Inazuma

Reason I ask about hourly rates is because I'm working for a friend who is creating a long-term documentary for someone else and only needs me for 1-3 hours every so often. And filming isn't my full time job so I have no problem doing these little things on the side.

the ursa seems to be doing really badly there! Is it a worse sensor than in tthe pocket?

Hi I was wondering what you guys think is a reasonable hourly charge for cinematography work? That is, I bring my own equipment (inc. lights), I take all the shots as directed or directing myself, and go home. I don't have professional equipment, just budget stuff (small DSLR's, lenses etc). I've had about two years of building up experience with various projects. I was thinking £40 an hour plus a cost per mile of travel. It would be work for small businesses. What do you think?

Are you absolutely sure the trigger works on your d5300? Because the website says it doesn't support it :/ http://www.atomos.com/cameras/ I will check the frame rates when I have the camera again but I at least remember seeing 50/60fps listed.

Since when did the only factor for image quality become sharpness :/

Do you know if the Ninja 2 can start/stop on the Nikon d5500? The Video Assist does not have zebras but it does at least have a histogram which I find less distracting. And it doesnt have peaking but again I find peaking distracting and would rather have a high res panel.

pure coincidence that I angled the camera in such a way that the moon passed by completely horizontally! Yeh that's a good idea but I have no idea how to pull it off. Any tips?

Very nice! I did one too with my LX100. Would have liked to use my other camera with the 80-200 but had no equipment to track it as it orbited.

Odin is unhappy with RED pissing all over his raven

That is the viewfinder for the Ursa Mini

I sometimes use this http://www.manfrotto.co.uk/pixi I rest two of the legs on my chest and put the viewfinder up to my eye. You can add another ball head on top if you find its too low or the angle is too awkward.

Has anyone found any shootouts/evidence of the Sony FS7/5's sensor producing 15 stops of dynamic range vs Canon c100's 12 stops?

Seems to be just US only even so i don't think it's without risks. I mean they basically end up holding your data hostage for money. What if they bump up the price every year and then one year you've really hit rock bottom and can't make the payment. Then your stuff is gone if you don't have a backup somewhere else. Or another scenario. Someone gets your login credentials and starts fucking around with your files because he's the joker and just wants to watch the world burn

Good stuff. Im going to Budapest for a few days soon so hoping to get some good shots there

I would consider using blu ray discs as the cost per GB is smaller and discs are immune to mechanical failure (unless theyre improperly stored and gather scratches)

Wolf has a point really. I didn't quite realise just how far Sony have pushed the bar. The main advantage of the gh series over the Sonys now is the price. And I always felt the gh4 was overpriced anyway. Tbh if you're expecting a revolutionary new sensor from Panasonic I think you'd be disappointed. Most likely it will adopt the 20mpx sensor from the GX8. It would be great if they put in a video orientated sensor though

I'm not sure why you have a vendetta against the c100 Zach but the points you make are pretty wild. And pretty strange coming from a guy who baffled everyone here with his inability to understand lighting. Yeh fair enough you shouldn't upgrade until you feel you could make best use of the new gear. But a lot of people here are way above 7D territory here Zach, both financially and skill-level wise.

Oh boy. A few hours in and you're already involved in a ruckus

Is there a way to change how Premiere works with the files so that I don't have to manually apply the correction every time?

Did you guys know that there is actually hidden highlight information in the video files? I was playing around with a LUT I made earlier this year and it was revealing information in the highlights that I thought could not possibly be there because when I messed around with the various exposure sliders in Premiere Pro, there was no detail there. But my LUT brought it out. So after discarding the LUT I added the Three Way Color Corrector effect and brought the output level from 255 to 235.. and voila there was the highlight information.

Welcome back. It took longer than I thought A G6 is really old hat. I'd have recommended the a6000 for that price. Much better DR/noise. No mic input but you can actually get a decent hot shoe accessory for that

Nobody?

Looking forward to seeing some more samples you guys

I have a Rode NTG4 going into a Tascam DR-60D into a Nikon d5500. Current what I do is set the audio level on the preamp so its just below peaking. The mic-out to the DSLR is at max and the DSLR audio level is set so that it peaks at the same time that it does on the preamp. Is this the correct way of doing things?

The thing that killed it for me is that it needs access to the mic and HDMI slots