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I have a C2D 2.4ghz iMac, if transfer approaches anywhere near realtime I'd be happy.
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Feb 25, 2010 00:47
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At home I have a slower Core Duo MBP and I can capture HDV and transcode it at nearly realtime. You'll be fine.
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Feb 25, 2010 00:52
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Just finished shooting a 15 page project thurs-sunday doing some crazy hours. I don't really have anything to show for it, but I'm more stoked about it than I have been about anything else I've worked on. And speaking on stuff I've worked on but am not excited about, here's a short shot during one day, with no lights (only reflectors, duva, and bounce) on an HVX 200; and it started raining halfway through the day. http://www.youtube.com/watch?v=JTqvD262u14&feature=autofb
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Feb 25, 2010 04:35
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Andraste posted:http://www.youtube.com/watch?v=JTqvD262u14&feature=autofb I'm sure it was funny otherwise.
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Feb 25, 2010 06:56
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Steadiman posted:Oh God, during almost the entire sequence in the car the actor's mouth was blocked by the steering wheel! I wanted to rip that wheel off! I barely even noticed anything else. That was immensely frustrating! Ya, I'll be the first to say that it is pretty dreadful, they were just fun quick projects to work on with friends.
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Feb 25, 2010 07:01
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Sorry, but goddamn operating on the wheels is so much more fun than a fluid head. spoiled now. shoot.
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Feb 28, 2010 02:47
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I thought I had to share this with someone. If you can find Scene 3 / Slate 10 / take 2 (British System) I will buy you a god drat forum upgrade. I really cherish the completely non-nonsensical totals on the side, I don't understand what the gently caress is going on here. See that 001/1 at the top? There was multiple pages to this poo poo, on 3 different rolls. If you are going onto a second page on a camera report you are likely doing something wrong. Including the scratch test is really the coup de grace. I am sure the lab really appreciates the 6 feet of footage they are never going to physically be in contact with. Truly it boggles the mind. edit: I forgot we also did a tail slate somewhere on the beginning of roll 001. Jesus Christ. Some self busting, I had a accidental roll out recently because I misscalculated the side margins while rushing and some how turned a 23 into a 15 so the mag rolled out 70 feet early. AD was pretty pissed especially since we were down to one good mag as the others had registration problems. I swear it was the longest 25 minutes of my life unloading the mag, cleaning it, putting in a new load, scratching testing it and having a massive loving base scratch, then having to run lens tissue on every loving roller, pressure plate, and light lock I could get into, finally reloading it and running it to the set just in time for them to break for lunch anyway. If I did something like this report I would honestly just blow my brains out from shame. Mozzie fucked around with this message at 09:30 on Mar 1, 2010 |
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Mar 1, 2010 09:21
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If I had to guess, I'd say Scene 3 / Slate 10 / take 2 was the 5th line beneath PROJECT INFO. The numbers on the right are likely footage duration of the takes? Looks like a camera report filled out by someone who's trying really too hard. With 16mm, you only need to write the footage duration in multiples of 5, including the starts and stops. Footage totals to 289, and you said it was the first of several pages. How'd you get so far up poo poo creek that you only had 1 good mag? You shooting on an Arri SR?
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Mar 1, 2010 09:39
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It was a trick question as I don't know the answer. I'll see how they reverse engineered it with the script supervisor to let you know if you're right. And of course it was an SR2, loving thing basically just chews film and spits it back out.
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Mar 1, 2010 10:46
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I think I've shot with the entire Arri SR lineup, including the SR2-HS, and never had a problem with mags scratching. Granted, on my projects, we usually had 3-6 mags at time, and we scratched them once as we were checking out. Only one of the mags had a reg pin problem as well, not all of them? Again, wow, poo poo creek man. Time to call the rental house and bitch them out, get a free day's rental out of the fiasco or something.
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Mar 1, 2010 18:03
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Sweet, PrimoCameras.com has the HMC40 for $1519 and free shipping, which is pretty much right in my budget range. Now I guess I need to get a bunch of accessories to go with, so more questions! -What does everyone think about shoe-mounted video lights? A lot of my shooting with be done inside dingy nightclubs and hotel bars, so low light is definitely a concern and I wouldn't be able to set up any lighting. -What are the differences between the different classes of SDHC cards? What class/brand is the best for the camera? -Besides a UV filter, what other filters might I need to get?
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Mar 1, 2010 18:43
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@1st AD,I'm still very much a novice but I have been shooting with prosumer cameras for a few years now and I have always hated the low light, DOF and manual control limitations. This past year I started exploring the DSLR capabilities with HD video and have been impressed. Although they have problems with rolling shutter and moire, I think what is gained from them is well worth the extra work needed to workaround these issues. The two cameras I have seen most used in the Indie film community are the Canon 7D and Canon 5D Mark II and as of last week the Canon EOS T2i Rebel. If you are on a micro-budget like I am I would recommend looking into these cameras. The 7D can be had for $1700 and the 5D for like $2300, but the T2i is going for $800(if you can find a seller right now). The 5d is superior but the 7D and T2i are almost identical when it comes to shooting HD video. Another issue you will need to address is sound. I use a Zoom H4n ($250). Spending $800 on a capable camera and then using the money saved on some nice prime lenses and other accessories is the route I have gone with a similar budget. Here is some examples of the T2i's footage: http://www.vimeo.com/9744624 http://www.vimeo.com/9699574 http://www.vimeo.com/9767400
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Mar 1, 2010 19:18
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1st AD posted:-What does everyone think about shoe-mounted video lights? A lot of my shooting with be done inside dingy nightclubs and hotel bars, so low light is definitely a concern and I wouldn't be able to set up any lighting. 1. Meh. I've never found one worth a drat. LP Mini is the only one I've had decent results with, but it's heavy and expensive. Better to try and position your subject as best you can with what you have. 2. Class 6 or higher. Kingstons are supposed to be good. 3. Polarizer, maybe a grad ND for sky detail if you want to get fancy. The HMC40 has an auto variable ND built in, anything else you can do in post. Don't forget audio. Either get the XLR pack made for the 40 or a BeachTek or something. You need a decent short shotgun. I'm a big fan of my cheapo AT875. That and a lav should set you up.
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Mar 2, 2010 00:13
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FEXO posted:This past year I started exploring the DSLR capabilities with HD video and have been impressed. While I am intrigued by the HD capabilities of newer DSLRs, ultimately I am looking to shoot live events and a DSLR doesn't seem like the right tool for that. The cost of setting up a viewfinder and sound alone put a DSLR solution out of my current budget, and then I'd still have to deal with the limitations of file size and how the image handles fast motion. By the time I am ready to upgrade again I will probably be looking at a 2/3 Scarlet system. Dr. Fishopolis posted:1. Meh. I've never found one worth a drat. LP Mini is the only one I've had decent results with, but it's heavy and expensive. Better to try and position your subject as best you can with what you have. I haven't bought the XLR attachment yet, but my first couple shoots with the camera will be a music video and then a show at the Roxy where I will have access to the soundboard recording. As far as mics, the AT875 is priced similarly with the Rode VideoMic. Do you have a basis of comparison for the quality of those mics? I've used the Rode before and was happy with the results. As for lights, an LP mini is indeed expensive and it will probably make shooting with an HMC40 a pain in the rear end. How about the LP Micro? It's lightweight and I am only really expecting to use it to assist with shooting subjects up close in low light. Or should I just forget it and pump the gain a little more?
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Mar 2, 2010 08:38
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1st AD posted:How about the LP Micro? It's lightweight and I am only really expecting to use it to assist with shooting subjects up close in low light. Or should I just forget it and pump the gain a little more? We have a couple of those around my office and I can't honestly say they are worth a drat. My boss likes to spend money, so we have them, but I would never have bought anything like it.
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Mar 2, 2010 17:49
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I just finished day 2 of shooting my first feature, and I think I am getting a little spoiled by the RED. False color for checking exposure is making me neglect my light meter way too drat much. Oh well. I'll post some stills eventually if anyone is interested.
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Mar 3, 2010 04:15
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Sweet, my camera and the rest of the gear arrives in a day or so and I'm going to shoot with it this weekend. One more workflow related question: is it possible to log and transfer your AVCHD files from media other than the SDHC card? (external hard drive or DVD for example) I was thinking of doing something like this: -Transfer .mts files from SDHC card to external drive/optical disc -Log and transfer to ProRes (Proxy) -Edit video, sound, motion graphics -Offline clips and batch capture the timeline to ProRes 4444 Does that sound about right?
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Mar 10, 2010 04:24
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As long as you preserve the folder/naming scheme that the camera creates you'll be fine. You simply "add custom path" in the log and transfer window.
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Mar 10, 2010 05:03
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Thanks for all the advice everyone! I had a kind of aggravating Saturday night shooting an event pro bono that was way less cool than advertised, but I got lots of experience in using the camera in a low-light setting. If anyone was curious how an HMC40 might perform inside a club, here's a quickie I threw up on the YouTube: http://www.youtube.com/watch?v=M035p5s3XHg&hd=1 Now with that out of the way, are there any recommendations for books on cinematography and shooting technique? I felt like I had no idea how to compose a shot half the time, and without being able to set down on a tripod it was really hard to get shots without massive jitter.
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Mar 15, 2010 09:04
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When it's sunday morning and your phone rings you out of a drunken slumber, you should really not answer it unless you want to find yourself on a set an hour later. It did turn into an excellent day though, good pay and a lot of explosions and cars flying around!
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Mar 15, 2010 17:37
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1st AD posted:It was really hard to get shots without massive jitter. Yeah, what was your shutter set to? Is some of that footage slowed down? The description on your YouTube video mentions using Log and Transfer to go to ProRes Proxy. Just go to ProRes or ProRes HQ, there is no reason for that extra step with 720 or even 1080 and ProRes 4444 out of Color is gaining you nothing.
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Mar 15, 2010 19:48
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Usually it was 1/24, but there were a few times where I dropped it to 1/12 because...well I don't really have a good reason behind it other than I thought it would look cool in some spots. Stuff about ProRes is noted, thanks for that.
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Mar 15, 2010 23:18
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Frost posted:When it's sunday morning and your phone rings you out of a drunken slumber, you should really not answer it unless you want to find yourself on a set an hour later. Even my sleepy self knows which calls to take and which to let roll to voicemail.
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Mar 16, 2010 03:57
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1st AD posted:Usually it was 1/24, but there were a few times where I dropped it to 1/12 because...well I don't really have a good reason behind it other than I thought it would look cool in some spots. and you're complaining about jitter? you just answered your own question.
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Mar 16, 2010 06:03
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Well I did say I needed some kind of book 
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Mar 16, 2010 07:05
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I would recommend never dropping it below 1/48 unless your job depended on the extra stop in exposure and never drop it below 1/24 no matter what. (unless you're doing it for artistic reasons)
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Mar 16, 2010 10:25
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A quick thrown together video of a bunch of footage I shot in Gwaii Haanas National Park. Used and HPX-500 for all above water, and a cheapo canon in a housing for the underwater. Whales and salmon and krill...oh my. http://vimeo.com/10209549
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Mar 19, 2010 04:54
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Tiresias posted:Even my sleepy self knows which calls to take and which to let roll to voicemail. I don't...I had said yes before I was even awake. Then followed a few long tormenting minutes of "gently caress I don't wanna get out of bed". But as I said, it turned into an excellent day once I accepted it. They just shouldn't do it every sunday or I will learn to say no one of these days.
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Mar 19, 2010 11:44
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Tiresias posted:Even my sleepy self knows which calls to take and which to let roll to voicemail.
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Mar 20, 2010 02:52
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Here is an entry I whipped together for a rather large and silly contest. BONUS: Features cute, nerdy girl. http://www.youtube.com/watch?v=d8tr6stH65Y Would love feedback of any sort.
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Mar 20, 2010 11:36
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SwedeRacer posted:Gotta be careful though - I once missed out on nearly a month of work and a few thousand dollars because I ignored one of those. Though, too be fair, I was far too drunk to drive to set that morning. Which is why I keep my partying to a minimum these days, and even still I keep the phone nearby. If I'm working already, then let the good times roll. If not, then I shouldn't be spending money to party anyway.
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Mar 21, 2010 19:08
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I have an odd question that probably can't be answered but this seems to be the best thread for it. I run a sports performance facility training athletes and was contacted by a guy who runs an mma gym in my same city. He would like someone to design an all around strength training program - useful for anyone really, whether recreational martial artists, competitive MMA types, and so on. He also wants to film the dvd of me teaching at my facility and would like to pay a flat rate for this. I normally charge $250-300 for the program design but I have no clue at all where to start as a flat rate for using the facility/me. Is there a rough estimate of a rate/flat rate I can at least start with? I honestly wouldn't mind doing it for free since I have a brand new business and really need the exposure, but paying a few bills as well wouldn't hurt so if he is already offering to pay I really don't want to undercut myself.
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Mar 23, 2010 14:06
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Alfalfa - He wants to take you, your facility, your look, and your skills, shoot it quickly (i assume) and make it into a DVD that he'll sell for at minimum $10 a pop for eternity. More than likely he'll try and sell it for $30 or so. On one hand, it does get your name out there, on the other, he stands to make a lot of money on your name, so you should probably charge accordingly or figure out a way to get a percentage. Normally it is the other way around, the fitness guys hire someone to produce the DVD, then they make the money directly. Or they get people to do it for $400 bucks out of film school and everyone writes it off as a lesson learned.
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Mar 23, 2010 20:37
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I would not agree to that without a percentage of net profit. The up front fee would depend on what his funding and distribution plan is, free should only be an option if the points make up for it. He's asking for much more than just using you and your facility, what he's asking for is perpetual distribution rights for your image, performance and program. edit: pretty much what walnut said. You would probably be better off taking out a loan, hiring a decent production company to do the shoot, selling the dvds online and retaining all the rights. Dr. Fishopolis fucked around with this message at 00:02 on Mar 24, 2010 |
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Mar 23, 2010 23:58
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Mozzie posted:Some self busting, I had a accidental roll out recently because I misscalculated the side margins while rushing and some how turned a 23 into a 15 so the mag rolled out 70 feet early. AD was pretty pissed especially since we were down to one good mag as the others had registration problems. I swear it was the longest 25 minutes of my life unloading the mag, cleaning it, putting in a new load, scratching testing it and having a massive loving base scratch, then having to run lens tissue on every loving roller, pressure plate, and light lock I could get into, finally reloading it and running it to the set just in time for them to break for lunch anyway. This story reminds me never ever ever ever to give any poo poo to a second AC ever again no matter how far behind schedule we are.
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Mar 24, 2010 00:06
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I was just out at the BNP Paribas Open Tennis tournament shooting some footage for my brother's website. We were using a Red as well as some other HD cameras. Not entirely sure what I shot as I was alternating duties with other people and only on the Red occasionally, but whatever - footage looks cool anyway. Heres a montage type thing: http://www.youtube.com/watch?v=NkD2pcwv4Y4 and here are some clips of Roger Federer which aren't done in any sort of cinematic way: http://www.youtube.com/watch?v=_m7Aj5eFWaA&feature=player_embedded I didn't have anything to do with the editing or color correction of these clips unfortunately. If I did the close up montage would've looked a lot better, but what are you gonna do.
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Mar 24, 2010 07:07
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I have a huge hard on for china ball lighting after a shoot this weekend. I was gaffing a short and I lit 90% of it with a kit of china balls and bulbs that all together cost less than $200.
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Mar 24, 2010 09:10
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Andraste posted:I have a huge hard on for china ball lighting after a shoot this weekend. I was gaffing a short and I lit 90% of it with a kit of china balls and bulbs that all together cost less than $200. I've worked with china balls a lot lately, and for mimicking the look of omnidirectional household practicals, you can't beat them. However, the larger the bulb you place inside, the less appealing they become to me. I appreciate their simplicity and economical value, but to me, they're another tool in the lighting bag. Knowing how to use tungsten heads is critical, and maybe even Kinos (when and where).  I couldn't do this with china balls  China ball with 213, far back, bounced return. Shadows are crushed a bit in post, and overall exposure brought down.  Do I have a china ball or not? You decide. (p.s.- I love mixing color temperatures) All shot on RED One. I'm on my last few days of shooting this feature.
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Mar 24, 2010 19:11
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Tiresias posted:
i'm guessing the daylight is a close 4 by kino with a grid, using the barndoor to flag off the bottom of that wall. tungsten fill is china ball? this is a fun game i'll grab a screen from something in a bit
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Mar 24, 2010 20:04
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Andraste posted:I have a huge hard on for china ball lighting after a shoot this weekend. I was gaffing a short and I lit 90% of it with a kit of china balls and bulbs that all together cost less than $200. I keygrip/gaffed a studio set and the cinematographer really who loves her china balls. Though there was specific character looks that involved a leko and tungsten fresnels the china balls ended up being used a lot. A big thing is because of the haze effect those created nasty beams that really gave away the source. The balls created just an ominous glow in the fog and really added nicely to the low light atmosphere.  I suggested top softboxes on dimmers that could be rotated from the catwalk by an electric for highlighting certain places if needed. She ended up not really needing them though. Here is a way I rigged the balls:  The cable is coiled along the arm and taped at the end. The knuckle is on the opposite end for a counter weight. It makes it a nice tight unit and very mobile. The grip stand can easily be swapped with a maffer clamp and the whole thing tossed on the grid, the arm lets it be raised and lowered easily. The low mount makes it great for pulling on the floor as we had a lot of the scene with one character on the ground. Just tossing the bare ball on the floor doesn't work as it's a safety issue and the bulb won't hang properly. It's really a pain in the rear end with flaring though if the camera dept doesn't have a bottom flag. I ended up getting a grip to just stand by with a small flag and just hold it under the matte box when necessary. One moment I was proud of is when I threw a dimmer on a low china ball and sparked it as a character lit a candle and then dimmed it as he walked away. I don't know how it looked as the show was 16mm but it looked great from where I was. PS I hate avenger Grip stands, avenger makes sub standard equipment. Matthews forever. And I hate Kinos, they create very ugly shadows, are finicky to set up and accept in very specific circumstances always look like kinos. They also create very ugly eye lights. Another thing China Balls do better. Mozzie fucked around with this message at 20:09 on Mar 24, 2010 |
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Mar 24, 2010 20:06
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