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Found 67 results

  1. Hello, I'm familiar with some of the great ready-made condenser mics (e.g, Rode) that slide into the flash shoe, and those are great. However, a particular project requires something different and unique for diegetic room sound, so I have a collection of older (some are condenser) microphones (some interesting German mics, PZMs, etc.) I would like to use, while retaining what general lightness and nimbleness of the rig as I can. Does anyone have recommendations for nice XLR Adapters/Portable Recorders intended for DSLR video? The idea being to run one of the following 1) a 48V Phantom Powered Condenser mic into a box that fits nicely on or in the vicinity of the camera, which takes the XLR balanced in, provides 48V, perhaps has a few conveniences (e.g., 100hz cutoff/high pass filter switch, pad switch, DB/input meter, etc). A built-in Limiter would be an obvious plus but probably would push the price beyond where it needs to be. I would be interested in peoples' experiences using these single channel types (that have a 1/8" output to plug into the camera's line in), particularly where on-board power (e.g., 9V/Battery) vs external power supply is concerned (as to noise floor and any substantial impact on quality). 2) The same as #1, but multi-channel, 2-4 is probably the sweet spot I'm aiming for (though 8 inputs stacked couldn't hurt if it's compact enough). Though in this case, I'd be talking about an external recording device, not an adapter, that's oriented towards video audio capture, and ideally, built with filming with these types of cameras in mind (then transferring and mixing that audio in post, thus having the individual channels separate to work with in editing). So, the same questions as in #1, but also, I'd wonder which devices have proved very suited to the task (35mm DSLR filming in studio, and field capability would be a huge plus) I say "these devices" because I understand the 5Dmkii and mkiii can take SMPTE timecode into the 3.5mm audio input, so I would imagine there are some devices that are like the many others out there, with 1-4 XLR ins with 48V, but perhaps also with an extra 3.5mm cable out to transmit timecode, and perhaps one or more channels of audio (as a submix, for redundancy) straight into the camera while filming? A built-in mic for in-a-pinch situations wouldn't hurt either. I came across this device (Beachtek DXA-5D XLR Adapter) from a cursory search, which has a nice look to it (it's single channel, thus the small and elegant design size-wise, relative to the camera base). Something like that would be great for #1. For #2, that'd be a great format (with the dual tripod connectors), but most likely it's going to be a more outboard piece of equipment due to having audio data storage onboard, more connectors, and greater power requirements. Thanks for your kind suggestions!
  2. I'm thinking about buying a camera at the end of the year. I've been assessing what I can afford and what's available. So far, I've narrowed it down to either the Panasonic GH4 or the Sony A7s. I like the GH4's native ability to shoot 4k but I'm concerned about the 4/3" sensor size. I'm impressed with the Sony A7s' shooting capability especially in low light but disappointed that shooting 4k requires an expensive peripheral. I'd appreciate any advice, opinions and first hand intel anyone can give me. If there's another camera system that anyone would recommend, by all means. Mind you I cannot afford anything that's over $5000. Thanks.
  3. This is a 4-minute excerpt from a 90-minute film I'm working on. What works? What doesn't? What would you suggest I do differently next year? https://vimeo.com/107255692 thanks in advance.
  4. Hi Cinematography.com I thought you guys would be interested in our awesome camera accessories sale. Up to 50% off of camera accessories for DSLR and compact cameras. These professional quality products will allow you to take your filmmaking and camera skills to the next level. http://www.genustech.tv/collections/specials Also check out our awesome mini jib. A compact lightweight camera jib that allows you to pull of those smooth cinematic shots you want. http://www.genustech.tv/collections/camera-jibs/products/camera-mini-jib
  5. Just looking to see what tools each of you use in your metering the exposure of a scene. I currently use a combination of a Minolta MK.IV incandescent light meter and the waveform/histogram from the camera itself (in this digital age). I am looking to use a spot meter more for more accurate readings but I am wondering if I should throw some money down on a Minolta or Sekonic. Or just use the spot metering of my Canon 60d SLR instead. What do you find works the best in metering a scene effectively? Cheers!
  6. I am executing a 3-minute unbroken tracking shot for a music video using a Canon 5D Mark III and a MoVI M5 house with a ring handle. The music video takes place at a house party moving from interior to exterior. Plenty of choreography in each frame and following two main characters. I want depth of field but with soft focus so as to limit the use of pull-focus. Does anybody have an specific suggestions as to what lens would be best for this criteria? I'm thinking a fixed lens like a 35mm f/1.4 Zeiss or a Sigma 30mm f/1.4 but those are my only leads. NEED HELP. Thanks.
  7. I'm a fairly recent art school grad, photo concentration. I spent two years in the mopix program a few years prior to that, shooting on 16mm b&w reversal and physically cutting in a dungeon to edit, not even a year before they switched over to digital almost completely. After that, I got through my last year or so of photo classes by the skin of my teeth with my old 35mm point and shoot, arguing with professors about why I wasn't shooting digital, trying to b.s. them that it was purely an artistic choice because I didn't want to admit that I was too poor and struggling to keep a roof over my ahead that I couldn't get a digital camera. Well, I've finally been able to climb into a more comfortable money position, and to my utter surprise, am now able to drop money on a nice DSLR, tripod and some other accessories. In addition to needing a new camera to take stills in the 21st century, I also need a camera to take quality HD video to shoot a handful of micro-budget shorts that I've been writing. Now, I promise I'm not a caveman when it comes to digital. I've been working around them while doing freelance set p.a. jobs on commercials and helping filmmaker friends with their shorts and try to stay as up to date as I can on what's available and what's new, via online and professional magazines. I don't need too much hand holding. I just hoped I could put some feelers out for what professional cinematographers out there enjoy using, especially for the value. I'm looking to spend around $1,500, tops, on the camera itself, before accessories, and have been leaning, initially at least, towards the Canon Rebel t5i. Any advice I could get from you guys would be greatly appreciated
  8. Hi, My D7000 got stolen the other day. And next week I'll be starting on my filmschool. So I want to ask you guys on what DSLR will I get. I'm getting DSLR because occasionally I'm doing photo walks with my friends. I was eyeing for GH2 but unfortunately I can't find any sellers here in my country. Any thoughts on what to buy? My Budget is $1000-$1200 Thanks in advance.
  9. Hi I'm just on my way out of uni so pretty new to cinematography and am shooting a night time scene between two people lit by candle light. I will be shooting on a canon DSLR and only really have a few simple dedo lights available to light the scene. Anyone got any advice on how to get enough light that I wont have to crank the ISO too high? Cheers.
  10. Lighting Workshop in LA: Are you working on a new project and want to hone your lighting or camera skills with a DSLR camera? Come to our next LA workshop with ASC Award Winning cinematographer Andrew Russo to sharpen your skills: https://creatorup.com/cinematography-workshop
  11. Sachtler, part of Vitec Videocom, a Vitec group company, has released the next upgrade to its renowned FSB product line with its brand new ENG 75/2 D HD tripod. This high-quality tripod for ENG professionals is the latest design from Sachtler, who has been the partner of choice for camera operators for more than 50 years. Supporting a very wide payload range up to 35kg/77.2lbs, the ENG 75/2 D HD guarantees precise camera operation. The 75 mm bowl tripod offers operators the most robust and durable option providing the ease of use and quick set up vital for all ENG applications. The new aluminum tripod weighs just 3.1 kg/6.8 lbs, optional as ground and mid spreader versions, and incorporates premium Sachtler features such as easy and accessible controls and the high torsional stiffness required to deliver the ultimate professional performance for broadcasters. The tripod is the ideal companion for Sachtler's renowned range of FSB fluid heads, notably the FSB 6 and FSB 8, designed for all users of DSLR and HDV camcorders. Features of the FSB product family include Sideload or the Touch & Go mechanism that allows for super-fast connection of the camera to the head. When used in conjunction with the FSB 8 head, it is ideal choice for shooting in fast moving news set-ups - with a wide payload range of 1 to 10 kg (2.2 - 22lbs), and tried and tested Sachtler features such as the unique Speedbalance mechanism that enables even faster and finer counterbalance of the camera system. In addition, the robust tripod has been built to operate in an extreme temperature range of -40/+60 degrees centigrade (-40/+140 Fahrenheit). Tobias Keuthen, Sachtler's Global Brand Manager, says, "Even faced with extreme conditions in ENG applications, our tripods are extremely resilient and break-proof. Each tripod has been designed for ease of use, so camera operators can go from using the tripod to shooting from the shoulder in a matter of seconds. "This new ENG 75/2 D HD tripod allows trouble-free shooting in every environment with improved features that will provide all the control and flexibility required to deliver a best-in-class Sachtler performance." Sachtler will showcase the new tripod at their booth (#C6025) at NAB 2014.
  12. Hello all, I know it's very difficult to get a good key with footage coming from a DSLR due to the 4:2:0 compression, soft edges, etc. I'm currently shooting church announcements videos on a black background, but I'd like to start using a green screen if possible. Right now, I'm using a 60D with a Canon EF-S 18-135mm f/3.5-5.6 IS STM lens. I will be using Premiere Pro CC and AE CC in post. Is there any way to accomplish this using my current setup? Thanks in advance.
  13. Hey Everyone! I put this reel together to use for a few job applications, mainly in the self shooting/editing film maker kind of category rather than a legit DP (which im definitely not!) https://vimeo.com/84313742 Its mainly a mix of DSLR and S16mm stuff Id really appreciate some feedback! As I've no idea what people want to see in a reel! Thanks! Joe
  14. Here is a tutorial video I posted on YouTube on how to get timecode on DSLR clips and other post production workflow tips. Mac centric.! Or you can read my blog post at http://remoteaccesspost.com/adding-timecode-to-dslr-footage/ Hope you find it useful!
  15. Monte Zucker Photographic Education Presents the Out of Order tour! In San Jose 10/12 And San Francisco 10/13. Out of Order is a film editing tour that is sponsored by Adobe and Canon and tackles editing from the a non-linear storytelling perspective. It’s taught by Ross Hockrow, an award winning filmmaker, educator and author. The full-day class is split in two parts, a daytime Storytelling Through Editing Workshop, and an evening Editing Techniques seminar. In the workshop Ross will demonstrate the principles of “show don’t tell,” will teach you to properly time cuts, to “play” with time, and will focus on the very important concept of pacing. Ross will then break down the techniques necessary to effectively edit a conversation; in film editing, conversations represent what editing is in its rawest form. Finally, Ross will teach you the importance of creating a constant feeling of anticipation within the viewer via cut selection, timing, and analyzing which shots have the greatest storytelling impact. All of these techniques are used to make your viewer experience your film instead of just passively watching it. The seminar begins with an intensive, step-by-step overview of the complete editing process. Ross shows students how to organize and log footage and introduces the concept of the dump timeline, a workflow technique used to create the Narrative Base. The art of the professional cut is explored in detail, focusing on the techniques of L-cutting, cutting on the action, popcorn cutting, and the use of natural and scene-to-scene transitions. Check out this awesome opportunity to hone your skills or gain a new take on the editing process.
  16. I know this is kind of basic but does anyone have some ideas on showing time passing in a sort film. In the scene my character would sit down and start doing something until hours later her is interrupted. How do I show the time passing without going to a different scene. thanks
  17. Dear all, I hope this isn't too rookie a question for this site, but I'm trying to make a decision about a project which we will almost certainly want to shoot in black & white on a Canon DSLR, and I realise that it takes me to an essential question about how those cameras record data. I've done tests shooting 10 seconds of footage in the Standard picture profile, the same in Technicolour CineStyle and in Monochrome. All three tests gave me pretty much the same size of file with the same data rate. Here's the question: Does this mean that I'm getting a more detailed image in Monochrome? It's not having to compress any colour information into the h.264 file, so is it filling up the space this leaves with a little bit more lovely detail? Or, because it's CBR, is it including a lot of blank useless colour information, causing the file to be the same size as a colour file? Why do I need to know? Well, if we are actually getting a more detailed picture by dumping colour information at source, then we'll go for that. If however it makes not a blind bit of difference, then we might as well shoot in colour, to leave our options open. Thanks, Guy
  18. for sale or trade is my lovely Century Optics 16:9 adapter. It is a front mount 1.33x squeeze anamorphot that is quite sharp. It has a 58mm rear thread which make is useful with dslrs and cameras like the blackmagic cinema camera for shooting true 2.35 cinema-scope image when use with a 16:9 sensor. No cropping, use the entire sensor for maximum resolution. It also comes with a clamp on sun shade that has a series 9 filter mount in the front. Also included are six diopters for shooting close ups. With this adapter, you loose some of the minimum focus you previously had, so these diopters get that back making sharp focus with in five feet possible. It does vignette at wider angle on different cameras, so you have to test. Keep in mind though, that with the increased field of view width wise, you don' t need to have as wide a lens as you do when shooting spherical. Here are some pictures, video samples to follow. Asking 950 US for the lot. It is in excellent condition and creates beautiful blue flares. I am also willing to trade plus cash for a Panasonic LA-2700 anamorphic adapter. It's size and rear thread better suit my needs.
  19. Hi there, I would really appreciate some advice! I have a youtube channel, and I currently shoot my videos with a Canon VIXIA HF R200. It does the job, however I definitely need an upgrade. The battery life sucks, the exposure is crazy and always needs to be adjusted, and the colouring is sometimes weird. I have been trying to figure out what camera other youtubers use, and notice a lot of them use Canon DSLR's such as the T3i. I am wondering if I would be better off getting a camcorder, or a DSLR? I am open to all brands, however I was looking at the VIVIXA HF G30 for camcorders, or maybe a canon t4i or canon 60D? I want something that's easy to use, I would like it to have autofocus, and I want a nice bright image quality, I like to have glowing skin in my videos and have everything bright and happy looking. I like the idea of the ease of a camcorder, however I feel I might have more creative control with a DSLR + it would double as a camera :) my price range is up to $2000 my youtube channel is www.youtube.com/holistichabits if you would like to see the video quality right now and make a judgment call on what needs to be fixed. Any advice would help. Any suggestions?? Thank you so much for taking the time to read and/or reply :) -Sarah
  20. Hello Everyone, I'm doing some research to get the best option quality/price for DSLR cinematography lenses. Zeiss CP2 looks great but they are quite expensive for my budget. But I found this Zeiss SLR lenses on their cinematography section http://lenses.zeiss.com/camera-lenses/en_de/cine_lenses/slr/slr_lenses.html So here are my questions: Has someone already used this SLR lenses? Is there a big difference with the CP2s? Are any other good options (on other brands) similar than those? Thank you very much !! Greetings from Ecuador !
  21. Hi, I'm a 15 year old just starting out and learning fast. Film runs in my family, and with the DSLR revolution, I've been given more creativity than ever before. I've got a T2i and a 7D, along with a L-series 24-105 and a few others. I'm curious to see what the real world thinks of my work, so linked below is my reel, tell me what you think! My reel isn't quite updated, so if you're interested, watch my other videos on Vimeo as well (I'd really appreciate it). Only constructive criticism and advice please.
  22. These are a few stills and a link to the trailer of the latest film I was Director of Photography and Colorist for. Would love for some good critical feedback on lighting, tone and color! 24fps @ 1920x840 transferred to DCP 2K [2.39] for projection CAMERA: Canon T2i TRAILER: Lune Bateaux Pictures -- Muffet -Joshua
  23. Hi. I am going to shoot a short film on Canon 1D C camera. I love Marvel´s cine style set up on the Canon 5D mark III. Is it possible to use the same Marvel´s cine style for the 1D C camera? Or do you recommend another cine style for that camera? I just want to use the best cine style possible so I can do the best color correction in the end. We´re going for the "Amelie" look:-). Best, Henrik A. Meyer www.henrikameyer.com
  24. Hi there, So as I was waiting forever to try to buy a BMCC, I got myself a 7d and I am now looking at which lenses to buy. I don't have a lot of money to buy glass, probably around 2500-3000$, so there are a lot of things that come in the equation, including resell value. I was originally thinking of getting: Tokina 11-16 Canon 16-35 Canon 24-70 But then I saw the Samyang lenses and now I'm wondering if these are any good. These are faster, with de-clicked aperture primes which are pretty cheap as I can buy the 14mm, 24mm, 35mm and 85mm for about 1800$. So now the questions are: Are these any good built quality? Would these be of any use if I end up buying the BMCC (crop factor 2.2)? Would these be worth anything at resell since they are really less popular than the first three photo lenses I lister earlier? Thanks for letting me know what your thoughts are.
  25. http://www.youtube.com/watch?v=BfZLhG-hm5o ^ Click to watch lana del rey - blue jeans
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