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Messages - The_Arsonist

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16
Lighting / Re: Super DIY Remote Speedlites
« on: March 02, 2013, 04:39:57 PM »
I don't understand - how is the volume potentiometer going to control the flash output?

The Vivitar 283 has a light sensor that can be replaced by a volume pot to control the flash output levels.

http://www.krebsmicro.com/VIV283/index.html

17
Lighting / Re: Super DIY Remote Speedlites
« on: March 02, 2013, 03:30:12 PM »
Find me a speed light that is less than $100 that you can control the power via RF.

18
Lighting / Super DIY Remote Speedlites
« on: March 02, 2013, 01:25:30 AM »
So, here's a crazy idea I had for getting speedlites that have remote controlled power on the cheap.

1) A used auto flash unit on ebay can be had for $10-20
2) Add a $3 standard volume potentiometer for full manual control
3) Control the potentiometers via either motorized pots or R/C airplane servos. I know that they make IR controlled pots for audio boards on speaker receivers for tv and stereo systems. I think an R/C servo could potentially drive a standard pot through the full range of motion. I see some remote and servo packs for around $25-$50 on ebay. One controller could potentially run 2-6 lights.
4) Trigger with remotes of your choice (In my case, Cactus V5 at ~$35 per transceiver)

So, in theory, this makes a studio of two lights cost under $100. You could even use shoe mount optical triggers in place of radio receivers for all your extra lights. You could possibly have 6 radio controlled lights for $200-$300.

So, I probably won't follow through on my theory, as radio controlling power is not a pressing need for me, but I wanted to present the theory to anyone who might be interested. It could sure make for an interesting, cheap home studio set up!

19
I agree, Magic Lantern has been extremely helpful for video. Focus peaking is about the only way you're going to get decent results from run and gun setups without an external monitor. Focus peaking puts red and yellow pixels along the edges of whatever is sharpest in the scene. Be warned, Magic Lantern has a ton of tools, so jumping right in to using it can be intimidating. It also has the ability to override the settings you make in the normal canon menus, so don't be discouraged if it keeps changing your shutter speed/iso, etc. You just need to find the right magic lantern menu to adjust those things

20
Lenses / Re: suggestions????
« on: February 12, 2013, 06:33:50 PM »
I have been very satisfied with my Sigma 70-200 2.8 OS, although it may not be as good on a full frame sensor, as my corners are somewhat poor and I have a crop sensor 50D.

21
Lenses / Re: Please explain the need for f2.8 zooms
« on: February 01, 2013, 02:09:15 PM »
I love it when users say "it's only one stop" when comparing lenses. One stop is a lot! That's twice as good! Some users complain they couldn't tell the difference in rendering from faster glass and then complain that everyone one else can't see the difference.

You keep harping on this "one stop is twice as much," without seeming to realize that, though technically true, there's a very good reason why we use a logarithmic scale for exposure.

In this context, a linear scale is useless. One stop is not, in fact, "twice as good." One stop is basically one zone on the Adams scale. And, while, yes, it's important to place midtones in zone V instead of zone IV or zone VI, it's not exactly a huge deal to move exposures around by a single stop.

By the time you get to two stops, things change. The difference between zone III and zone V or zone V and zone VII is the difference between midtones and shadows or highlights with good detail. But just a single stop? That's your wiggle room, what you have to work with for interpretation, your margin for error.

Cheers,

b&

Ah, but what if you have to under expose to get the shutter speed fast enough for indoor sports. If one stop is the adjustment curve, and I have to under expose by one stop to get the shot, then there's my wiggle room. I need a 2.8 to get within one stop of my final exposure for indoor basketball. I also use primes, but to get the right moment when someone is driving down the court toward me, I need the zoom.

22
hold on guys, now i don't know where i misled the post to the point where i was talking about syncing things manually in post, that i can always do, but when you shoot with video cameras in Broadcast your cameras time code needs to be set up and you do NOT have to hit record at the same time when you have time code, especially if the time code is synced spot on 100 hours to the clock.

What i want to do is set up the time code on the camera so when i hit record on camera 1 while camera 2 is still not recording when i bring the material back to post and drop it in premiere it spots dead on the TIMELINES Sequence time code in Premiere, no need to drag sync anything manually by lining it up etc, this is what time code is for., Or for example if camera 1 starts and stops recording all day long while camera 2 starts and stops a few times again dropping the files into Premiere with time code means on the time line they will place themselves where the start and stop of the recordings took place, with time code synced to the same clock can not go wrong., like our computers are synced to clocks on line etc.

Ly problem with the 5d3 has been that i set up the clock, display recording in time code and do NOT see any difference when shooting video, then i change that setting to display recording time and i still see no difference in that mode, i only see a difference if i shut the camera on and off while changing settings so is my camera broken or can you guys confirm its the way canon programmed their cameras poorly for time code so you can only have it externally on a ninja/hyperdeck etc etc.

AFAIK no Canon DSLR has free running timecode capabilities. Someone please correct me if I'm wrong. I use Magic Lantern on a 50D, so I cannot comment on that aspect.

Here's a link that may be useful to you. It explains how to use small battery powered timecode generators with a 5d Mk2.

http://endlesspicnic.com/blog/2011/11/time-code-canon-5d/

23
Third Party Manufacturers / Re: Sigma Announces New 30mm f/1.4 for APS-C
« on: January 29, 2013, 06:48:36 PM »
Hopefully it's as good as their new 35 1.4 for half the price. A man has to be able to dream.

24
EOS Bodies / Re: Canon 6D flash sync
« on: January 29, 2013, 06:46:33 PM »
That would be a digital shutter, aka turning the sensor on and off, like on the original 1D, wouldn't it? The old Nikon d50 is the same

Interesting, I didn't know about the 1d method - why don't they do that anymore to gain higher x-sync?

As for the 6d & 1/8000, I have no idea how it's implemented, just picked it up while reading through the ml 6d dev thread - you have to look or ask over there.

Sorry, the Nikon d70 and d40 do this, as well as the original 1D. The actual shutter still can only physically hit the sync speed (1/250 or whatever) but then the electronic shutter takes over at higher speeds. No idea why this is not a standard feature on all DSLRs. Maybe only CCD sensors can do this?

Read about the Magic Chip Cameras on Strobist
http://strobist.blogspot.com/2011/12/q-controlling-sun-when-using-flash.html

25
It sounds like you want to keep both cameras rolling the entire time so that you don't have to sync them more than once in post. I have no idea how to accomplish that with a cam like the 5D, which is not intended for such use. You would need  to jam sync the cams when you start the day, and the timecode would need to continue running after you stop the recording. Most professional cameras have a port that plugs into a timecode generator to be continually fed a timecode. I have no idea if there is a way to do this wireless or not. I'm not even sure you can run a 5D for more than a few minutes without having to start a new clip.

I think your best option would be to look into Pluraleyes software. It automatically syncs video based on audio waveforms. It saved me in a production where I had three rolling cams and one DLSR that was taking clips at random intervals. The software loaded everything and spat out a project in Final Cut X that had the DSLR clips combined into a composite clip that matched the rolling cams. So every time a DSLR clip ended, it had black until the next clip started in the right spot.

Have your external audio running constantly to provide your sync reference, then make sure you are recording clean audio on your 5Ds, either with a shotgun or internal mic. Then Pluraleyes should be able to sync the clips from each camera in post. The key word is SHOULD; please test this before, I believe Pluraleyes has a free trial

http://www.singularsoftware.com/pluraleyes.html

26
EOS Bodies / Re: Canon 6D flash sync
« on: January 29, 2013, 01:48:45 AM »
If i shoot with 6D at 1/200 in studio i will get that black line on the bottom of the frame like the one i get from 7D shooting at 1/250 ( 7D has a flash sync of 1/200) ?????

The 7d has a x-sync of 1/250s (like my 60d): http://www.usa.canon.com/cusa/consumer/products/cameras/slr_cameras/eos_7d#Specifications ...

... as for the 6d 1/180s x-sync I wouldn't be so sure, it sounds more like a firmware crippling to me and the 6d might very well go up to 1/200s as the shortest time when the first shutter is down and the second shutter is still up.

If anyone doubts this: The 6d can also shoot with 1/8000 shutter, the Magic Lantern devs discovered this, it's just that the Canon firmware has a "5d3 protection lock" that keeps resetting it to 1/4000 :-o

That would be a digital shutter, aka turning the sensor on and off, like on the original 1D, wouldn't it? The old Nikon d50 is the same

27
Third Party Manufacturers / Re: EVF for Canon DSLR
« on: January 28, 2013, 11:45:15 AM »
I can offer you a much better (and cheaper) solution. First, if your camera takes interchangeable focusing screens (all canon FF cameras except 5D3), install screen Eg-S, which will make subjects really snap into focus vs the stock screen. Zeiss lenses have focus confirmation, meaning even though you rack focus manually, you still get a focus confirmation light / beep. Focus confirmation via the camera's AF system is just as accurate as focusing via live view sans tripod. Enjoy your Zeiss!

Interesting, does using the Eg-S with EF lenses lose you any functionality?
The viewfinder gets a fair bit darker compared to the stock focus screen if you're using slow lenses (f2.8 and faster is the same, f4 is noticeable, f5.6 is much darker). Other than that, no issues at all.

cheers, good to know that

There's also the Katzeye focus screens, which have the same focusing ability as the Eg-S screens, but also have a split prism and a micro prism collar, much like old film SLRs had. I have one, and the micro prism is the most helpful part, in my opinion. The split might distract some people

28
Third Party Manufacturers / Re: 18 Stops of Dynamic Range - RED Dragon
« on: January 16, 2013, 06:04:08 PM »
Can an actual sensor engineer shed light on this matter? It's totally useless comparing a dedicated RED video sensor to a dedicated stills photo sensor, the R&D process is completely different. So what if the RED 4K sensor can capture 18 stops of DR? It's only 8 megapixels (4096x2160) for God's sake, I bet it will absolutely SUCK at taking stills photos.

A couple of years ago I was shooting 8 megapixels on my 20D and doing just fine. Heck, I'm normally on mRAW on my 50D getting 7 megapixels. Go check out some of the photos taken by professional photographers on the Red Epic/Scarlet and see what you think

29
Lenses / Re: Lens firmware update
« on: January 13, 2013, 06:08:39 PM »
Generally OS X 10.7 software will work with 10.8, as 10.8 was not a major change.

30
HDR - High Dynamic Range / Re: Best HDR Software?
« on: January 12, 2013, 06:02:31 PM »
photomatix is mostly crap IMO or possibly too often abused causing heavily over cooked images

LR enfuse is an awesome awesome plugin for inside lightroom
there are some standalone enfuse programs

enfuse is and open source program and is more like an advanced exposure blending algorythm rather than the pure "HDR" that creates a radiance file and then applies false tone mapping to the image

No god awefull halos and cartoon like colour shifts, and it produces much more natural images.

although having said that photomatix can work quite well with night scenes if done right

I've been meaning to try a hybrid combination between an LR enfuse with a photomatix processed image blended into certain areas I think this could work out quite nicely

i've attached an enfuse sample

Thanks for the tip. Enfuse works great when I just want to quickly combine exposures to bring out the shadows and bring down the highlights

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