JohnM

I have a T2i and 7D camera with a sekonic L478D meter that can be calibrated to the cameras dynamic range. I have Magic lantern installed on the T2i as well. This meter can be set for still or cine profiles. My question is: With MJ installed, do I treat the camera like a cine or still?

So I've managed to confuse myself or either read into this to much. Anyway I wanted to work within the dynamic range of my T2i and 7D camera. This L-478 light meter can be calibrated using an X-Rite color checker card and uploading the info via USB to the meter. To do this you're supposed to take a picture at standard exposure, one at +/- 4EV and another at +/- 8EV for a total of 5. Am I doing the calculation right regarding EV? At 1/15 shutter speed for a normal exposure, is -8EV 1/4000 and +8EV 15 seconds? Sorry if there is any confusion here. Just want to double check. Thanks

I think you've got me sold on that Rokinon 85mm. Have you hands on time with it? Curious as to what it's like wide open. I know the 24mm at 1.5 is pretty much unusable from what I've researched. Starts to get sharp at 2. I do documentary style work so that was one reason I wanted the F4 long lens.

Just curious. what do you guys use for zooms anyway? especially if you have a shot that calls for a zoom in or out. I had a look at the Cine Rokinon 85mm. definitely affordable. Wondering how sharp it is wide open compared to a significantly more L-series. Thanks again for the advice.

Thanks for the help. As it stands right now, I have a Canon 1.8 50mm, a Tamron fixed 2.8 17-50mm, an L-series fixed 2.8 24-70. I figured the L-series 70-200 f4 was a good way to round it all out, but now maybe not so much. I also am on an APS-C with a T2i and 7D. Obviously the faster the better, however a lot of what's in my range are 2.8's. Aside from that big f4

Do you have any preference as to what used primes you'd go for? Since this post I've been looking around the market and have seen a few 85mm and 105mm older Nikkor lenses in the 1.8 to 2.5 area.

I have an L-series 2.8 that's a 24-70. We are more or less starting out with a few projects lined up and I figured those two lenses for the time being would have quite the range covered seeing as primes are quite pricey. I'd like to be able to move into those once the ball is rolling.

I shoot DSLR right now. I'm currently looking at either a Canon L-series 70-200mm lens. This lens is image stabalized and available in both an f4 and f2.8 variant. However there is a $1000.00 cost difference between the two. In your opinon, would you consider that extra stop worth that kind of money? Thanks

Thanks for the help. I basically have some footage that's on my hard drive that's had sound mixed and color correction done. It needs to go to pro res for some editing to be completed that's on another computer, being a Mac.

I have some DSLR footage that I'd like to transfer to pro res off my PC. Do you know what the best format would be to keep the footage unaltered? Thanks

I was looking at this little kit: http://www.ebay.com/itm/2400-W-HoneyComb-Grid-3-Softbox-Video-Photography-Continuous-Hair-Lighting-Kit-/330870558519?pt=LH_DefaultDomain_0&hash=item4d096c0f37 I'm curious as to the 5500K. Since these are Fluorescent, do they still emit a green cast? Are they still going to need a gel to correct them If natural daylight is involved? Also, would you just use a regular type CT Orange gel to mix them with Redheads or is the fact they're fluorescent going to require something a little different? Thanks

I have the Canon T2i and am editing on Premier Pro CS4. I understsand that its better to edit by transcoding from h.264 to .AVI and Im doing so via VFW Codecs. This is just for editing in the timeline correct? Whats the best choice for the final render? And how does one go about the process?

Thanks for the replies. I'm just dealing with the camera side of things including the operation of it. I have a big hand in lighting, that is to say I know what the Director and myself are after, and I have a competent Gaffer to work with. As for the camera itself, as David mentioned, I am working with a crew that knows the ropes. These guys are very competent. We have also brought on board a Red Cam tech who knows this thing inside and out. If a technical problem arises on set the last thing I want to do is troubleshoot equipment failures or a glitch. I'm just kicking myself in the ass for not following through with my passion for this many years ago. It's horrible to play catch up, but I look forward to the challenge.

Hi there, I'd love some advice for a production I will be shooting in the next few months. Its' going to be on a RED ONE and I am taking the full on RED course, as well as a lighting workshop at the CSC for a refresher. Then I'm renting the camera for a few days to get very familiar with it before it's real. Reason I say first time allover again is that I've been away from it for 15 years. Last time out was an Arri BL. Now I dont have A/C time at all, I'll be honest. I'm a trial by fire kind of guy. I chose a different path that led to myself being an Aircraft Maintenance Technician, so I have a firm grasp of the tech side of things. I've since decided to get back into film making as I've always loved the camera and being behind one, that and I was asked to do this shoot. I'm at an age where it's do this now or don't do it at all. I also will be the first to admit what I know or do not know and I have always respected and will always respect the fact that there are people out there that are way ahead of the game than I am. We have a very competent camera department with guys that obviously know more than me, the D.O.P for this production. They have no issues with this and nor do I. I have chosen to surround myself with skilled and experienced people who can get the job done. I guess what I'm asking is: Is this a scenario that has occured before? I'm not affraid of the challenge, but I'm not stupid or daft either. Thanks everyone