Evan Kimball

GH2 was my B-cam on this one. Really helpful to have such a small camera on location. The man being interviewed kept hiding his eyes under his hat and lowering his head, so I had to unmount the camera and sit on the floor with the camera in my lap to have an angle good enough to make out his face. Pretty funny and makes the video slightly awkward- enjoy!

I've been trying to sell this camera on E-bay for a while and every time some no reputation guy bids on it and e-bay force cancels the order. I'm reaching out to the community to see if anyone is interested. I am moving out of the country and can't use it anymore- there is nothing wrong with it. I am very fond of the camera and it is great for videography, makes it's cost back very quickly. You can check out pictures of it on my site, http://www.production1studio.com/company-profile/equipment/ The e-bay listing is here http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=251099475626 It would be great if anyone is interested in this camera. I feel the price is fair because it comes with extras stuff and a nice hard case. If anyone wants to send me a personal message to talk about prices I am completely open to that once the e-bay listing is over. My e-mail is on my website. Thanks

LOL, never thought I'd be asked that. Really no clue, but I do love the way Kazuki Ohmori, who directed Biollante and Khing Ghidorah does the lighting and the shots. It really sells the scale of the thing with use of spot lights and faked night time photography. Frankly, most Godzilla films have flat lighting and nothing inspired apart from special effect shots with fire or whatnot. The original had high contrast lighting with reflections off the water and it really sticks out as beautiful. If I did a Godzilla film, I would make it like Alien. Have horror elements were you don't actually see Godzilla clearly, but villagers and what not suffer from his epic natural disaster romping around. Not everyone's cup of tea, but think of some of the isolated shots from the original and 1984 remake, they are very horror movie. CGI romps aren't my cup of tea. The only X series Godzilla films that stick out are All Monsters Attack because of the night time photography and Megaguirus for the good effects. Bla bla bla, just worth checking out with a big tv and surround sound. B)

I'm not assuming anything, but a lot of people using DSLR's and coming from photography and using that equipment will keep there uv or skylight filters on and this causes awful flares. If you, or anyone reading this, have uv filters on, take em off for the shoot. I support the use of protective filters because over time cleaning dust of your lens can leave cleaning marks, so a filter that is on when the lens is stored really helps keep cleaning to a minimum. Just never film with it on. And if you didn't do it, no, nothing you can do. Most of the time you can try to line the flare up with the light source so it can't be seen.

Don't spend a lot on a camera frankly. No one wants to hear that, camera's are fun and owning your own is great. But everyone and their dog seems to have a 7D or t2i and you can borrow one if you really like the way they look. The are expensive and kit lenses are not very cinema friendly with the aperture change during zooms, slow speeds, distortion, and chromatic abberation. You then end up spending another grand on glass and never on what really matters: acting, lighting, props, and good food to pay the crew. You've already shot with cameras that make beautiful images so ask yourself what about those shoots did you enjoy most, was it really being a DP? You can get a Canon vixia for 400ish or even other cheap consumer stuff that takes good video and will teach you all that you need to know. I shot DV for years and with good lighting and flashy editing it made it onto television. If you must buy a camera with a big sensor because everyone is a shallow depth of field nut, I suggest the GH2. If you buy into Canon you get stuck with their proprietary lenses and a mirror box that is un-needed. The GH2 can take a lot of old, legacy lenses that work great. You can get a whole set of vintage lenses and an adapter for cheap, and the plastic kit lens that comes with it auto focuses fast and has a continuous focus mode. You can also pick up jobs with a GH2 because record times reach into the hours and I have been able to record live events and documentaries (and my narratives) with one. It is half the price of a 7D and with the extra money get a mic. Good luck.

Hokey, not cutesy. Oh well, my kid loves all of them- I'm just kiddin' around.

Do your research! Godzilla was only for children from 66 to 74. 9 films out of 27. The rest are either serious or action drive in movie oriented or for servicing fan boys of science fiction. :rolleyes:

What's the mood? For fake tv just put any tungsten light on a dimmer and throw a color gel on it and just go nuts.

I think it is always better to go to a more robust codec for editing. It takes up more drive space, but something like cineform or prores will hold up better...(no miracles) and be easier on the computer processor.

Well, most of this would be online. BH photo has a segment on their site that lists HDSLR equipment and knowledge. A camcorder is better for recording long periods of time with good audio. For example, my camera can shoot 7 hours before having a new battery or changing out cards. The 5d can do maybe 2 hours on battery and no more than 12 minute long clips till a few hours have been recorded. Another issue is depth of field and focus. Canon never made a SLR with continuous auto focus, so you have to pull focus yourself. A full frame camera has a very shallow depth of field, meaning generally not a lot is in focus. Great for portraits or two man teams- tough on you. The GH2 by Panasonic allows continuous focusing with native lenses, has twice as much depth of field as the 5D, takes great video, and can record 2 hour long clips. It is good for documentary work, but it can't do sound. It costs a grand right now. The camcorder I use for doc. stuff has a sensor that is 1/8th the size of the 5D, so it has way more depth of field and it does continuous auto focusing and balances mike levels for me, and can take up to three microphones at once. It also has a should mount so it easily rests on myself and stays nice and stable. A run and gun documentary on a 5D can be a mess and more difficult than it is probably worth since image quality doesn't sell a doc- the subject and editing does. And trust me, shooting as much footage as you can is just genius when making a doc. A downside to those camcorders is small sensors are not as sharp looking and have more noise. The three-mos type out there use three sensors and each one is devoted to a color, so they actually pull a lot of color compared to 5D. Maybe too much? Depends what you like really. Makes sure to watch footage and read all your options. I have always used Panasonic stuff because I like the in depth menu options and tapeless media systems, but now a days all the companies kinda seem the same. That's all I can think of for now, enjoy the typos.

"Tamron 17-55mm VC f2.8 lens for $500 and that's pretty useful, a good lens with ugly bokeh" So true. If you're one of those shallow depth of field obsessed people, go for the nifty fifty and suffer trying to rack focus. I personally prefer old manual focus lenses with accurate #'s on the focus ring.

Could also try a 17/18-55 kit lens. That'll will cover a descent range within your budget.

The flange depths are just too different. You'd have to mount the micro4/3 lens inside the Canon body to get focus. I don't think it will fit through the whole and the mirror would be in the way if it did. Best to get a micro four third camera or just use 2 Canons and make your own 3-D. I don't live anywhere near the U.K. so no clue on the last part.

I would second what was said earlier. Get an analog meter. Save your money for filmstock, props, a good camera...An analog meter works great, it's robust, and teaches you to work with the math. I have a 758DR and rarely use the spot function for more than just fun, it broke on me once already and scouts honor I didn't drop it, and most of the time I just do the math in my head. How often will you be changing shutter angles? And usually if you do the math is easy enough to do in your head and all you have to remember is how much you need to adjust the stop. No where near worth 200 dollars.