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Messages - cayenne

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541
Pricewatch Deals / Re: 600EX-RT speedlite deals?
« on: May 22, 2013, 02:55:15 PM »
600 refurb is back in stock - hurry if you want one.

Thanks man, I got one!!

I'm wondering though...Why the heck are they charging me sales tax for?!?!?!?

Does Canon have facilities in Lousiana or something?!?!

That kinda blows...had to do like $60+ in freaking taxes.....not used to that buying online. Still, total was like $406, better than anything else I've found so far but still....WTF?

cayenne

542
EOS Bodies / Re: 5D Mark III with Continuous RAW Video Recording
« on: May 22, 2013, 10:43:19 AM »
I think the stills software tends to have more powerful sliders when it comes to saving highlights, changing brightness, shadow, curves, contrast, etc. The CS6 version of ACR has some very powerful tools that are not just simple dials, pre-sharpening, NR, etc. And then do a few more tweaks in Photoshop itself if needed. Photoshop also hs some very powerful plug ins for creating B&W and such (although I'm having trouble getting the NIK stuff to batch so that is not working out yet). I'd try to get it right as much as you can with those controls. Then you can use AE to save it out to Cineform 12bit or something and do the rest in Premiere. Once it's save into video you can't use ACR or Photoshop on it anymore I don't think (without doing crazy stuff at least).

I was wondering about that too. I've done a lot of heavy stills post in ACR/PS/LR. I've seen what ACR can do. Now I'm also wondering about Lightroom, as I tend to prefer that workflow over ACR/PS for global adjustments.

By the way, I hadn't even thought about Nik. I'd be curious to see footage run through SilverEfex. Cheers for all the great info.

I don't have adobe tools yet, but I do have the NIK plugins for Aperture. I'm just curious about the workflow with this...are you doing this frame by frame for every image for a video? That sounds VERY time consuming and impractical for any shoot of any reasonable length...?

cayenne

543
i've never done this, but with your gear i would set the camera up with the 14mm on a C stand over the top looking directly down and a remote flash on the player off camera with a softbox so the light doesnt flare the glass, remote trigger, longer exposure second curtain sync so the flash freezes the player and the machine gets proper exposure and maybe capture some dynamic motion in the machine too with the slower speed

this is all just what i would try having never shot this before it'd be interesting to see the pics!

Hmm...interesting, and thank you!

I'll have to look up what a "C" stand is first...
:)

I don't have a flash yet...but I do have a softbox with CFL's in it for video I do, I could try to set that up maybe for something similar to what you mentioned.

The previous poster also mentioned polarizers...I've not used them yet, anyone have a suggestion for a good one to get?

Please keep the suggestions coming!!  I figured this would be a challenging question for us all....


cayenne

544
Software & Accessories / Re: Adobe to Stop Making Packaged Software
« on: May 21, 2013, 04:09:23 PM »
Because of their introductory pricing, I suspect many will access the service for the first year, while holding on to those copies of CS6.

I'm also thinking about going to CS6 from my current CS5 and watch how things go with subscription model, but what about this Adobe Application Manager that I apparently am forced to download for CS6 and all the complaints about it on the web? 

What truly useful feature does CS6 have over CS5?

I'd not heard of this yet...do you have any links pertaining to Adobe App Manager, and problems with it?
Just from the sound of it, it sounds like the Windows Manager type thing that MS came out with a few years ago when trying to update things, etc....

TIA,

cayenne

545
EOS Bodies / Re: 5D Mark III with Continuous RAW Video Recording
« on: May 21, 2013, 03:36:43 PM »
Magic Lantern RAW video for the Canon EOS 5D Mark III comes to the Mac & OSX
http://blog.planet5d.com/2013/05/magic-lantern-raw-video-for-the-canon-eos-5d-mark-iii-comes-to-the-mac-osx/?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Planet5dBlog+%28Planet5D+Blog%29

This was very helpful. It looks like the RAW workflow is starting to take shape!

I want to preface my next question by saying that I'm a video n00b. Should I do most of my tonal/color adjustments in ACR, or should I wait until I have the footage in AE/Premiere and do most of it in Davinci Resolve, MB Looks, etc.? Does it matter where I do it? My instincts tell me that there are two competing issues:

1. Which program is better at a specific task (e.g., recovering blown out clouds).

2. Flexibility of not having to go upstream to make changes to footage and then re-import downstream. For example, if I do my tonal/color work in ACR, won't that mean I have to go back-and-forth, rather than being able to quickly make adjustments via plugin without the extra step of re-importing?

Again... I'm just a n00b here. :-)

I think the stills software tends to have more powerful sliders when it comes to saving highlights, changing brightness, shadow, curves, contrast, etc. The CS6 version of ACR has some very powerful tools that are not just simple dials, pre-sharpening, NR, etc. And then do a few more tweaks in Photoshop itself if needed. Photoshop also hs some very powerful plug ins for creating B&W and such (although I'm having trouble getting the NIK stuff to batch so that is not working out yet). I'd try to get it right as much as you can with those controls. Then you can use AE to save it out to Cineform 12bit or something and do the rest in Premiere. Once it's save into video you can't use ACR or Photoshop on it anymore I don't think (without doing crazy stuff at least).

How do you go about color grading/correcting THAT many images?

Do you select a bunch of them at a time, that appear to be 'similar' for some things?  I was just thinking that it would be nigh impossible to do a lot of layer masks on a bunch of images, etc...since things would be moving and you'd have to do it frame by frame...?

I could see in bulk doing a mass change in global things, like total contrast, white balance, etc...but if you had say, a blown out window, that would take a lot of work to restore that frame by frame wouldn't it?

If you could get that footage, still raw where Davinci could do it, then you could use their tools to have tracking done for you on that window, etc....

So, just curious can you give some more in depth on what all changes you manage with PS and the like? I like the idea, but can't imagine the workflow...

Thanks in advance!!

cayenne


546
Pricewatch Deals / Re: 600EX-RT speedlite deals?
« on: May 21, 2013, 03:27:55 PM »
The canon Refurb store has them for 375$, I'm currently selling off my old speedlites to pickup a set of refurb 600's.

I'm on notice.

Dang.....says out of stock now.
:(

547
Thank you for all the suggestions!!!

After looking at these and others on the sites...I think so far, I'm narrowing down upon:

Lowepro Urban Sling 250

And the Tamrac 5768 Velocity 8x Photo Sling...

So far, I'm leaning towards the Tamrac .....I really think I prefer the sling to the shoulder bag. I"m looking for outdoor concerts/fests (and we have multiples of them pretty much weekly here in New Orleans) as the targets for my carrying needs, and with those I figure a sling bag is best for long day wear, and moving through sometimes thick crowds.

Just curious with one that might still be responding here....what do you do about your monopod if you carry one? Do you strap it onto your sling/shoulder bag? My Manfrotto 561BHDV-1 can get a little heavy carrying around all day, and a bit cumbersome with beer carrying too (remember, this is NOLA I'm talking about hahaha).

How do you manage when you carry a mono pod?

At these concerts I'm liking to monopod my camera, to shoot HD video near the stages, and I usually set my old Zoom H2 down for recording and have gotten some amazing footage with good sound....so, the mono pod is great and without my rode mic on top, they don't really look at you as recording video which is nice if you want to be stealthy a bit....

C

548
Hello all,

I have a canon 5D3 and the following lenses:
70-200mm f/2.8 II
24-105mm f/4 (kit lens)
17-40mm f/4
85mm f/1.8
All above is Canon
I have a Rokinon 14mm f/2.8

I have no flash as of yet.

Now, here's the thing. What are some good techniques for shooting pins? They are lit themselves of course (when turned on). I will have chances to take shots when the lights in the room are on (florescent), but there will also be times with the lights mostly out, and they have different lights all around the place (spinning colors, some xmas type lights around the walls of the place, etc

I will be wanting to shoot the games, the backglass will be shot. I've tried some HDR with this, and hit helps 'some'...the anti-ghosting is nice with this to help with the changing displays on the more modern machines. Not as much a problem with the old EM (Electro-Mechanical)....

I'm wondering if there is any good way to shoot the playfields? They often have some much glare on them, is there any technique I could try to minimize this shy of having them remove the glass for some shots?

I'd also like to get some action shots with people playing....not with actual tournament play, but maybe stage some with some of my stands and clamp lights I have...suggestions for how to light that with non-strobe lights? Most everything I have is same color temp, about 2700K that I used for my cooking videos I shoot.

Anyway, I'm looking for some suggestions/advice/pointers on shooting some challenging subjects in an often challenging environment with regard to the room lighting. How could I best use this to create some fun images?

Thank you in advance,

cayenne

549
I've just brought it - having it with is more fun than not.   

(With that said, I have contemplated an Outex cover a couple of times.   http://outex.com/ )

wow, the Outex things looked interesting...till I realized you can't see the LCD screen or the back screen.

I'd guess about your only option with that on would be to shoot in full auto since you'd not be able to see to change your settings?

cayenne

550
I was just thinking that you could probably batch the .DNG files not just in AE/ACR but in PS/ACR with with full PS power and various other plug-ins and have video frames processed with full on stills photography quality tools and all sorts of fancy, fancy processing and super advanced sharperning, NR, coloring tools.

Ding, ding, ding!

I'm mainly a stills photographer but I’ve been starting to get into timelapse and video over the past year.

You are EXACTLY right.  This is HUGE for people that are mainly stills photographers.  Just as you describe, you can process this raw video EXACTLY like you can stils.  Exactly.  This is driving the video people nuts, but it’s huge for me.  The workflow is a bit complex but not as hard and time consuming as you’d expect.  I’ve made one crappy comparison video (will post later).  Here is my workflow:

1)     Shoot video, staying under 2GB (it tells you in real-time how much space it’s hogging)

2)     Convert .RAW file into .dng files using raw2dng.  TIME: about a minute

3)     Import .dng files into Lightroom (this is  where my workflow is a bit different than most…) TIME: about a minute

4)     Process .dng files just like you would a raw from a camera…because that is exactly what they are. (I convert my Canon .CR2 files into .dng files anyway) TIME: how many images have you edited in LR?

5)     Export .dng files as full-res jpegs TIME: a couple minutes (I guess if you were really anal about quality but not about HDD space you could convert to .tif's)

6)     Import full-res jpegs into Quicktime 7 Pro as an image sequence (exact same way you make a time-lapse) TIME: one second

7)     Export image sequence as Apple ProRes HQ 422 .mov’s (if you don’t’ want to do any video editing you can just export these as h264-compressed .mov’s or .mp4’s instead) TIME: a couple seconds for ProRes, a couple minutes for h264

8)     Import Apple ProRes 422 .mov’s into Final Cut Pro X TIME: instant

9)     Edit… TIME: see LR comment, I suck at video editing

10   Export to whatever format you want TIME: a couple minutes

A question about #1.

Why stay under 2GB?

Thanks,

cayenne

551
Pricewatch Deals / Re: Prices trending higher?
« on: May 18, 2013, 11:02:12 PM »
It might be a longshot guess.

But possibly with the anticipation of the Magic Lantern success with the RAW video on the 5D3, people are buying them for some really 'cheap' high end video coming out soon?

I dunno if people buy things like this in anticipation of such functionality, but it is moving quite rapidly with ML and very successful so far....maybe people are buying them for that reason, and well, when demand goes up, so does price?

My $0.02,

cayenne

552
Pricewatch Deals / Re: 600EX-RT speedlite deals?
« on: May 18, 2013, 10:59:44 PM »
I'm toying with the idea of one 600.

But thinking for multiple lights...getting them to work with cheaper ones.

I saw a GREAT set of classes on Creative Live, about flash, and doing it manual and how that with some rules of thumb, it wasn't that much harder to figure things out, especially for environments you have control over.

With a few charts/cards to look at...you could do a LOT manual with multiple flashes/strobes on the cheap for great results.
I'm looking to go that way to start out maybe.

Thoughts?

C

553
EOS Bodies - For Video / Re: Need help with video lighting!!!
« on: May 18, 2013, 10:56:46 PM »
Can anyone recommend a good book on the topic (video lighting)?  Clearly there's a bit more of a learning curve that I anticipated.   :o

Not sure about the book.

But one thing, as a noob I CAN speak of....if you can get the lights to match at same temp..DO THAT FIRST!!

I don't care what temp, indoors especially, but if you can get them all one temp, that will save you so much grief in post.

I speak from experience starting off......

HTH,

cayenne

554
ML RAW gives MUCH better quality, have to blind AND not trying to not instantly see the difference. The Ninja 2 1.2.1 external recording stuff is a minor little difference that most times you have to reallllly look to notice and well a basic static shot and you'd be hard pressed to see much difference but with ML the difference leaps out at you.

Of course the Ninja 2 does record gobs of footage at once and is tres easy to handle and you don't need to do slow pr-processing step for every little minute clip (OTOH that slow pre-process also is done with full power of ACR and even ACR and PS so you can get things so good that you don't even need to process anything in PP or use any slow tools there which does greatly speed up final compression time in PP so you gain some time back there, it's just it is a bit nicer to have the slow stage later rather than earlier, but whatever).

But most people have been kinda hmm eh I mean I guess a little about the HDMI+Ninja 2 and like OMG!!!!!!!!!!! about the ML RAW.

Once ML works with 1.2.1 the Ninja would make a nice zebra/focus peaking monitor though over HDMI since, at least for now, the ML RAW hack tends to crap out earlier at times if you try to force it's focus peaking and zebras and fancy stuff to run full force at the same time as the ML RAW is going.

If you do run 1.2.1 over HDMI I think the Atmos Ninja 2 type stuff is the way to go over the Black Magic for various reasons.

But man that ML RAW is just wow!

I wonder if they will find a way to feed the HDMI out with a less mangled signal. It would have to be 10bits at most and probably 8bits since I bet Canon didn't use HDMI 1.3 although who knows 1.3 is ubiquitous these days. It seems criminal that it took Canon six months to get the same crappy singnal out of HDMI and ML gives us this RAW stuff in three weeks. Perhaps the digic chip just utterly sucks at debayer and processing (in cam jpgs were never nearly as crips as RAW, but then again they do seem much better than the video stuff so....) and maybe that is why they say they do not use digic in C300 but use older video cam chips for processing?? (but still the in cam jpgs are better than the video they get out of it so....)

That said they did slightly tweak the video for 1.2.1 so whether hmdi or internal it does produce a bit better signal than it does with the older firmware. (which also reminds me DO NOT compare 1.2.1 HDMI Ninja 2 footage to pre-1.2.1 internally recorded footage since that footage is worse than the new internal footage quality).

I gotta think the Ninja and other external HDMI recorders out there, expecting the 5D3 market to open up to them are just hating life right now, with the new ML Raw stuff coming out...that is so far, exclusively CF based.

There goes a market for them unless the ML people can somehow put this stuff out of HDMI, which by the numbers, doesn't look hopeful.

C

555
Warning: Komputerbay 128GB cards are too slow. They won't work for this. I hear their smaller sized cards are faster though.

I'd kind of think any CF card that was "cheap" would be suspect for any real high speed recording like this.

I'm thinking going with 64GB quality cards, and having 2-3 three of them on hand..one in the computer unloading while the other two are in rotation.

I don't think you'd need a full 128GB at a time with this...how often for video do you record more than a few mintues at a time?

C

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