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EvilElmo posted:I have decided to get a 50mm f/1.4 for my 7D. Are there some other lenses I should get for mainly recording snowboarding (park/rails mostly)? If you're going to be locked down on a tripod near your rails/other areas of interest, primes are ideal and I'd recommend a good 35mm (Sigma's f/1.4 is the hottest thing at the moment) and only go wider from there. These are going to really limit your ability to get dynamic with camera movement though, but will be the best thing for locked-down use. A good telephoto lens at some point down the road will help you get creative with placing the camera for more interesting comp.
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Feb 12, 2013 08:09
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| # ¿ May 20, 2024 16:56 |
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I keep my 5D and three lenses in a Lowepro Pro Runner 200. It's the perfect size for an everyday DSLR kit, holds a lot of accessories, and I got it for around $80 at a local camera store. Couldn't recommend it more.
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Feb 28, 2013 10:00
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Soulex posted:The Polarizer is from company that starts with a T and was a bit pricey but it is really good already since I've shot a few pics and sample video. Tiffen. Pricey but good is pretty apt for their filters.
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Jan 3, 2014 21:36
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I think you're asking about a cardioid, not an omnidirectional. Omnidirectional mics are worthless for interviews. Like powderific said above, the best thing you can get is a lav (better than a boom op, in my opinion, if you don't care about seeing the lav on camera; some people hate it). If not, a directional shotgun is the next step down, then a cardioid. Small shotguns are cheap enough for pretty good quality and you can shoe mount them, but remember to get a shock mount of some kind since you're using a shoulder rig.
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Jan 7, 2014 21:07
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Anyone ever work with TASCAM's DR-60D? http://www.bhphotovideo.com/c/product/929347-REG/tascam_dr_60d_4_ch_track_linear_pcm.html I'm thinking of grabbing one to try it out for a moving camera rig.
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Jan 21, 2014 23:59
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Doesn't sound any worse than getting used to the H4N "press once to monitor live, press twice to record, press again to mark" weirdness. Thanks for the input.
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Jan 22, 2014 04:11
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Was very little of it done on the BMCC? Because honestly, the difference is incredibly negligible in the final product. The DNR in the talking heads stands out a little if you asked me to find notable differences, but it mixes together well enough that I'd never even consider that one setup was of a lesser quality. What kind of glass? edit: also I realize it's featuring and for students, but put something nice on and take your hat off for interviews, gently caress
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Jan 25, 2014 00:53
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Only the two cameras available, knock out both at the same time kinda deal? That's what I'd imagine. The DNR and highlights in the 7D stuff are a bit strong yeah, but you cut off them quick enough that I wouldn't nitpick it. I had a professor that loved blown-out stuff behind talking heads, so I kind of learned to love it too over the course of a couple years.
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Jan 25, 2014 01:10
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Blackmagic could build a camera with a genie inside it to grant all my fantastical wishes and I still wouldn't buy a Blackmagic camera.
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Feb 7, 2014 21:54
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If they scrapped the touchscreen and went with tactile buttons, I'd probably use one. I'm just too set in my ways to ever use something without hard buttons. I've shot on one, and it's okay, but it's just an iPad with a mount on it to me. It's just personal dislike. I still hit them up at NAB every year though, just out of curiosity.
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Feb 9, 2014 18:50
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We're talking about the Cinema Camera, right? The one on the set I was given had a screen, and playback buttons underneath, but that was it.
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Feb 9, 2014 19:29
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1st AD posted:And ISO and white balance can be changed in post anyways. Oh God
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Feb 9, 2014 21:20
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Amen, C100/C300 is the best pure handheld device you can buy.
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Feb 9, 2014 22:30
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I'll say it's ugly. It's ugly. $700 for an entry-level DSLR doesn't look that ugly.
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Feb 10, 2014 23:55
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You can lower the barrel distortion on the GoPro HERO 2 in the settings, changing it to Medium is something like 120° instead of 170° but it's really not a huge difference (and you lose some picture due to the reduced FOV). Not sure about the old HERO. GoPro color just sucks though, nothing you can do there before trying to correct it.
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Feb 17, 2014 20:30
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The product you linked is honestly pretty cool, and better than the solutions I've seen which usually involve a broadcaster loop or running it through a pincher on the rail or cheese plate. Like 1st AD said though I never monitor on a DSLR, it's usually more difficult than it's worth.
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Feb 20, 2014 16:41
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Guy I know got a GH4 to play around on and tried out remapping the 96 FPS to 288 to see if it would work. It does not. https://www.youtube.com/watch?v=0wMqJbyVpME
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Jun 27, 2014 03:58
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That's a pretty normal image, apart from being totally flat. If you're talking about demo footage you've seen on the GH4, yours doesn't look like that because you're not using an $18,000 lens on it.
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Jun 28, 2014 00:24
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Anybody play with Sony's new little 4K camcorder? Thinking of picking one up to run around with for personal stuff. Packing around a DSLR is almost as bad as bringing one of our bigger cameras.
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Aug 7, 2014 04:43
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Is there a GoPro GCT somewhere? I'm wondering what early adopters think of the Hero 4. It's cool that it finally does a useful framerate at 4K, but its footage never meshes well enough for me to accept using it for non-hobby means. Night mode looks cool, but not enough to run out and allocate capital to getting all new GoPros.
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Oct 7, 2014 21:41
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It would be cool to hear from people who use them a lot more than I do. We have our Hero 3s and they're great for some stuff, worthless for others, but we rarely use them unless it's car or boat related. Trip reports from owners of the new one would be cool before we run out and get new ones.
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Oct 15, 2014 02:13
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I always advocate buying the best one your budget supports. Even if you don't need the coolest thing that a GoPro can do for this trip, it's cool to have it later down the line if you're spending the money anyway. The 4K video feature on a Hero3 is only good for timelapse videos, compared to the Hero4 which can now do normal 4K. But 1080p will be good for literally anything you want for personal/vacation/whatever kind of stuff.
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Nov 7, 2014 17:02
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Seconding the above. T5i for a low-cost option, 5D Mk. III for quality over cost option.
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Jan 13, 2015 18:13
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I personally would swap the H4N for a Tascam DR-60D, and not bother with the videomic. Get a good shock mount and you can attach all 3 pieces to your camera more easily than loving around with a Zoom, and keep your hands-on area confined to a smaller space.
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Feb 14, 2015 07:50
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Your mic should always be pointing at the space right in front of an actors mouth -- imagine they're blowing a bubble with gum, that bubble is what you'd aim at. Wherever your subject is facing, you should have your mic pointed at that spot. So if your camera is behind them, then you'd need to break the mic out somehow (like a boom, as you said). The NTG2 is particularly really focused for a cardioid mic, and you're going to find that if you're even slightly off (even only a few feet away) it's going to not pick up. Did you mean you were going with the videomic and shotgun to have two mics going, one permanently on-camera and one specifically for booming? I usually don't have a dedicated camera mic, but I can see the idea. I guess it depends on the format of what you're shooting! I was making the assumption that you were going it alone with no other crew, so my recommendations were to consolidate all your equipment onto the camera in a rig. If you've already got another mic somewhere, then really your on-camera mic is just for reference audio for the edit. It doesn't matter if reference audio is garbage, so I always skip the extra mic unless it's a lot of spontaneous movement like documentary work and I'm entirely by myself.
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Feb 14, 2015 22:50
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If I were entirely by myself and only had one mic? Probably pick one actor to mic for the master, then mic each individual on his/her reverse. It's not strictly a master scene as only one actor is ever going to be speaking in the three-shot, but once it's edited nobody will notice (unless it's like an hour-long conversation).
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Feb 15, 2015 02:37
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I try to avoid lavs unless it's a really wide/far/in-vehicle shot and I still want dialogue. They're great for scenes with a lot of blocking though, since nothing holds still enough for you to notice a lav on the actor. Three people at a table though, I probably wouldn't bother – not so much over room noise, just that you wouldn't get the same audio you'd get from a shotgun without having them all obvious up in the shot.
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Feb 15, 2015 03:14
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I hear ya, this year's show will determine if I get an Ursa or not.
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Feb 21, 2015 06:51
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Thoogsby posted:Looking at softbox kits and they're much cheaper than I was expecting. I know I'll need to replace the bulbs but is something like this going to fall apart immediately? Often times these come with the cheap plastic housing or the ceramic bulb base already broken, so inspect those all carefully. Otherwise they certainly get the job done, as far as softboxes go. The light itself can be really hard to balance to and won't look right in every situation, being fluorescent and all. CTO doesn't do poo poo to them either, from what I remember. Slim Killington fucked around with this message at 23:02 on Feb 25, 2015 |
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Feb 25, 2015 22:59
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| # ¿ May 20, 2024 16:56 |
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It took 3 people to convince me this wasn't an April Fool's joke.
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Apr 1, 2015 14:52
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