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Found 109 results

  1. Hey everybody,   I don't post much in here, but I visit the site every day - always waiting for the latest update for us independent filmmakers:)   Anyways, I am in the process of rigging my BMPCC and I did some research on which SD cards I would need. I found several sites that recommended the SONY SDHC UHS-1, Class 10, 94 mb/s cards. So I bought 2, 32 GB cards from B&H. My BMPCC does not recognize this card. It still says " no sd " on the LCD screen when I turn my camera on.   Can somebody please help me figure out what the problem is?   Thank you so much, everybody!   Trey
  2. This is a remake of the opening scene of BLITZ. (a movie of Jason Statham) In the near future we will make more remakes and other stuff like this, to test out how cameras react in different illumination, how much noise it produces and how much we can push it without adding light in the scene. http://youtu.be/yroJP9uT5DE so if you liked this please "LIKE" and "SHARE' (the movie was shot in 1 night and edited afterwards in 3-4 hours / Location: Belgium) Shot with the: SONY AX-2000
  3. I have not seen this comparison yet so I decided to test it out.   I tried to match the shots and then colors as closely as possible, setting the look with the raw footage (starting from BMD Color Space) and then trying to conform the AVCHD to it. The severity of the grade was moderate:   5D Mark III (Raw DNG)     FS100 (w/ Frank Glencairn's G-Log Ultimate)     And here is where the codecs really show their differences:   5D Mark III     Sony FS100    
  4. I just bought a Sony DSC-RX100. After a couple years shooting my personal projects on a Canon 7D, I needed something more compact that I could carry with me at all times, and the Sony DSC-RX100 looked like it could be the one. The great reviews, the ability to shoot 1080p at 50fps with a fast Zeiss IS lens, full manual control in video mode, focus peaking and a 16mm sized sensor convinced me to go for it!   My footage shot on the 7D improved quite a lot during the time I've been using it, knowing a camera's strong points and especially its limitations is very important to getting good images out of it, so the first thing I did with the Sony DSC-RX100 was to shoot some tests to help me decide which settings I'll be using when shooting video with it.   Like most people around here I learn so much from online reviews and discussion forums, and those have been a great help deciding my gear purchases, so I'm sharing what I learned from my tests as a way to return the favor and give something back to the community. There's been some good reviews of the Sony DSC-RX100 online, and some useful info spread around the internet, but I think this post will cover a lot of useful information for whoever's interested in this camera for video, and much of this info will also apply for any other similar camera.   I started by turning off all the automatic picture improvement options, as they usually degrade the quality of the image and make it less gradable, then I set the codec to AVCHD at 28mbits and 50p (PS).   SHOOTING MODE For video shooting I'd recommend setting the top wheel to video mode and then selecting video-M for manual video shooting The RX100 does have a dedicated Movie Recording button, and can shoot video on any Stills mode, but you might get aspect ratio and exposure changes once you hit the Record button in these modes. In video-M mode you'll get what you see on screen.   RECORD SETTINGS   The Sony RX100 can shoot movies in two different formats, MP4 and AVCHD. All MP4 options are below 1080p resolution though, so I won't get into those. In AVCHD mode however, we get 3 different 1080 options:   50i 24M (FX) (50i @ 24Mbps, Blu-Ray AVCHD disc compliant) 50i 17M (FH) (50i @ 17Mbps, DVD AVCHD disc compliant) 50p 28M (PS) (50p @ 28Mbps, Progressive Scan)   So it seems like we get 50i at 17Mbps and 24Mbps, and we get 50p at 28Mbps, but not really… The 50i mode is actually capturing 25p images out of the sensor and encoding them as 50i footage, this means that we do end up with interlaced footage, but since it was captured progressively, de-interlacing it will produce a clean 25p image!   So if we're looking for the best possible video out of the RX100, we should use 50i 24M for 25fps video and 50p 28M for 50fps video. In theory, shooting 50i 24M gives us the best bitrate per frame in this camera, almost twice as much as shooting 50p 28M. Shooting 50fps however would have neighboring frames changing less than when shooting 25fps, helping the encoder do a better job, but still the per frame bitrate is lower, and here's a comparison that shows is. If you look at the darker areas in the back where the window is, you'll see that the 50i version is slightly cleaner.     Here's an example of something in motion shot at 50i and 50p, the 50i frame was de-interlaced and as you can see there's no interlacing artifacts at all.     Considering all of the above, I think it's safe to say that the 50i 24M mode, which is in fact 25p @ 24Mbps, will give you best video quality out of this camera.   CREATIVE STYLES Creative Styles is the RX100's designation for Color Profiles. My first test was to choose the flattest Creative Style the camera had to offer, so I shot some footage of all the different styles.     After looking at all these different images, I decided to go with the Portrait Creative Style, as it seems to be the flattest of them all.   EXPLORING THE PORTRAIT CREATIVE STYLE Each Creative Style has settings for Contrast, Saturation and Sharpness that can be set from -3 to 3, so I shot some more footage using the Portrait Creative Style in a number of different settings.     Using the Portrait Creative Style at the minimum settings (Contrast: -3, Saturation: -3, Sharpness: -3) definitely (and obviously) seems to be the flattest style in this camera, but I had to check how well it graded and how it compares to using the default values (Contrast: 0, Saturation: 0, Sharpness: 0).     On the top left you have a frame shot using the Portrait Creative Style, with all the settings set to 0, on top right you have a frame shot using the Portrait Creative Style in its flattest settings (Contrast: -3, Saturation: -3, Sharpness: -3). On the bottom right frame I added some sharpness to the flat image, which responded quite well, and on the bottom left frame I added not only sharpness but also increased the Saturation and Contrast in order to match the top left frame (Contrast: 0, Saturation: 0, Sharpness: 0). The result is an image that matches in color saturation and contrast, but with a much nicer detail and less compression artifacts. It looks sharper and cleaner overall, which made me decide to use this Creative Style and these settings from now on.   SHOOTING BLACK & WHITE The following test is something I've been wanting to do for a while, regardless of the camera. The thinking behind this test was:   "If the camera is compressing B&W footage instead of color footage, maybe it can do a much better job at it since it doesn't have all the color information to process, so even using the same bit rate could give us better results."   Of course I don't know the details on the cameras' inner workings, but assuming the B&W Creative Style is applied BEFORE the footage is compressed to AVCHD, then this should work. Maybe.     So I shot some footage using the B&W Creative Style in its flattest settings (Contrast: -3, Saturation: -3, Sharpness: -3), which you can see on top left, and then some more footage using my new favorite Portrait Creative Style, also in its flattest settings (Contrast: -3, Saturation: -3, Sharpness: -3).   On the middle left frame, I increased the sharpness and the contrast on the image to make it less flat, and on the middle right frame I did the same, and also desaturated it. As you can see both images are different, since the B&W Creative Style's color conversion is not merely desaturating the image to create a B&W version, it's using a more clever process that also looks better, but anyway, the point here is to test the image compression and figure out which one gives cleaner results, so on the last test frames I increased the exposure by 2 stops to find out how well the images handled it. On the bottom left frame you can see how much cleaner the image shot with the B&W Creative Style is, compared with the one shot using the Portrait Creative Style, it's actually beautifully clean and overexposing it by 2 stops didn't show any ugly artifacts at all.   So my conclusion on this one is, if you're shooting for black and white, and you're sure that's the look you'll want (since it's kind of hard to color B&W footage if you change your mind afterwards), then using the B&W Creative Style will give you far superior results!   DYNAMIC RANGE OPTIMIZER The Dynamic Range Optimizer works when writing to compressed formats, such as JPG, MP4 or AVCHD. It has no effect when shooting RAW. Its purpose is to capture more detail in the areas that are more prone to get lost when using compressed formats, such as dark shadows. It works in the darker areas of the image, making them brighter and producing a flatter image, which makes it easier on the image compression to achieve better results. Here's a test scene shot using all the DRO levels available. There's also an Auto Mode, but I suspect it wouldn't give predictable results when shooting manual video.     The result is quite clear on every mode. Personally I think 5 is too much and might be actually degrading the image more than it helps, but lower settings definitely look not just useable but very useful in achieving a flat and clean image. I'd say using the DRO in its modes 2 and 3 would definitely help achieving a better flat image. I'll probably leave it at 2 all the time and increase it to 3 in situations with more contrast.   5DtoRGB I've used 5DtoRGB on Canon footage since the early beta versions, and I honestly don't understand how come it's not used by everyone. 5DtoRGB features one of the best YCbCr to RGB compression out there, and it's free!!! (the Pro version with batch capabilities costs $50 though)   5DtoRGB does a great job improving aliasing and compression artifacts and transcoding to 10-bit Prores (can also transcode do DPX image sequences and DNxHD files), or at least it did with Canon DSLR footage, so I thought I'd try it with the RX100.     The top frame is from the original AVCHD file and the bottom frame is from the Prores transcoded file out of 5DtoRGB. 5DtoRGB automatically changed the Decoding Matrix setting to ITU-R BT.709, so I assume that's the one to use with the RX100 (Canon DSLRs like the 550D, 60D or 7D used the ITU-R BT.601 Decoding Matrix, the 5Dmk3 however used the ITU-R BT.709). Looking at it like this there's not much of a difference, so I went looking in the channels.     The Red and Green channels looked quite clean in both versions, but looking closely at the Blue channel you can see how 5DtoRGB makes a pretty good job at smoothing out some of the compression blockiness, but mainly smoothing out the aliased lines you get on sharper edges. Using 5DtoRGB won't do any miracles, but when shooting to 8 bit compressed codecs, every little bit helps, and using it along with a flat Creative Style will definitely help you getting cleaner and better images.   SHUTTER ANGLE / SHUTTER SPEED The Sony DSC-RX100 has the annoying feature of only shooting 50fps (or 60fps on NTSC markets). On one hand it's great to be able to shoot 50fps at 1080p, but on the other hand, shooting 25fps at the same bit rate would probably produce better results with less compression. One of the advantages of this could be that you'd always have the extra frames in case you needed the slow motion effect, but unfortunately that's not quite the case, since the ideal shutter speed for 25fps real time playback is different than the ideal shutter speed for 25fps slow motion playback. If you're planning on shooting for 25fps real time playback, then you should set your shutter to 1/50, but if you intend to shoot for slow motion playback at 25fps, then you should set your shutter speed to 1/100.     Using a shutter speed of 1/100 for real time 25fps playback will not give you enough motion blur, and the motion playback will not be as smooth as it should. Also, playing back footage shot at 1/50 shutter speed at 25fps slow motion will have too much motion blur, making its motion look rather fuzzy.     Here's a sample file you can download yourself. This was shot at AVCHD, 1080 50fps with a shutter speed of 1/50, meant to be used on a 25fps timeline, playing at real time: https://dl.dropbox.com/u/8569573/rx100review/RX100videoSample1.mov     That's it for now, I really hope it helps some people out. I have some videos I can share later on if you're interested, and I also might update this review with tests of the different Steady Shot modes once I get to them. Keep in kind that these are only my findings and personal opinions, it would be great to hear from people with different opinions, or about settings you think would give better results.   Enjoy!
  5. I've had the Black Magic Cinema Camera (EF version) since April, coming from a hacked GH2. I kind of jumped on the BMCC fanboy bandwagon and jumped into the camera without really studying other options at the time. It's capable of some pretty great images, but overall, I just don't like the camera. It stinks for any type of handheld shooting, the crop factor is a pain to deal with, pretty much every hard drive I own is full of RAW footage even though I try to delete what I'm not using, and it takes a ton of time just to grade a shot to get it to look "normal" and sync audio from my external recorder. No built in ND's (coupled with a native ISO of 800), lack of changeable battery, and poor audio with no audio meters is annoying as well. Like I said, the image quality can be great, but it is just no fun to shoot with and there is so much not to like about the camera. Sometimes I like to just pick up my camera and shoot something, but with the BMCC, this is really impractical. I'm not a professional, just an amateur/enthusiast obsessed with great video quality. I'm primarily looking for something that has a large sensor and can produce sharp, detailed images with minimal noise. I'd like something good for narrative with the bonus of having something I can run and gun with if I want to. I can hold my own with basic color grading, but I'm by no means highly skilled at it, so I feel I wouldn't lose too much if I no longer had RAW. I've narrowed my options to either selling the BMCC and buying a C100 or FS100, or sucking it up and keeping the BMCC. As for price I feel they are all somewhat similar. If I keep the BMCC I need to still buy ND's, a battery solution, a better rig for handheld, a wider lens, and probably some type of storage array for all this footage I'm amassing. For the FS100 I'd need to add the Speed Booster and ND's to get it up to the C100 configuration. For the C100, I'd probably pick up an Atomos recorder at some point in the future. For the FS100 I'd be shooting only with the Speed Booster as I have only EF glass. From what I've read it seems like the C100 should be an easy choice over the FS100, but I feel like the FS100 looks much more cinematic (maybe it's just that I've stumbled upon videos made by FS100 users with better skills than the C100 users? Or maybe it's just because the FS100 has been out longer?). Honestly all of these very cinematic pieces shot with the FS100 are pretty much the only reason it's on my radar as otherwise I believe the C100 to be superior. Any advice from people who have shot with either camera would be much appreciated. Is the C100 just as good or better than the FS100 when it comes to image quality? C100 Concerns: -Possibly not as cinematic as the FS100 FS100 Concerns: -Would only be shooting with the Speed Booster (bugs/issues/etc. with this?) -It's a couple year old camera, so I'd probably be disappointed if Sony released a replacement shortly after I bought one -No ND's -Form factor not as much to my liking as the C100
  6. Hi guys,   Long time reader, first time poster. I have a small production company, we shoot some studio stuff weekly, and venture out making some comedy sketches, and soon we hope to be doing some slightly heavier drama. we always strive to make our stuff look great, but we're a small run-and-gun team. We work out of backpacks with mostly handheld kit.   We need a new camera. One we can sync our H6N into, use in the studio with our Autocue, our Stedicam and take out on shoots. We've narrowed it down to the 700D(T5i), the GH2/3 (? same ?) and the A57. Can you offer any advice?    Important factors are :   Form factor Ease of use and battery life FPS Lens availability usability (Focus peaking would be nice...)   Thank in advance - and before I'm lambasted I know this will have been asked a hundred times, but trawling though all the posts will take an age....
  7. Hey guys! At the moment I shoot weddings with a 6D and 5D2. Both of these are manned cameras, and I usually leave the NEX5N on sticks as safe shot. However, given the 1080p50 mode that the Canons lack, I would like to start incorporating it more into my workflow, especially for steadicam shots.   Up till now, I've been shooting in Portrait (creative style) at -3,0,-3. I just wanted to check if anyone of you is using it with Canon DSLRs and what settings work best to get the look as close as possible? I'm shooting in Neutral Flat on the Canons.
  8. hey i have a sony alpha a58 and the settings are all different to what i expect and i was wondering if someone could tell me the bestb settings for the sony alpha a58 and im mainly filming skatboarding.  I tried one setting and that quality was really un detailed and i really need someone to tell me the best setting for it. From memory the settings were 'avchd' and 'mp4' but when i shot in mp4 the quality was crap and i had it in 1080p.  please can someone tell me whatb the best setting is!
  9. If your interested in seeing some Fs-700 footage here is a music video I recently made using the camera with the Canon 16-35 L and contax zeiss 50 & 85 primes.       Enjoy!     https://vimeo.com/68095718      
  10. Hey guys. i have a sony alpha a58 and this is my first dslr and i do alot of filming of skateboarding and the seetings for the video like 'avchd' and mp4 is what i dont get. I was wondering what the best settings are for really sharp videos and good colour reproducuction. The settings for format is like 50i and something else and like 25p and sopmething else. I need to know the best settings for besty video quality because when i put it on my pc the quality ios very un detailed and it looks horrible. PLEASE HELP!!!
  11. I know everyone's flipping out about RAW right now, but I thought I would submit my latest real-world work: MTV True Life, I'm Starting a Business with Friends.  I shot this whole episode on Sony Rx100's.   I wrote a detailed blog post about my shooting and editing techniques. Will post a link to video as soon as MTV releases it.  Until then, enjoy the blog!   http://rungunshoot.com/how-i-made-an-mtv-reality-show-with-two-pocket-cameras-and-a-macbook/  
  12. I am interested in doing more video, but feel very restricted by my cheap sanyo camcorder. I have a Sony a200 for still photography, and have managed to accumulate 1 sony and 3 minolta lenses. I don't have a wide angle lense, or a telephoto bigger than 300mm (35mm equivalent), but being able to use those lenses and having manual control of the camera would open the door to a great many more possibilities.   So: how good are current sony dslr's for video? I was eying the a57, which seemed to be able to do both still photos and video quite nicely.   But on the other hand, with the new blackmagic camera coming out, maybe it would make sense to save up longer and get that. Micro four thirds seems to be the lense mount of the future, and it would be nice to feel my lenses will be useful on future equipment. There is an adapter to convert the A mount to the E mount, but I have failed to find any which would adapt it to MFT..... dropping $1k for the camera alone would be a real stretch financially, I don't know how viable that option would be if I had to purchase new lenses for it as well....   Anyway, anyone have experience with the sony dslrs for video? 
  13. Hello everybody I'm selling my hardly used AGC disable cable form dslrcable.com I'm in europe, buyer pays the price. Feel free to make me an offer, as I know it hasnt got much value but still maybe someone needs one instead of it laying around my house. Thanks
  14. https://vimeo.com/63187130   A first-person travelogue of my trip to Miami for the Ultra Music Festival. I flew out there with some friends from Vegas as a last-minute adventure.   The festival basically overtakes Miami for a couple weeks, turning the already lurid city into an EDM-fueled fever dream. My goal was to capture the surreal and seductive experience of navigating it all: glowstick playgrounds by night, bathwater beaches by day, lobster restaurants by streetlight, and the feeling that I might wake up at any moment.   Music by M83 and Helios
  15. This is a test with a Sony FS700. The biggest downside of this camera is the internal codec, not very gradable, there's a lot of work to be done so you can pull more out of the images without loosing much quality. This was also shot only with natural light, nothing more, soon i'll make a side to side clip so everyone can check the before and after. http://vimeo.com/61725983
  16. ***SOLD*** on eBay in the end
  17. Went out last night and had an amazing time at a place called Bungalow in Santa Monica. Brought my NEX-5n with an old Nikon 50mm f1.4 AIS lens and the Metabones Speed Booster.  It was DARK in that place, but the Speed Booster made me feel invincible.   https://vimeo.com/60971352
  18. I love making short slice-of-life films.  This camera/lens combo is about as light and small as you're going to get at this aperture and sensor size.  Easy to bring along on nights out without looking like a tool.   Nobody I was filming seemed to even know I was there.  Maybe that's not such a good thing...   https://vimeo.com/59377520    
  19. Hi, just wanted to start a topic about using 3rd party lenses with the Metabones Speed Booster.  Their website warns about the possibility of some lenses having protruding rear elements that could scratch the adapter or short out the electrical connections.   I don't yet own any EF lenses, so I'm currently using a Rainbow Imaging Nikon to EF adapter.  The lenses I've tried with this are:   - 50mm f/1.8 pancake (all manual)   - 24mm f/2 AIS (all manual)   Camera is a Sony NEX-5n.   After my first day of trials, this combo works fine.  My caveats so far:   - The Nikon adapter tends to stick to the lens, requiring a manual depress of the delicate release lever in order to unscrew it from the lens.  So I'm just buying another Rainbow Imaging adapter and plan on leaving it on the lens all the time.   - The lens focuses a bit past infinity.   Other than that, I'm really enjoying the Speed Booster and see no image degradation.  Will be posting sample videos soon.   Anyone else tried other lenses?
  20. The goal here was to use the Sony RX100's Active Image Stabilization + the plugin Lock & Load to get steadicam-like fluid walking shots without too much CMOS jello wobble or digital zooming on the image. You be the judge...   http://vimeo.com/57910477
  21. https://vimeo.com/56781551   This nightlife events company flew me to Vegas and let me shoot whatever I wanted for a promotional video for them.   Had a pretty awesome weekend and just filmed everything as it developed.
  22. jgharding

    Ceramic Part Two

    This video, for the band Aloosh, is currently unlisted, but I thought I'd come and give you guys a sneak preview as this is my favorite online hangout ;)   All shot in Snowdonia using FS700, there's a lot of tasty treats getting made and broken in sloooooooow motion here....   [url="http://youtu.be/cuMjew8TbnE"]http://youtu.be/cuMjew8TbnE[/url]   You can watch part one here if you've not seen it already:   [url="http://youtu.be/PNGquFXmLOU"]http://youtu.be/PNGquFXmLOU[/url]   The band's album can be heard at www.aloosh.co.uk if you're interested...   JG
  23. Here's part one of a new music promo film I shot in Snowdonia using the FS700. I think there's one shot in there from RX100.Some nice CG in there too! Enjoy! [media]http://www.youtube.com/watch?v=PNGquFXmLOU[/media]
  24. The Zero FGilm festival celebrates low-budget and self funded film worldwide, with several international festivals. I have films both opening and closing the shorts programme here tomorrow in Brick Lane, London, which is a great honor. At 5pm my short film Ceramic (two films set to music, all shot using FS700 slow motion) is showing, then to close the night my short with Thom Haig, SoMe https://vimeo.com/21926626 will be playing. http://www.zerofilmfest.com/london It'll be a great chance to meet film makers, see some awesome work and drink mescal Hopefully see some of you there! I am always dressed like I am on this Twitter background if you want to say hi: http://www.twitter.com/jgharding JG x
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