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jose santos

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  1. jose santos

    C300 II

    Anyone here figured out how to fix the loose cold shoe mounts seemingly endemic to 300s? CPS say they can fix it for a couple hundred, but I can’t spare it for a trip to CPS just now. It’s not the four little phillips that hold the plate. It’s one step further in.
  2. Thanks Robin, correct! Fortunately it was subtle, and as it was journalism, not an issue. Chris, thank you, where are you getting your info? I can’t seem to find my ASC manual, my IOS version of the manual doesnt work since the last update. You happen to know a London shooter last name of Marriage?
  3. GOOOOD CAATCH! This is why you pay the big bucks. I was completely forgetting flicker, which I haven't had trouble with since my last Middle East shoot ages ago. And I would not have seen it. IE, disaster. Just FYI. I have had great results with AF on 300 II's in these kinds of situations.
  4. Frame rate is not the question. Client wants 25 and I know the C300 is capable. Sorry that I wasnt clear. Per Canon's C300 II lit: The BT.2020 preset uses the Wide DR curve for a contrasty but high detail image inside of a BT.2020 color space. Images produced in this preset are considered ready to air. Wording identical to BT709 in same lit. It may be easier in LA, but here in the National Capital my sophisticated and well equipped rental house has never seen this request. I'm neither, but I am deeply experienced, and I have also never been asked that one.
  5. Client just sprung a 4K/PAL/25FPS requirement for an upcoming shoot here in US. Already had three C300 II's booked, so the camera is capable. This will be a first for me so I did a blitz of research, came up with these settings etc. Below is what I provided the rental house, who are also a bit puzzled, but efforting. Suggestions, observations, GOTCHAS, please. Many thanks. SYSTEM: PAL RESOLUTION: 4K FULL AUDIO: 48khz AUDIO SAMPLE RATE (please confirm this makes sense) CODEC: XF AVC 10BIT 4:2:2 ISO 800 REC 709….OR 2020….NEED ADVICE HERE. 25FPS (YES, 25) 180DEGREES JAM-SYNC TIME-OF-DAY 24-HOUR CLOCK, FREE RUN DROP -FRAME REC OUT 4K RAW: OFF RELAY RECORDING ABB PERFORMED It’s an auditorium shoot. I need Cams A/B to stay tack-sharp on podiums, A head-on, B to the side, Cam C does roving cuts and needs to be able to select focus at the shooter’s discretion. So, FOCUS SETTINGS: “C” CAM, “One Shot” focus mode, Face Detection ON, “Face Only” ON, no tracking. “A” and “B” CAMS, "AF Manual Boosted”, “Face Detection” ON, and I think….”Tracking” off, but we should discuss. All cards verified formatted (sorry, and thank
  6. Thanks David. But folks, 140 views and one comment?!
  7. A client approached me a while back with an ambitious brief: All slo-mo, all trucking, early magic hour whenever possible, subject: triathletes training on the National Mall in Washington DC USA, a notoriously over-policed location. And there was pretty much no budget. Meaning no permits, no pro hands but me, very limited prep. Part of the brief included flying a drone over the DC Potomac. We spent money on that, couldn't get the waiver. To be continued. The intent was to shoot all 120FPS with a cinema camera, ProRes 4444, top glass, and all shots incorporating camera movement with the subjects being swimmers, cyclists and runners. Fairly tough on pretty much no budget. After a ton of looking, including talking to a guy with ASC after his name, I concluded Arri Alexa Mini was the only way to go.Then came the mount and stabilization problems. The rig I came up with consisted of a Cloud Mount, MOVI Pro, Alexa Mini, Zeiss Ultra Primes, everything remote controlled from the bed of a pickup truck, or the deck of a boat. I originally intended to use the Cloud Mount using its magnets, but between the truck’s body curves and thin steel, it was wiser to go with suction cups. Made me nervous, but worked fine. I did have to up-rate some of the cables on the Cloud Mount as I was pushing the envelope on weight. We tried our utmost to shoot the magic hour, so close attention to ISO and shutter angle were essential to protect DOF. For the earliest shots, I used 356 degrees, thereby gaining about a stop and a half in exposure latitude to use as I liked. I opted to stop down as we needed all the help we could get with focus. Originally I intended to have the producer/director operate the camera while I ran exposure and focus, but MOVI’s Mimic turned out to be a unique challenge in hand-eye coordination and technical management. Moving targets from a moving platform with an unfamiliar and touchy controller. Good times. Mimic was balky, requiring frequent fiddling and resets. We lost a day when the rental house couldn’t make Mimic work at all. The whole thing was extra-tricky as I was the only professional on the gig and had my hands full managing everything from BNC's to LP-E6's. And it was HOT. Danger hot. So I handed off focus and exposure, and drove the rig. Mixed results there, mainly on focus, but it couldn’t be helped. Out of pocket for rented gear, excluding the borrowed truck and boat? $3K USD. Shot the stills too, Pentax 645Z, RAW, three big old Metz's with a distinctly 1970's vibe. Go ahead. Be brutal. The green cast DID NOT happen in-camera. Client. Here goes: http://hugo-creative.com/work/district-multisport/ Cheers. JS
  8. jose santos

    C500 woes

    Hi. Experienced shooter, new to the C500. Got a couple things going goofy. Help please: Multiple versions of same clip on CF card. Not that important right now. "Proper" exposures IE 70-ish% IRE on caucasian faces result in quite bright images. NOT clipped, but NOT actually overexposed, just overexposed looking. Ditto And the killer is very important: Apparent exposure fluctuations associated with subject movement in the frame. The interviewee raises his hands, waves them around, and bam, the image dims. Like a very fast auto iris or auto ISO kicking in. It's not flicker, but clearly tied to subject movement. Spoke to Canon Cinema support. They're having to research. Thank you!
  9. Yes. Apologies. I understand this is GD, not 'noobs'. But this strikes me as the best place for this query. I'm 50. Been making a living with a camera for 25 years. News. My body's trashed and the business is, with a few notable exceptions, in contraction. Which means it's reinvention time. I like camerawork or I wouldn't have stuck with it for 25 years. Now I'm contemplating my next steps, and think I would enjoy, and do well, by upping my skill set substantially into the DP realm. The way my mind works, I have to be very hands on. I need to assemble the camera. Set it up. Finesse the glass. The rig. The media. Light. Shoot. Review. Fix what I got wrong. Push through workflow. Cut. Deliver. Train my hands, train my eye, find the gotchas, find the fixes. I'd like to find an academic and/or workshop-based program where I can do that, with top-shelf gear both film but mainly digital. With smart, world-wise instructors who can help me connect, and connect the dots. So. In a perfect world, anywhere in the world, money is no object, where would you go, would you go at all or do...? (I've been to Rockport a couple times, Kodak gave me their cinematography workshop. It's been ages Oh and I speak Spanish)
  10. Good stuff Igor, many thanks. That's the kind of thing I was looking for.
  11. Thanks to all. I confess to obsessing about the tools. It is a tool intensive job. My biggest concern in making smart decisions as to how that toolbox is put together. But really, as a newcomer I'm more interested in opening conversations than just the tools. And where I really hoped to be able to take something like this is to a discussion of latitude. To understanding how to expose for those secondary highlights, the ones that don't blow out, AND get the texture of the carbon fiber. In other words, how to think about the problem(s).
  12. As to noise...I may have pushed ISO up too high in an attempt to work in the middle of my F range. I'll take a look at Neat video. Talked to CPS and they (naturally) think it's the cards. Not saying they're wrong. Prospec 32gb for vid, Promaster 16gb for stills. Sending both cams in.
  13. My bad. I was unclear. What I intended by 'propose' was "how would YOU do it?", though I certainly wouldn't mind hearing "here's how I think it was done." Cheers!
  14. Here's a link: http://www.astonmartin.com/cars/vanquish/video At 01:10 they go indoors. That's what I'm asking about. My challenge to you is to propose: Camera system/acquisition medium/format Glass How it was exposed How it was illuminated and anything else you might like to offer. Workflow for example.
  15. Greetings to all. New here. I just did an important (aren't they all) shoot for an important (") client, and had two completely different cameras screw the pooch in two completely different ways. The only noticeable common denominator being CF. I set up a 5d (not II or III) to shoot a time lapse. I tested it the day before, ran a quick test on site, AOK. I fire it off when the event begins and later find it in Error 2 mode. Only one garbled frame. I set it up in another couple spots, ran it just as previously. No probs. Not enough motion blur but that's operator error. As this has never happened to me before, I wonder if any of you have seen it and can help me prevent it in the future. Principal photography (video) was a 5DII. As you know, the files are numbered sequentially. 0001, 0002, etc. I go to pull this material into FCP and discover a one-file gap. As in 1234, 1236. Oh and it's my most important speaker. Lovely. Anyway, anyone seen this? Fix? While we're at it, can someone name an excellent video noise reduction filter or whatever for those 5dII files? Cheers, JS
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