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BonoMan
Feb 20, 2002


Jade Ear Joe

Disgruntled Bovine posted:

I'm using a GH5. When you say an actual stabilizer what do you mean?

Something like this gimbal (this is just a first googled one... no idea about this brand): https://www.evogimbals.com/products...AiABEgKgVvD_BwE

In that configuration you'd probably still get vertical vibrations, but if you mount it horizontally, then you could potentially offset the vertical shocks/vibrations.

Anything else should be able to be minimized with a warp stabilizer, etc.

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Disgruntled Bovine
Jul 5, 2010



I don't think a gimbal would work for me. I tend to shoot the train approaching, then quickly pan around and shoot it receding. A Gimbal would still be catching up after the pan and I'd have to cut more of the video out as a result. I'm leaning towards the wire rope isolators, but I'm concerned that they will be too prone to tilting. Really what I need is damping of major excursions in the Z axis, with only very minor damping in X and Y. Most of the ground shaking is Z axis. Ultimately if I could put a wire rope isolator on each foot of the tripod, with a rod through their center holes to prevent much movement in the X and Y axes that would probably be ideal. I haven't figure out how to make that work yet though. I think if I mount the isolator between the head and the tripod, or the head and the camera, I'm going to have issues with rotation about the Z axis on fast pans.

BonoMan
Feb 20, 2002


Jade Ear Joe

Disgruntled Bovine posted:

I don't think a gimbal would work for me. I tend to shoot the train approaching, then quickly pan around and shoot it receding. A Gimbal would still be catching up after the pan and I'd have to cut more of the video out as a result. I'm leaning towards the wire rope isolators, but I'm concerned that they will be too prone to tilting. Really what I need is damping of major excursions in the Z axis, with only very minor damping in X and Y. Most of the ground shaking is Z axis. Ultimately if I could put a wire rope isolator on each foot of the tripod, with a rod through their center holes to prevent much movement in the X and Y axes that would probably be ideal. I haven't figure out how to make that work yet though. I think if I mount the isolator between the head and the tripod, or the head and the camera, I'm going to have issues with rotation about the Z axis on fast pans.

I'm not sure a gimbal is going to be that slow catching up. At the very least you could just rent one and try it.

ExecuDork
Feb 25, 2007

We might be fucked, sir.

Fallen Rib

I've never had a problem with fast pans on a gimbal. I've only ever used my (cheap, knock-off) gimbal head with my 500mm f/4.5 supertele but I can swing that thing around pretty quickly, I think.

\/\/\/ Thanks! Yeah, I'm thinking of a different thing.

ExecuDork fucked around with this message at Mar 22, 2018 around 21:15

powderific
May 13, 2004



Grimey Drawer

The last few folks are talking about gyro stabilized, motorized gimbals typically used as a steadicam replacement kinda thing, while I assume you're talking about the gimbal head things people use for long telephoto lenses which are a different thing.

theflyingexecutive
Apr 22, 2007



You can adjust the auto (follow) and manual pan speeds on the motorized gimbals or just lock it and manually pan.

chitoryu12
Apr 23, 2014

We can't stop here! This is cat country!


Lessons I learned from my first day of filming:

* Know exactly what the scene looks like in your head. You can film a whole minute of footage in less than an hour if you’re prepared before arriving and only shoot what you need because you already visited the site and decided what looks good.

* If you need a dolly shot on a road without a dolly, roll at 2 MPH with the camera out the window and use Adobe Premiere Pro’s image stabilization whan you get home. The results are incredible.

* Before sound mixing, edit action footage into your rough cut with the sound muted. Your brain interprets the jump in background noise between shots as a rough gap between shots, and muting it lets you see how the transitions will look after final mixing.

chitoryu12 fucked around with this message at Mar 26, 2018 around 03:37

Disgruntled Bovine
Jul 5, 2010



So I'm still exploring the idea of using wire rope stabilizers on the tripod feet. Haven't pulled the trigger on them yet as I haven't found a good source that sells the individual units for a reasonable price directly to consumers.

Here's an example of the type of shocks/vibration I'm trying to eliminate.

https://www.youtube.com/watch?v=yhaYuA4eI9w#t=438s

I have experimented with using warp stabilizer (not on this clip) and it does help. I think part of the problem was also the frozen ground, as with things warming up this week the vibrations aren't as bad. These Miller carbon legs are definitely worse than my smaller aluminum Manfrotto when it comes to transmitting these shocks to the camera, but it would be hard to give up the superior performance against wind-induced vibrations.

BonoMan
Feb 20, 2002


Jade Ear Joe

Disgruntled Bovine posted:

So I'm still exploring the idea of using wire rope stabilizers on the tripod feet. Haven't pulled the trigger on them yet as I haven't found a good source that sells the individual units for a reasonable price directly to consumers.

Here's an example of the type of shocks/vibration I'm trying to eliminate.

https://www.youtube.com/watch?v=yhaYuA4eI9w#t=438s

I have experimented with using warp stabilizer (not on this clip) and it does help. I think part of the problem was also the frozen ground, as with things warming up this week the vibrations aren't as bad. These Miller carbon legs are definitely worse than my smaller aluminum Manfrotto when it comes to transmitting these shocks to the camera, but it would be hard to give up the superior performance against wind-induced vibrations.

Looks like rolling shutter isn't helping on that either. My vote is still for a handheld gyro gimbal unless it just absolutely has to be on a tripod.

Kenshin
Jan 10, 2007


Forgive me if you've already tried something like these, but:

https://www.bhphotovideo.com/c/prod...ation_Pads.html

They're meant for a bit of a different purpose (dampening vibrations on telescopes and spotting scopes) but I would imagine that vibration reduction for telescopic/telephoto would translate to some pretty decent vibration reduction for wide angle as well.

StuntKid
Dec 10, 2003


We just won for Best Cinematography, Best Editing, and Best Sound Design at a local 48 Hour Film Contest.

Shot on an Alexa with Cooke anamorphics. DOP was a friend of mine who works professionally in the commercial world as a cinematographer.

We managed to bang off some incredible production value, however, I could use another shot or two for the ending, it is way too rushed, and lacking the magic needed to end this story properly.

Anyways, enjoy!

https://www.youtube.com/watch?v=bRfLQ-70XxU

keyframe
Sep 15, 2007

I have seen things

Hey guys is there a good Sony A7III for video guide anyone knows of?

keyframe
Sep 15, 2007

I have seen things

DJI just released the Crane competitor , Ronin-S

https://www.newsshooter.com/2018/05...ially-released/

melon cat
Jan 21, 2010



keyframe posted:

Hey guys is there a good Sony A7III for video guide anyone knows of?
I'm seeing a lot of photo-video guides on YT, but nothing specifically for video. Was there something specific that you needed to know? Just wondering if a Sony shooter like me might be able to give you some helpful info.

keyframe posted:

DJI just released the Crane competitor , Ronin-S

https://www.newsshooter.com/2018/05...ially-released/
This really caught my eye. If I could get the Ronin's better motors in a smaller, single-handheld package I'd be really happy. I've found that the Zhiyun Crane's sucks at turning/pans (very jittery), and the Ikan Beholder (I just put together this review video for the DS2-A, which has an angled motor similar to the Ronin-S). Early reviews say that the Ronin-S is decent, but very heavy to carry.

melon cat fucked around with this message at Jun 6, 2018 around 18:55

keyframe
Sep 15, 2007

I have seen things

melon cat posted:

I'm seeing a lot of photo-video guides on YT, but nothing specifically for video. Was there something specific that you needed to know? Just wondering if a Sony shooter like me might be able to give you some helpful info.

This really caught my eye. If I could get the Ronin's better motors in a smaller, single-handheld package I'd be really happy. I've found that the Zhiyun Crane's sucks at turning/pans (very jittery), and the Ikan Beholder (I just put together this review video for the DS2-A, which has an angled motor similar to the Ronin-S). Early reviews say that the Ronin-S is decent, but very heavy to carry.

Phew I thought this thread was dead.

I am basically going full on sony with a fs5mk2 and a a7iii and was wondering about the best resources for shooting with slog2 and 3. I have a 5 min documentary style interview coming up in a month and I am trying to do as many tests as I can between now and then and see if I can match the footage of the two cameras in grading.

melon cat
Jan 21, 2010



keyframe posted:

Phew I thought this thread was dead.

I am basically going full on sony with a fs5mk2 and a a7iii and was wondering about the best resources for shooting with slog2 and 3. I have a 5 min documentary style interview coming up in a month and I am trying to do as many tests as I can between now and then and see if I can match the footage of the two cameras in grading.
I don't see any specific guides for the FS5mk2/a7iii yet (and even the "current" guides are pretty terrible and made by people who don't know what they're doing), but there is this Slog2 guide by YouTuber wolfcrow. His videos are long, but he knows his poo poo. And you should be able to adapt some of the practices from this video to your newer Sony cams.

VoodooXT
Feb 24, 2006
I want Tong Po! Give me Tong Po!

I've shot with Sony cameras extensively (Sony F5, F55, and F65) and my advice is to always shoot Slog3 with SGamut3.cine. Slog3 because the exposure curve mimics the D log E curve of a film stock; Slog2 is pretty useless as it's packing the majority of data in the highlights, which the majority of image information won't be. SGamut3.cine because you're sort of in the largest color gamut possible, except the cine flavor of it which actually narrows the gamut a little bit to make coloring easier. As for ISO and exposure, it's highly recommended to rate the sensor slower than what Sony recommends. For example, Sony will tell you the native ISO of the F5 is 2000 ISO and the F55 as 1250 ISO; it's a little bullshit so you're better off rating it two thirds to a stop slower than what Sony tells you.

spookygonk
Apr 3, 2005
Does not give a damn

keyframe posted:

Phew I thought this thread was dead.

I am basically going full on sony with a fs5mk2 and a a7iii and was wondering about the best resources for shooting with slog2 and 3. I have a 5 min documentary style interview coming up in a month and I am trying to do as many tests as I can between now and then and see if I can match the footage of the two cameras in grading.

I work in a corporate AV team and our new senior manager wants us to all get Sony A7iii cameras for our main run-and-gun cameras (and MacBook Pros for editing anywhere). Not going to say no to that.

keyframe
Sep 15, 2007

I have seen things

spookygonk posted:

I work in a corporate AV team and our new senior manager wants us to all get Sony A7iii cameras for our main run-and-gun cameras (and MacBook Pros for editing anywhere). Not going to say no to that.

It is an amazing camera really. I am using mine with a smallrig cage/handle and a shogun inferno on top for recording (will be moved over to fs5 when I get it and replaced with a ninja V on the a7iii). It is just amazing what it can do for the price. I would recommend getting an external recorder because the sony codec is hell for editing with.

melon cat
Jan 21, 2010



I need help with making a briefcase look like it's filled to the top with money:



I'm doing a video where there's a big reveal of a suitcase full of money. Except... the suitcase that I have is quite large, and I wasn't able to buy enough fake money to make it look like it's filled to the brim with money. It turns out that fake money (I went to local Chinatown and bought the realest-looking joss paper that I could find) is surprisingly expensive. About $1 per wad. And I bought 12 wads. But my money only fills the bottom of the briefcase. I'd probably have to buy triple that amount to really "fill" the briefcase.

How can I make the briefcase look "fuller"? Ideas I was considering:
  • Get some cut-out foam, and line the bottom of the briefcase with foam, then place the wads of money on top
  • Fill the bottom of the briefcase with shredded paper to add volume
  • Take all of the bank notes out of the wrapper, and toss them about and mess it up to give it the illusion of being "full" (my least favourite option).

The money will appear on-screen fairly quickly and won't get ruffled around. Just the big reveal, a "whoh" moment, then the briefcase get snapped shut.


keyframe posted:

It is an amazing camera really. I am using mine with a smallrig cage/handle and a shogun inferno on top for recording (will be moved over to fs5 when I get it and replaced with a ninja V on the a7iii). It is just amazing what it can do for the price. I would recommend getting an external recorder because the sony codec is hell for editing with.
How's the colour science on the A7iii? Because I've done a lot of shooting with the A7S Mk1, FS5 (which I sold) and the a6500 and never liked the colours that it produced. So grey. So green.

melon cat fucked around with this message at Jun 10, 2018 around 12:20

chitoryu12
Apr 23, 2014

We can't stop here! This is cat country!


melon cat posted:

I need help with making a briefcase look like it's filled to the top with money:



I'm doing a video where there's a big reveal of a suitcase full of money. Except... the suitcase that I have is quite large, and I wasn't able to buy enough fake money to make it look like it's filled to the brim with money. It turns out that fake money (I went to local Chinatown and bought the realest-looking joss paper that I could find) is surprisingly expensive. About $1 per wad. And I bought 12 wads. But my money only fills the bottom of the briefcase. I'd probably have to buy triple that amount to really "fill" the briefcase.

How can I make the briefcase look "fuller"? Ideas I was considering:
  • Get some cut-out foam, and line the bottom of the briefcase with foam, then place the wads of money on top
  • Fill the bottom of the briefcase with shredded paper to add volume
  • Take all of the bank notes out of the wrapper, and toss them about and mess it up to give it the illusion of being "full" (my least favourite option).

The money will appear on-screen fairly quickly and won't get ruffled around. Just the big reveal, a "whoh" moment, then the briefcase get snapped shut.

First option should work, or cutting up pieces of paper in roughly the shape and size of banknotes to act as filler on the underside. If you have access to an office paper cutter, that shouldn't take very long and paper is cheap as hell.

keyframe
Sep 15, 2007

I have seen things

melon cat posted:


How's the colour science on the A7iii? Because I've done a lot of shooting with the A7S Mk1, FS5 (which I sold) and the a6500 and never liked the colours that it produced. So grey. So green.

It is much better than it was on a7sii.

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Frogfingers
Oct 10, 2012


melon cat posted:

I need help with making a briefcase look like it's filled to the top with money:

Get some cut-out foam, and line the bottom of the briefcase with foam, then place the wads of money on top

This, except take a photo of the money as it looks in the case now from the top down, make a printout of that and sit it under the notes after you place the foam in. It should add some depth to the case and will look good enough to get away with if the shot is quick enough/captured from a distance.

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