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barefoot_dp

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  1. This is why I bought the Nanlite over an Aputure. Sure, with Aputure you might be paying for more brand recognition and longevity - but at the rate we're moving all these lights are going to be obsolete in a few years anyway. I'd rather spend AUD $500 on something that breaks in two years, than $2000 on something that I can't even flog for half of that after that same two years. I think we're just seeing the beginning of affordable LED's, and in another couple of years we'll really be spoiled by choice. Already there's 1200W fixture announced from Nanlite, and I'm sure a few others w
  2. Used it on a shoot for the first time today. I was slightly worried about the fan noise beforehand but didn't even notice it on set. Certainly not enough to make me want to perform surgery on it and if there is any hum in the recordings, it should be nothing that a bit of noise reduction can't fix. I had a setup that was pretty much worst case scenario - a moderately wide shot looking out a window in to midday sun on a very bright day. It maxed out the FS300 but I was able to get a decent amount of wrap and fill on the subject. Lost the sky due to shooting in Rec709 (client request) but m
  3. My FS300 arrived a few days ago and I've tested it out ahead of a shoot tomorrow - this thing is BRIGHT! However, one thing I already dislike about it is that there doesn't seem to be any way to 'exit' the menu. So one little bump of the menu dial can turn on the SFX modes. Has anybody found a way to exit the menu so that the dial is not always 'hot' if that makes sense?
  4. Maybe take a look at the Panasonic DVX200? I think you'd need an external recorder for 10-bit though.
  5. Only problem with this is if you run the battery empty and can't get home - you'll still need a generator to charge the vehicle! Looks like it's essentially the same thing as a block battery, just with different (ie no XLR/28V) connections. Though I guess with modern LED lights a standard household power plug is all you need anyway.
  6. Ah sorry, I misunderstood. Well, the solutions I posted still stand - although I never had that issue on internal footage.
  7. I had a similar experience with the external 2K. Solutions are: (a) shoot in 4K with the Shogun series, or, (b) use the Odyssey7Q recorder which has a internal down-scale function to take the 4K raw feed and scale it to HD for Prores recording. The problem is that the 2K Raw stream uses line skipping, whereas the internal HD is scaling down the full image for a cleaner result. The 4K Raw/prores image is fantastic though using an external recorder. I looked back at some of the stuff I shot about 2 years ago and it looks amazingly good for a 2012 camera.
  8. Yes, we're often camping and working out of vehicles - plenty of lights on the 4WDs, as well as flashlights, headlamps, firelight, etc. Plus needing to light a scene does not always mean it is nighttime. I do a 4WD Adventure show and we usually rely on the hero vehicle's dual battery/2kw inverter, but sometimes we're away from the main cars for a day or two (eg somewhere that is only accessible by boat/helicopter) and need another solution. IV - Interview PTC - Piece to camera.
  9. We've got plenty of light off camera. No problems there. This is just specifically for the lighting for remote IV/PTC setups. 600W would be the max if all lights are running but that would not be 100% of the time - just for the 30mins or so to record that piece. If I went the Generator route, I'd be looking at at least 2KW. If I was in a position that I could run a cable then I would, but it's hard to find a power outlet when you're sometimes 1000km+ from the nearest town!
  10. Hi all, Just wondering if anyone has any input for on set power solutions? In particular experiences with block batteries versus generators. I'm looking for something to power a laptop and a v-lock charger, as well as LED lights (up to ~600W total) when required. A battery seems like a much simpler solution and has the ability to have a data/charging station setup in a car or van. And because my work car is also my family car I like the idea of not having it stink like petrol for a week after every shoot just from carting around the generator and petrol can. No problems with sound ei
  11. Nice to see that they're starting to ship! Just placed me order but not sure if there's any in Australia yet. Might still be a bit of a wait!
  12. As much as I love my ZCam (E2-S6), if you're not the type of person who likes to rig and customise their camera, then the ZCam's are probably not for you. These cameras kind of require you to be a bit of a camera nerd - if you know what you want and why, they are fantastic because they most likely will do what you need. However if you want something that you can just pick up and run with straight out of the box, then these are way off the mark. Lots of people end up having problems (and complaining on the very helpful user Facebook page) about things like skipping frames on SSD's or fryin
  13. Keep in mind that run-n-gun does not always equate to small and light. In fact, often quite the opposite as more weight = more stability when shooting handheld. So often those run-n-gun shooters don't mind the weight that comes with a proper cinema camera. Funny, I'm the total opposite. I want my footage to look obsolete in 5 years, that way the client has to hire me to re-shoot the exact same thing. The big problem there is patents. You can't just take the Prores Raw (or some other similarly compressed format) and put it inside a camera, because Red's patents d
  14. Oops, double posted.
  15. Unfortunately you find yourself in a small niche that not many of the brands are likely to cater to (due to my previous comment of it making the products prohibitively expensive/complex for the majority of users). I think you're likely left in a position where you need to decide whether you actually need the things you think you do (ie raw, 10-bit) for what you're doing, or whether they're just imaginary goalposts you've put up. What exactly is it that you think you're missing from the current generation of cameras, that would be better if you were shooting raw?
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