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I shoot regular Sony MiniDVs on a Z1U and I've never had a single problem. Just shoot with one type of tape, try not to vary as (supposedly) each tape manufacturer uses slightly different construction processes and materials and eventually all the different lubricants inside of the tapes can gum up your heads. I only use the Sony tapes at work, and the Maxwell tapes at home on my personal camera.
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Feb 2, 2010 16:24
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You can shoot HDV on any miniDV tapes. There is an increased chance of drop outs but I've only got that once, at the beginning of a tape, with my office's XH A1s.
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Feb 2, 2010 18:01
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I kind of thought so, thanks.
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Feb 2, 2010 18:34
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Even Beta SP/SX or VHS/SVHS tapes are basically the same thing. Decks only knew what kind of tape it was by an arrangement of holes in the case. There use to be decent money in making a simple jig and drilling holes in cheap tapes.
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Feb 2, 2010 19:17
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Magic Hate Ball posted:I'm going to be shooting on an HV30 in a couple weeks and I was wondering if HD DV tapes were actually necessary for an HD camera? People have told me it is and some people have told me it isn't. HDV tapes are a marketing scam, they're physically the exact same thing as MiniDV tapes. It sounds like a crazy conspiracy theory to say that every major tape manufacturer colluded to create market confusion and then took advantage by selling repackaged tape at a 500% markup, but that's pretty much what happened. Not the first time in history either.
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Feb 2, 2010 19:32
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So, anyone working on anything cool or have something to show? I want to see stuff goons have made. Here's a webisode of Lunchtime Confidential, there was a 20 minute short made last year that is up for festivals this spring, and therefore isn't posted online. But we've done some short follow up episodes for fun, I didn't actually work on this one or the original short, but I worked on the 3 latest webisodes which haven't been posted yet. I'll probably throw up a link here when they are put on the page. http://www.facebook.com/#!/video/video.php?v=103693896312199 The original short was about the main character who is a high school student PI, and he investigates crimes on campus. It is set during the 1920s and 30s. Black and white comedy. Andraste fucked around with this message at 07:22 on Feb 11, 2010 |
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Feb 11, 2010 04:35
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Andraste posted:So, anyone working on anything cool or have something to show? I've been working closely with the person making this project, and have done a lot of camera (stills and video) work. While there isn't much put together right now, there will be more sequences in the next week or so. The overall style of the piece will be a personal essay, focusing on exploration of the implications of religious upbringing both on one’s sense of self identity and identity within a community. We've shot a lot of interviews, though it looks like most of them aren't going to make it into the video, dances, trips to our hometown, and taken a trip to Jerusalem.
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Feb 11, 2010 07:03
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Andraste posted:I want to see stuff goons have made. Here's a music video I directed recently: http://www.youtube.com/watch?v=o5V_O42uxXU
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Feb 11, 2010 19:10
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Dr. Fishopolis posted:Here's a music video I directed recently: http://www.youtube.com/watch?v=o5V_O42uxXU I like the quality of the HD, what camera did you use? http://www.youtube.com/watch?v=J8NBXZJRcdA Is a music video I did for a project, time constraints meant we had 3 hours to shoot with two Canon GL-2's.
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Feb 11, 2010 21:48
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I'm getting ready to shoot my first project on 35mm! The shoot is Monday night and I can't wait. It's for my cinematography class and we have a Panavision G-2 camera package. Should be lots of fun, I've been eyeballs deep in prep for two weeks now. It'll be a commercial for the university symphony, so it will lend itself to lots of beautiful colors and moves. Shooting on Kodak Vision3 5219 500T. Anyone have any last minute tips or tricks?
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Feb 11, 2010 22:02
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ogopogo posted:I'm getting ready to shoot my first project on 35mm! The shoot is Monday night and I can't wait. It's for my cinematography class and we have a Panavision G-2 camera package. Should be lots of fun, I've been eyeballs deep in prep for two weeks now. It'll be a commercial for the university symphony, so it will lend itself to lots of beautiful colors and moves. Shooting on Kodak Vision3 5219 500T. make sure the bulbs work in your lighting kit if you're using one. Nothing is worse than getting to a shoot to find out you have a blown bulb in your fill light 
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Feb 11, 2010 22:09
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Photex posted:I like the quality of the HD, what camera did you use? EX3 with a letus ultimate primarily. I ended up using a lot of wides and B roll from the HVX200 and XH A1 as well. Transcoded everything to prores which was a giant pain in the balls.
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Feb 11, 2010 23:17
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Dr. Fishopolis posted:Transcoded everything to prores which was a giant pain in the balls. Really? I love myself some ProRes. MPEG-2 is a bitch to edit, I'd rather not shoot HDV or XDCAM. butterypancakes fucked around with this message at 23:20 on Feb 11, 2010 |
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Feb 11, 2010 23:18
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butterypancakes posted:Really? I love myself some ProRes. MPEG-2 is a bitch to shoot though. I love prores too but transcoding 168GB of footage sucks no matter the codec. What's wrong with MPEG-2? I've never had a problem with it.
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Feb 11, 2010 23:24
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Dr. Fishopolis posted:What's wrong with MPEG-2? I've never had a problem with it. Encoding it to ProRes before editing for one. Color sampling and bit rate for another. I just greatly prefer DVCPROHD.
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Feb 11, 2010 23:35
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butterypancakes posted:Encoding it to ProRes before editing for one. Color sampling and bit rate for another. I just greatly prefer DVCPROHD. You don't have to transcode to edit HDV or XDCAM, every editor I'm aware of handles them natively. I'm also not sure what you're talking about re: color sampling and bitrate. I'm aware it's 4:2:0, but I've always found XDCAM to be much easier to color and key than DVCPRO.
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Feb 12, 2010 00:34
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Dr. Fishopolis posted:You don't have to transcode to edit HDV or XDCAM, every editor I'm aware of handles them natively. No, you don't have to, but the footage is just easier to move between programs if you transcode it first off. In FCP I transcode as I capture to ProRes and in Media Composer I go to DNXHD. You also avoid problems with the lack of I frames and some interpolation issues with 60i footage. It's just a good practice.
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Feb 12, 2010 00:51
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butterypancakes posted:No, you don't have to, but the footage is just easier to move between programs if you transcode it first off. In FCP I transcode as I capture to ProRes and in Media Composer I go to DNXHD. You also avoid problems with the lack of I frames and some interpolation issues with 60i footage. It's just a good practice. I have never heard of this, and I don't understand what you're saying. If you shot exclusively in XDCAM and you can post it natively, why would you transcode? If you're missing an I frame, how would transcoding help recreate it? Why would you interpolate if you don't have to?
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Feb 12, 2010 01:00
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If you're editing HDV in Media Composer you can't export back out natively to HDV without generation loss, 25mbps HDV generation loss. If you just go to DNXHD, which is much higher quality, you can avoid the trappings of an inter-frame codec. Final Cut is similar, anything other than cuts only will result in generation loss on export. If you're taking things between your editor and AE it makes sense to just re-encode your footage once and be done with it. Inter-frame codecs are not ideal for editing for many reasons and this workflow avoids those problems.
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Feb 12, 2010 01:10
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ogopogo posted:I'm getting ready to shoot my first project on 35mm! The shoot is Monday night and I can't wait. It's for my cinematography class and we have a Panavision G-2 camera package. Should be lots of fun, I've been eyeballs deep in prep for two weeks now. It'll be a commercial for the university symphony, so it will lend itself to lots of beautiful colors and moves. Shooting on Kodak Vision3 5219 500T. 1. Shooting 5219, it's nearly impossible to gently caress up. I think it has something like 9 stops of latitude, including 6 stops over. 2. With #1 in mind, double check your light meter every time you hold it up. Make sure your ASA rating is set appropriately for your filtration. Everyone thinks they remember that, but after you gently caress something up, you ALWAYS remember to check the meter. So, skip loving up... check the drat meter. 3. Keep spare batteries for your light meter in your kit. You're shooting film, without a light meter, you're blind. 4. Old piece of advice: "Light the scene to your eye, then turn off half the lights and shoot." First time I shot 35mm, I overlit the first scene like a paranoid film student (because I was a paranoid film student). By the last day of the shoot, I was using practicals and shooting in the toe of the stock (Vision 500T 5279, a really gorgeous stock they discontinued). 5. Listen to your keys, they probably have some good ideas you haven't thought of yet. 6. Pay attention to your instincts. Sometimes, personalities aside, people aren't serving the production but rather serving their own interests. You serve the production, and if something won't work in the "look" you have envisioned, speak up. The buck stops with you. 7. Make drat sure your AC has prepped the camera package properly. Check the lenses for witness mark accuracy, no contaminants or glass damage, etc. Scratch every mag you're taking out, and clean them carefully. Most importantly, BUILD THE CAMERA in EVERY configuration you'll use it in. Don't assume everything is there for when you go into handheld mode. Don't assume the backup power cables work. TEST them. That's the difference between a working AC and a talking AC. 8. Don't even think of putting the G2 on a Steadicam.  9. Unless you're absolutely confident in your AC's abilities (your confidence should reach a max before the end of the first day, so you don't need to worry), double check the camera. Shooting 24fps? Make sure he knows and it's set as such. 180deg shutter? Check it. Film threaded properly, iris set properly, he's sure he's got his marks, etc. Get each other's backs, and after a few setups when you know he's positive the head is level and can tell you minutes left on the current mag, you can worry a little less. 10. Another old piece of DP advice: "Always follow the two 'makes' of cinematography: Make your leading lady look beautiful, and make your day." Finally: 11. Don't be afraid of color temperature difference, don't be afraid of shadows, and don't be afraid to do your job.
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Feb 13, 2010 06:03
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Tiresias posted:1. Shooting 5219, it's nearly impossible to gently caress up. I think it has something like 9 stops of latitude, including 6 stops over. This is great, I really appreciate it. I've been working with my AC's for the last 4 weeks, 4 days a week, building up the camera, threading it, and breaking it down. They're solid and I know they'll do great. This is all our first time on 35mm, so I'm sure the day of the shoot we will be a little nerve wracked, but they have cool heads. And good words on the lighting. I quickly taught myself a few years ago to not overlight and it's proved enormously helpful. And yeah, 5219 has some insane latitude. I'm not worried about that  Honestly, I feel incredibly ready overall. My AD has been busting her rear end to get everything ready and it is. My crew is strong and I'm itching to get on the wheels and shoot this thing! Thanks for all the tips, I'm actually saving them in a word document for later use
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Feb 13, 2010 19:12
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So is it bad to lust after 16mm film cameras on eBay? I've got my really good SD, and an access to the work HD camera already, but of all the toys I've gotten to play with I've still never shot on film. Do any of you own a cheap-o Bolex or Filmo for fun stuff?
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Feb 14, 2010 04:24
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The Affair posted:Do any of you own a cheap-o Bolex or Filmo for fun stuff? I've got an old Bolex H16-M without the motor accessory or octameter. I think the H16-M was the last non-reflex Bolex, but i'm not 100% sure. I bought it and meant to shoot SOMETHING on it, but never got around to it. In general, I don't see the point to owning a camera unless you are confident you can use it continually for the period of time it'll be "cutting edge" or competent. Not to say you shouldn't own a Bolex, an Arri SR3 or another film camera. However, if I'm buying something, it'll be something that won't be outdone 6 months from now... unless I have 6 months of work lined up with it to pay it off and then some. ogopogo posted:This is great, I really appreciate it. I've been working with my AC's for the last 4 weeks, 4 days a week, building up the camera, threading it, and breaking it down. They're solid and I know they'll do great. This is all our first time on 35mm, so I'm sure the day of the shoot we will be a little nerve wracked, but they have cool heads. Both of those old DP quotes are from American Cinematographer interviews, so don't quote me. I'm glad you have a previous relationship with your AC, but just remember that, at first, don't take things personally. In fact, never take things personally, and don't let him take it personally. You'll stop asking him if iris is set to t/4, but maybe you'll still glance at it. Very few situations on a film set can't be resolved or reconciled over a few beers at the end of a long day. Whatever you do, don't misplace the dolly key. Tiresias fucked around with this message at 04:48 on Feb 14, 2010 |
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Feb 14, 2010 04:30
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Always nice to talk shop with other aspiring DP's that I've never met before. I'm actually lensing my first feature starting March 1 in LA. We're shooting RED, and I'm doing it with many of my best friends in the business. Looking forward to good times!
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Feb 14, 2010 04:50
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Just saw the new panasonic 3d camera working live. Pretty impressive pictured, but I'm really unconvinced about the whole 3d thing. Until they figure out how to do it properly without wearing glasses (they are getting closer) it's not going to be a widely accepted thing. Watching with active glasses on a Panny 105 inch 3d plasma it was a little straining on the eyes.
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Feb 14, 2010 18:54
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How about some cool software for cinematography? Since a lot of people in this industry have iPhones, here's some apps I found tremendously useful and very much worth the investment. First and foremost is Pcam. It's not the cheapest program out there and, to be honest, the interface is a bit cluttered and counter intuitive, but it's tremendously powerful and has more calculation options than you could possibly need. It has a permanent place on the first page of my app list! Then there's Pocket DIT. This is an app for the RED, kind of similar to iSee4k but with the added advantage of having the entire menu structure of the RED as a searchable list. So if you need a function you can just search for it and the app will tell you where it's nested. Incredibly handy for some of the RED's more esoteric menu options. This app was actually pulled from the appstore for a while after the author of iSee4K complained to Apple that it ripped off his app. Gladly it was returned because it is the better app. It's also free! Another favorite of mine is iSwatch. It's basically a library of gels and incredibly handy on set for reference. It gives you all kinds of neat data on the different gels, including light transmission and comparisons. Very useful! Then there's Artemis Director's Viewfinder. It's a bit gimmicky but still quite useful if you don't already have a real director's viewfinder. If I'm honest, it's a bit too expensive but there's a lot of options to play with. As an alternative there's also Director's viewfinder for $2.99 but I haven't tried that one. There's also a shitload of digital slate software. Though how useful those really are, aside from the toy/cool factor, is open for debate. So, anyone else have neat software suggestions? Not just for iPhone ofcourse, just in general.
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Feb 18, 2010 06:58
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It looks like Director's Viewfinder only does aspect ratios.
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Feb 18, 2010 07:48
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Sorry if these are stupid questions but I'm a still person and have never done any motion stuff. I am going to attempt to do a stop motion video with my DSLR (5D mk1) this weekend. The camera will be suspended from a boom looking down on a room, and then I'll have a wireless trigger to set it off every few seconds (or maybe just automatically with capture software, I don't know yet). Camera will be tethered to my workstation via USB to capture the files. Is there any Mac capture software that makes doing this easier? I know there's DSLR Remote Pro for Windows that has an easy time lapse thing, but I don't think my PC can handle a million stop motion images. I could use Capture One but that seems ill suited for this. How do I assemble the images afterward? I assume I can do a bulk process on them after shooting with Lightroom/C1 and then import them into something that will let me edit it into a video? All the stuff I googled seems to be geared toward using a video source, not stills. What size images shoot I be shooting for a HD web video?
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Feb 19, 2010 01:47
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OS X has a capture utility built in, I would assume it supports that camera. As for post, I'd import the images as an image sequence into After Effects. Shoot the native resolution of the camera, 720p should be fine for the video.
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Feb 19, 2010 02:57
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butterypancakes posted:OS X has a capture utility built in, I would assume it supports that camera. Lacking After Effects, you can do it in Quicktime as well.
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Feb 20, 2010 05:58
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Anyone work with steadicam/glidecam set ups? I just had one dropped on me last second for a shoot I was doing last week, since we're working on a DSLR set up we needed something for moving scenes. As a result, my back is completely hosed and it turns out it wasn't even balanced correctly  The producers are getting it again for shooting in March, and I will likely get more than 30 minutes to get it set up this time (Now with some experience under my belt and having learned how to actually get one calibrated and balanced). Any tips? Preferably some that involve how not to become a hunchback after a weekend of shooting with it.
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Feb 20, 2010 13:51
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Willie Tomg posted:Lacking After Effects, you can do it in Quicktime as well. In QT 7 (not X) you can open an image sequence, save it as a QuickTime, and then edit that in any editor.
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Feb 20, 2010 18:29
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Peter Mansbridge posted:Any tips? Preferably some that involve how not to become a hunchback after a weekend of shooting with it. If you've only got a few weeks to prepare, the best I can say is: Buy this: http://www.amazon.com/Steadicam%C2%AE-Operators-Handbook-Jerry-Holway/dp/0240811658/ref=sr_1_1?ie=UTF8&s=books&qid=1266702203&sr=8-1 Order and watch this: http://www.steadicam.com/steadicam_efp_dvd.html Always always always stand up straight with your back straight. If you're wearing the vest correctly, your back should only feel a moderate workout and your legs should bear the most weight. I may fly on occasion 
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Feb 20, 2010 22:45
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Steadiman posted:Then there's Pocket DIT. This is an app for the RED, kind of similar to iSee4k but with the added advantage of having the entire menu structure of the RED as a searchable list. THIS is INCREDIBLY useful. I'm purchasing this one today, thanks for the heads up! Personally, I have DoF Calculator (opens iTunes link). Simple, basic, pre-programmed with tons of circle of confusions for everything from cinematography to still photography. Just punch in the format, focal length and subject distance, and gives you near, far, total DOF and even hyperfocal. I really wish someone would create a lighting diagram app. Not just a catalog of common lights with footcandle calculator, but something where I can do an overhead lighting diagram with distances, and it'll tell me footcandles on the subject from different sides, ratios, etc. Probably asking way too much of a tiny iPhone app, but I think it'd be useful. Until then, pencil and paper will do.
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Feb 21, 2010 20:46
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Not sure if I should post DV camera questions here, but I couldn't find a dedicated thread anywhere else. I've been out of school since HDV was first becoming available and haven't really kept up with a lot of the new technology and workflows. I am trying to get back into the world of shooting digital video and I am starting to pick up jobs doing local events (fashion shows, bands, etc). I need a camera that's more up to date than my Digital 8 handicam. I have a budget of $1500 that I'm willing to spend on a new camera + any needed accessories. I already have my own tripods and lighting. I am thinking that getting a SD camera at this point would be a waste of time, but perhaps at my price point I can buy a better used SD camera. I would prefer to have manual focus and zoom rings, but those are features in cameras that are out of my price range (unless I buy used SD). I also would like the option of shooting variable frame rates. The content will be delivered mostly over the web, if that matters at all. I'll be editing with Final Cut Studio. So with that being said, what are your opinions on the upcoming Panasonic HDC-HS700/TM700 vs. the Canon Vixia series? I've seen some footage shot with an HV30 and it wasn't terrible. The Canons don't seem to have 60p modes, but I've read they have better image stabilization. The only thing that makes me unsure about going with an AVCHD camera is the workflow - I've worked with an HDR-FX7 and am a little familiar with the different HDV workflows (and at the end of the day I'm more comfortable with tape than hard drive/flash cards). With all that being said, does anyone know what the best-fit solution for my needs and budget are? -New AVCHD -New entry-level HDV -Used SD camera with all the bells and whistles
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Feb 24, 2010 10:29
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I can't recommond any specific cameras, but I'm a huge fan of AVCHD as opposed to HDV. Also, a used HVX-200 might even be in your price range these days.
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Feb 24, 2010 17:21
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butterypancakes posted:I can't recommond any specific cameras, but I'm a huge fan of AVCHD as opposed to HDV. Also, a used HVX-200 might even be in your price range these days. Not even remotely close. The P2 cards alone will eat half that budget. $1500 is a tough spot. You could get a used DVX100b in great condition, or scrounge up a few hundred more for an XH A1. I wouldn't go to consumer level if I could help it, there's nothing more aggravating than missing a shot because you're knee-deep in menus with a little thumb joystick and trying to focus with a wheel the size of a hamster's nipple. The HMC40 might be what you're looking for come to think of it. 1800 new, it's like an HMC150 got zapped with a shrink ray. It's a cute little camera.
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Feb 24, 2010 18:20
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Wow, the HMC40 looks like the perfect camera for my current level, so the big question for me is how much render is involved when you plug it into FCP? Would I want to set a sequence to ProRes or Apple Intermediate Codec? I plan on using a lot of titles and some After Effects/Motion.
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Feb 24, 2010 22:15
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1st AD posted:Wow, the HMC40 looks like the perfect camera for my current level, so the big question for me is how much render is involved when you plug it into FCP? Would I want to set a sequence to ProRes or Apple Intermediate Codec? I plan on using a lot of titles and some After Effects/Motion. Well, kind of a lot to be honest. It very much depends on your machine. I have a 3Ghz Core2 duo and it's somewhat faster than realtime, so it's still better than capturing DV or HDV. You want to use ProRes, AIC is all but deprecated. Also, you're going to need drive space. Lots and lots and lots and lots and lots and lots of drive space.
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Feb 24, 2010 23:05
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1st AD posted:Wow, the HMC40 looks like the perfect camera for my current level, so the big question for me is how much render is involved when you plug it into FCP? Would I want to set a sequence to ProRes or Apple Intermediate Codec? I plan on using a lot of titles and some After Effects/Motion. FCP transcodes AVCHD to ProRes by default through log and transfer. It's native from there on out.
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Feb 24, 2010 23:08
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