richg101

Hi Nick. I'm ready to export out and went to chose prores in the codec for .mov and it is not there in the list. tried installing the codec and it says I don't have fcp on the system so the quicktime professional codecs cant be installed. im using premiere. how can I get premiere to export prores? if not, what format would you like? I don't really want to export uncompressed .mov's. even 8bit 4.2.2 is 10gb for 40 seconds..

Well.. I went out earlier wit ha mate and got some footage. an Iscorama mounted to a 35mm, 50mm and 135mm taking lens set. each lens tested at its widest aperture and at f11. Just looking through the footage now...

[quote name='Julian' timestamp='1350674534' post='20003'] It's called a hobby ;) [/quote] A hobby is like a kid making and painting warhammer 40k models, tamiya 1/10th scale car racing, fishing, playing computer games, a guy taking a camera out and taking photos of wildlife. sculpting out of clay, birdwatching. sitting on the internet, dreaming and worse, - spending thousands on cameras that they will never use is not a hobby, it's a consumer electronics enthusiast who is deluded into thinking that a camera with no moire, raw output, and 4k will make their consuming into more than just blind consumption. If all these guys were doing it for market research i wouldn't have an issue with it. But it's just consumers pretending to be more than what they are. Consumers fill their world with 'stuff' to block out the empty space where a hobby should be.

nice one man. I'll give you some Iscorama stuff and send over some stuff from when I had an century 1609. I guess when you say 'shade' this is for outdoors and you want a warm look? PS. make sure people give you info about the aperture. It's nice to see how wide you can go with each anamorphic element:)

[quote name='jgharding' timestamp='1350554599' post='19891'] Camera depreciation is getting crazy. Modular sensors all round I say, otherwise we're gonna fill the world with non-recyclable junk and there'll be nothing left to film :0 [/quote] it'll die soon. All the kids and hangers on will get bored once they get raw and it cant make their films any more viable as a money making enterprise. I remember seeing more good stuff from Canon xl1 users before the dslr become the first choice. nowadays I swear these guys buy their camera to do lens tests, moire and dynamic range tests. They never make anything with them!

I have been asked to look into developing a crazy one-off project where a Sony RX100 is 'de lensed' and a sony emount attached to allow Arri 16mm zeiss and cooke primes and angenieux zooms to be mounted. I have to say this looks like a more obvious choice. I wonder (lenses set aside), whether the rx100 or hero3 black would have the edge overall when using lenses designed for smaller focal planes like 16mm. Does the gopro have full manual control?

WOW. that is superb.

[quote name='QuickHitRecord' timestamp='1350409455' post='19806'] Funny stuff, Rich. We need more of this understated humor on the internet. [/quote] cheers man:) I have been writing a script for a epic 10minute extended trailer for a feature i want to produce, and what with all the technical and logistical hurdles I had to get out and start shooting other stuff I could see actually being able to be completed. enter... simple sketches, one actor, single location. improvisational stuff etc. It's fun to do. Just limit shooting to 3 hours or less and aim to edit something watchable before the end of the next day. I searched for an actor and this guy came forward. we have been writing a few bits and pieces which we will shoot soon. Originally the plan was to shoot an epic anamorphic short. but the anamorphic hasn't come out yet. Hasn't been any need. But it will do mate:) anamorphic comedy on its way.

[url="http://www.vimeo.com/51301647"]www.vimeo.com/51301647[/url] [color=#FFFFFF][font=Verdana, Arial, Tahoma, Calibri, Geneva, sans-serif][size=3][background=rgb(83, 83, 83)]Documenting a day in the life of a hopeless grounds keeper in an English country estate.[/background][/size][/font][/color] [color=#FFFFFF][font=Verdana, Arial, Tahoma, Calibri, Geneva, sans-serif][size=3][background=rgb(83, 83, 83)]Shot using Sony NEX 5N in 'Compact Cine Systems' cine enclosure with Zeiss primes. Sound Sony ECM-55B into a Zoom H2[/background][/size][/font][/color]

Thanks for the feedback and for the time you spent watching:) All feedback noted and taken on board. Muchos Gracias!

[quote name='Mondo' timestamp='1350232472' post='19746'] What camera are you shooting on? And good wide angles are going to run you a little bit more than a couple hundred dollars. [/quote] no they dont. for a couple of hundred dollars you could get a olympus zuiko 35mmf2.8 and a 28mmf2.8 with change left over. more than sharp enough for hd video

cheers man:)

looking at the rx100 specs I see it shoots both 50i and 50p. 50p is 28mbs and 50i is 24mbs. What post production workflow would need to be employed to convert the 50i into 25p? Is it possible? what are the negatives and positives of this? Will 50i from the rx100, converted to 25p be the same quality as 25p on the nex5n for example? seems strange sony didnt include 25p... cheers in advance

you'll get a natural hiss with all audio recording. Running certain recorders at a higher gain can introduce more op amp noise. its worth looking online for optimal recording gains for each component you are using in the signal chain. I assume your mic is non boosted? as in it doesnt have a battery, or is not being powered via phantom power via the xlr? My suggestion would be to purchase a mic that outputs a boosted signal specifically for the type on jack input you have on your camera. Noise will always be present and it is amazing what you can do when you understand audio post production - if anything it's more complex than video post production. layering stock material over the top of your main recorded sound (such as atmospheric noise or music) and lowering the gain during parts with no audio information you need to keep can help. I use Sony ECM 55b's and zoom h2 handy recorder (using an xlr to minijack adaptor I made) It means my dialogue is crispy and of a similar quality to bbc thanks to the amazing sony 55b. the mic has built in battery compartment in the xlr connector for use with non phantom power. you wouldnt use it for atmospheric noise but instead I just use the onboard mics on the zoom h2. you can get a sony ecm 44b on ebay for a very reasonable price. and if you are doing small stuff you can usually get away with one.

I thought it would be interesting to hear which brand or type of lenses everyone here favors and why? I'll start off. on APS-c sensor:- I am using Zeiss QBM mount lenses. 35 f2.8, 50 f1.8, 85 f2.8 and 135 f4. At the moment I have no desires for anything more than this. maybe the 25mm if I can stretch to it, but prices are very high and 35 is usually wide enough. My reasons for the lenses? 1. Zeiss sharp even wide open meaning I can shoot evening landscapes wide open and its still as sharp as at f11. 2. pre T* coating (made in 1970's) so they flare a little more than modern lenses, and have organic character 3. All metal 'west german' construction 4. very long focus pull allowing very fine focus adjustment 5. Cheaper than the more modern Contax Zeiss versions yet a lot more movie friendly thanks to the long focus pull. 6. Being less well known, the lenses I hope will impart their own personality on my work What are you guys using and why?

ps. his link is the same model. being used it is probably a better deal than the new one. it'll be warmed in a bit.

[quote name='galenb' timestamp='1350076745' post='19684'] OMG you guys! That's practically the same tripod he picked out earlier? Did you guys even click on the link before you dismissed it? Hahahahaha! Seriously guys! This is the one Craig picked out: [url="http://www.ebay.com/itm/Professional-Heavy-Duty-FT9901-75mm-Video-Camera-Tripod-with-Fluid-Drag-Pan-Head-/120996664371?pt=US_Tripods&hash=item1c2bf69433"]http://www.ebay.com/...=item1c2bf69433[/url] And here's the one Rich picked out. [url="http://www.ebay.co.uk/itm/360495479025?nma=true&si=IpW8TCfQYlyzNVkQwYvhnc3GSWY%3D&rt=nc&_trksid=p4340.l2557&orig_cvip=true#ht_3023wt_1141"]http://www.ebay.co.u...#ht_3023wt_1141[/url] It looks like the exact same tripod! I'm sorry but you guys make me laugh sometimes. ;-) [/quote] yes:). I think the one I went for last year is a copy of the fancier. very good value. the head is good once warmed in. mid spreader is good for all round use. if most of your stuff is done in a nice clean studio then ground spreader. but mid level is adequate imo. if i need the extra rigidity I opt for a lower level shot. just be warned to purchase 10 or so nuts and bolts (m3), 25mm long bolts. nuts need nylon 'anti vibration' part. just replace the weak rivet parts which attach the spreader to the legs. 2 minute easy job to replace. The fancier probably has a nicer power coating then the copy. parts on mine are not as thickly coated as Id have liked but I'm happy overall. ps. you can order spare quick release plates for about £5-10. Order a few when you purchase - surprising how easy it is to remove and leave somewhere

12mbs isnt that bad considering the less pixels. but I imagine it will be 30fps as it is with the other sony cams. I think if you can use a 2x anamorphic at realistic aspect ratios thanks to the original less wide sensor the lower bitrate might be worth it. the question is, what is better? cropping a 3.55:1 result from a 2x anamorphic fitted to a 16:9 sensor running at 24mbs avchd and losing almost 1/3rd of the sensor information to get nearer the 2.35 aspect ratio, or using more of the 16:9 sensor (around 5/8ths?) when set to 4:3 mode and working with the vastly lower quality out of date mp4 30p codec..

Superb:- http://www.ebay.co.uk/itm/Professional-Photo-Video-Camera-Tripod-with-Fluid-Head-Aluminium-Very-Sturdy-NEW-/360495479025?pt=UK_Tripods_Monopods&hash=item53ef3478f1#ht_3023wt_1141 heavy yes. sturdy yes. rugged yes - but you have to replace the rivets with m3 bolts after about 6months of heavy use - £5 maximum for the bolts and anti vibration nuts required. also, the fluidity improves over time. straight out of the box it is not as smooth as you'd like. but after a few uses its beautiful. best value £125 I have spent.

a nice read. but sounded like a canon marketing case study. I know I'd buy one of these if I had the money. my perfect camera.

a tokina +.4 will bring you from 5ft to the 3.5ft mark and will sharpen a little at wider apertures. maximum focus distance is then about 12ft the angie +.25 will bring you from 5ft to about 4ft i recon maximum focus is probably about 18ft i imagine the angenieux and the tokina stacked would be a good investment. buy both then use the tokina for normal face shots, and both when you need the slight extra close up. i recon both together will get you around 2ft? Ps. the tokina is amazing for adding a bit more background defocus when shooting close ups with smaller apertures. your dof is smaller I have been considering a purchase of an Angenieux +.25 from redstan for the purpose I mention above. cant quite get as close as i'd like with just the tokina +.4

Shot on NEX5N and Zeiss lenses - 35mm, 50mm, 85mm, 135mm Audio Zoom H2 w/ Sony ECM - 44B Post processing - downscale to SD, re-import, with upscale, gaussian blur and resharpen for VHS lo-fi look. https://vimeo.com/50992280

cheers man. great bit of info. ow do we set it so a custom stretch out stays as default? if you are going through 50 individual video files and having to click 'video, aspect ratio, etc' for every clip it is very tiresome

the sound recording is superb. well done:)

it'll be 4:2:2 like the vg-20. BUT, i imagine it will be the line skipping, not the recording format that makes it a lesser true cinema tool than the BMCC