DJ Kast

Hey all, I have a project coming up similar to "Carpool Karaoke". For safety/repeatability we'll be using a tow rig. I'm wondering if people have experience/advice on camera monitoring solutions? Right now I'm thinking we'll use Canon 5DMKIII's in cages with HDMI Teradek's mounted sending signal to the production vehicle and use a Decimator or a Black Magic quad viewer to a single monitor. Is there a more light weight or smarter solution? (I'm pretty opposed to go pros). Anything I might be missing? Any experience/advice is much appreciated! Thanks!

Road to Perdition is at the top of my list. I thought the Lord of the Rings series shot by Andrew Lesnie was right up there as well. Casablanca. It's tough to dispute anybody's picks. I completely agree with the Public Enemies comment.

Road to Perdition is at the top of my list. I thought the Lord of the Rings series shot by Andrew Lesnie was right up there as well. Casablanca. It's tough to dispute anybody's picks. I completely agree with the Public Enemies comment.

We have a lot of VERY gently used video gear with prices for each individual item listed below. At the bottom is a price for the entire kit. More pictures are available upon request. Happy Shopping! Panasonic HVX 200 With all original cables, original manual battery charger, and 2 batteries- 2100 PS Technik Mini 35 adapter- 2300 PS Technik Pl mount for Cinema Lens' - 250 2 16gb P2 Cards - 250 each All Lens' are Nikon Nikkor series EXCEPT the 180mm 24mm f2 - 300 28mm f2.8 - 150 50mm f1.2 – 300 85mm f1.8 – 250 180mm f2.5 Tamron 35th anniversary lens – 550 Gelatin Filter Holder – 40 2 Nikon Lens Doublers – 40 each Entire Kit - 6100

We have a lot of VERY gently used video gear with prices for each individual item listed below. At the bottom is a price for the entire kit. More pictures are available upon request. Happy Shopping! :D Panasonic HVX 200 With all original cables, original manual battery charger, and 2 batteries- 2600 PS Technik Mini 35 adapter- 2300 PS Technik Pl mount for Cinema Lens' - 250 2 16gb P2 Cards - 250 each All Lens' are Nikon Nikkor series EXCEPT the 180mm 24mm f2 - 300 28mm f2.8 - 150 50mm f1.2 – 300 85mm f1.8 – 250 180mm f2.5 Tamron 35th anniversary lens – 550 Gelatin Filter Holder – 40 2 Nikon Lens Doublers – 40 each Entire Kit - 6500 Read more: http://www.cinematography.com/index.php?showtopic=50161#ixzz1Kf3RQUjw

The shot on the top and bottom have fog working in the photographers favor, and the shot in the center is and HDR, so the multiple exposures were used to build the image. For what you want to do, the easiest thing would be to shoot early in the morning on a moist or humid day.

This probably isn't what you're talking about, but we've been using a product called Reflecmedia which is an l.e.d. ring light that sits around the lens and lights a gray backdrop that has thousands of tiny glass beads on it. When the ring light is turned on the backdrop reflects a perfectly even green. You have to have the subject pretty close to the backdrop or you can get a tiny shadow around the subjects body, but we've used it hundreds of times and its the easiest greens creen work we do. definitely worth a look

I had a chance to get my hands on the F3 last Friday when a rental company in my area got one. Currently we shoot on the 5D and 7D, so that was our bar that we wanted it to beat. When we walked in it was set up with an Angenieux 10:1 and it had a distinctive video look. Colors were a little too vibrant, but when DOF fell off it got somewhat muddy. (It was in the "Cine-like" mode and S-Log wasn't inabled because that firmware update isn't out yet) I was much more impressed when we put a Zeiss 35mm Super speed on. Color was much nicer and I was more able to appreciate the look of the video. At one point we opened the window and shot the Milwaukee skyline at night, and the sky still had detail! We did some under cranking, and with a flashlight next to the camera we lit an overpass about 75yds away. I noticed it was actually pretty decent on the rolling shutter issues, and was incredible with low light. We pumped the gain all the way up, and it still was pretty noiseless. Build wise it's basically a suped up ex-3 and the eye piece is annoying. (standard def, and in the way) If I had to make a conclusion, I'd say I'd love to have it on a shoot to put it through some practical riggers, but I was kinda thrilled to have my hands on an actual video camera again! :D

definitely a grad filter. you can see the way it darkens the tone of the white building as the camera tilts down.

That video was probably shot with a 5D!

Are there a set of letters before the numbers? Canon has never officially given away their date codes, but I found a link to some info on it. http://www.bobatkins.com/photography/eosfaq/DATECODE.HTM Hope it helps!

Gotcha! thanks guys.

We're always strapped for time! :) The one instance I'm trying to avoid running into again, was we were shooting in a warm barn on a 10 degree day, and it was a run and gun stills shoot (26 shots and 5 locations in just two 10 hr. days!) so we had to run from outside to inside pretty frequently, and the steam from the cows breath expecially was killing us! Luckily the farmer had a hair dryer, so I used that on the lens while we were shooting. I was just trying to find another way to prevent the fogging in case I ever find myself in a situation where power isn't accessible, and time is a factor again. Chris, what foam are you referring to? Thanks for all the advice guys!

dont forget the 40 dollars filmtools will charge for shipping. :)

Hey all, I was looking around for some products that help prevent the lens from fogging up and I found this: http://www.filmtools.com/neclfogel.html I'm curious as to whether anyone else has used this, and if it worked. Also, I'm kinda creeped out about rubbing a dry cloth made of who knows what on crazy expensive glass, so I'm hoping someone else has used this and can verify it for me or suggest something else. Hopefully the suggestion doesn't involve an AC continuously blowing a hairdryer on the lens...been there done that!

Oh! As far as the starting and stopping of the camera, I think a Professor Farnsworth has invented something called the fing-longer for that.

Jag 35 has also made some remote control zoom and follow focus systems that are around 500 bucks. might be worth a look if you dont end up shooting with an actual video camera. :D

We have a lot of VERY gently used video gear with prices for each individual item listed below. At the bottom is a price for the entire kit. More pictures are available upon request. Happy Shopping! :D Panasonic HVX 200 With all original cables, original manual battery charger, and 2 batteries- 2600 PS Technik Mini 35 adapter- 2300 PS Technik Pl mount for Cinema Lens' - 250 2 16gb P2 Cards - 250 each All Lens' are Nikon Nikkor series EXCEPT the 180mm 24mm f2 - 300 28mm f2.8 - 150 50mm f1.2 – 300 85mm f1.8 – 250 180mm f2.5 Tamron 35th anniversary lens – 550 Gelatin Filter Holder – 40 2 Nikon Lens Doublers – 40 each Entire Kit - 6500

Awesome! Can't wait for the next leg of the journey!

The LCD isn't that helpful anyway. Jag 35 made an HDMI splitter that allows you to send the signal to two separate monitors at once. If you're in a real pinch you can always go standard def out from camera (phono to rca composite) to a monitor, and then from that monitor to a secondary. Hopefully canons next hdslr that shoots uncompressed raw video, while making daquries can also maintain two signals of video!

Like others have said, the flatter the better. I would suggest a Neutral picture style. Make sure to turn down your sharpness to 0. Contrast to 0. Saturation down to -1, and color tone set to 0 as well. This should give you the most latitude in post. Happy shooting!

I love it! If I were a producer, I would sign a check and let him write in any amount he finds reasonable, then I would double it. You have to pay for that kind of talent.

There is a program called "Plural Eyes" that will sync the sound captured on an external sound recording device to the video shot with HDSLR's. It matches the sound with the sound that is recorded by the camera, and is a fairly simple solution to the sync issue, but it is always best to have a slate for back up. As far as which cam is best, the hvx isn't as pretty, but there are so many downfalls to the 5D and the 7D's. Its a shame to loose up to two stops of light with the mini 35 adapter, but you will probably get burned at somepoint or another with an HDSLR. The rolling shutter, recording limitations, moray-issues, or vertical banding are all pot holes you could easily fall into...It is a sexy image, though.

The firmware update is now out, and if budget is of any concern, go with the 5D. I would recomend getting a sound recording device like an H4N to get the cleanest, and most accurate audio. The 5d and the mk iv still are pretty much garbage for recording sound.

I work most extensively with the HVX 200 with the P+S Technic, and I've rated it at 160 ISO. It's about two stops faster without the adapter, so I think no matter where you go adapterwise, you'll need a significant amount of light. The HVX 200A is a faster camera, so maybe thats an option.