Travis Gray

Probably a dumb question- but I've never been using grey cards before. Decided it'd be a good time to start (separate from reading this thread haha). So just got one in today, and.. uh... it's kinda shiny. I'm guessing it should be matte, yes? Or just not hit direct lights on it, but, shouldn't you be able to stick it somewhere and not have to worry about that? Not necessarily directed at David haha

What are you looking for with feedback? You put the camera on an interval shooting timer and hit go. No editing here, no lighting. Not sure what you're looking for as far as feedback goes.

Thanks to this thread I decided to watch a couple episodes. I think Louis CK is mildly funny. Saw him live once, but he just started whining toward the end of the show. Not exactly the most enjoyable thing. There was nothing special about the pilot. It's not like it's some groundbreaking camera work or something. The format is boring. Him doing standup, then acting out the story he's talking about basically. The second episode had some better production value, but that makes sense. The poker scene looked pretty good, and the conversation was kinda funny and had some depth, but other than that, kinda boring. He's not really funny in the episode, it felt like it kinda dragged. And again, didn't notice anything special about the way it was shot the rest of that episode. It's competent. Unless I'm missing something.

Couldn't find it, Phil. They may not have tweeted the link. I may have just seen it in the FS100 vimeo group. I remember seeing it at least two places. I think you posted it here and then somewhere else. In other news, just ordered the Dana. Rental kit. Pelican Storm case. So, if anyone in Boston is interested in playing with it... haha

I'm relatively certain that they tweeted the link to it at one point. I'll see if I can dig it up. They tweet a lot of stuff.

It uses anything that's 1 1/4. The flex system was just when I was looking at the K-pod + flex track. But it theoretically looks like I can use the flex track too, I think it says it works with 1 1/4 stuff. But, it doesn't look like the Dana wheels can handle anything curved. So I figured, if anything, I can build more into the system by getting flex track and even the k-pod with track wheels down the line too. But Dana looks like it's more versatile right now. Was just interested to see if anyone hated / loved one system over another.

Thank you for pointing this out. I've watched this a few times (great work btw, saw it when Sony posted it promoted the 700 and I was like, oh! i pretend know that guy! haha), but I didn't think of looking at this when I was looking up GOOD dolly moves. I like that the Dana can at least provide some expansion, but I was also trying to think if it would really be worth it to me. But I love the moves in this. I just see so many people who buy a slider and make everything a move, and I don't want to become some cheesy DSLR-type hobbiest.

Was looking into maybe picking up a decent dolly system, and finally gave the Dana Dolly a serious look over the weekend, but didn't feel like I found exactly what I was looking for in terms of questions. Anyone here use it at all? I was originally thinking of getting a Kessler k-flex system, but I'm now thinking the Dana might be a little more flexible (no pun intended). At least as far as different heights go in setting up rails and getting lower or higher shots. The later plan was to be able to throw a jib onto the system as well, and I would think that the Dana could handle it (rated to 100 pounds, and with the proper balancing, I'm guessing it would be fine). And then the Dana Rental kit looked like a bonus too, figuring if anybody had an interest in it, why not spend the extra change to get the full kit, instead of just the basic kit and then a flight case. Would love to hear any opinions on it or if it may be a complete waste of money, or the Kessler idea is better... I dunno. I don't exactly have $6k to drop on a Doorway dolly just yet haha

a student rate aside... why indie guys? what qualifies indie? they have to make money, and that's the price they calculated that they have to make. if it's too high, they'll lose business and either fold or they need to find a way to lower costs. maybe they have really knowledgeable guys too that people really trust. lots of factors.

I think David really likes film.

I don't do multiple choice. Life isn't that simple (so deep!) I own one. The blue model. I like it. I didn't like the design of chinese knock offs, I felt it looked a little beefier than those ones, and for kinda just a little more (totla of about $800 with shipping). I like that it has the hard stops, I like the 3D focus wheel so if I'm operating by myself it's easier to see. I like that I can upgrade it to the studio version down the line. I've never used a more expensive model, but I feel like there probably is some quality issue. The focus wheel seems to have a little play... not in the actual functioning, but itself being attached to the unit. But it still feels pretty solid. Got through shooting an event with it and it performed great, so no complaints here. And I like the quick release aspect to it. Maybe people are dumping them to go cheaper. Maybe it's people who have outgrown it and moving to something better. But there's nothing about it that I hate, so, not really sure.

Are they actually tungsten fixtures, or are they regular bulbs that you might be able to go out and get those daylight bulbs and swap them out for to get closer to the right temp? Or can you gel the practicals? Less gelling than a window. Or frame it so that use different colors to enhance the frame somehow. Those are my thoughts.

I wouldn't shoot with a 5D either. If anything, the film look is ruined by the full frame sensor. You don't want to shoot too open because you'll have such a small DOF. +1 on the Sony stuff. The flexibility is awesome. You can record to cards or output to an external recorder, have proper timecode, great options for building a rig, you can wire audio right in and be able to work with it easier. And you have better control with picture profiles (can be done on a DSLR, but I find it's easier and more options with an actual camera for video) The "film look" depends on a lot of factors. 24p is one thing, sure. Proper shutter speed is another. And you could shoot a certain picture profile, but just grading in post and adding effects may not do it. Pay attention to lighting in films vs video.

Well if apps can already do the compass thing (I love star map apps, if only so I can just move the phone around and see it line up with the sky), it would just have to set your direction as the reference point when it starts up, and then move from there. But it'd depend on how easy it is to generate content, how interesting people could keep it, and how accessible. I remember there was a time that those 3D viewers were a big thing, and now they've kinda trailed off. But now it seems like it could be a lot more accessible, and now we just have to generate content.

Cool concept, but probably not a new standard. Would ruin the storytelling method I would think. It's like having a book that gives you the setting, characters, and their actions, but makes you figure out what to focus on. Can't really tell a story if you're looking the opposite direction in what you're trying to call attention to. Would be great if it was 360º and was in the middle of a concert or war zone or something, where you're just there to experience.

Well then... Look up reviews. Some lenses that Ken Rockwell (nikon reviews) have the info that he recorded, but I'm not sure how those adapters work. I have a F-mount to E-mount adapter and it's just a ring that spins from open to closed, but no real markings, and since every lens may be a bit different, the open or closed (I forget which since I don't use it that often) goes further than the actual stop point (to accommodate lenses with more play in the aperture setting). So, at that point, it's kind of a guestimation game. You'll know if you open it wide open and zoom out it'll be f/4 (or 3.5 or whatever), and still open zoomed all the way in it'll be f/5.6. That's when you may want to take a test image and then check the histogram to get an idea. Or go into still mode, meter what you want, and leave the setting there. Then avoid zooms while shooting to avoid losing light.

If you're in still mode on a DSLR, open the lens up as far as you can zoomed out as wide as you can, and as you zoom in, the LCD will display what stop you're at as you zoom. There are occasionally some reviews out there where people have documented the stops as well. One thing I've noticed though, when I've played around with a variable aperture lens on my nikon D7000, even if I set the aperture at 5.6 (this particular lens' most open at full zoom), it still stops down as I go from wide to tele. I can't speak for Canon since I've only used fixed aperture lenses. But since the mechanism on a still lens doesn't actually move until you click the shutter, it can display whatever number it needs to and then adjust accordingly upon shutter release. Since when you're in video mode, it has to set the aperture at a specific amount mechanically during live-view, it's stuck at that number throughout recording. And since the f-stop to focal length ratio (not scientific enough explanation) is always changing, unless the mechanism can keep up with that, you'll still have a variable f-stop during zooming. (this is assuming Canon works like Nikon)

Don't necessarily just go with wides for a larger DOF. Figure out how far you'll be to figure out what focal length would work best (a zoom probably will be the best in this case if you have a lot going on and don't have time to switch out lenses. I do weddings for my bread and butter stuff and shoot with primes because.. I dunno. I'm insane.) I try to stop down to 5.6/8 if I don't know where things'll be moving, but for the basic parts where there's not a lot of movement, you can probably get away with opening up more, but just keep an eye on DOF. I hate shooting anything too too shallow unless I'm going for something specific. Try renting a 70-200. Heavy, but put it on sticks and that'll do wonders. Then you have a constant f-stop to work with. If you're closer, 24-70 is good too. The one wedding I shot on DSLR, I rented both and never pulled out the 70-200. And then focal length depends on how intrusive/in the background you'll want to sit.

I felt like things were really quick. I know the whole ADD culture and all and fast cuts are good or whatever, but, I didn't get enough time to take some of them in. Timelapses seemed like they were at a good pace, but nothing to write home about I thought. The first shot with the fuzzy dude on the dock was insanely quick. Almost like it was a mistake left in on a lower track and two clips didn't meet up and it wasn't caught. And I didn't feel like I picked up on any central idea of it. Or...not sure how to word it. It felt kinda over the board. No one's saying anything maybe because there's nothing to say about it. When I was first looking at the RED cameras a while ago, they put out this reel that I still watch over and over. The shots were awesome. I'm sure you could shoot some of it with other cameras, but there was something about the shots that I loved so much that I wanted to duplicate (so I figured I needed to have a RED). Wow the crap out of people.

oooooooooo. T-shirts. Scary stuff. And I'd have to say Theron's stuff from the trailer doesn't look like Oscar winning material. But then again, I think acting in most movies in that genre is absolutely awful.

There's a crop factor on all non full frame sensors. You'll probably still want a wider range of lenses regardless, but the crop factor will usually always be there.

I dunno... I know a photographer up here who shoots with either Vision or Fuji. I can't remember what he gets. But he has an adapter on one of his camera that he can load in 100' and it just acts like a regular roll of still film. I'll see if I can get his stock and where he has it processed, but I know he used to use Richards Photo Lab in the past, so there's gotta be a way to do it.

Really? I know wedding photographers, fine art photographers, event photographers... they use Leicas. And they do a lot of B&W and you know at these things, there's never quite the amount of light you would like, so the low light capabilities are awesome for them. And B&W forces you to think about the image a little more I think, since you don't have color to help create contrast in some parts, and this way, you don't even have that option. You strictly think in B&W.

What about B&W film? Is it better to just shoot color and then scan and convert? It's the same concept here. People who do a lot of B&W shooting would probably benefit greatly from this camera. Then they have less work in post, more time for shooting, which is what everyone wants right? Photography is behind the camera, not in front of a computer. But, yeah, maybe you don't have $8k sitting around for this camera (+ more if you don't have lenses) and a standard color camera with post conversions is just fine for you. Everyone has their tastes. I just wouldn't discount this camera entirely because you have the viewpoint that B&W conversion makes more sense in post. David brings up a good point about just playing with gain and that could lead to other issues.

I skipped over some of this after just reading the "embrace piracy" bit, but I think there could be some truth to it. Last winter I read "Free: The Future of a Radical Price" (only $18 on amazon! http://www.amazon.com/Free-The-Future-Radical-Price/dp/1401322905... I think I got the audio book for free) and it made some good points. If you can give a way some stuff for free, it creates a buzz or whatever to get people to buy other stuff. I forget exactly. My reading retention kinda sucks if I'm not putting it into practice haha But like what Monty Python did when they were mad people were uploading videos to YouTube. They uploaded stuff themselves, and then included a link to buy videos. Their sales went up. So, yes, while straight up piracy is wrong, maybe giving away some stuff for free might work for some things. I dunno if I'm on topic. I'm tired today.