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The GAF Video and Filmmaking Thread
- Thread starter Thraktor
- Start date
broadwayrock
Member
Am i reading it right? the C300 has a 4K Super 35 sensor but only captures footage in 1080p?
BlackGoku03
Member
How important is having a matte box?
Also, I didn't get an answer to my previous question:
Also, I didn't get an answer to my previous question:
broadwayrock said:
It looks like it.
I got a little excited at first, but then I read about some of teh specs and... you might as well just grab a RED if you're going to plop down $20,000 list price on something.
And holy shit at that RED Scarlet X. Um... I know what my next camera (after a 7D) will be. Good lord.
Benjamin_MFF
Member
After all the hub-bub going on today. I'll have to plant my flag on the RED side, if they can deliver.
Edit: After adding up all the required attachments to get the package up and running, we are looking at 15k for the full package. Not too shabby.
Edit: After adding up all the required attachments to get the package up and running, we are looking at 15k for the full package. Not too shabby.
No doubt RED was going to kill whatever Canon announced. They absolutely cannot be beat for price
erformance ratio.
I'm actually a little surprised they killed the fixed lens Scarlet (word is the lens was the culprit), and that Scarlet-X doesn't do 120fps at 3K like they were teasing, but I guess they need to protect RED ONE and Epic in some ways. Now it's 120fps at 1K, 60fps at 2K, 48fps at 3K (which is actually quite good). If you're shooting 24fps material primarily, there's not too many reasons to get an Epic as they're almost the same camera when shooting at 4K.
erformance ratio.I'm actually a little surprised they killed the fixed lens Scarlet (word is the lens was the culprit), and that Scarlet-X doesn't do 120fps at 3K like they were teasing, but I guess they need to protect RED ONE and Epic in some ways. Now it's 120fps at 1K, 60fps at 2K, 48fps at 3K (which is actually quite good). If you're shooting 24fps material primarily, there's not too many reasons to get an Epic as they're almost the same camera when shooting at 4K.
The Scarlet also looks like it's really for the small production companies that can't pony up to the ONE or Epic, but need a versatile camera that isn't a typical camcorder body. It fits in that nice little space for the small filmmaker who is making medium level film festival films, but doesn't have the budget of a Peter Jackson. I want that camera RIGHT NOW.
Joel Was Right
If you smell burning, it's probably the generators acting up. Report it anyway.
Wow at Canon after that RED announcement
Fidelis Hodie
Infidelis Cras
Alfarif said:
Me too, man. Me too.
I was talking to two buddies of mine of ponying up for one together. Ugh, I want it so bad. .
BlackGoku03 said:
Short answer: It depends.
Long answer: In theory, a prime lens will do the job better than a zoom lens at the same focal length. A prime lens (usually) has a wider maximum aperture, which means it's better in low-light situations and capable of producing a more "filmic" shallow depth of field. Prime lenses are also (usually) sharper than zoom lenses.
Zoom lenses, however, are obviously more versatile. In your case, if you don't already have a wide angle lens, the 19-35mm may be worthwhile to give yourself the option of wide angle shots when you need them.
It also depends on the lenses themselves, which ones are you looking at? Also, what (if any) lenses do you currently shoot with?
Thraktor said:
Also, if your budget is very small, you can grab the zoom lens, shoot as wide as you can for the clearest image possible, then fake (to an extent) DOF in post. It will be more post work, but if you're not working on a strict deadline, you could get away with it.
Fidelis Hodie said:
My wife and I are now considering our options. We're searching for investments in our media company, while building up clientele, so we don't need a RED right this second, but our next camera body purchase (after a pair of new iMacs in December) was going to be 2 7Ds. We weren't going to grab the 5DMII, because we need a feature set for field work over studio work. I want a full frame sensor, but there are other things I'm prioritizing first. But now RED has thrown a kink into our plans and we're wondering if it wouldn't be prudent to try to get a business loan and grab this camera, 1 7D as a "back up" (while keeping our T2i on staff in case something really catastrophic happens), then getting a nice suite of Canon Cinema lenses once those drop. Someone talk me out of doing anything crazy with money I don't even HAVE right now.
Eight Diagram Bat Fighter
Banned
BlackGoku03 said:
For controlling flaring and the lighting hitting your lens, it's very important. Also, ordering the Scarlet next week, MMM YOUR TEARS TASTES SO GOOD GAF.
BlackGoku03
Member
I have a Nikkor 35mm (using an adaptor for Canon), 70-300 (got it for the low), and the kit lens--18-55mm. Looking for something wider than my 35mm since my camera (T3i) has a cropped sensor.Thraktor said:
Fidelis Hodie
Infidelis Cras
Alfarif said:
Yes, this, this, this.
Fidelis Hodie
Infidelis Cras
Alfarif said:
Haha, almost the exact same thing my friends and I were talking about. It's a damn good idea. Seriously.
Eight Diagram Bat Fighter
Banned
alterno69 said:
Full frame: sensor captures the entire aspect ratio of the sensor. For example, when you're taking shots with a 50mm lens, you are getting the entire size a 50mm can capture.
Cropped is where the sensor captures only a portion of that. A 50mm lens will due to the cropped sensor will in actuality be more similar to a 85mm lens.
Full frame is the imax experience where cropped is a standard movie theater.
Eight Diagram Bat Fighter
Banned
Alfarif said:
First off, there are major things to consider before purchasing the Scarlet:
Scarlet only shoots 60p @ 2k which is not that much larger than 1080p. Is that worth the price difference compared to a 7D?
Do you really need 4k resolution for the projects you are doing? Or does most of your client videos end up on the web?
REDMAGs cost a lot. $1,800 bucks for a 128gb card that tears through data fast at 3gb/s. 6gb/s if you're shooting in HDRx.
Editing RED RAW files needs a pretty hardcore machine, or at least the purchase of a RED Rocket which is not cheap.
Do you have the money to afford the other accessories? REDVOLT batteries are only good for up to 28 minutes or so and you only get two in the package and they are 200 bucks each. If you want longer power, you need a v-mount, Anton Bauer, or RED BRICK batteries and those cost a lot more, not to mention buying the plate for it.
Can you afford an EVF? This doesn't come with one, so unless you like looking at a screen in the daytime with glare, then you'll want a view finder. Again, not cheap.
To get all this, you're going to be spending a lot more than the base package of $14,000+ dollars to shoot this thing at a level that isn't going to hinder your production (constantly recharging batteries, offloading footage, blah blah)
Fidelis Hodie said:
Haha, supposed to warn me AWAY from it, man! Not TOWARD it.
Where is my damn credit card.... LOL
bluerei said:
Yeah, we're looking over what our project plans are for the next 18 months to see if an investment like this is worth it for us. We do have access to a RED One and we have helped another company with post production (editing and color) with plans to help with their production for the next year, but we'll be using their equipment. Our own media will be delivered to the web, but theirs does go to theaters, tv, etc. It's more of an outloud "Fuuuuuu~~~ do I want this so bad," more than an actual commitment. Don't worry, I'm not dropping cash anytime soon. Lots of chin stroking is involved before that happens.
Eight Diagram Bat Fighter
Banned
XMonkey said:
*When editing at 1/4 or 1/8 resolution.
Full res editing requires a lot more than just a cuda card.
Eight Diagram Bat Fighter
Banned
XMonkey said:
Because sometimes you need to see playback in the full detail in 4/5k for errors and you lose a lot of it when viewing it in 1/4 res. Especially when blown up in an editing stage on a 2k projector, you notice it.
You want to find the problems at full res before you render out. Not the other way around.
alterno69 said:
I asked the same question couple of pages back... (advantages highlighted)
T3i = Cropped Sensor, ISO sensitivity 100 - 6400, AGC, 9 point focusing, Higher-res EVF articulating LCD
7D = Cropped Sensor (same as T3i), Better 19-point focusing system, ISO sensitivity 100 - 12,800 (better for low light stuff), Not as high-res EVF LCD.
I was recommended to stick with the T3i instead of 7D, because 1) DAT ARTICULATING LCD 2) They have the same cropped sensor 3) ISO performance during videos is not that much different except 7D is cleaner 4) Spend money on better lenses instead
..and of course the mother of all reasons
5) T3i is much cheaper than 7D.
dmshaposv said:
Depending on what he's shooting, he might always want to pick up one of these somewhere down the line:
http://www.ebay.com/itm/Marshall-El...ultDomain_0&hash=item27bc6ef8fa#ht_1070wt_868
Handy for jib shots and the like.
Gabyskra said:
In general the 600D/T3i's low light performance is mostly shit even with a very wide aperture prime lens. I've heard not much better about 7D either - only that 7D is a better option for stills/sports photography and T3i catering more towards videographers.
5DMKII is where the low light performance is a significant upgrade due to the full frame sensor, which is to be expected.
Here's an early cut of another short we're doing, this time with me as head director. We're probably going to reshoot the scene where the douche comes on a day less windy.
http://www.youtube.com/watch?v=ZmLphA-2Wfk
What do you guys think? I need some honest criticism. And I know the douche is a terrible actor :/
http://www.youtube.com/watch?v=ZmLphA-2Wfk
What do you guys think? I need some honest criticism. And I know the douche is a terrible actor :/
itwasTuesday
He wasn't alone.
BlackGoku03 said:
They make a difference on how much money you can charge the client.
Eight Diagram Bat Fighter
Banned
itwasTuesday said:
Spoken by someone who really doesn't know how useful they actually are.
Eight Diagram Bat Fighter
Banned
kai3345 said:
Use a windsock.
sans_pants
avec_pénis
kai3345 said:
more shots for the opening credits, its just boring shots right now instead of showing mass desolation, which is what i feel like you are going for
itwasTuesday
He wasn't alone.
bluerei said:
Hey you can make assumptions all you want, but what I said can be very true. Especially in the earlier days of video slrs. Eh I say that like this still isn't the early days... Selling yourself for a video job with this tiny non professional looking camera can be hard. Like the person below me said, sad but true. A bigger looking rig can look more professional and instill confidence when trying to sell yourself... or your gear.
Eight Diagram Bat Fighter
Banned
itwasTuesday said:
You actually bring your camera with you/ tell the client what you'll be using to shoot the project? Why? That has nothing to do with how well a video will turn out.
kai3345 said:
Never put credits before the film, especially for an amateur production. It comes off as wanky. Still a good effort especially loved the smoothness of the camera operator when the cast was walking along at the start. Good work.
Invest in a dead cat (sock for mic) for outdoor sound recording.
As a director try and have your actors feel the lines and sometimes get them to speak over each other or cut each other off. Get them to feel the lines instead of thinking it. A lot of the time I could see the actors waiting for their 'mark' to say their line.
Its always good to see people go out and shoot. Enjoyed the first 2 shots, but felt the isolation aspect could have been portrayed better with some wider area shots.
Also, lose the editing effect of the slightly dark edges around the frame. I dont know why you did it but there isn't a point unless you needed to hide something at some point and decided to use it from then on. Not sure, but think you should lose it.
All in all, good work. Keep it up.
Here's an updated cut. We did this before I had the chance to read some of you guys' criticisms, so I'll take those into consideration next time we edit. Still really rough and there are a lot of scenes missing between when they first encounter the douche and when they find him again. The second douche scene is the beginning of the climax of the film.
Also there are some missing lines that we're going to ADR later.
http://www.youtube.com/watch?v=HSWv7SA-iTA
Also there are some missing lines that we're going to ADR later.
http://www.youtube.com/watch?v=HSWv7SA-iTA
The shot where the group walks through the door to Josh on the couch is great. However the shot that follows (Josh talking) doesn't do anything for me. Try and cover it differently maybe a little wider or think about cutting to some reaction shots on the group looking at him.
As a director think about your blocking more as well. I have noticed that your cameraman can do free form shooting quite well so dont be afraid to chuck your actors a curve ball and get them to do one scene totally improvised have your camera move around the impro blocking, you never know he might get something great or give you more ideas about camera placement.
Also it lets your actors realize the lows and highs they need to achieve in the scene without thinking of the script and in the next take usually they improve with their delivery of lines.
Looking good though!
As a director think about your blocking more as well. I have noticed that your cameraman can do free form shooting quite well so dont be afraid to chuck your actors a curve ball and get them to do one scene totally improvised have your camera move around the impro blocking, you never know he might get something great or give you more ideas about camera placement.
Also it lets your actors realize the lows and highs they need to achieve in the scene without thinking of the script and in the next take usually they improve with their delivery of lines.
Looking good though!