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barefoot_dp

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  1. What a f**king roller coaster. I was sitting in a broadcast truck editing packages for an international surf event in early March when the first Gov "recommendations" came through. At about 10am, producer comes in and says "we just got word, we're wrapping this today to be safe", which meant they ran through the final 2 days of the competition in one and had about 14 hours live on air that day. Driving home the next day (8hr drive), every time I pulled over and checked my phone, another Gov update and another job cancelled. $80,000 of bookings gone by the time I got home. 2nd child o
  2. barefoot_dp

    Filters?

    I think this is my biggest gripe with these types of charts: They actually end up putting opposites together in some cases. Eg, if one filter is an equal balance between high contrast and high resolution, and another is an equal balance between low contrast and low resolution, then they would both be mapped in exactly the same spot (ie halfway between the contrast and resolution corners) even though they do the exact opposite of each other. This is why I always find these charts so confusing! But hey, they look pretty!
  3. barefoot_dp

    Filters?

    I can never understand these types of charts haha. The Ultra contrast and Low contrast filters are right next to each other in the contrast corner, so what does that mean? Shouldn't the low contrast be mapped as far away from that corner as possible? And do the "resolution" and "contrast" corners mean "your image will remain sharp/contrasty with this filter" or do they mean "this filter will effect your resolution/contrast so it will be soft/milky" Filters are confusing haha.
  4. barefoot_dp

    Filters?

    Don't believe everything you see on the internet! They've even added digital lens flares to the "before" images. The picture with the sun in the frame would be exactly the same in the before/after in real life, which shows that not only are they flogging junk, but they don't even understand what their junk is supposed to do! Yes, please tell me more about how I can digitally add back the shallow DOF and motion blur that is lacking if I shot outside at f11 & 1/400th without ND's! As for diffusion filters, it's generally much faster (& therefore cheaper) to get the effe
  5. Can I spend zero dollars FOR someone else to do it?
  6. I'd steer them towards either a C100 or an FS700. Either of those cameras are a steal for the prices they go for. They'll save money on audio and ND filters because it's all built in. And they'll learn how to use all of that stuff properly with minimal fuss. FS700 is more versatile with lots of frame rates, option to record 4K externally, etc. Canon has a better "straight out of the box" colour profile but is limited to 24/25/30fps @ 1080p. C100 also has auto-focus if it's had the firmware update, but learning to focus manually is best for any cam. If they're going the budget ro
  7. Recently I thought about picking up a DSLR just for stills, as I've got plenty of EF lenses already. I do have an a6400 purely for use in a surf housing with the kit lens, but I don't like the idea of investing in a whole new set of lenses just for the occasional times I want to take some photos. I had a look at what used DSLR's were around, and was astounded to see that Canon 60D's are going for more now than when I sold mine about 6-7 years ago. As for cinema cameras, the current used market makes a pretty good case for not buying a Red. All those folks who dropped $60-80K+ on a Re
  8. The different contrast levels are probably due to data vs video levels. Not sure if your particular camera lets you choose which to use over HDMI, but if not you can fix in in your NLE. Resolve has an option to swap between video or data levels, and in Premiere you need to add a fast colour corrector with output set to 16-235 before you add any other colour effects. You might not always notice the difference when you're editing, but those times you do, you'll be very thankful. It also helps you reach minimum requirements for a lot of broadcasters and agencies which means more work opportu
  9. I guess that is essentially the space that cameras like the DVX200, CX350, UX90 and Z150 fill. Camcorder style, 1" sensor (or 4/3rds for the DVX200), with zoom lenses covering around 9-120mm. Of course they generally lack things like raw, log, 10-bit etc, but that essentially comes down to market forces. Anybody who cares about maximum image quality is also far more likely to favour a larger sensor cinema camera. You might be in the minority who feel otherwise. Red cancelled their original Scarlet concept ("3K for $3K") for similar reasons - once DSLR's started recording video, they
  10. No, it is 120fps. If you play back the 60p file, it will be at 50% of real-time speed. If you interpret it to 23.976 fps then it will play back at 20% of real-time speed. Not sure about the a7sIII but many cameras let you choose what the files get saved as - so if you don't want to interpret the footage every time you import it, you might be able to set the internal file to record at 23.976.
  11. I think you made a good choice - a solid set of sticks will last for decades and might never be redundant. LED lights, however, are changing so fast that there might be something better available for half the price or even less within a few months. I'm seeing lots of listing of people selling 300D's and 120D's at the moment, trying to recover some value before all the latest LED releases become available and the used prices plummet. It's hard to justify putting several thousand dollars in to a single light right now.
  12. I updated my camera last year so I'm good for a couple of years now. 2021 purchases will be mostly lighting - LED lights are starting to get really competitive and I'll likely get some of the new Nanlite's.
  13. The problem is designs like that won't work with lenses made for APS-C of FF sensors. The PD150/170 had 1/3" sensors, and the lenses required for such sensors are much smaller and much lighter. Most of the weight of these cams was at the back right near the handgrip, so they balanced well when hand-holding. Most cameras these days end up with the COG pretty close to the lens mount or sensor plane once you put a typical photo zoom or small cine prime on., so any grip/handle behind that point is going to be poorly balanced. If you were to hold a camera like you describe up to your face to u
  14. I did end up buying a Z-Cam E2-S6 earlier in the year and have put it to good use. I've got the eND so I'm not sacrificing ND at all, but I do sometimes miss the SDI. However I haven't yet had a job with it where I've needed a director or AC's feed - my guess is that when I do, it will also be a job that has the budget to rent whatever I need (same goes for TC). As far as those other options, I crossed most of them off the list for various reasons. The FS7 did not seem like a big enough IQ jump over what I already had to justify a $10,000+ investment. If I'm paying that much I'd much rath
  15. You can assign a keyboard shortcut for this too.
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