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Messages - cayenne

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286
Premiere has the keyboard shortcuts for FCP7, I've never used FCPX (I think for the reasons you are confirming) but they may be in there to assist the transition.

Good work on the video front.

CT and eradicating mixed lighting is often the bane of my life, and the curse is that when you spend HOURS doing it properly nobody even notices.

Hey Paul13!!

Thanks for the response, I enjoy reading your posts and your advice.

I found FCPX to be a great tool so far, but likely this was easy for me to pick up, since it was my first NLE I'd ever tried to work with and learn.

I can see with Premier, the older multiple tracks system is a bit different. I've been studying and watching some creativelive classes on Premier and After Effects, and I'm very impressed.

I think I'll pick Premier and AE up a bit quicker since I know FCPX and cut my teeth there on the concepts first...than I would have just trying to learn editing techniques and concepts starting off in Premier.

I'm gonna do my next episode as something simple and short shooting...so that most of my efforts are channeled not into heavy editing, but into learning to use the tool.

I hope that Magic Lantern can get the RAW video working and ready for prime time (not alpha) for the 5D3..I'm dying to try my hand shooting and color grading true RAW so as to have tots of leeway for color grading....

Again, thanks for looking in and commenting.

Anyone else?

Thanks,

cayenne

287
This is actually tempting but for 2 things.  1.) I have CS2.  Once Lightroom became more functional, its pretty much the only Adobe photo product I use so I didn't upgrade.   I'm probably the only person out here on CS2 but still, no deal for me!   & 2.) Adobe will carry this only until they have the base they need/want and then they'll bump the price or degrade the access to the point that no one will want it.   So $10/month really isn't bad (said the spider to the fly) but..... 


I would put one change on Neuro's turn of phrase:  Teach a person to fish, you lose an income stream. I truly believe that Adobe no longer sees us as customers, simply lemmings to be herding, manipulated, etc.

Please don't be confused, Adobe is, I believe, a publicly traded company...and as such they are only answerable to the shareholders for providing them profit.<P>
The customers are just a necessity to do this, but the customer is not their primary concern or obligation.

Once I got this concept down, I can easily understand what corporations are trying to do, maximize shareholder profits, nothing more.

It isn't personal, it is purely business....the only way the consumer can fight back, is with the pocketbook.

288
Nice try Adobe.. just stop messing about and sell us the license just like before this cloud nonsense,Cloud might work for some people but it's not for everyone,I prefer clear skies..  :)

Agreed!!

I refuse to RENT software.....and have the possibility that if for any reason I cease to pay Adobe 'ransom', that I may no longer be able to open and work on my files.

cayenne

289
I've been getting refurbs from Canon USA themselves for about $373 in recent months...

Canon USA has refurbs currently listed for $549, do they run sales periodically?

Yep....those with patience are rewarded.
:)

I tend to just squirrel away my money and have cash on hand to pull the trigger when I see good deals come around, which they do....just have to be patient.

C

290
http://www.cameracanada.com/enet-cart/product.asp?pid=5296B002

The are an authorized reseller and will have a full warranty inside the US

 the only downside is you have to pay shipping (about $25) + brokerage fee for international orders($25) but they are per order not per speedlite

Also currency exchange fee which is typically 3% but if you have a credit card that does this for free than it is pretty good

I ordered 2 so it ends up being $930 for 2 speedlights (a little less than $465 each)

if you order 4 and you are paying with a credit card with no foreign transaction fee than you can get them fairly cheaply (roughly $450 per after all fees assuming you have a credit card that will pay your foreign transaction fees)

I've been getting refurbs from Canon USA themselves for about $373 in recent months...

291
Reviews / Re: Why I Chose a Canon EOS 6D over a 5D MKIII
« on: August 28, 2013, 03:13:48 PM »
<snip>
 Not to mention the evil eye i was getting from my fiancee when i'd bring up the second body issue.  It took a lot of talks on the porch to convince her that the 6d even was a valid and needed purchase.

Hmm...hey, if you've not tied the knot yet, she has no say in how you spend you're money man....so, don't sweat that.

;)

And man, just thinking...are you going to have to confer with her for  everything you want or need to get for your business ? You might need to set some things straight before you actually make it legal...

Just sayin'...

C

292
Hi Folks,

I just recently posted my latest cooking video in the series CWI: Cooking While Intoxicated.
(good name for a show originating out of New Orleans.).

Anyway, on the tech side, I shot this with my Canon 5D3, using Marvels Cine Style
I used my then new Rhino Slider I'd just gotten.

I finally learned the importance of having all your lights the same color temp. to make white balancing easier.

I edited in Final Cut Pro X. This will be my last time in that, as that I just recently got the Adobe CS6 Production Premium...so, I'm going to be cutting my teeth next project on Premier and AfterEffects.

I did my color correction/grading with Davinci Resolve Lite (slight nightmare doing roundtripping with FCPX, ugh).

Anyway, here's the video. I think I did much better with color and editing this time, but still, loads of room to grown and learn, please give it a watch and any follow up advice and constructive criticism you might have:

CWI: Cooking While Intoxicated - Cheese Enchiladas, Sangrita and Salsa Verde

Thank you,

Cayenne    8)

293
EOS Bodies - For Video / Re: Entry-level video production
« on: August 21, 2013, 10:35:13 AM »
In terms of cost, my advice... especially if you're on a limited budget.
Figure out how much it cost to rent equipment and add that into your prices.

In terms of owning equipment of your own, buy quality stuff from the beginning. Like if you have enough money to buy a 5D Mark III or 7D, then get it.

Its either that or save money so you can get get quality stuff...
Because you don't want to buy equipment like a t2i, and then a year or 2 later you want to upgrade... then you're selling the t2i for half the price you bought it for (losing half the budget that you used to purchase it)...

Till then, rent!

I forgot to say... more than just camera equipment.... look into getting good post-production equipment.
Cause you have to know... especially with video production, most of the time you'll be spending it in front of a computer.

I'll second that heartily!!

I started out my editing with FCPX, which works pretty well on the mac and is dead cheap compared to other alternatives.

And if you're not used to editing in the more traditional track based editors (Premier, Avid, FCP7), then the learning curve is quite low.

I've recently gotten a deal (I applied for admission to a local university, just to get a .edu email and picture student ID, to use to get educational versions of Adobe products, but not planning to enroll in any classes), and just got Adobe Production Pro Suite (CS6)...(I'm not going CC, don't want to rent software just yet). 

Anyway, I've been trying to learn Premier and After Effects.....very powerful stuff. A bit more of a learning curve, but wow..neat stuff you can do with those.

Also, once you get going, you might want to play a bit more with color grading, to give your videos a "look". There is a very powerful, free program called Davinci Resolve Lite. Very cool tool.

You need some horsepower in your editing computer...so, do a bit of research which ever platform you go with (mac or pc)...

The new mac pro, when it comes out, is likely to be a VERY nice editing tool.

HTH,

cayenne

294
Lighting / Re: 600ex as main lights
« on: August 21, 2013, 10:25:10 AM »
Awesome! these are some great replies.
I went ahead and ordered the st-e3 .
As i start using the 600 wirelessly what softbox/reflectors can anyone recommend? i think there is value in only buying stuff once but there is also the reality of a budget.

I've got several Lastolite softboxes, they're excellent.

I just got one of the cheaper versions of the Lastolite softboxes, by Impact. So far, looks to be a quality piece of gear....

C

295
Lighting / Re: 600ex as main lights
« on: August 21, 2013, 10:23:39 AM »
No, my camera has a PC port and a hotshoe, on which I mount a 600 or ST-E3-RT to control remote 600's. The PC port is on the side of my camera (see picture), though not all Canon cameras have them, this is connected to the Cyber Commander via a simple cable.

The hotshoe looks after the 600's, the PC port looks after the Einsteins.

Thank you VERY much for that!!

I have the 5D3 too...I'd not seen or tried to use that port.

Strange, your covers for the ports..seem to split in the middle, mine is one continuous piece of plastic/rubber, with only one attachment to the camera at the upper portion of the panel.

C

296
I'd rather remain someone anonymous, so I'll change the name and places to protect the ignorant... I mean innocent.

Well, the lady's company name is... oh lets say Burrito Supreme Photography.  And her water mark is a very nice, very swirly font that spells BS photography.  Does she simply not know what the Acronym BS stands for in the rest of America... maybe the world? 

And every time she posts something on Facebook... I think... maybe she just simply doesn't know. Though I am really not one to talk since my company name is Dirty Sanchez Photography, but my acronym is DSP... so not nearly as awful.

LOL...kinda like that computer company, back in the day, that named their company "Wang".

:)

297
Lighting / Re: 600ex as main lights
« on: August 19, 2013, 04:14:44 PM »


How are you integrating 600's with Einsteins?  How are you getting them work work/trigger together?

I've been curious about that...

Thanks in advance,

cayenne

600's via a hotshoe mounted 600 or ST-E3-RT and the Einstein via the Cyber Commander and the PC port with Cyber Sync's, full remote intelligent wireless control over everything up to 15 600's and 16 Einsteins at the same time! Not that I have anything like that. You can use a long PC cable and put the Commander in your pocket or use a short one and tape it to your camera etc.

You can use dumb triggers for the Einstein too via the PC port.

So...the Cyber Commander controls the Einsteins AND the 600's too? You trip the shutter and the cyber commander activates the Einsteins AND the 600EX-RTs?

Or am I confused? PC port?

I'm a noob...please help me to sort out what I'm missing here.

Thank you!!

C

298
Forgot to mention this.... Turn IS off on your lens or it will become part of your soundtrack.... Or better yet, get an external mike, or take a phone, get a sound recording app, and let it sit by the people and mix it in at production time.

Thanks for all of the advice!!
I have the Rode videomic I keep on the shoe....I got a Rode stereo mic, if I had help I'd set that up too maybe...

On the other hand, I'm guessing this will mostly end up a montage with music over it...so, sound likely not that big a deal.

I'm meeting with the organizer this weekend to see what's exactly expected. this is a non-paying gig for charity.

On rental lenses....what would be the best to get?

85  f/1.2?  50 f/1.2?

I have the 85 f/1.8...so, should I got for renting the 50 f/1.5....

I was hoping since my 17-40mm, while being f/4...would still be usable at the wider angles...?

Thanks for all the advice so far.

C

I know he rode video mic is a well regarded mic, but please be aware that if you are in a noisy area, like a bar, it's not much better that the built in mic unless its on a boom pole..meaning it won't get the job done. Moreover as someone else said, beware of IS noise, the rode video mic mounted to the hot show WILL pick it up; make no mistake!.  If money is an issue get yourself a cheap wired lav mic like the audiotechnica; believe me it will make a world of difference!

???

The OP said this was going to be a montage shot to music. WTF is he going to be mic-ing up?

If you're recording dialogue in a crowded bar your suggestions are sensible, but that isn't the case here.

Similarly, for an unpaid charity gig, telling people they NEED a second camera, assistants and to hire/buy in a load of L lenses is comically over the top. My advice would be that if it isn't a paid gig, unless you specifically want material for a showreel or similar, then not to bother renting gear, or buying anything especially for this.

As with any project, scope out your locations in advance, if possible with your camera so you can take a few test shots to see how the lenses you have will deal with the lighting conditions.

This shoot...will start from a restaurant (private rooms and on the balcony) in Jackson Square in the French Quarter in New Orleans.

Footage taken there...and just outside, so I'll likely to be able to get some sounds that is usable there...and most likely I'll be on foot with all the women, as they bar hop into the warehouse dist. This will be easily a mile or so as the evening goes.

I don't expect to get my usable audio later as more bars are hit and more alcohol is consumed...but who knows?

I'll post more as I learn more about it.

299
..."the largest gathering of brides, in wedding dresses"...and then a pub crawl afterwards...This is in Sept, starts at 4pm....goes through evening...as the evening goes on....what do do about lights? and with me on foot for quite a bit of distance...I can't carry a ton of equipment by myself, and I'm likely to be a one man band here. I have my manfroto monopod with fluid head...I'll be bringing that...I have my sling bag...and figure I can carry my 70-200mm f/2.8.....my 17-40mm f/4....But I have no portable lights. Should I invest in some sort of small, portable LED lights?

I got a wedding reception at a dark venue with a 5D3, Manfrotto tripod, 17-40, 24-105 and 70-200 2.8 IS II. The material looked good even at ISO 12,800. Yes there was some noise but it's so dark you can't get the footage any other way and it looks atmospheric. Mic was Rode VideoMic Pro, but audio wasn't vital since much of the final material was covered by music added in post.

If you need to capture spoken word audio, using a remote mic or external recorder is good, if possible.

I used manual focus and a Zacuto EVF Pro, which was very useful. The 70-200 2.8 is a superb video lens even in crowded venues since it allows highly selective focus on the subject. It makes everything look cinematic.

I have LED lights but did not consider those since it can be intrusive if you want candid material. For more formal shots they're very helpful.

IMO using manual focus and a focus aid such as a loupe or EVF are vital for this type of event.

As others said, you really need another camera or assistant. Changing lenses all the time is a good way to miss key happenings.

If you have no recharging opportunities, you'll need at least three batteries, preferably four or five. It's better to not even try and recharge -- it's just one more drain on your limited bandwidth.

Whatever your configuration, you'll need practice before the event to make sure it all works. It is extremely easy to forget to turn on an external mic, forget how to change ISO while rolling video, forget how to adjust mic gain when the quick control dial switches to touch mode, etc.

For a loupe or EVF, all the fittings, screws, cables, etc. should be thoroughly checked out and practiced beforehand. If an EVF or field monitor is used, they have their own menus, modes and controls which should be well practiced.

Remember the 70-200 requires a tripod adapter (which comes with the lens); don't forget to take that. Have several quick-disconnect plates so you don't have to change from camera base to lens tripod adapter.

If it's the Manfrotto 561 BHDV monopod, test the ball mount thoroughly and make sure it doesn't stick or pop. Some of them do and can easily spoil a take by imparting a jerk to an otherwise-smooth pan or tilt motion. If it sticks you may be able to lubricate it, but do all that beforehand.

Thanks for the great reply!!

I have the Manfrotto Monopod:
http://www.amazon.com/gp/product/B003YM04NO/ref=oh_details_o03_s02_i00?ie=UTF8&psc=1

I have this viewfinder, but haven't tried it yet:

http://www.amazon.com/gp/product/B0098N59VA/ref=oh_details_o06_s00_i00?ie=UTF8&psc=1

I spoke with the organizer this week, and she gave me the contact information for each of the  bars we'll be hitting, so that I can contact them and go in to try to take some test footage.

I've been trying to shoot things with marvels cinestyle...flat so I can color grade.  I've been able to do pretty good coloring and all with Davinci Resolve, but lately trying to round trip back into FCPX has been a PITA.

I've just installed Adobe Production Premium CS6, but I've not tried it yet. 

Some of my problems doing flat styles, seems to be that I'd been underexposing things to make it look better in the live mode, but when I raised the exposure, I got LOTS of noise in the video image.

I'm wondering, for this shoot..should I just do the shoot in the "Normal" video style in camera, and just take that variable out of the equation for doing this shoot?

Most likely this will be used just for web promotions, but, it could also be used for TV broadcast for next year promos for ads, or local news show specials...etc.

So, I'm wondering if I should just blow off the flat style shooting and concentrate more on the logistics, and getting WB right. I have the expo disk so I can shoot a test shot at each site to get the WB set custom.

My 70-200 came with the extra holder for the lens, but I've removed that...from what I've done with it so far, I find it is ok to have it on the camera, and only the camera mouted to the tripod or monopod.

So far, it does still appear it will be JUST me...which kinda blows...if I had help, I'd bring along my slider too.
But I can only do this with that I can carry and operate on my own...

Thanks for the suggestions, please keep them coming!!

cayenne

300
Lighting / Re: 600ex as main lights
« on: August 19, 2013, 11:42:21 AM »
Two things I don't like about the 600 RT is that with the 7D (or any camera before 2012) you cannot use the camera's menu screen to set radio transmission and you are limited in the sync speed (1/125th for 7D) with radio transmission.

I'm using 600rts with the 60d, and it works @full x-sync speed and radio transmission just fine, at least so far, though I've only got the set for two weeks. And I'm ok with using the flash lcd to set things, I'd do this anyway rather than search for a submenu item on the camera lcd.

The one thing I'm really annoyed about is that only 2012+ cameras can use group mode w/o any apparent reason, the 60d can use radio, and you can even *set* the group mode function on the flash but the camera keeps resetting it - sounds like a Canon marketing quirk to me, surely this could have been fixed.

Whilst the pre 2012 bodies will work at original sync speed, they don't offer true full sync via wireless, if you look at the bottom of your images shot at full sync with wireless you will have a band, like this test shot of a white wall (ignore the top right corner). Might not be so bad with crop cameras but with a 1Ds MkIII I get this at 1/250 with wireless.

More often than not it is not a problem, but it is there.

As for the separate wireless trigger and older/cheaper flash setup, well it is cheaper for very good reason. The 600's are incomparable to anybody that uses speedlites professionally, I used various types of third party triggers for years but bought into the RT system and it is a game changer, even on my pre 2012 bodies. If you shoot for money, especially weddings, buy once and get the RT system, with a complimentary Einstein or two for bigger jobs.

How are you integrating 600's with Einsteins?  How are you getting them work work/trigger together?

I've been curious about that...

Thanks in advance,

cayenne

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