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Showing content with the highest reputation on 07/03/2022 in all areas

  1. Hello everyone, I am a filmmaker from Italy, I am new here but I've avidly read this thread when I was about to purchase my S1 about a year ago, since then I shot some client work with it and a full feature film, I am pretty new in all of this but I really really REALLY like the results this camera gives, I like them so much that I went and purchased a second camera, the Lumix S5. I have some works of mine on my vimeo which are all shot on the Lumix S1 handheld, not highbudget stuff but you might enjoy or critique some, would appreciate that 🙂 I'll leave here an example but you can find more on my vimeo profile. Now... I have a question, does anyone have any kind of workflow for treating BRAW coming out from this camera? I bought a VA 12g and I would like to try to get into that workflow. Thanks!
    4 points
  2. Just a an update. RED still haven't shown up at my door. I did started locking up in the evening and hiding the camera in the safe houses. I started checking if I'm being followed. On this side of sanity (hopefully), I finally shot some material. Clients I often collaborate with suggested that we try playing with format of the visual research and use moving picture. It's usually stills photographic work. Since the whole job was more of a exploration case study I decided I may as well push and shoot RAW. I have mostly XQD cards and SD cards. XQD was able to record about 7 seconds of 8K at 50p before interrupting. Slight disappointment (but there was a twist later on). So I went and bought CFast B cards. San Disk were easiest to get quickly, 128GB holds 5 min 40 seconds at 8K60p and RAW quality NORMAL. I went with SDR and Nikon FLAT, used waveform and kept ISO at 64, partially because I carry the habit from the stills and partially to keep aperture values reasonable. I only played with the footage a bit on the flight back. In Resolve 17 on Mac (you have to run the app under Rosetta, so affecting the performance) it edits without issues on 16 inch M1 MAX. I've been out of serious video for more than 12 years so tweaking it is going to be a bit of challenge but also why I really tried to get it right in the camera. The picture didn't break when I pushed it hard in Resolve. The camera's ergonomics are great for photography. For filming - I'm not used to stills cameras. I feel it basically needs to be rigged to get the best of what it offers. Monitoring is good, it has a mode where the LCD shows everything an assistant would need. Speaking of, the viewfinder on Z9 is the best I used on mirrorless camera. My workdays are sometimes 13, 14 hours and the eye strain can get too much (I'm squinting at you GFX 100s). I can't comment on the autofocus for video as all of the lenses I used were manual focus. What might be the most interesting part for me is that camera runs really cold. I don't know what kind of processing TICORaw uses but the whole focus on low hardware requirements they've brought from their broadcasting background seems to be paying back. While the first part of the job was at 18 to 20 degrees Celsius and low humidity, the second one was at high 30s and low 40s with very high humidity. The camera just kept going. The card surprise that happened at the end was that I tried 8K normal quality RAW at 24 and 25 and XQD card recorded without issue for minutes on, full capacity, without problems. This material can't be shared but if someone wants, I can shoot short and specific tests and send over the RAW footage. Maybe skin tones, cadence and highlight/shadows but not longer than 15 seconds each. Which brings me to the main problem of the RAW. You need a data wrangler and increased budgets for storage.
    3 points
  3. Nice shots but..... Title of video : I Got Arrested in Rome - What Every EU Drone Pilot Needs to Know before flying 1st line of description : I Want to tell you my story on how I got almost arrested in Rome twice even with a drone permit. Join us next week for my video "I Got Arrested in Madrid" where I detail precisely how I absolutely, positively didn't get arrested in Madrid either. The stupid thing about the shamelessly clickbait title is that it is actually an informative video that didn't require it.
    2 points
  4. I have been flying commercially since 2014, here in the USA the countrywide laws are pretty reasonable, the drone has to be registered, below 55lbs, and if you are flying commercially you need to be Part 107 licensed. Also, the maximum altitude is 400' AGL unless you are within 400' of a structure taller than 400' at which point you can fly up to 400' above the highest point of the structure. There are some other restrictions such as flying over nonparticipants, restricted airspace, obtaining LAANC approval, etc. but much more reasonable IMO than many other countries I have seen. I have way more problems with the arbitrary local ordinances. Local governments make it very difficult to fly in parks, from city streets, etc. by restricting the ability of drones to take off or land on "their" property. Local governments cannot control the airways (this is the domain of the federal government which is regulated by the FAA), so instead they prevent you from taking off or landing. A fun loophole that doesn't work very often but is sometimes possible is when there is something you want to film but it is a restricted area but within flying distance from a non-restricted area. I once wanted to film a historic lighthouse on government property that banned drones so I simply crossed the street to a private parking lot and took off and landed in full view of the government employees and there was nothing they could do about it. Now if the drone had crashed or ran out of battery and landed on their side of the street I would have been in trouble. Recently the FAA even relaxed a lot of the night flying restrictions and so now I am able to fly commercially at night as well. What I don't understand is the people who blatantly flaunt the laws then post videos on YT showing every detail of how they are breaking the law, right down to distance, altitude, GPS location, etc. This guy is without a doubt the biggest shining example of such stupidity. He got the largest fine to date which was $185,000USD for over 123 drone law infractions AFTER the FAA sent him multiple warnings and even sent him to a class about drone safety. And this guy is just the tip of the iceburg, there are countless "range test" videos on YT where people show every detail as their drone flies over people, near buildings, way beyond VLOS, etc. I don't think there is a single person who owns a drone who hasn't broken one of the rules at some point but posting full details and video of it borders on lunacy in my book. As far as interesting stories, I used to shoot a lot of real estate photos and videos and I had a few situations where angry homeowners would approach me or threaten to call the cops because the drone was "hovering" over their property. I would tell them to go ahead feel free to call anyone they wanted because I am commercially licensed, insured, have the proper air clearance, and have no interest whatsoever in any property except the one that is about to be for sale. That approach has always diffused the situation (so far) and I even gave a few of them my business card and told them to call me when they need to sell their property. I was also filming an event once and had the local police come running over to me to tell me to bring my drone down immediately because I was flying directly over the concert attendees and way too close to people. I calmly opened my drone case and showed them that my drone wasn't even in the air and showed them my flight path which was to simply hover over the water and parking lot nowhere near people; they let me keep flying my drone. Another fun time was when I was filming a car race event at night and someone else was flying a drone there as well. My drone has the ability to turn off all of the lights which I did before taking off. The other drone pilot had a DJI drone which does not have this ability and his drone was hovering right over the cars and people with lights flashing all over the place. I hear the announcer state over the loudspeaker that whoever was flying the drone needs to land immediately and come see him. So he landed and got kicked out of the event while no one knew mine was silently hovering 100' higher up but was impossible to see at night. I have drone stories for days, but those are two of the most memorable for me.
    2 points
  5. Hey All, here's a quick character intro for a project that I'm aiming to direct this year. Shot on the Blackmagic Pocket Cinema Camera 4K with SLR Magic 1.33x Anamorphic Lens Adapter. Base color grade via a BMPCC 4K to Arri Rec709 conversion LUT that I created and have been testing. Might release if there's interest. Blackmagic LUTs byBozâ„¢ are available to download here: https://blackmagic-luts.yolasite.com/ There's a specific "imperfect" anamorphic look that I'm going for. Haven't quite found it yet, but overall I think the combo works really well. Thoughts?
    1 point
  6. Yeah… everyone has different requirements… As an example there are a ton of examples where the whole movie was shot on a 35mm lens… the one lens gangs…
    1 point
  7. The only situation where it really matters is within the same scene, but even then it's 1) often easy to match lenses in post (which was not so easy with film) and 2) not uncommon for one scene to have different styles of shots cut together. ASSASSINATION OF JESSE JAMES is one that comes to mind, but plenty of films do it to some degree. In general, though, I have a set of primes (from the same lens line) and one or two zooms (of the same line) for any given project. And then I have speciality lenses, like a Helios or old Baltar or a tilt-shift or an ultra-wide, if I want something a bit more stylized. I think that's probably how most people do it. I doubt many people shoot films with ten random different brands and vintages of lenses - most have a set of some kind that they use for 90%+ of the shooting.
    1 point
  8. The first of many more little edits - thanks to my latest film-making purchase....
    1 point
  9. FHDcrew

    Lighting advice

    Update time. I have the 5 in 1 reflector, using that as negative fill, combined with some tweaks to my key light angle results in pleasing contrast and depth in the face. So I’m very pleased! I’m still doing the technique of moving the already large key light visibly into the frame, then masking it out in post. I noticed a discernible discernible difference in softness between using this workflow, and having the key light just out of frame.
    1 point
  10. Very well done, I like the style. I would not have guessed the camera setup. Proof that skill trumps gear.
    1 point
  11. @MrSMW BTW, in case you haven't seen a runway show's photographers pit, here is a pretty good picture of one. Words can't really describe it until you have experienced it. Every sq inch counts and I'm already on everyone's bad list when I show up with both a video camera, video tripod, and a photography camera with a Canon EF 70-200 on it. So yes, for video, the tilt/flip screen is essential for me.
    1 point
  12. I think it does take years to get truly proficient at getting in and out of difficult situations and learning the drone's obstacle avoidance limitations such as power lines, what to do with signal loss, setting the proper RTH altitude. etc. But these days drones practically fly themselves. I've been flying them since the days when you had to build your own FPV system, and you had to strap a GoPro to the bottom and press record before it ever left the ground. You also had to fully control the landing and there was no obstacle avoidance. These days they practically fly themselves, the newest drones literally won't even let you land on your own and force automated landing for the last few feet of descent (landing is where a lot of drone pilots were losing control), and the cameras are incredible (4K/6K/8K, 20MP, Micro Four Thirds, Quad Bayer, etc). I think with the modern drones anyone can get good footage and learn to fly one; it is the fine nuances that come over time (night flying, handling strong winds, handling signal loss, landing in tight spots, etc.). But anyone could enjoy one in a wide open park, or field. IMO the patchwork of laws and regulations is far worse than flying the drone itself.
    1 point
  13. My guess is that every scene doesn't need to be color matched... the story, the look, the mood, the emotions... different colors invokes different moods and emotions... I think they discuss this and story board it - color and style should be discussed here, the colorist has to give his input here too and the cinematographer needs to choose wisely to match that...
    1 point
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