopefully I'll be able to launch a business for real when in six months to a year.
  7. I get the importance of story. I'm a former magazine writer and newspaper editor. At the same time, if I'm going to do something professionally, I want it to look professional. There's nothing like being prepared for something when you go to do it. That's why I asked about the technical aspects of shooting/editing for big screen. ? I don't necessarily want to avoid a DCP. I haven't exported this way before, and it sounded like it might be either a bit of a hassle with third party plug-ins or stand alone software or expensive.
  8. The subtlety of my ironic intent was lost in translation to the Internets. I get that the Came light is actually a good deal compared to Arri or other high end lights. On the other hand, I've spent somewhere between 6-8K or more on film gear this year for about 4k of work, aside from the shooting I do at my day job. So every new piece of "affordable gear" that I come across adds up. And it's ok; I'm happy to spend on gear as I get jobs. I'm putting kit together while I have the day job so I can make the jump to full time video production and have a decent little one man band operation. I'
  9. Affordable he says. Good one ? I'm definitely not a big boy yet. No need for one of those shooting interviews for nonprofit/small corporate gigs. Maybe when I make my first short feature. Actually, probably not even then, because that will be a real diy production for a small-time local winemaker with a crazy dream -- if I can every pin him down to launch the project we discussed over good reds one evening at his bar.
  10. Damn, don't I know it. Like I said, it's no OConnor. Heck I make upgrade the sticks next year to a set with the fast lock setup, since I should be able to resell the ones I just got for a decent price compared to what I paid with the head. What did the Stones say that one time? It's a GAS, GAS, GAS. Or something like that.
  11. Funny story. I bought the Godox 60w and did a fan replacement (taught myself to solder along the way). The noise definitely went down, and I'm only using it for interviews so no flicker worries at 1/48 shutter speed. It's bright enough for one or two light interview setups, but I don't think it's powerful enough to blast through a window, unless for something like an intimate kitchen or bathroom scene. Then I went and got a Ninja V. That fan is way noisier than the original 60w's was. Moral of the story? I'd like to be a big boy someday and have lights big enough to shine through a w
  12. I've been shooting social media videos for nonprofits for a few years and graduated to micro-docs for online distribution. Now, it looks like I'll be able to bundle enough funds from donors (my *real* job is development, aka fundraising) to shoot an ~15-25 minute documentary for online distro plus entering into environmental film festivals and for our main sponsor to play at conferences around the country. In real-world cinema terms, it will still be a no-budget production (sub 20k). I'm mainly getting funds for my salary and traveling expenses, plus a tiny bit for gear. I shoot run and
  13. Thanks for making me feel better about pulling the trigger on a 608 Nitrotech and real video sticks when B&H dropped the price two bills Friday. I was questioning myself, even though I've been feeling that my basic Manfrotto 500 head on Davis and Sanford legs hasn't been cutting it for a while now. It's no OConnor, but the new tripod is kinda a sexy beast, if you're into that sort of things. Now I just need to figure out what I don't know that I don't know about shooting... or get that non-working Alexa and fake it ?
  14. Thanks, that's super helpful to know. I've not messed with ffmpeg yet. And sound like another in a million reasons why I need to buckle down learn Resolve.
  15. I'm using ProRes from my Ninja V as much as possible. And I've used proxies, so I get how they help speed up a workflow and take pressure off of my processor. I'm more concerned about intermediate deliverables to a third party, such as cutting the best take from a multiple take sequence to send to a client, or storage. If I shoot a long sequence, such as an interview, and decided that say, 75 percent is garbage and 10-25 percent is perfect, it would be nice to cut the crap out and be able to transcode the good stuff for future use/long term storage without losing quality. Does that make sense?
  16. Is there a solution for lossless or virtually lossless transcoding? That's one of the things that frustrates me about video, coming from a stills background where I could shoot in RAW and edit in TIFF and export JPGs for final delivery. Working with log 4K 422 ProRes files is nice, but it's still like working in a JPG format if every time you export you lose info.
  17. EphraimP

    Our 2019 Reel

    Nice reel. I like the way you highlighted the different types of work you do and the places you've worked in.
  18. I need a bag suggestion as well. I'm sick of breaking down my X-T3 rig and rebuildinging if for every job. I need a bag that can hold a mirrorless rig with 15mm rails and a v-mount. I've been running a Ninja V and expect I'll at least have to take it off the rig, but it would be nice to leave the rest together. Other essential kit included one or two xlr shotgun mics w/pistol grip mount, cables, headphone, 70-200mm zoom and 25mm mini-cine lens, wireless lav, 2 small on camera LED lights, and other standard kit. Space for a Ronin-S in its balanced configuration would be a bonus. Space for a Mav
  19. Why not a cardioid lav mic? I ask because I'm trying to learn as much about sound as possible. Also, I'll be very curious to hear what you have to say about the Deity Connect system. I was originally planning to by it because of it's cost to value ratio and because I've been pretty happy with my S-Mic 2. I thought I've read some negative comments about the Connect system on the board and also several recommendations not to buy the first version of a Deity product because they come to market without all the bugs worked out and the second generation is always better.
  20. Probably. I like to overthink things. ? I've never played with Interfram Noise Reduction. How does it work in camera and what are the pros and cons?
  21. If I had time and it was a regular paying gig I'd do that. It's this Saturday and they're only going to give me about $300 (in installments) plus a bar tab and hat for the video. And besides my day job I have a two-video job due before veteran's day that I need to wrap edits for. So I probably won't be able to spend a ton of time testing. I'll see what I come up with using a combo of lowest shutter speed (within 180 degree rule) highest T-stop, and using the mini led lights we won't use for the photo booth. Plus maybe trying out Neat Video in post if necessary. It's one of those things w
  22. Typical. That's a bummer. I see that the version with the cardioid lav mic, the ME 4, is bundled with a $100 B&H gift card, so it's at least somewhat discounted. But I've seen some pretty negative reviews of it. Anyone had experience with either the M2 II or the ME 4, or both? I'm wondering if B&H is willing to discount the ME 4s because they didn't sell well. Maybe it will drop down again during holiday/end of year sales.
  23. Haven't played with Neatvideo yet. Sounds like I may put a little bit of the cash from this gig into it if need be. Too late to get a speedbooster and lenses, but I'll probably use my Meike 25mm T2.2 mini-cine prime and do everything in 24p.Definitely no Peter McKinnon-ing at 120p for that extra crispy b-roll.
  24. Not s I've been kicking around getting the G4. I trash all my promo email frequently, so I didn't see the B&H sale. On the website, they are showing up at full price. Was it a flash sale or something?
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