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Pham Nuwen posted:I’ve been meaning to fool around with recording video with my DSLR, nothing particular in mind beyond maybe some nature stuff out in the woods as of now. What’s the best software for editing video these days? I’ve got Windows and Linux available, and free or inexpensive would obviously be ideal. I've been using Resolve lately to edit my cinematography reels and I've had nothing but good things to say about it. I don't know what all this hubbub about it being different from Adobe Premiere is all about, I changed my keyboard shortcuts to the Adobe Premiere setting and it works exactly the same. You can get Resolve for free, the restrictions I'm aware of are that you can only work in 8-bit and you can't use Resolve's noise reduction.
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Feb 21, 2019 06:29
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Maybe my Resolve install is hosed up, but not only did the Premiere setting not match Premiere, when I went in and manually set the shortcuts to what Premiere's default is they didn't work. It's not even the shortcuts really, as much as how Resolve handles certain things, I don't like its trim tool, especially how it handles ripples. I also find it's a more limiting when it comes to exporting than Adobe Media Encoder. That said, if you want free, it's the best deal out there, and if you want to get into grading it's pretty much the standard (seriously, does anyone use Baselight or Quantel anymore?). I'm making an effort to learn it, if for no other reason than no company lasts forever, Adobe included, and it never hurts to have another skill, but it's slow going.
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Feb 21, 2019 16:03
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Man, I hate editing in Resolve. I wind up doing a lot of small tweaks during color correct if the import doesn't go right and it always feels goofy and clunky to move around in it. Like the mouse isn't connected to the interface quite right, the way it scales the tracks in the GUI is somehow extremely space inefficient so I'm always zooming in and out, and then the zooming itself is annoying. If I had better understanding GUI design I could probably explain my problems better, but overall it just does not work for me. More power to anyone who likes it though, for free it's a hell of a tool.
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Feb 21, 2019 16:06
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powderific posted:the way it scales the tracks in the GUI is somehow extremely space inefficient so I'm always zooming in and out, and then the zooming itself is annoying. This.
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Feb 21, 2019 16:18
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Blackmagic camera update 6.2 is out now, bringing .braw to the pocket 4k. One word of warning, updating to 6.2 removes the CinemaDNG codec from any camera that you update (including URSAs), so finish up any projects using that before you update.
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Mar 8, 2019 18:33
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I'm thinking about updating from my tired old Canon DSLR to something more legit and I might have some money coming in from various projects next fall. My main priorities are good low light capabilities and footage that is easily color correctable. So far I have my eyes on the Blackmagic Pocket Cinema (possibly the 4k or just the plain old BMPCC) or the Sony A7s II. The Sony has some insane low light capabilities, a friend of mine swears by it and has shown me Int. footage shot with nothing more than candlelight and Ext. lit only by moonlight that looked gorgeous. However the BMPCC 4k seems to be more squarely focused on video and is a bit less expensive so I'm open to buying that and having more money for lights and lenses. Any pro tips?
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May 10, 2019 22:58
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I recently filmed a social media commercial spot on the Pocket 4K and it's a nice little camera. Doesn't have as much dynamic range as its big brother, the Ursa Mini Pro, but it's certainly close enough. As for the A7s series of cameras, I actively try to avoid shooting with them. I've never liked any of the footage that came out of them and I think the low light capabilities are overrated and massively overstated. Sure, you can shoot in moonlight/candlelight but good luck cleaning that footage up. Color science also leaves something to be desired on Sony cameras that aren't the F55, F65, or Venice. If you have a sizable budget for a camera, going with the Pocket 4K or a used FS7 would probably be the way to go.
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May 10, 2019 23:37
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Are there any go-to budget stabilizers for DSLR’s around 3.5 lbs (Canon 6D + 16-35mm)? I run a small event company and I’m just looking to get some footage of DJs and people dancing for social media purposes after some quick cleanup and editing in Premiere. Wondering if for my needs I’m better off just getting a cheap handheld and using a Pixel 3 or picking up a GoPro instead?
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Jul 19, 2019 13:35
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Anveo posted:Are there any go-to budget stabilizers for DSLR’s around 3.5 lbs (Canon 6D + 16-35mm)? I run a small event company and I’m just looking to get some footage of DJs and people dancing for social media purposes after some quick cleanup and editing in Premiere. Wondering if for my needs I’m better off just getting a cheap handheld and using a Pixel 3 or picking up a GoPro instead? you're going to need one of those Weebill gimbals for that weight, they're like $450 for the base version, for $600 you get a ton of accessories like a little wireless follow focus, if you want to use some older manual lenses you're still good to go with this setup: https://www.bhphotovideo.com/c/product/1444745-REG/zhiyun_tech_weebill_lab_cp_weebill_lab_creator_package.html And its a real follow focus that physically contacts the lens rings, not one that taps into your auto focus motors or whatever. As soon as you move down to a gopro size camera you can buy a gimbal from Best Buy nowadays for $99, but they're specifically designed to hold a gopro Hero style camera and nothing more EDIT: oh yeah DJI just announced their new Ronin SC which is in the same price range as the Weebill https://store.dji.com/product/ronin-s?vid=49721 it has a focus wheel too, but I think its just a wheel that controls your electronic lenses, no physical gear that touches the lens https://store.dji.com/product/ronin-s-focus-wheel I'd definitely go with the Weebill due to the strange/more convenient to operate form factor and the physical wireless follow focus. Seems like a pretty badass little package for the price. I own a Zhiyun Crane-M which is a few models older and only really carries little mirrorless cams but it's very impressive. Super easy to set up and dial in bring back old gbs fucked around with this message at 14:07 on Jul 19, 2019 |
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Jul 19, 2019 13:54
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Honestly if you're just looking for social supporting content, it might be more price efficient (and just overall ease-of-pipeline) to just go with an Osmo or Osmo+ from DJI. Will have a much easier grab and go without all of the calibration.
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Jul 19, 2019 15:19
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Hi thread. I have a stupid newbie question to ask about videography, and it looks like this might be close enough to the place to put it. I ended up with an a6500 which I hated for stills shooting but it's quite decent for video, and have the accompanying G 18-105 f/4 lens that's also pretty well regarded for video, so tl;dr: I've been slowly over the past year been building a rig. Here's the monitor/recorder and my new v-mount batt with hedbox d-tap plate on rails that it's gonna all end up mounted to:  My question is however about timecode. So neither the a6500 nor the atomos ninja flame will take timecode over BNC so having it in metadata is out. The question is where to insert the audio LTC timecode. Do I insert it into the hdmi audio channels at the Sony a6500 camera's audio input? Or do I insert it in the recorder's aux analog input? Do I want it closer to the body where the images are being captured, or closer to the device where the muxed signal will be written? I'm truly confused which of this is more correct. Thanks!
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Jul 22, 2019 04:07
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Can you put it into aux channels on the ninja and then still have scratch audio from the camera mic recorded too? That’d seem like the best option to me but I’ve only ever used timecode with cameras that have timecode and there’s someone who knows it better helping.
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Jul 22, 2019 06:42
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powderific posted:Can you put it into aux channels on the ninja and then still have scratch audio from the camera mic recorded too? That’d seem like the best option to me but I’ve only ever used timecode with cameras that have timecode and there’s someone who knows it better helping. I can, and I've been heavily weighing that option for that specific reason - the scratch audio just as a surplus L/R track from the body. I just ask the question squarely focused on: Which is more accurate, timing wise? And if they are the same difference, A) cool and B) rock on. I just don't know lol. I appreciate the reply and this is def another tick in the "insert LTC into the ninja" column. E: I mean, is it so low latency these days for processsing that it's insignificant? To have it sent over via HDMI vs. not? I am simply concerned about matching a delay in I/O if i put one source on one end and the other on the other, and if it's a negligible difference I'm def going to go into the ninja. For some reason my gut-check said to put it in at the camera, and if that's not requisite, awesome. Sniep fucked around with this message at 08:09 on Jul 22, 2019 |
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Jul 22, 2019 07:00
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Can you just test it out? It’s certainly possible that there’s some latency in there, but it’s a pretty setup / camera specific thing. For me having the scratch audio would be preferred for a backup sync method, but for what you’re doing maybe that’s not the case. I don’t think either option should induce drift if that’s the concern.
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Jul 22, 2019 13:55
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So the last time I posted in here I was looking for advice on how to deal with ground vibrations transmitted into a tripod by passing trains. This is still a problem but my general solution has been to get further from the tracks and it has worked overall. The advice I was given at the time was to try a gimbal but for various reasons I elected not to go that route. Now I am reconsidering not so much to counteract ground vibrations but to give myself more options for certain types of shots. Back in May I flew out to Wyoming for 2 weeks to chase and film the return of the Union Pacific railroad's "Big Boy" steam locomotive # 4014 after 58 years in retirement. It was a fantastic trip but it definitely showed me the limitations of my gear in some respects, particularly when it came to attempting to shoot pacing footage from a car. Here is an example after some use of warp stabilizer: https://www.youtube.com/watch?v=7BbPUK6VWsE I don't think it turned out too bad but it's not nearly as steady as I would like and this is probably the best I managed to do out of the 3 pacing shots I attempted on the trip. I also hate the way warp stabilizer flips out every time a telephone pole crosses the shot. I started researching gimbals and that clued me in to the fact that some models allow the integration of a remote focus/zoom motor with the unit. This would potentially allow me to kill two birds with one stone as a sore point for me with the GH5 has always been the lack of servo zoom capability. It has raised a couple of questions however which I'm hoping you can help with. 1) How are gimbals at counteracting vibrations/motion induced by wind? I tend to mount a largeish microphone (Rode Stereo Videomic Pro) with a dead cat on top of the camera and it's a bit prone to inducing vibrations in high wind even when mounted on a sturdy tripod. I'm concerned that if I try to do the same on a gimbal it will not work well in substantial wind. 2) Do gimbals do anything to counteract vertical motion? Looking at their design it would seem the answer is no, but I was considering mounting the gimbal to my tripod in certain situations to allow me a steady enough platform for long zoom shots while assisting in the reduction of ground vibrations when the train got closer. This would also allow me to use a zoom motor controlled through the gimbal to achieve the long smooth zooms I miss from having an integrated lens camcorder. I'm considering the Zhiyun Crane 3 as it has a dedicated zoom control and I like the handle design but it also seems to be getting worse reviews than the Crane 2. Has anyone had experience with both of these units?
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Aug 3, 2019 00:17
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Does anyone use high end LED light like Aputure or litepanels? I’m wondering how much time you get out of it with a gold/v mount battery vs something like a Sony npf battery
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Aug 3, 2019 07:30
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Alan Smithee posted:Does anyone use high end LED light like Aputure or litepanels? Yes, and with Sony NP-F batteries, it depends on how many watt-hours they can provide (plus, I don't know if they make battery plates for the Sony NP-F, it's usually V mount or Gold mount). I think a 6600 mAh battery at 14.4v is equivalent to 92 wh, which would probably last like 10 minutes on something like a Litepanels Gemini. You usually want a V mount or Gold mount battery in the 150 wh or larger capacity.
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Aug 3, 2019 08:06
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VoodooXT posted:Yes, and with Sony NP-F batteries, it depends on how many watt-hours they can provide (plus, I don't know if they make battery plates for the Sony NP-F, it's usually V mount or Gold mount). I think a 6600 mAh battery at 14.4v is equivalent to 92 wh, which would probably last like 10 minutes on something like a Litepanels Gemini. You usually want a V mount or Gold mount battery in the 150 wh or larger capacity. any personal experience?
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Aug 3, 2019 08:08
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Alan Smithee posted:any personal experience? Only using house power/generator or V/Gold mounts, never Sony NP-Fs. Batteries are really if you’re in a jam about power, like if you’re on a location that doesn’t have house power and the location owner won’t allow a generator. In that situation, you have to be mindful of how much battery you’re using up and turning the units off between takes/shots. VoodooXT fucked around with this message at 08:41 on Aug 3, 2019 |
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Aug 3, 2019 08:38
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Decent sized v-lock, say around 180kwh, will run a 1x1 litepanel for around 90 mins, longer if you are turning it off when not needed obviously. If you are purchasing a litepanel and thinking about your battery solution, then just go for the v-lock/gold mounts. Two batts per light should be enough if you have access to power - two panels with four batts and one dual charger will be fine for one day 98% of the time, easily so if you have the mains adapter and are near power some of the time. If you're spending $1k+ on a panel it seems silly to cheap out on batteries, you will spend a lot more time pissing around with smaller capacity batteries that is wasted time on set plus good v-lock/gold mount batteries will always be useful for other pieces of kit if you aren't using the panel or sell/upgrade in the future. If you are renting the panel then the difference in cost of renting Sony NPFs plus an adaptor versus renting v-locks must be miniscule.
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Aug 3, 2019 09:44
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I don’t think you’re going to run bigger LEDs off NP-F unless you use one of those 2 battery to v-lock adapter things. I don’t think they have high enough voltage. I’ve run an Astra 6x and Aputure C120DII off V-lock, but never in an interview situation where I was tracking the amount of runtime I got. Neither one works well with 98wh batteries and even my 148wh battery doesn’t go to full power on the the C120DII. I guess they work best with good 198wh + batteries that also can handle higher draws.
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Aug 3, 2019 19:20
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Double post to respond:Disgruntled Bovine posted:So the last time I posted in here I was looking for advice on how to deal with ground vibrations transmitted into a tripod by passing trains. This is still a problem but my general solution has been to get further from the tracks and it has worked overall. The advice I was given at the time was to try a gimbal but for various reasons I elected not to go that route. Now I am reconsidering not so much to counteract ground vibrations but to give myself more options for certain types of shots. Most good gimbals are plenty strong to counteract wind motion, but vibration might still be an issue depending on how long the lens is. You could mount the mic off camera if that seems to be the issue. They do not counteract vertical motion at all. If ground vibrations are the issue I think you’d actually be better off holding a gimbal by hand than having it on the tripod. And, all that said, I’m not those gimbals will solve all the issues you’re having other than the pacing shots (which they’ll be great for) and servo zoom, which I have no idea how well it works on the cheaper gimbals. My big question is how long a lens you’re using, as most people are running smaller gimbals like that with relatively wide angle lenses. I’m skeptical that anything affordable is going to be precise enough to do a long lens tracking shot kinda thing you want. I could be wrong though! I’ve not used either of those gimbals. powderific fucked around with this message at 17:35 on Aug 4, 2019 |
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Aug 3, 2019 19:30
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powderific posted:Double post to respond: The longest lens I'd probably try with the gimbal would be a 12-60 (micro 4/3 so 24-120 equivalent). For longer shots I'd probably stick with just the tripod. When you say "smaller gimbals" and "anything affordable" I assume you're comparing things like the Zhiyun Crane and DJI Ronin S against gimbals designed for cine cameras?
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Aug 4, 2019 03:50
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I honestly couldn't tell you how long a lens starts being an issue, maybe someone else here or elsewhere has a good sense of it. It might work? Rent one and try it out: https://www.lensrentals.com/rent/zhiyun-tech-crane-2-3-axis-stabilizer
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Aug 4, 2019 17:49
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Welp, Blackmagic just announced the Pocket 6K. Sorry to all the folks still waiting for their Pocket 4K orders to come through.
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Aug 8, 2019 21:08
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VoodooXT posted:Welp, Blackmagic just announced the Pocket 6K. Sorry to all the folks still waiting for their Pocket 4K orders to come through. hahah and it's immediately available
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Aug 8, 2019 21:39
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I mean maybe those same people don't want to spend an additional grand?
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Aug 9, 2019 00:09
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ah who am I kidding I'm going to buy this thing and rent out my 4k gently caress yeah credit card debt
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Aug 9, 2019 00:26
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VoodooXT posted:Welp, Blackmagic just announced the Pocket 6K. Sorry to all the folks still waiting for their Pocket 4K orders to come through. If any goons get one Id love to hear your thoughts. Ive been waiting for the a7siii as I shoot on an a7sii(mostly BTS and concert videography) that I rent from a friend. Ive looked into the BMPCC 4K but the 4/3 has always kept me away, but now that the 6K has a Super 35 Im seriously considering a jump towards BMPCC. I still plan on waiting for the rumored fall announcement of the a7siii to compare price and specs, but I havent really considered a different option until now.
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Aug 13, 2019 22:30
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I’m mildly interested in one or the 4K as a b-cam to my Ursa Mini, but lately I’ve been giving a hard look at the S1 as I think it’d be nice to use when I’ve got lower paying video journalism gigs that benefit from rolling really light.
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Aug 14, 2019 03:24
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S1 has better low light from what I’ve seen Also more expensive We tested the 6k and 4 side by side. Would need to see results but as of now other than resolution and frame rate it’s not really a must for me right now I got a speedbooster for the 4 so I’m liking the setup. Metabones told me no plans for 6 Alan Smithee fucked around with this message at 03:49 on Aug 14, 2019 |
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Aug 14, 2019 03:46
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Alan Smithee posted:
You can’t really build speed boosters for EF mount anyway.
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Aug 14, 2019 08:28
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Honj Steak posted:You can’t really build speed boosters for EF mount anyway. Apparently some company named LucAdapters made a speed booster for the Ursa Mini Pro EF mount, so it's possible. As for the Pocket 6K, several of my friends bought 'em. One immediately put it up on Sharegrid, and the other friend did a test recently and his conclusion was that the dynamic range is slightly better than the Pocket 4K, not a lot but noticeably better. Overcranking and the noise floor also supposedly looks better when the sensor is cropped.
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Aug 14, 2019 09:09
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there was a rumor going around a usergroup that the same company (i believe) is trying to do one for the p6k, we'll see. Worth the paper it's printed on metabones specifically mentioned the flanges in the p6k being an issue
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Aug 14, 2019 09:24
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VoodooXT posted:Apparently some company named LucAdapters made a speed booster for the Ursa Mini Pro EF mount, so it's possible. Speaking of Sharegrid, is anyone here using it? I could use the extra cash but I'm super paranoid about stuff getting jacked and having insurance rules lawyer poo poo Is anyone outside of a major metropolitan area but still getting business?
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Aug 14, 2019 09:25
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powderific posted:I’m mildly interested in one or the 4K as a b-cam to my Ursa Mini, but lately I’ve been giving a hard look at the S1 as I think it’d be nice to use when I’ve got lower paying video journalism gigs that benefit from rolling really light. From experience, the 4K makes a great B cam for our Ursa Mini Pros. It travels pretty light, I've put together a kit that has everything I need for quick 1 person talking head type scenarios that fits in a Pelican 1650 + a tripod bag.  powderific posted:I haven't actually tried it yet but there's a plugin you can buy to use natively in Premiere: https://autokroma.com/BRAW_Studio/index.html So I went ahead and purchased this now that they have a Mac version. It works but there is a caveat, it causes dropped frames when working with 4K+ footage at native resolution, this on a 10 core iMac pro that has no problem playing ProRes 4444 files at the same resolution. It's not a big deal for my workflow, because while we shoot in 4-4.6K I do all my work in a 1080 timeline, which plays back fine, and use the extra resolution for reframing or adding moves in post. You can also just drop the playback resolution, 1/2 plays back fine. I also don't really mess around with its ability to change the raw parameters, I don't like to do anything grading related in Premiere. I just edit with the footage raw, XML to Resolve, grade it, then XML back to Premiere. If a client needs to preview the edit and can't deal with the raw look I just throw an adjustment layer overtop of everything with the Lumetri Neutral Start preset on it and while not perfect it's good enough for previewing.
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Aug 14, 2019 15:11
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Thanks for that; I’ve been thinking about making the jump to using b-raw on a project or two but wasn’t sure about whether I’d need to go through a proxy workflow (though I might anyway since I’m usually hiring out the edit and it’ll be easier to deal with just giving them proxies.) I really wish I could make cut foam cases like that work for me—it looks so neat and organized! But space is at a premium for me right now so I wind up using divider cases that are chock full to the brim. Only thing I have with custom foam is for my Movi and I still fill all the empty space with other accessories.
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Aug 14, 2019 15:17
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VoodooXT posted:Apparently some company named LucAdapters made a speed booster for the Ursa Mini Pro EF mount, so it's possible. Wow, I don’t know that - That’s pretty cool! It goes within the mount because you can’t increase the flange distance, but as it seems it has to be built camera-specific.
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Aug 14, 2019 20:32
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https://www.youtube.com/watch?v=faEXjulgujk Another Jinni.Tech video has hit the tower. This time he delves into the myth that Red employs people in house to design their sensors.
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Sep 23, 2019 09:38
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Anyone ever work in infrared?
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Sep 23, 2019 09:41
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