QuickHitRecord
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Full frame kaleidoscopic video with the Sony RX1
QuickHitRecord replied to Andrew Reid's topic in Cameras
Wow. That is a really neat look. -
I just ordered a 5D as my indie film camera, but I'm keeping my FS100 for paying gigs. That way I have the best of both worlds.
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This was in-camera. With an external recorder the histogram is much smoother.
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I have been shooting raw with the 5D that we have at work and I love the results. I'd like to have the same package at home but if I price out everything that I need to get up and running (CF cards, batteries), I'm looking at around $4,000. That's more than I can spend right now. I'm hoping that ML can work out some of the bugs with the EOS-M. 720P raw would be a nice platform for anamorphic work, and it's a $275 camera body that takes cheaper SDXC cards and could be moire-free at a 3x crop.
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It does pretty well! The camera grades better with the use of an external recorder (and the scopes are much cleaner). I wish that I had mine when I was doing this test.
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I have not seen this comparison yet so I decided to test it out. I tried to match the shots and then colors as closely as possible, setting the look with the raw footage (starting from BMD Color Space) and then trying to conform the AVCHD to it. The severity of the grade was moderate: 5D Mark III (Raw DNG) FS100 (w/ Frank Glencairn's G-Log Ultimate) And here is where the codecs really show their differences: 5D Mark III Sony FS100
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If you are still looking for a place to go, consider taking a stroll through Chinatown. Lots of uncommon, colorful visuals.
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In depth test - 5D Mark III and 7D Raw vs Blackmagic Pocket vs GH3
QuickHitRecord replied to Andrew Reid's topic in Cameras
Thanks for the tests, Andrew. I like the 5D for this as well. I like being able to shoot in raw and then also have the option to compress down to some really nice-looking ProRes 4444, ProRes HQ or even ProRes 422 clips. 12-bit, 10-bit, 8-bit -- it's all available if I need it. Pretty nifty. -
Nice footage. I also use the Skier O-Ring rig. It's perfect for this kind of work, and will work on just about any camera.
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Here's my test (skip to about the 2 minute mark): https://vimeo.com/60401188 I found it to be usable at f5.6 and smaller.
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My god, what is that?!
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I've featured a Sea Knight helicopter in one of my pieces. It was in a training film for the Marine Corps, and even that was a struggle. The military has to document and justify every flight plan so unless you are doing something for them, or you have enough political influence, or you are a member of the press doing a ride-along, I think that it's unlikely that you're going to get that kind of cooperation from them. They have more important things to do. I'm not sure where you are based, but if you have the money for it, there is a company outside of LA (or perhaps as far away as the Mojave Desert; I can't remember) that has some land in the desert and a bunch of military vehicles that you can rent for use in your films. But I'm not sure if they have helicopters, and even if they do, it won't be cheap. Third option would be to setup your camera with a telephoto lens near a base and try to get those shots on the sly. I wouldn't recommend being close to the actual base perimeter, but you can figure out the general flight paths that they are using and position yourself accordingly. And of course, there is always stock footage.
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This video caught my attention. The last time that I worked with the ML raw module (about two months ago, I think), the recorded focus assist version only allowed for a 5x crop and a 10x crop, but this video makes several references to a 3x crop, which would be much more useful. Has this been changed? EDIT: Looking around a bit more, it appears that it is actually a 3x crop rather than a 5x crop. Not sure what the greater crop amounts to though...
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I really haven't had much of a chance to play with this lens, unfortunately. But if our Government remains closed next week, I may have a few days off and perhaps I will get around to it. It really does seem to be the full package, at least for my purposes. I think that mine looks pretty great at f/2.8. In my opinion, it has more character than many of the more popular and sought-after anamorphics out there. (And by answering this, I am losing my '666 posts' status that I have been hanging on to for a while. Rock and roll.)
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Macro film of oil, crystals and iron - 2013
QuickHitRecord replied to metaphiston's topic in Cameras
That was beautiful! -
Lomo spherical lenses are great, if you can find a good one. But they aren't cheap, and adapters are very expensive too. If it were me, I would go on eBay and look for a cheap fixed 135mm lens in good condition. Pay close attention to the filter thread size, because that is also an indicator of the size of the front element. The smaller it is (49mm, 52mm and 55mm should be good), the better chance that you won't be run into problems with vignetting.
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Well, it's a trade off. You'll be getting 1080P resolution out of either camera. For anamorphic shooting, the greater the crop factor (1.5/1.6x APS-C, 1.86-2.0x Micro Four Thirds, etc.), the lower focal length you can get away with, and the smaller the taking lenses that you can use (for instance, the Helios-44 is much more compact than any 105mm lens that I know of). That being said, full frame will give you better low-light performance and more shallow depth of field, but you will need a longer (and larger) taking lens to go behind your anamorphic, and your rig will be bigger and heavier. Hope that helps!
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Yes, this is a result of the full frame sensor and the wider field of view. You are seeing the sides of the inside of the Hypergonar in this image. But if you do your 2x stretch and then crop to a 1.5x (2.55:1) image, you may be able to get rid of the vignetting. If you really want to shoot without vignetting and keep a 2x stretch, you will need a much longer lens... maybe as much as 105mm or 135mm.
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This is really cool stuff. I wonder if it is possible to use this technology to watch and record actors and 3D motion capture virtual actors interact with one another in real time. I seem to remember reading that James Cameron did something like that for Avatar.
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Make sure that the image stabilization is turned OFF on your lens. But I suspect more that it's a side effect of shooting at 24 frames per second. If an object takes less than about seven seconds to pass from one side of the screen to the other, then you are likely to experience motion judder when viewing on a 60hz monitor. It is one of the limitations of that frame rate. If you really need smooth motion, you may find that 30 and 60 frames (especially 60 frames) per second are better for your purposes.
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I'm not sure why you'd want both the GH2 and the G6. They are similar but unless there has been a firmware update, the G6 does not allow monitoring via HDMI. Unlike either of these cameras, the GH3 has a problem with moire. I have heard rumblings that the GH5 is right around the corner, so it may be best to wait.
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These are definitely some of the better flares that I have seen from a flare filter. Still, there's something special about real anamorphic flares...
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I think that a score of 0 is ideal though, right?
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Personally, I prefer the Nikkor 50mm AI-S to the Helios-44 for pairing with anamorphic lenses, but it's purely subjective.
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Everything was focused carefully. If you own a sharper copy of this lens than the one that I had, consider yourself fortunate.