Errol Lazare
Forum Replies Created
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Hello Victor,
I prefer shooting on 32 gig cards because then you don’t have to worry about switching cards when the memory gets low and risk loosing 15-20 seconds while you swap it. It also means that by the end of the wedding there are less cards to keep track of and less cards to capture into the editing system.
Do what you feel is right. Some people prefer to shoot on smaller cards to spread their footage over multiple cards. This can work too. If you do have multiple cards I would recommend getting a label maker from Staples or writing on the back of the cards A1, A2, A3 and B1, B2, B3 so when you come back to import the cards you know what camera they came from and at what order.
Good luck
Errol X. Lazare
EXL Films
http://www.exlfilms.com -
It isn’t necessarily the cost that classifies the lens as good or not. For example, if you bought an L-Series 24-105 F4 for $1200.00 and then bought an ultra sonic EF-S 50mm 1.4 for $400.00 you may tend to enjoy using the 50mm more often for that artistic look because of its shallower depth of field and better low light capabilities. The 24-105 is an L series lens but look at the Fstop. You need to look at a lenses F-stop and focal length and determine what is best for you. Also consider that L series lenses have a strong built quality and incorporate better weather resistance but it doesn’t mean that the cheaper EF-S lenses are lower quality in the image department: they still look fantastic. Focus on getting great footage with good lighting, camera movement and composition and you will have an amazing video.
Errol X. Lazare
EXL Films
http://www.exlfilms.com -
Hello Gerret,
Is it an IS version with image stabilization and is it a 2.8?
I use the canon 70-200 IS 2.8 with my 5d and it is a beautiful lens! I find the bokeh/out of focused area in the shallow depth of field is one of the best and the most artistic looking. The focusing is also very smooth. The only consideration is that it will be much more telephoto on your 60D with the crop factor. You cannot go wrong with this lens!Errol X. Lazare
EXL Films
http://www.exlfilms.com -
Hey Casey,
Wow, a wedding shot it super flat! You are a soldier! I had considered doing this for weddings as well, but felt that the camera produced beautiful video already that it didn’t make sense. That being said, I did experiment with superflat on a large event video and then I too became a soldier for 2 12 hour days!
To make superflat look good, you need to add enough highlights and also enough contrast by crushing the blacks. You will also need to increase the saturation (slightly) but this can sometimes make people’s faces look pastel. Also keep in mind that if you raise the mids too high, it will cause things to start looking abnormal.
For one of my projects that I shot in superflat, I created a color limiting effect using “color corrector” filter in FCP that allowed me to just color correct the skin tones and add contrast and hue to just the skin tones in addition to color correcting the rest of the shot.
If you’d like I can send you the custom 3 way color corrector limiter that I created which will allow you to do this, but you can also create this yourself by customizing the color correction filter in FCP.
My email address is errol@exlfilms.com
Here is another resource that a fellow cow member, Owen posted when I needed some help:
https://blog.mxr.at/skintone-grading-hdslrs/
Errol X. Lazare
EXL Films
http://www.exlfilms.com -
Yes you can. Make sure you have your footage converted to proress format and then use cinema tools to conform to 24fps. I’d recommend you make a copy of the footage you will conform as cinema tools will conform the files you have selected permanently.
Errol X. Lazare
EXL Films
http://www.exlfilms.com -
This is very helpful Owen!
Thanks for the helpCheers,
ErrolErrol X. Lazare
EXL Films
http://www.exlfilms.com -
Both the steadicam merlin and glidecam hd2000 are good options. i would recommend renting them first from a local video rental house so you can determine which is right for you. It takes quite a bit of practise to get good at so practise lots, run with it, and master it. I started with a glidecam smooth shooter which incorporates the glidecam 4000 sled and also an arm and vest. Last year i upgraded to the steadicam pilot and it is amazing. I find that the glidecam is good but nothing beats a steadicam. It is in my opinion perfect engineering.
Errol X. Lazare
EXL Films
http://www.exlfilms.com -
In order to have a good logging system it is important to have a good organization and naming system for all the clips. I cannot necessarily speak for logging and batch list advice but I can speak for how to create a unique name for each clip by giving each clip name date and time information in the description.
If you open up adobe bride, find your clips and highlight them, you can actually batch rename them all and you can select different properties to rename the clip, such as time, date, sequence number, folder name etc. I’m not in front of my computer but I believe batch rename option is under the tools menu in adobe bridge. No need for fcp export!
Errol X. Lazare
EXL Films
http://www.exlfilms.com -
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I am glad that someone brought this to attention because re-color correcting does take time and if you have hundreds or thousands of clips and have to edit a 2 hour wedding, this would take much much longer. My thought would be to shoot in standard and then like Peter mentioned, shoot flat when necessary: such as if you are doing a specific shot, or SFX shot, or shooting in very extreme and contrasting lighting conditions.
It’s interesting but I find that if I compare an original 5D clip in standard mode to a flat clip that i have re-color corrected to look like the standard color mode, the clip in the original 5D standard mode still looks much crisper, cleaner, smoother and less grainy. Am i right? Also it is so much harder to make sure everything is sharp and in focus in flat mode because there is hardly any contrast to see the sharpness.
Cheers,
Errol X. Lazare
EXL Films
http://www.exlfilms.com