Steve Crow
Forum Replies Created
-
It does appear so – at least they haven’t asked for my credit card info yet!
-
Some contents or functionalities here are not available due to your cookie preferences!
This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
Yes, exactly, you want a “constant aperture” lens if you are going to be doing any filming while zooming and also so that you can have a more “open” aperture throughout the whole range of focal lengths (mm)
DSLRs are notoriously hard to keep stable since they are so light – the more you zoom in the more impossible it becomes to hold a shot steady handheld. That’s where some kind of mounting system, ie a tripod, rail system or slider comes in to give us that stability but still allowing movement
-
Yeah but with a 4.0 aperture that’s going to make getting the “shallow depth of field” look much harder but certainly not impossible. Yes you pay a huge premium for “fast” glass (why do they call a lens “fast” when they mean it has low apertures like 1.4, 1.8, 2 something?) but then again it’s an investment you make once and keep for years.
I have started to think more about only buying lens designed for full frame sensors even though I shoot with a crop sensor. The reason is that it future-protects me once I can afford the full frame camera body. In the meantime I will have to deal with some vignetting and certainly much higher prices but it could very well be worth every penny.
-
You should Google HD DSLR gurus like Vincent Laforet and Shane Hurlbut to get specific setting ideas – Vincent has published his camera “formula” for more cinematic video several times – here’s a link to a video to get you started but there are many more resources to be found via Google
Oh and let’s not forget the master Philip Bloom – he has a DVD out showing his specific settings. Stu Maschwitz – another great resource for you – has this:
-
I should say I really don’t know the answer to your questions for sure but my suspicion would be that you would still have the 12 minute limitation and that the heat issue would still exist as long as the camera is turned on.
I don’t even know if not having a card can still work if you are going out the HDMI port. Also, I don’t believe you would be getting HD out of the HDMI but rather standard definition…check with others with that but that’s my understanding.
All the best…I have the T2i and use it for interviews it’s a simple matter to turn the camera on and off while I am asking questions (since I don’t want my voice anyways) – also I would never use a clip of someone talking more than 3 minutes at a time – that’s an eternity for the type of business documentaries I produce.
Steve
-
Yeah, that’s interesting, the clips numbers don’t show any missing files – they are all sequential
-
In any case, my longest clips would be more like 5 minutes and then only very very rarely.
-
Once a clip is blown out I don’t know of any techniques to save it, or to selectively return just a portion of the frame from white back to color.
Basically what’s happening is the data is gone and all you have is white which is why I prefer to shoot slightly UNDER exposed and then you can pull out the details if you need to by raising the overall exposure to your liking.
Perhaps others have more advice for you! Best of luck!
-
Oh, it also might be instructional to look at the XIF data housed in the .thm file generated for each clip. That way you can tell what the shutter, aperture and ISO settings were for each clip.
Also you would be able to see what lens was used on each camera – that might have played a role as well.
Just my two cents (well four cents given my earlier comments)
🙂