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Messages - AG

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31
EOS Bodies / Re: Canon Announcements on April 23, 2013? [CR2]
« on: April 11, 2013, 09:19:10 AM »
Wow this thread went off the rails faster than most.

Or in the words of Ron Burgundy...



 ;D

32
EOS Bodies / Re: Canon Announcements on April 23, 2013? [CR2]
« on: April 08, 2013, 01:33:55 AM »
Looks like BMCC and Sony are the first out of the gates with announcements.



http://www.eoshd.com/content/10004/sony-show-cinema-eos-style-future-camera-range-based-around-full-frame-dslrs

Canon had better not disappoint.
If not any "new" tech at least a price drop to match the competition?

33
I guess I'm gonna be grilled for saying that I find this product to be a game changer, well atleast for me but then i'v Said it so ...............I dunno

I have to agree.

For those of us shooting low budget shorts and indy films the price of the current model puts it out of affordability to purchase outright but I'm still going to rent one when i get a chance to have a play around.

I feel that a lot of people that are complaining that this is "just another gyro" or steady cam obviously don't need what this would be used for.

It seems that whenever someone mentions even the hint of something to do with DSLR Filmmaking on this forum, people go into witch hunt mode, as if its going to bastardise the sanctity of pure DSLR photography. Or something along those lines.

34
Either that or it will be some kind of Gyro or Cage system that you can use on multiple camera bodies.

How much of a game changer that is im not sure about, but we will see.

35
I read this rumour and i take from it...

The 7D2, 1DX, 1DC, 1DLMP(Large Mega Pixel?) will all be in the same body/shell.

So that would mean 4 Pro bodies

Then the 5D3 is semi pro, with the 70D and 6D being an adv amateur line?(don't really know that the difference between the 2 classifications are)

After that it all gets a LOT confusing.

36
Canon General / Re: Announcements Coming Tonight
« on: March 21, 2013, 04:41:03 AM »
Just saw this pop up on the NZ/Aus Canon FB pages
Canon EOS 100D and EOS 700D - First Look

You know that thing (100D) is small when it makes the 40mm pancake lens look large.

But other than that there is nothing of interest for me.
Guess Canon are forcing me to either wait for the 7D2 and see what that holds in store or upgrade to the 5D3/1DX if i want a camera that doesn't feel like a toy in my hand and is properly weather sealed.

37
EOS Bodies / Re: Canon EOS 100D Detailed Specs Appear
« on: March 18, 2013, 02:28:17 AM »
Are you sure someone didnt just doctor the spec list for the 1100D? Because thats pretty much what this seems like but with the 18MP sensor and a 3" rear screen.

38
EOS Bodies / Re: Should I swap my 60D and $ for a 5D Mk II??
« on: March 13, 2013, 06:13:32 AM »
Depends on how much cash but if its reasonable I'd go with the swap and isn't the tokina 12-24 a ff lens? It's the 11-16 that's crop
Yeah the 11-16 fits but is only really usable at 16mm so kind of a waste unless he was going to use it on a crop camera as well.

39
If you dont want to spend a fortune you can try eBay or one of those kinds of cheaper Chinese knock off places.

Or you can try somewhere like http://www.hypop.com.au/backdrops.html or B&H

Another option is, if you have a set of reflectors with a green or blue chroma key insert you can always position this to work.


Then its just a matter of either using an old C-Stand with a bulldog clip to hold it in place or something similar.

Ultra portable and would pack up really small too.

40
Lenses / Re: Samyang 14mm T3.1 for still photography?
« on: March 04, 2013, 04:54:06 AM »
I have a couple of the Cine lenses (8,24,35,85mm).

They are exactly the same as their non cine lens siblings except for the gears, side shown markings and de clocked aperture.

T3.1 is approx. the same as f2.8 so thats the difference between the two.

If you can save a few $$ and get the Bower or Rokinon versions of the Lens but non Cine then do that. There is no need to pay that little bit more for the cine lenses unless you are using them for video with a follow focus.


41
EOS Bodies / Re: Canon 1DX vs 5DIII Wildlife Comparison
« on: February 20, 2013, 08:26:23 PM »
the 5D3 file falls apart in relation to the 1DX file, in post when you do NR and brightening, in RAW.

I know that this is going to be dissed for suggesting but what editor are you using?

Im just curious if this is just due to the way say Lightroom processes the file as compared to say DPP or Aperture.

I could be wrong...and probably am, but its worth asking.


42
I'm not going to go into a heap of detail here but from what i can see i can tell you from looking at your basic image that the biggest issue you are having is mixed colour temps of your lights.

Buy some Gels and then change your colour temp of all of your lights to be the same. (or replace the bulbs, but Gels are easier and probably cheaper)

Heres a basic tutorial http://www.videomaker.com/videonews/2011/08/11041-lighting-for-video-color-correction-gels

Once you do that you will see that your colours will be even and make it a hell of a lot easier to grade.

Secondly your uncorrected footage seems very in-camera graded and not flat.

You may want to try something such as Cinestyle and see how that compares for grading.
https://www.technicolorcinestyle.com

Lastly if you have an iPhone or similar download a light meter app https://itunes.apple.com/us/app/pocket-light-meter/id381698089?mt=8
It will help you get a more accurate light reading that trying to do it through the camera.

43
EOS Bodies - For Video / Re: Inside the Canon EOS-1D C
« on: January 23, 2013, 05:51:56 PM »
If Apple Inc cannot bring the jailbreakers to justice what hope of Canon Inc? They have better luck stiffing the grey market imports.

4K video should not cost that much!

Why should 4K not cost that much?  Name one other camera that shoots 4K for under $12k.  And don't say the RED Scarlet, you'll spend $16,000 before you have a functional camera, you can't do a damn thing with a $8000 brain.

As much as i agree with everything that Axilrod is saying, there are 4K cameras out there for under $12k

For example:
http://www.bhphotovideo.com/c/product/839193-REG/JVC_GY_HMQ10U_GY_HMQ10_4K_Compact_Handheld.html

Sure its not a great camera but it shoots 4K for under $5K and i think that that is what most people see when they think the 1DC is so expensive.

But in all seriousness thats like someone complaining about the 1DX being $7K when a $150 PnS can take just as nice photos and can shoot HD 1080p video too.

You get what you pay for.

After playing around with some video files from a 1DC, that i sure as hell want one.
I just need someone to buy this spare kidney i have laying around.



44
Lenses / Re: Step-up Ring, Filter...
« on: January 23, 2013, 05:22:48 AM »
Just tested it on a kit 55-250 lens and it seemed to work ok.

The only real issue i can see is if the height of your filters enter the field of view of the lens.

Having a 67mm lens and a larger 77mm filter this shouldn't be an issue unlike if you had a 72mm lens and a 77mm filter. EDIT: Should mention i was meaning on wide lenses here (eg 11mm - 24mm)

Then you may start to see it and get vignetting at between f1.5 - f5.6 (for example) basically until the iris closes enough to take it out of the field of view.

45
Pricewatch Deals / Re: Canon Cinema Prime Lens Kit in Stock at B&H Photo
« on: January 22, 2013, 09:56:57 PM »
I've never understood these "cinema" lenses.  They're used for a pixel count far below that of still photography and don't have to AF, so why are they so absurdly expensive?  And why do they exist at all?

Put in the context of a video shoot the cost of the lenses, that are often rented, is not significant, you have to realise these are not aimed at pro/ams, or even full time wedding videographers, they are aimed at a plentiful market segment above that, we devour video output at a frightening rate.

The point of sets is that the individual lenses are all matched to each other, that is the T stops are all very close in luminance values, much much more accurate than dialing in an aperture value as they do not account for transmission loss, if you swap lenses for a different view of the same shot then the exposures are identical, this saves a huge amount of time, and hence money, in the post production work. Also the focus distances are normally matched so focus pullers can just replicate the pull across lenses, all the marks etc on set should all work the same. Silly things like those save production time and are multiplied in value by the number of people on set, it doesn't take many set hours to pay the lens rental!
+1

So true, even just the ability to use a swing away matt box and knowing that the lens you are swapping out is the same diameter/size as the one you are putting in saves so much time. No more messing around with o-ring's and having to reset your whole rail set up (follow focus, aperture motor etc) just to get that wide shot.

Also opens up a lot more possibilities for directors and DoPs to try out more shots because of the time they save, where they normally wouldn't be able too due to time/cost restraints.

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