Aleksander Ødegård
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Considering the price, it´s a piece of kit worth having for fooling around and for those special shots.
The image quality isnt all that, but its a though little camera you can put where ever you like, without worrying that it will break.I recently used mine when documenting the first steps of tearing down the old hospital here in Trondheim, Norway.
Got the shot I needed just before it got covered in hydraulic oil from the machine I attached it to. The glue-pads didnt work in -20 degrees centigrade, so I had to fasten it with straps. Just washed it and it´s good to go again.Aleksander Ødegård
http://www.fortfilm.com -
Hi, Bob.
Given the fact that I´ve only been in the business for about 1 1/2 years, I really hope my/your colleagues in Australia know better than me 😉I´ve actually never edited h.264 on the final cut-setup they have at NRK (norwegian broadcast corporation) as they only use pdw700/530 (IMX 625/50 50mb/s, in-camera down scaling from 422hd to sd), and sometimes ex3/xf305 on smaller productions.
On the other hand, editing h.264 is working beautifully on my fcp-setup when transcoding with mpeg streamclip, and recently the log and transfer plug-in.Getting back to topic: I would still recommend starting out with a simple 3-lens kit consisting of a wide angle zoom, about a 50mm prime and a mid-range zoom. This lens kit should give you a large enough variety of focal lengths for most “average” situations. If you have the cash (and need), adding the 70-200mm f2.8 L IS would get you even closer.
It´s important tho, to think ahead when buying lenses with the regard of what gear you will be using to add neutral density. The canon 24-70mm will probably not work that well with an matte box because you would have to slide it back and forth on the rods as you change your focal length (the 24-70mm changes its physical seize while adjusting focal length). But that´s another discussion..Aleksander Ødegård
http://www.fortfilm.com -
Iris is rapidly changed with the big wheel on the rear of the camera (next to the lcd screen).
Changing aperture while shooting is a bad idea. Traditional video cameras change aperture smoothly, while dslr´s doesnt. Try for yourself and you´ll see.I dont agree with the suggestion of shooting with aperture priority or any other kind of auto/semi-auto mode.
I always shoot in fully manual mode, no matter what camera I use.
Shooting with dslr´s is sort of going back to the ways of shooting film. They are not meant for point-and-shoot like video cameras.I would suggest the following lenses:
16-34/17-35 mm canon L series f2.8
50mm 1.2/1.4/1.8 depending on budget.
24-70mm 2.8 L series.
These lenses would cover most needs and works well without IS if you got a good tripod and hand held rig, if you handle them correctly.If you would like to talk it over in more detail, it would be easier for me to explain in norwegian rather than english.
Feel free to send me an email at aleksander(att)fortfilm.comAleksander Ødegård
http://www.fortfilm.com -
Thank you for an informative post!
I tried searching for past threads about the subject but did not find answers that I thought was that relevant in my situation.
As to the point of getting new clients. For me it´s not just about making money, but also learning the trade. When freelancing only as a videographer I feel like I´m missing out on a lot of knowledge about making the deals, pitching ideas, negotiate terms of contract and price, planning the shoot, editing and finalizing the project. As a camera operator I usually just get the minimum amount of information necessary to complete the task.
The best way of learning the trade is by doing it, and being part of it from start to finish.Thank you both for sharing your thoughts 🙂
Aleksander Ødegård
http://www.fortfilm.com -
Thanks for answering.
I´m not familiar with the situation outside Norway, but in general, it´s pretty much impossible to get full- or part time employment (maybe unless you are an producer or director).
During my time in the business so far, I have learned a lot and my employers and existing clients are very happy with my work.When giving advice, keep in mind that Norway is a small country with about 4,6 million people, and my hometown has about 300 000. That means options are a bit limited.
Aleksander Ødegård
http://www.fortfilm.com -
A broadcast monitor and video card with composite is on my wishlist, but not affordable or reasonable with the little amount of editing I do on my computer at the time being.
Thanx for the input!
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The flickering is because I simply forgot to check the shutter speed, so it recorded at 1/60th while it should have been 1/100.
I´m confused, because now I dont have any stuttering while watching the clip on vimeo. So I guess I have to go through my fcp and monitor settings once again.
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– Shot with sony ex3, log and transfer in fcp.
– Stationary shots with the artists “dancing” in front of the camera.
– Sequence matched clip settings.
– Watching on computer monitor, switching between full and half resolution depending on how much effects etc. I add.Tho, it must be said, after mastering down into an prores sequence, exporting with prores settings and then compressing to vimeo-settings with Mpeg streamclip, the stuttering seems to get better.
You should ble able to see some of the stuttering in this clip: https://vimeo.com/15950269
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What I mean by “lagging” (probably an expression only used in Norway), is stuttering.
Character movements doesnt go as smooth as it should, similar to shots with too fast shutter speed.