July 28, 2014, 01:23:23 AM

Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.


Messages - bluegreenturtle

Pages: [1] 2 3 ... 6
1
You also know for sure when somebody says "I don't want video at all" and are commenting on a camera like this that they have no place making those comments and literally don't understand anything about why this camera *might* be really special.  This camera is extremely exciting to the video community.  Stills people, go back to wanking off to your models that you paid to take pictures of. 

If everything turns out, I plan to turn in my 5DIII for this camera, which promises to be a significant upgrade, at a lowered cost.

For my part, I don't really care if the stills function even works; I only use it for timelapses, and there's tons of ways to accomplish that. 

Don't assume that your uses are everybody's uses, or that the market that you see is the actual market. 

2
The 70D is crop.  The 5D is full frame.  Different looks and aesthetics.   It should be driven more by the look you are going for, and what additional costs in lenses you are looking at, if any, to get the focal lengths and speeds you need.

3
EOS Bodies / Re: The ultimate video recorder | 2500 USD Price range
« on: November 01, 2013, 01:10:42 PM »
Sigh.  There is no "best" overall - you have to tailor it to the kind of shooting you do.  It sounds like right now, you don't know, so buying the best will be of no benefit - most PAID video work has little to do with absolute best IQ.  I have a documentary production studio and do well into 6 figures of profit a year in video work - I could "afford" any video camera on the market, including something like an F55 or the like.  I choose to work with a 5DIII right now because it fits what I do, not because it's best.  I don't want slow setups, I don't want people gawking at me when I am working on the street, I just want to get my work done quickly and the DSLR does that, while providing me control over the image in a way I'm comfortable with. 

I look at my work just 3 years ago and now and it's worlds apart and it has nothing to do with the equipment I use - it's about understanding what I want to get and how to get it.  You sort of hit a pet peeve of mine (common in some of my clients) that they can "buy" their way into video work by having the right equipment.  I've watched documentaries that were shot on $500 handy cams that blow my work, shot with $25,000 worth of gear, out of the water - because they knew *exactly* what story they were trying to tell, how to tell it, and how to use their gear to the absolute best of its ability.  Get a camera you can afford (the suggestion of the 70D is a good one) and start shooting.  You'll start to figure out what works and what doesn't - then upgrade later.  I did more than $150,000 worth of work on a Canon 7D ($1300), secured another $200,000 worth of work based on that previous work, and sold the 7D for $1100.  Just get something and learn.

4
Lenses / Re: 14mm mk2 or 16-35 mk2?
« on: September 23, 2013, 11:20:53 AM »
Why don't you pick up the samyang/rokinon 14mm 2.8 which is only a few hundred $$ and try that one out.  I think the optics in it are generally considered to be similar to the canon in IQ. 

5
Lenses / Re: Canon 24-105mm f/4 IS : Seller's remorse?
« on: August 23, 2013, 02:01:11 PM »
I have found as a video shooter that the 24-105 is just a perfect B roll lens.  Light, great at wide, great at 105, has IS, allows fairly shallow DOF at long end wide open, but too shallow.  It's just a workhorse - I might shoot 100-150 clips in a day on a project for B roll and it works well.  That said, if somebody made a 16mm-70mm 2.8 or 4 IS  that would be the perfect lens, paired with a 70-200. 

6
Lenses / Re: "General purpose" lens advice
« on: June 22, 2013, 11:56:41 AM »
I just bought a 24-105 recently and it's been transformational for me shooting video - it's just a very versatile lens that has great IQ.  Shooting handheld, the IS and the slower aperture are both good features.  My work falls under 2 categories - shooting interviews (which I usually shoot at f4 or shallower) and b roll, which I usually shoot at f4 and slower).  The fact that I can travel on assignment and step out with the 24-105 and get good b roll coverage without heavy weight is fantastic.  However, keep in mind that I use this for work - I'm not shooting arty pieces, I'm not shooting drama, I want what works, quickly, so I can get my b roll coverage and move on.  For that, I think it's about the best lens.  I came from a 28-70 Angineax 2.6, and while that has amazing IQ, it was less versatile and I rarely used it wide open anyway.  I still have it but not sure if I'll keep using it.

7
Software & Accessories / Re: What fits in a CRJ-700 overhead bin?
« on: June 21, 2013, 12:36:14 PM »
I recently flew on one (april) and easily fit my Pelican 1510 sideways.  I was very surprised.

8
I've used both quadro and GTX cards for premiere cs 5.5 and 6, currently have a GTX 660. 

I didn't notice anybody asking Cayenne what he plans to do - what sort of editing.  There's a huge misconception about what the CUDA acceleration actually does.  It only affects very specific functions and huge amounts of common editing features are still CPU and most important, hard disk bound.   The common things that this will help with (some) are that you don't have to re-render after color correction, applying some (and only some) effects, and some (and certainly not all) encoding tasks. 

The single biggest upgrade to premiere you can do is to have it and your content coming off SSDs.   I upgraded from a several years old bottom end GTX to a mid level Quadro to a current mid-top end GTX and there is absolutely no difference in Premiere in common editing situations. 

DFM has it right on the advice of Quadros - like most software manufacturers - they are recommended for reliability.  They are also very profitable for Nvidia.  Get any card you can afford and you'll be fine. 

9
Lenses / Re: 70-200 Choices
« on: June 12, 2013, 10:02:42 AM »
You are forgetting the brand new Tamron 2.8 vc which is exactly at your budget MSRP ($1500).  It supposedly is as sharp or even a bit sharper than the canon vII. 

10
You know, I have some no-name fader that I think is a copy of the LCW one (though not sure) and it works just fine.  Done $150,000 worth of video work through it and never had a client or editor say "hmm, seems your fader ND is not up to snuff." 

11
EOS Bodies / Re: 5D Mark III & RAW Video, A Case Study
« on: May 30, 2013, 11:53:27 AM »
The raw looks too warm. But I didn't like the halo around the fire of the candle of the H.264 at 200%. Interesting stuff and I can't wait for ML to get to the 6D, if it ever does.


Remember in looking at all these raw samples that much of it is entirely the decisions that the person who took it made in color correction in post - 90% of which I've found to be questionable.  Usually they are either garish colors or not correcting the magenta slant that comes straight out of the camera. 

12
Alot of people are mentioning problems they've had in far off exotic places. I find that the WORST problems I've had are right here in North America.

Recently was in a nice quiet neighbourhood trying out a new lens, taking a shot of a road and bridge (sun was out, bright blue sky, a few clouds). A van drove up to me and asked what I was doing. I told them I was taking a picture. They then proceeded to claim (very aggressively) that it's illegal to take a picture of them and that I'd be in trouble.

Little more detail here: this was a quiet residential area road. They were about half a mile away when I took the shot (never mind I was shooting with an 8mm lens...). Their aggressive attitude was astonishing. I told them I deleted the shot with them "in it" (the tiny spec that they were) and walked away. They drove off, only to return a few minutes latter, stopping in the middle of the road and taking a picture of me with their camera phone? I just smiled and kept walking.

People seem to have this impression that ANY picture taken of them (even if they are half a mile away behind tinted windows) without "permission" is illegal, and they get VERY aggressive about it if you look like anything beyond a kid with a camera phone.

Was in a best buy once trying out a camera (one of the Samsung WiFi cameras) and this guy walks up to me saying he's calling the cops cause I took a pic of him. It wasn't even my camera...

Wow...that's very interesting. I've yet to encounter something like this before.

Then again, I live in New Orleans, where cameras are pretty common out and about with all the tourists, maybe that and the laid back attitude down here keeps it friendly, but honestly, I've never heard of this type reaction or aggression before till this thread.

C

The ONLY problems I've ever had, shooting documentaries all over the world and the country were in Louisiana - did 3 projects there.  Buncha crazy paranoids, I tell ya!  Maybe NO is different than the rest of the state (our crew mostly had run ins with police around Baton Rouge and then further south closer to Houma.  I'm sure you're a nice guy but honestly I spent almost a year there shooting those pieces and I don't care if I ever go back - beautiful scenery and the ladies are pretty too, but I really really was left with a bad impression of the people. 

13
Recall that the entirety of the 1dx/1dc legal threats come from a single report here on canon rumors that CR was "told by someone" at canon that they would "bring the full weight" Canon's legal team if somebody tried to modify the 1 series.  Not exactly a definitive response.  In this case it's at least a bit more legit coming from the CR guy, but it's amazing how one offhanded comment on some message board or a random hyperbole from EOSHD becomes somehow fact.  The DSLR video community is so incestuous. 

14
Pricewatch Deals / Re: Rakuten 20% cash back-Memorial day
« on: May 27, 2013, 12:43:11 AM »
Ugh.  It's the former buy.com.  It's a huge site in Japan.  It's perfectly legit and one of the more reliable retailers in the world. 

15
Weird - I shoot video constantly on streets and public places, and include people all the time.  I'm not inconspicuous - I've got a huge video tripod with a fluid head on it.  Nobody, other than drunks and crazy people has ever said a word in all the years I've been working.  Occasionally people ask about my project, but they are friendly and interested.  I just spent 2 weeks in downtown LA shooting and the only attention I attracted was from another videographer.  Who was very friendly. 

Pages: [1] 2 3 ... 6