Archived Threads: https://fgts.jp/p/search/subject/video%20general/
not exactly video but anyone shoot 35mm? looking for lab recommendations in london
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The tutors in my FilmSchool say it's cheaper for them to send the stock to Germany. I can get the name if you want. Email me at email@example.com and I will follow up when I have the name of the company.
cinelab are a bit far out, I'm waiting to hear back from idailies, they quoated me £.22 pf a few years back for processing and scan. was just wondering if anyone knew any other places.
I've heard of people shipping to poland but not germany. I would prefer to actually meet the people doing it.
what's the best affordable steadicam on the market?
also best wide angle lens for widescreen scenes? something in vein pic related?
please excuse my pleb terminology
Reposting due to glorious cross posting.
Go through Dave Dugdale's DSLR videos from the very beginning, you will learn a ton.
Once you are more into it there are a bunch other intermediate channels, Caleb Pike fx.
It's the film that's expensive moron.
So again I will ask you on what planet is shooting film video cheaper and if so, for how many minutes worth of footage until the price blows out?
At work we got Arri SR2/SR3 16mm, some bolex's, and a Arri 535B 35mm camera. The 535B rents for pretty cheap, like 75/day while the bolex's rent for like 20/day
We got some members who rent them out quite regularly and we maintenance the cameras or send them out to get serviced when need be.
Just off the top of my head as an example, a weekend rate on a Bolex is $30, and say you get 2 stocks of film which will run you about $40-50. If you want a projection transfer that is roughly just the cost of renting a 16mm projector which is about $5 or you can use an optical printer by the hour which can vary in price.
For developing you can either send it off which will cost a bit, or do it your self if you have the chemicals or access to them.
This is pretty subjective for where I live though since most of this stuff you can do for pretty cheap or almost no cost.
I recently got a black magic pocket cinema camera and was wondering if this will suffice for pro res and raw
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Looking at a recent invoice, 16mm developing from Niagara Customs Lab was about $144 with development and shipping. I'm not >>2714418 though I was just throwing in some numbers. Not sure how much scans are from the post studio here. Where I work is DIY so if you shot your 16mm you can use the dark room to develop it yourself and get a 2k scan for free, you just have to learn to do it yourself with the tools your given.
The cheapest way to go that I can roughly calculate shooting film (at least here shooting 16mm) is about $30 for a camera rental then $22 for a roll of black and white film, developing and scanning yourself. So I think like >>2714418 was getting at is there are ways to do it for pretty cheap if you can find the support/ infrastructure that supports it. Luckily here we have a really good film co-op to give others the tools to do it.
Shooting film today as someone with not a ton of money to blow on producing something of actual value is good for two things: Novelty and impressing other hipster fgts. An audience doesnt give a shit if something is shot on film, and audiences will be the ones paying your bills as a filmmaker, not Joey Lumbersexual. Nor will that audience be able to tell the difference between actual film stock grain and an overlay.
You wanna shoot film? Cool, wait till you can muster up a big budget and you got your licks in with digital and know how to at least make something good before you go wasting money on stock.
Thanks for calling me a moron, really love the polite discourse that happens on this board. I haven't avoided anything, I've just been away for a few days. I did briefly touch on why it's cheaper: "Kodak are trying to revive film" - I'll explain:
Unlike most people in these threads I actually shoot stuff for a living. I have priced up camera packages for indie shorts I've done in the last year and with Kodak's Independent Production Package program they can tailor a whole package to your budget (within reason). I found shooting 16mm to be actually cheaper than shooting Alexa, and friends tell me they also made 35mm workable as well. Thanks to this program and a similar one fuji did a few years ago there is a resurgence of people shooting film, which is great. Even if you don't think you would ever use it it's just another tool in the arsenal available for everyone, how can that be a bad thing?
So whatever you think about shooting film the cost isn't the biggest issue.
It's really sad that so many people just write off shooting film as:
>Novelty and impressing other hipster fgts.
It's just another way of making a movie, don't get so bitter about it.
You're right, the audience mostly won't care if it's shot on film or not, it usually is the DoP/Director pushing it for their own gratification. But as I've explained in another comment it can be a economical choice as well as appeasing your inner "hipster fgt".
I would bet money that everybody in this thread hating on film has never worked with it.
Most people I know who shoot on film are either the old fucks who've been doing it for over 30 years, or they're people who are interested in the process and want to try something the hard way. Not all filmmakers are in it to make money, they do it for themselves.
I only hate it because I'm a poorfag, if I had the funds I would absolutely love to shoot on film
I actually own a krasnogorsk 3, maybe I'll try to find some cheap 16mm stock on eBay or something...
it will work fine for aperture control, which is all you need. even metabones on the a6000 isnt great for AF. Go for it, I jumped to the a6000 and love it, actually turned down a trade for a bmpcc + speedbooster for it because the ease of use trumped the IQ for me.
picking up a speedbooster for the a6000 is worth it though, as its not a great low-light shooter-- I'd recommend trying to find a metabones one on CL or ebay for under 300 if you can, as they maintain IS for your canon lenses.
I'm a teacher and I would like your help /vid/.
We have a new Audiovisual budget starting 2016, we'd like to purchase some new camera equipment. One of my colleague teacher is purchasing lighting equipment.
I have a budget of 25.000 - 30.000 euro's.
>Canon EOS 6D Body (4x)
>Canon EOS C100 Mark II
I don't know much about the essential lenses needed for both cameras.
>Wide angle lens
>Optionally a drone
What am I missing here?
Do you guys have any suggestions on lenses and filets?
>>Canon EOS 6D Body (4x)
Why? What on god's green earth would make you do this?
Get 5D mkIIIs when they go down in price or anything from their rebel line
See above, 6Ds have terrible moire problems
Hell, getting 10 1200s for your students would probably be more helpful anyway and each one should cost ~$150/£200
If you're dead set on full frame, just get a 5DmkII or III
should I go for BM Pocket Cinema or just stick with 70D?
I'm getting clips from go pro videos I have.
Do I need to render out every video separately.
Can I save the clip without rendering and render them all together when I combine them for 'montage like' video. Will it take longer to render if I do it this way? Thanks.
I'd like to say s16 is roughly 2x more expensive. You can get rolls of super 8 for like $15-20 and get them batch developed for cheaper as well.
Honestly the cheapest route I've found is to shoot black and white, develop it yourself, and do a projection transfer. Obviously it won't be the best quality on the transfer since you're filming a projection screen, but if it's 8mm the difference is almost negligible. Highly recommend shooting super 8 tri-x.
so many photographers on /p/ shoot film because the results are different. The fact that so many people think moving image is any different is the reason we are bombarded with dull/flat looking films lately.
Sure the audience haven't got a clue what camera is used, nor do they give a fuck, but they know what looks shit and what looks good. The kind of dp's (old or young) that make a conscious decision between film and digital are more than often choosing whats right for the look of film and will have great image making at the forefront of their decision.
Anyone who rents red's, arri's, even c300's with decent glass is well within the budget of shooting 16mm.
To shoe it off as hipster, too expensive or too difficult is just plain lazy for anyone shooting drama in the professional world (or trying to break into it).
Is there a way to export to ProRes from Premiere and/or DaVinci on Windows?
ProRes has a 10-bit color space, whereas DNxHD has an 8-bit color space.
Footage I shoot is from a Canon DSLR, so I know for a fact that footage is 8-bit. However, after I do the corrections and compositions, it should be better to export to 10-bit.
There is DNxHD 175 for 10-bit, but that is way too high a bitrate in my opinion, granted the only thing I can think of if I have to do it this way is to export to this and convert it to ProRes in AnotherGUI. I would like to export to ProRes (or a 10-bit version of DNxHD with a lower bitrate) though.
>mfw digital will never ever look as good as film
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Apple has a prores decoder for windows, that might be what you need. I haven't tried it myself.
Does anyone have any good suggestions for a RAID solution for storing mass amounts of footage and working off of it for editing? I was looking at Avids ISIS and it looks like a pretty RAIDical solution.
>He shoots with DSLRs (or "cinema cameras" below $15,000)
You probably want 10GbE for editing big video files. I think Synology have a NAS does does LACP so you can get up to 4bE.
It would just be easier to get a big SSD for editing, and then move it onto the NAS for archive.
How do avant-garde filmmakers, the types who make the seriously obscure shit, make a living?
Talking about the likes of Courant, Brakhage, Hutton, Benning, Jarman...
>Looking for camera that can do video
>Want to hand-hold
>Sony A7ii In Body IS looks good
>Decide to go to camera store to try it
>Ask if they have adapter for Leica M-mount Lenses
>Sales guy says adapter is $400.
>Sales guy says Auto-focus won't work without adapter
>Leica M adapter
>Sales guy says auto-aperture won't work without adapter
>Leica M adapter
I walked out with frustration.
>what's so good about a GH4 over a Canon or Nikon DSLR?
Generally speaking, it has greater recording resolution, no time limit, and the sensor doesn't heat up and generate more noise the same way that DSLR sensors do. It also outputs 10bit 422 from it's HDMI for ProRes recording via an external recorder like an atomos or odyssey. Another pro is the short flange distance of the mft mount, which means adapting Canikon lenses is easy as shit. It's also smaller and lighter than a DSLR like a 5dicks mark II/III or D800/810, which means it'll be lighter for shoulder use once it's rigged up. Of course it has it's cons(lots of people say it's image looks too video-ey, making it hard to properly emulate film tones) but many of them are subjective. Every now and then you'll hear some artist rage about it's sensor size, but that''s pretty much a baseless complaint with the existence of speed boosters, as they allow the camera to effectively become a super-35mm camera. For it's price, it's a very good product. Also, anamorphic support.
Is there a cheap version of this? $22 seems like a lot for a big nut.
Noob question here.
If i have a camera that can record at 40mbs and in shooting at 24 FPS, that FPS set what i can sample per second right.
So when i set the shutter, what exactly am i changing. I know physically in film cameras there was a rotary shutter, and that angle of that shutter changed how much motion blur there was, but what is a digital camera doing when you set the shutter speed higher or lower. In theory its changing the angle of the imaginary rotary shutter that isn't there. But in reality what is the camera doing?
40MB/s is completely irrelevant to what you're asking.
You could Google this very easily, why haven't you?
Generally speaking you want to keep your shutter at double your FPS, so 24FPS = 1/48 Shutter. This is known as a 180 degree shutter which is terminology from film cameras which had rotating shutters. This gives the movement in your video a slight blur which we have all come to accept as "cinematic". Only change from this rule if you know what effect you are trying to achieve.
Seriously, why haven't you looked this up you lazy shit?
Sorry, just realised you asked what the camera was physically doing. It depends on the sensor but its either a rolling shutter which scans the pixels on sensor from top to bottom or a global shutter which captures every pixel at once. The timing of the capture of these pixels is determined by your shutter speed.
So /vid/, how would you go about doing a promo for a sports club? One which shows off the sport as well as the club.
Trying to think of a way to do it so that it has a polished look and feel without seeming too over the top. Seems like most club promo videos are quite tacky so want to avoid that.
Basically, do any of you know any examples of good promo vids, or some pitfalls to avoid?
>Nikon made it so you can't change aperture while shooting video
>research online, it's an arbitrary software limitation and not a hardware one
>no hack to fix this issue
How does this look senpai?
I had to cut it short because I started it late, but I was trying to capture the Geminids meteor shower.
Are these cheap steadicam knockoffs on Ebay usable?
I want to get some hands on time before i make a bigger investment.
It's like >>2720949 said, you're better off using stills lenses with aperture rings for video. Changing it in camera is not the best way to do it anyway, since it often steps down, which you can clearly see in the recording, and it makes fine adjustments virtually impossible. It's the reason Canon mount lenses(save for ones with manual aperture) aren't recommended for video use.
50D with Magic Lantern installed
30Sec f2.8 ISO 2000 (A bit grainy on the 50D, but I need to go that high)
Manual focus set just before infinity
Interval set to 1min
That pretty much all you need to do, apart from some Photoshop tweaks to down the noise, you just have to wait a really long time.
What are some nice legs and fluid head combos for a documentary kit?
I'm looking for a relatively light set of legs with good height, and a decent fluid head to put on it. A set of legs designed with photographers in mind would work better, I think.
I'm mostly new to this, and most of the articles I come across aren't very helpful, as they mostly recommend a bunch of heavy video oriented tripod sets which would be too heavy to carry.
Either direct suggestions or links to helpful articles would be very much appreciated. Thanks!
You can save all your clips in a single project file OR render them individually. Rendering all of them at once will of course take a lot longer. Rendering one at a time would be faster and involve a bit less mucking around. Still, if you have time to waste you should probably do all of them at once as a montage. Vegas has some good tools to help you trim everything so it looks nice and coherent. Sorry for the late answer.
>Source: I've been using several different versions of Vegas since 2010.
>Look up video samples from camera of interest
>Teal & Orange grade
ok /vid/ I'm going to start filming weddings again for money. I haven't kept up with gear in awhile so I need your help. heres what I need
lets say I have a $2500-$3000 budget for everything, what would you recommend?
Man with this budget you'll need to really stretch it. You'll get 2 cameras tops, and they won't be good in low light (which you will NEED unless you buy lighting) unless you get a really fast prime, which can run you up to 1k. Mic and monopod together will be around 600.
a6000 shooter here-- the monopod i use is the sirui p-224s, its real great.
for lenses, theres two routes: Native, or adapted. For native lenses: get the 18-105 PZ f/4, the 50 1.8 OSS, and maybe the 12mm 2.0 rokinon set to infinity?
If you go adapted-- grab a metabones speedbooster (EF), a 24-105L, the 35mm f/2 IS, and a 100 2.8 Macro L IS.
For both of these outfits-- you obviously dont need all IS lenses, but its always good for handheld work. the f/4 zooms should be able to be the main workhorses for handheld, and you can just use fast vintage manual primes alongside those.
Does anyone here still use one of these, or something like it?
I'm having difficulty with my Nikon D5300, this is the first time I've ever had what I would consider a REAL camera and I'm finding that there are alot more to cameras like this then I really understand. Could you give me a little advice on settings for night or low-light video settings?
I shoot Nikon and one of the main things about their sub-prosumer level cameras is that their low light can be rather poor. With some lighting you've got gold, and even with some proper grading you can get rid of enough noise to have an usable grain, but otherwise you'll need a really fast prime and some lighting.
That's pretty much what I figured :( thank you
What settings would you suggest for dark recording? and I can't seem to get my auto-focus to auto-focus, while recording I have to pause and hold the shutter button to force focus WAY too often... any ideas?
>I can't seem to get my auto-focus to auto-focus, while recording I have to pause and hold the shutter button to force focus WAY too often... any ideas?
Yeah dont use it. Learn to focus manually its hard at first but you get the hang of it.
How am I supposed to grade anything when I can barely see the footage, this is fucking retarded
There is no way to change the UI either
sure did, 'cus when I came around here asking for some pointers on where to start all I got was a cackle of KEK'lers and no assistance.
I couldn't wait to get into it, so I got what I saw as a decent starting point for a complete beginner, and it's working fine for me now.
The t'pod works pretty good for the camera I have (which is a bit heavy once all equipment is hooked up) it's held together with magnets and requires the clips to assure that the cam doesn't come disconnected. I'm not sure about the knock-off but for that price it's worth a shot.
Buy Brian Peterson's understanding exposure and read it
In the mean time, Cambridgeincolour is your required reading
B&h and keh have good YouTube tutorials
Avoid jared polin because his attitude is cancer, otherwise, hit up the tubes friend.
Not really. Standard definition lenses produce a fuzzier image than if you would produce a downscaled video from an HD camera because the latter have sharper lenses. Noise is prominent and there are color shifts, like blue fringing in high-light areas (this article explains it https://en.wikipedia.org/wiki/Purple_fringing). The dynamic range is also somewhere between 6-7 stops, expect highlights to be clipped.
It's great if you need a run and gun camera that can be held on a shoulder. It's lightweight compared to modern cameras that appeal to same-format (light shoulder camera that isn't full blown ENG). The body is very rigid, it can definitely take a beating.
Been using pic related for photos and internal recording, it works great. 2 questions:
Is it possible and a good idea to use it as a webcam through the mini HDMI port? Ideally 1080p. I have a laptop with HDMI in. I know it sounds like overkill but most webcams I have tried are shit for regular indoor light without extra lighting, even the "higher end" ones most streamers use. Would the video go into my laptop as another webcam feed?
2nd question is not entirely video related. Is it a good idea to just leave the camera in silent mode? I haven't found any function I use locked out under that mode. I have never used mirrorless cameras before, and it sounds like silent mode has no real down sides compared to limited function on DSLRs.
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>do all amateur videos suck massive dick?
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any suggestions for the color profile and how to set it up?
i already have magic lantern, i was thi king about getting some really fast and big sd cards for raw video but is it worth it?
T2i or T3i. Modify it and it has great quality. Get Tragiclantern too. Magic's crap in comparison. If you're willing to spend more money get a VAF-TXi. Send the DSLR to like Phototech (If need be) to get the shutter replaced to use Digital lenses with the filter. Also don't worry about the Error 20 coming back. May pop up a couple of times, but stops after like I'd say... 1-6. Get Visiontech, Visioncolor, or Cinelook. Don't go for plebish Cinestyle. That's worse than Neutral. Also to spice things up where I'm about to go, get an FX HD/TV 1/2 filter.
>Get Tragiclantern too. Magic's crap in comparison.
where did you come from buddy, early 2014?
Tragic lantern is over for a long time now, basically it was a distro thrown together by 1% integrating all the halfway done features.
The latest rolling release is the answer, if ML.
An EOS M is a cheaper investment then, but quite frankly you should save up a tad more and buy a Sony A6000.
The rebels were great, but aged pretty badly, I know because I have one - noisy senor with disgustingline skipping (moire and aliasing issues) and a terribly soft codec. That's what this snake oil salesman is trying to sell you.
A lot actually. Tragiclantern gives Full HD uncompressed H.264, The VAF-TXi also fixes up the moire, the Visiontech helps with the noise, and the FX HD/TV with everything else. Maybe it never got tested and I'm about to. But that's how you get rid of the issues. You can doubt it if you want. By stacking those things together I believe you'll get good resulting footage.
I'm between either sucking it up and buying some super8 film for my grandmother's old camera -- or, a Canon T2i. I can probably find the 200-300 bucks to make it to the T2i within a few months. I just want to get started with the whole affair, I want to practice and perhaps shoot one of my shorter scripts without too much initial investment in the gear.
Is the T2i good enough for amateur material? It's coming down to me doing the research and realizing I have little idea what I'm looking at. T2i looks like it's the oldest/cheapest I can do without garbage. Any help would be appreciated.
Well I looked again and a Rebel T5 looks like it's a bit much but I can work towards that, just might be until Summer. Gives me more time to read and write anyways.
So, how's the T5 with that Magic Lantern thing for basic filming? Both for some formal experiments while I learn the ropes and some actual extremely low budget films?
Don't know much about that... In terms of Canon stuff the best are the T2i, T3i, 6D, 7D, 5D Mark II, 5D Mark III, 60D, EOS-M, C100 MK I and MK II, C300 MK I and MK II, C500, MK I and MK II. At the cheap level you want flexibility.
yeah cellphone was what I was suggested by a friend, but I had to shut that one down because I knew up front that I can't do shit with that unless I'm doing some afghani pizza roll factory union bust documentary that I can classify as an intentional "art film" aesthetic
which I can't, I'm working with a script that reeks of Henrik Ibsen that I wrote so it's gotta be watchable
I think I'll make a list of these and head over to a (somewhat) nearby film shop I know where they'll let me see demos etc. Greatly appreciate the help here! Virtually all of 4chan sucks ass but this board is surprisingly helpful.
>Full HD uncompressed H.264
What does this even mean? You either take a video stream and compress it into a codec or you are shooting raw. What you are saying simply does not make any sense.
If the mystical Tragic Lantern feature (from 2013, because that is the last time it has been updated) you're talking about the 3x compression rate variable then I have 2 news for you:
It's been in ML for around 2 years now and it doesn't do shit for image quality, only makes the files bigger.
>Virtually all of 4chan sucks ass but this board is surprisingly helpful.
but check the recommendations anyways. This guy has been just recommending you to get a 6D which is a terrible choice for video, check this video sample:
This shit is atrocious especially at this price range. The Canons were nice at one point and with Magic Lantern they are real workhorses that you really can use for getting solid foundations (t3i with vintage lenses fx.) but if you want image quality that will stand in years to come you pick something else, here is a great article about it:
No surprise there are no standard Canons in the "Good value for money" section (only ones with the RAW hack, which is nice but a whole new dimension demanding heavy post processing and lots of space.. look into it) because the Canon h264 video simply sucks. Newer cams (sony a6000, samsung nx1 etc) resample higher res images which mean you get much crisper images and also better codecs.
check this vid from 3:30
This is the difference between the canon-dslr's and the next gen cameras (which are quite often around the same price)
>really hope Samsung doesn't kill off their camera division
rumour says Nikon purchased it, which is actually an interesting twist
Hey /p/, I'll probably be chastised for this, but a friend of mine and I are working on planning a music video shoot, and we're thinking of doing a stupid VHS a e s t h e t i c-y type video. I don't own a camera, so I'm wondering, does /p/ think that I should throw down the bucks and rent a cheap DSLR, and then edit the footage in post to give it that VHS feel, or should I just straight up buy a VHS camera and convert the tape footage to digital?
Also, can anyone tell if this video was shot on VHS cameras or not? My guess is no, but I was wondering if anyone had a second opinion.
tl;dr: use VHS camera or DSLR and edit in post?
You can get some interesting results in After Effects (pic related). I'm probably going to cop out and just buy a sub 100 dollar used VHS camera though.
Can anyone recommend a camera for me.
>under $200 AUD
>720p HD or 1080p I'm happy either way.
>will be used while traveling overseas so I'll be filming myself and the places I go.
>happy to buy in store or online
Hahaha, Get a better clue. You never tried out the encoder settings and don't know what GOP or Flush rate is. Also I doubt you have touched the FPS override settings to lessen rolling shutter.
It can be done, and in fact - some amazing work is being done with them.
^This is the best use of GoPros I've seen in film making (and goddamn is it cool, check out the music videos too - and yes this played at TIFF).
You do run into the technical difficulties (lighting requirements, space/battery requirements to shoot higher res's/framerates, dealing with the fisheye lens etc). Similar difficulties arise with smartphones, but you can make it work if you know what you're doing with it.
I would also say, looking good/perfect isn't everything - if it's good, it's good.
There's also a smartphone app I read up a while back, haven't tried it myself but worth a shot?
You could probably figure out how to get the effect out of after effects. I'd avoid digitizing tape (it's a time consuming pain in the ass that requires either a camera or tape deck that you can hook up to your computer [capture/digitize on playback]).
Canon T2i/EosM/T3i. It's absolutely fine for amateur material (though I would say, professional has nothing to do with equipment - it's more a way you carry/conduct yourself [also, you aren't an amateur - you're a professional in training]).
Your camera is really only as good as you are in the end (a t2i can look fantastic if lit/lensed/graded/framed well [google Kendy Ty's work]).
Super 8mm is fine as well but it has a very distinctive look to it (rough look even when used well), I'd wait till you're a bit more experienced to mess with film.
http://www.theblackandblue.com/ is decent, however - the term 'Cinema Camera' is relatively new (as previously you only had Film Cameras & Video Cameras [video being anything shot on tape/digital]). It depends on the particular model you're after (say, Kranagorsk or Kinor 16's vs Bolex's vs Arris [you can't buy a Panavision camera or I'd list it]).
You can also modify a GoPro to accept cmount lenses, so old Bolex lenses or CCTV lenses can be used for a different FOV outside of the standard fisheye. There's a surprisingly large amount of options as far as cmount lenses go because of the GoPros small sensor so you have options. Modification in question, https://www.youtube.com/watch?v=2UpD9TJUW54
I know of the app, it's okay I guess. I'm kinda banking on using After Effects, because I want more control of the effect. I wouldn't mind taking the time to convert the tape to digital.
How do I get the Cineform codec for Windows?
How does it fare to ProRes and DNxHD?
I know that I have an export option in Resolve for cineform YUV 10-bit, but I get an error that has led me to believe that it's because I don't actually have it installed.
Do you know what the different bitrates are?
Does it play well AMA linked to AVID (I already know AMA is iffy as it stands, but still).
Hey, I have an A6000 with an EF (metabones) speedbooster, and an EOS M with a (knockoff) F-mount speedbooster.
Need a new UWA (20mm or wider FF equiv), and I'm between a few options, budget is under 300. Fast is important.
-Sigma 20mm 1.8, which i can get on CL for 250: not as wide as I'd like, but fastest option
-Rokinon 14mm: I know there are some distortion issues, but on the speedbooster it's the widest option
-Rokinon 12mm 2.0 for E-mount: least useful and versatile option, and no speedbooster benefit, but this lens is so small that its appealing.
Other option is to spring a little more for the tokina 16-35 2.8, which runs 400-460 used ive found. if its parfocal like the 11-16 was (RIP, i'd just replace that but i rent an a7s too often for gigs and want to be able to just slap it on), that might be appealing.
I wish I didn't need the stops of light from FF enough for that to be a factor (shoot a lot of concerts where i have zero control over lighting), otherwise i might wait for that f/2 UWA zoom tokina is releasing for crop sensors
Soon i will be grading some footage, and i don't really know much about it.
Is there a way to do eqiuvalent of luminocity masks in Photoshop but with video? I.e. i need to apply curves to parts with different luminocity.
Unfortunately, at that price range it's really hard to say anything, $145 doesn't really get you much (especially w/good video).
You may be able to find a used t2i body or even grab a used GoPro (both are fine).
For travel though, to be honest - a point & shoot/smartphone would be fine too. I'd like to make it a point that you should enjoy your travels rather than be frustrated/obsessing over the photography/filming of your travels (not everything needs to be photographed, a good story you can tell or a good memory you keep is better than the best of travel videos/photos).
Davinci Resolve, add new node--> Power Windows/Qualifier+Curves Adjustment
Hey I have a Question regarding gear.
I currently own a 60d with a L lens ( 16-35mm 2.8 ) and will have around 700 euros to spend on whatever I need or may need in the future.
I am in a communication video course that can lead to taking a PHD on Audiovisual on a really good uni in my country. I wanted to know what I should do with those 700 euros ( keep in mind I am in the 1st year of a 3 year course ( 5 year course if you count the PHD )) I am really torn apart between keeping it until I have the necessary skill to use something like sliders paired with fluid video heads to make the panorama / parallax style of shots or to invest in equipment now and gather the skill as I go into the course.
What's your opinion?
I'm a bit torn between either investing in lenses or in material such as Slider / manfrotto head ( Already have a stable tripod, the Camlink one )
Thanks in advance and good year to y'all
Best way to do it is to work off an external since cacheing to your computer will bog you down. If you want speed just make proxies then edit with those then link back when you're done editing.
My projects haven't been too long with it so I've just edited the raw and cached off disk.
Looking for a good video camera, my budget is 1k.
Z Camera E1 has everything I'm looking for, but the samples on Youtube looked shitty, maybe because it was on Youtube?
And it's very small, I'm afraid I'd drop it.
Does anyone have experience with intercutting a7s footage with a6000s? How well do they comare?
I'm about to invest into an a7s and considering getting an a6000 for b cam.
I have an a6000 and rent an a7s on the reg-- its not perfectly easy to grade, but with the right flat profile its def easier than matching with canons running cinestyle. when I get home i'll pull up the specs for the profile i use.
Anyone know a good source for 35mm movie film recans / short ends other than ebay?
nothings gonna look identical to slog2, but its definitely a lot easier to grade just because the color space is so similar
I have two profiles I came up with, one thats more designed towards grading (comparble to technicolor cinestyle), and one that is easy to grade but acceptable out of the box for the most part (comparable to film picture style).
Flatter profile: Using "Portrait", -3 contrast, -2 saturation, -2 sharpness. In grading, it seems closer to slog3 than slog2-- actually, it works pretty well when you just plug it into the slog3 preset on speedgrade, just expect to lose about a half-stop of exposure in the process
-more out-of the box ready alternative: "Deep", -1. -1, +1. This is what "vivid" should be, but has a little more grading room to push it for minor corrections when matching with the a7s
that said i'd consider the cheaper a5100 for a b-cam; not as great for photos/no EVF/ worse AF if that matters, but ive heard people claim it has full pixel readout. also, the $10 LiveView Grading app might work with XAVC-S on the a5100-- i got it for the a6000 since it allows for way more customizable color profiles, and would basically solve your matching issue, but the a6000 didnt have xavc-s until a firmware update-- and they never updated the app to work with anything but avchd. So, save a couple hundos, get the a5100 for your b-cam instead of the a6000 if youre already getting an a7s (plus, the screen flips up 180 degrees on the a5100, which can be pretty handy)
ugh full sensor readout not full pixel readout, what the fuck am i talking about. you get the idea, more designed for video from the ground up (also citation needed on this claim?)
most importantly its cheaper
i have a chance at a very good (read: under a hundo) deal on a rokinon prime, but it's in fuji x mount. I know there's a 0.3mm difference in flange distance (with fuji being shallower), but given all the rokinons are basically the same lens, do you think there'd be a way i could swap out the mount?
As someone who is just about to start venturing into making small artsy videos when I travel, what video editing software is best to use? I'm not opposed to pirating and I want something that would give me a large range of freedom.
Going back to the topic of film, is there ANY benefits to shooting on it besides nostalgia? There has to be a least a few upsides, I hear depending on how the film is processed colors are more accurate and significantly better DR.
Err... theoretically it sometimes has a slightly higher dynamic range...
It gives you hipster cred? You can talk about how much you love your craft in interviews and seem really knowledgeable to plebs?
thanks for the info mate, much appreciated! obviously I have no way of testing your settings right now but once I got the cams I certainly will.
The a5100 - if indeed has full sensor readout and 1080p at 60 fps - is a ridiculously great offer on the market, way over its competition at the price range.
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I'm someone else but have a semi-related question. I have a reasonable budget to choose cameras for my college's new studio. The studio will be used for talking-head interviews, and smalltime broadcast style news done by students.
what's a good broadcast camera i can get sub $10,000? I'm interested in the Sony pxw-x180, but after using the NX5 for the last couple of years, 3X 1/3" sensors just don't seem good enough. The "cine" digicams don't do me any good because they don't have servo zoom and dont work well for broadcast.
Because they really don't care for video? Those cameras are stills cameras, at that price range you shouldn't be looking at DSLRs. Still ahead of Canon though, at least they give you the option of 4k.
I don't understand why people obsess over using exclusively DSLRs for video and complain how finnicky they are. A lot of people would benefit from a nice fixed lens video camera or something like an FS700 instead of wasting a bunch on those ridiculous DSLR rigs with like fifty attachments
Would filming a documentary style video (think the office) be possible with pic related? Would I need a new camera or could I just buy gear for this one?
>I don't understand why people obsess over using exclusively DSLRs for video
"Muh (full frame) borkeg" is often the reason, which is one of the reasons the 5d is/was so popular. You also have people who don't have the slightest idea of what proper video equipment is and just see the 1080p HD label and think that's the best they can do for the price. Too many people with too little information is really what it is.
>A lot of people would benefit from a nice fixed lens video camera or something like an FS700
Only if they knew enough to reaps the benefits of such a camera. Most people on this board would be so overwhelmed that they would probably drop the camera and go back to their DSLR. The DSLR video revolution is single handedly responsible for catapulting HD recording abilities into the hands of photographers/hobbyists with no idea of how video works. While the core basics apply, video is a completely different beast when compared to stills, especially technology wise.
You'll have to get the wide angle lens adapter. Also I'm not sure if this camera shoots 16:9. You can get away with 4:3 for skateboard but I would prefer 16:9 just because it will feel less morally outdated.
Just in case people don't know what I'm talking about in terms of uncompressed H.264 HD. T2i.
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If it's giving the maximum of an H.264 video file then I consider it uncompressed. You and your technicalities. I could show you a unicorn outside and you would spend hours specificizing the details and finally say HA Unicorn! And I would just walk out there and say there is a god damn unicorn.
You're offended. I was just trying to describe the camera. Cinema: The production of movies as an art or industry. Camera: A device for recording visual images in the form of photographs, film, or video signals. T2i: records video signals that can be used to create movies. Thus making it a cinema camera.
This level of autism, gotta give it to you. You know very well what a cinema camera is and what the technology for one is like. If you want to get that literal then my phone is considered a cinema camera. Stop grasping, nobody in their right might would refer to a t2i as a cinema camera, and no one would bother using one for a feature in this day and age.
Is the Canon EOS 1DC a cinema camera or a DSLR
I'm going to explain to you why everyone in this thread is rolling their eyes at you.
H.264 is a compression algorithm in order to store video files in a smaller file size than the raw video is recorded at.
So to say "uncompressed H.264" is an oxymoron
>H.264/MPEG-4 AVC is a block-oriented motion-compensation-based video compression standard developed by the ITU-T Video Coding Experts Group (VCEG) together with the ISO/IEC JTC1 Moving Picture Experts Group (MPEG).
Please stop acting butthurt and shitting up the thread
Get whatever the hell you want. What you are talking to are plebians claming to be patricians. So they're advice regardless of what it is to be towards the niche hipster crowd that shoots shitty test videos. You like the Sony a6000 then get it. Rent it if you don't know if you like it or not or perhaps ask B and H or some site about the specifics. Look at the detailed reviews and test videos to get a clear idea of what the footage was like, also that was not an oxymoron, because even though test videos are helpful they aren't actual filmmaking.
also true filmmakers don't jerk off to clean images, but instead focus and they also don't act retardely cynical. NOW THAT IS AUTISTIC. A freaking down syndrome kid would have more common sense than to act like that.
>watch student film
>camera guy shoots his d5100 autofocus and auto exposure
>every single shot is inconsistently exposed in the same scene because the camera shits itself auto adjusting to every little change
>Every time the subject moves the camera starts hunting for focus erratically
>zero effort to keep colors consistent between scenes
>they had a lighting technician and two directors of photography
Imagine how badly youd have to fuck up, having 1 lighting guy, 2 DoPs and none of them took 10 minutes to google how to take dslr video