Richard Van den boogaard
Forum Replies Created
-
Yeah, I learned about the QT-route a while ago. I believe it was Philip Bloom who showed it in one of his blogs. I just find working with AE a lot more flexible. You can skip some of the steps.
Combining a number of JPEGs into a single sequence file, doesn’t magically make it RAW footage. True, it’s untouched, but being JPEG as a source, a lot of information has been thrown away.
Instead, AE allows you to open the RAW files as a sequence. Upon doing so, you can adjust the RAW settings for the first image in Camera RAW and then have that applied to all images in the sequence. After that, you can apply any other FX in AE to the footage before rendering it out for your edit.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
Best advice you can get. Go out with your 50mm (I have the F1.2 one) and force yourself into changing positions in order to get correct framing. This does result in better coverage.
The bad thing about zooming is that it compresses your shots. On a recent project I recorded at several intervals along the zoom range, thinking I could cut these together in post. Unfortunately, the buildings in the background were shifting positions as the image became more and more compressed. Had I physically moved instead with a prime lens, the footage would have been perfectly usable.
Recording with a camera should be compared to what you can see with your eyes – they don’t zoom either.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
I was trained with professional ENG broadcast cameras, but I really prefer working with DSLRs now as they are lighter to carry around and more versatile in terms of production.
So to me, it is the other way around – I ONLY use DSLR cameras and can work fine with them, although I do notice that syncing audio recorded on a Zoom H4N with the footage out of the Canons is time-consuming in post. And PluralEyes is not that easy with Premiere Pro (yet). This is why I am quietly looking for an affordable “interview” camera with a stock lens with sufficient DoF (F2.8 or faster) that features two XLR inputs and for which I can match the images with those of the DSLRs (safe for some post CC-ing).
If low light is your issue then only DSLR cameras will make it possible to do what you want, given their huge sensors and the limits of your budget. Going DSLR means you have the ability to buy two camera bodies (I have a 5D and a 7D) and a wide variety of lenses (wide, tele, zoom and primes). Your customers will instantly fall in love with the shallow DoF shots you can make with them (especially for something as personal as weddings), aside from the added benefits of doing timelapses.
As for rolling shutter – don’t whip-pan, record slow(er) and ramp up in post (if possible). I don’t quite get the relationship between rolling shutter and flashes… you mean flashes from photo cameras?
Working tapeless is a blessing – shoot -> copy -> transcode -> edit. I work with 4 32GB SD cards for recording which I regularly switch. And yes, you do need a substantial number of HDDs for archiving, but these get cheaper by the day.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
@James: Not everyone is aware what “slow” versus “fast” means in terms of lenses. I certainly wasn’t when I started out.
Just for clarification purposes: a slow lens is one with a less wider starting aperture, or higher F-Stop number; e.g. meaning starting from F3.5 and up. An ultra-fast lens is F1.2, by contrast. Speed is measured in terms of F-Stop, and for each F-Stop you loose 1/2 of the incoming light in the lens. Look at this Wikipedia article.
I totally agree with Noah that having a variable aperture is not preferred when shooting video. As soon as you zoom, the incoming light changes, leaving your pictures either under or over-exposed. At least get lenses that have a constant aperture, and then preferably those fast ones (F2.8 and below).
There is no lens that goes from wide (18) to tele (200) and is superfast. The only alternative is to have a couple of them and indeed change, which urges you to think ahead about the frame you want to make.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
D7? What camera is that? I guess you mean 7D…
I have a Tecpro/Dedo Fillini, works just as well as the Litepanel Micro but is a lot cheaper.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
Thanks Lloyd, this works like a charm!
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
Tokina 11-16mm only makes it possible to use it on the 16mm end on a 5D mark II and still you will get a little bit of vignetting from the lens barrel.
However, if you keep that in mind while shooting at 1080p and you subsequently edit at 720p, this can be a great lens. I sometimes use it for timelapses with my 5D (as you crop out a lot of material from the 5K images captured).
However, forget about using FaderND or VariND filters in front of it – you will get a crossmark. Then again, on an ultrawide lens you are more like to shoot at F5.6 or stopped down even further…
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
Jittery footage is quite the opposite effect – if you increase the shutter, you will get stroboscopic effects. Lowering the shutter speed will result in a bit of motion blur…
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
The 2x framerate is indeed a golden rule for shooting with DSLRs. However, rules can be broken, given certain circumstances.
If low light is your issue and your subjects aren’t moving very fast, you can choose to lower your shutter to 1/30th. Normally this would result in some motion blur, but this is much less worse than having lots of noise from high ISO selections.
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com -
Perhaps Cineform’s NeoScene is a good alternative too? https://www.cineform.com/neoscene/features.php
Richard van den Boogaard
cameraman / editor / video marketing consultantBranded Channels
W: http://www.brandedchannels.com