This is a whole new skill set. Yes, I tried to shoot some video. Pathetic.
Several observations ...
You need something to steady the rig. Hand holding video is like hand holding stills on roller skates. Live view freaking rocks! I don't know how to focus in video mode. Tomorrow I'm getting out my AIS one touch zooms.
Note: I shot some street video using the 80-400 (of course at 400). It sucked, but when I showed my son (film maker, 7D user)--his jaw dropped. From across the street and up a floor, it was unbelievable. Boring footage of course, but excellent quality boring footage.
#1. "RE: Video EO EO !" | In response to Reply # 0DVDMike Registered since 25th Mar 2003Tue 19-Oct-10 01:40 AM
@400mm on DX, you are going to need something to steady the camera to shoot video I think.
These video equipped D-SLR's do not have the proper ergonomics for the casual videographer to shoot consistently good video. But the more you practice the better you will get. Enjoy!
#2. "RE: Video EO EO !" | In response to Reply # 1KnightPhoto Nikonian since 18th Dec 2006Tue 19-Oct-10 02:06 AM
I'm going to try wildlife on my tripod with Gimbal, that should help nicely.
For theatre I'm thinking of trying monopod, but am worried about the rollerskates effect
Anyone think monopod will help?
Best regards, SteveK
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#3. "RE: Video EO EO !" | In response to Reply # 0
Try a slider, here is one that I made myself.
This explains how I made it.
#4. "RE: Video EO EO !" | In response to Reply # 3OpticalSerenity Registered since 23rd Oct 2006Tue 19-Oct-10 05:41 AM
I too am playing with video on the D7000, however my hand just isn't steady enough. I'm wanting to find something like the Merlin Steadicam but not that pricey.... And the $14 do it yourself project just is a bit large for me.
#6. "RE: Video EO EO !" | In response to Reply # 5Tue 19-Oct-10 11:31 AM
Thank's, there is one little trick I have learned since o posted that thread.
If you go to Wal-Mart or similar store and get a Bungee Cord w/Ball.
Wrap it around the head on the cradle to pull the slide with the ball. This puts a shock absorbing "handle" on the pull and makes it very smooth.
This works really well with fluid tripod heads as well...
#9. "RE: Video EO EO !" | In response to Reply # 8Tue 19-Oct-10 08:13 PM
that's 720 or 1080?
everything im seeing from this camera is making me more and more disappointed for some reason...
Im not saying your shot is bad, but it just is lacking the color, depth, and smoothness (seems choppy, but not the slider like the actual footage)....
#14. "RE: Video EO EO !" | In response to Reply # 13Chris Ross Leong Registered since 18th Nov 2010Sat 27-Nov-10 12:33 PM | edited Sat 27-Nov-10 12:56 PM by Chris Ross Leong
Check out DSLR Rig and Zacuto.
Also Philip Bloom's excellent site.
More than enough information there, from one of the pioneers in this field.
it's already advanced enough so that a full-on DSLR cage rig will cost more than the camera, because to shoot a real movie, and not a home video, on a DSLR will require:
a) a decent tripod with a fluid head
b) a decent hand held rig, Fig Rig or Steadicam Merlin, something to move the camera steadily. A slider is fine too, for shorter moves. Unlike the tripod and head, this can be home made and inexpensive.
c) a decent audio acquisition rig, like a Zoom H4n, and mics
d) a set of NDs, a PolCirc and maybe some warms and grads
e) a set of manually adjustable lenses, AIs minimum, fast glass preferred. Stay away from G type lenses (no iris rings) and push-pull one ring zooms if you can. Cope if you can't.
f) some kind of HD monitor. Not SD with HDMI, HD. 1900x1200 preferred.
One of my edit suites uses twin 24" Gateway HDDisplay monitors with HDMI. Got them off Craigslist for $300 the pair. I take one or both on set.
g) optionally a matte box with a french flag and a follow focus unit. These are mechanical, so you pretty much get what you pay for. If you use a follow focus unit, each lens you use it with will have to have its own gear ring installed as well
h) a crew. For a real movie with actors, minimally a camera person and a sound/continuity/script notes person, in addition to you, the film maker. Otherwise just you, well prepared and rehearsed from equipment check and prep to setup to build through shoot to strike, wrap, idiot check and transport home if you're not going to get totally stressed out by the overload of tech while trying to tell a visual story at the same time. Been there, have the t-shirt... bring at least one other person if at all possible if you want decent sound to go with your decent picture.
i) memory cards. Around 128 GB worth if you're not taking a laptop to set every 12 hour day, around half that if you are. Of course, if you're spending three days on a commercial or a music video, then that could mean much less memory, or much more, depending on your shooting discipline and ratio. And yes, this can be and is a full time job, called a DIT (Digital Information Tech) or data wrangler, especially on shoots with more than one camera.
j) a hard drive to hold the final clips and audio. Estimate the size by doubling your shooting size - i.e. if you're shooting 100GB of footage, you'll need approx 200GB of HDD space to take the project, the original footage, the music, effects, graphics, voice over, foley and ADR files, plus the Quicktime outputs, the audio mix elements and masters, and the final DVD/Blu Ray assets, and the disc images for final burning after you've authored your very own movie DVD/BRD.
k) a NLE program to edit with, on a computer that plays HD video and decent audio.
l) a DVD authoring program or an internet connection to YouTube or the like.
But hey, with this minimal setup, you too can make your very own feature film! Worth squillions of dollars! All from the comfort of our own home!
#15. "3 more gear questions for Chris." | In response to Reply # 14Robman3 Registered since 12th Apr 2010Sun 12-Dec-10 06:14 AM | edited Sun 12-Dec-10 06:15 AM by Robman3
Your Ben Franklin list no doubt can be a lot to digest, or, on the other hand not so much given the stakes and rate of return for expertise once product is in stream and honed.
These items you detail are formidable for the soon to be learning crowd, those here who are engaged and serious likely will take heed and advantage as each one progresses in the field, seeking one's own level of competency.
The elements break out as disparate, the edit platforms, transferring codecs and formats, the broadcast one minute calibration bar and test tone, and the gear itself WOW!
Two things so far beyond the crew aspects, (DIT indeed) assembled under years of PRO on set maneuvering in your case:
1) Is lighting ever a factor as in portrait imagery in studio or do you have the luxury of the on-set lamps and spots?
2) In the laptop, if that is the main cutting apparatus, using an i7, 8GB Ram, Dual Core with NVIDA, and a 2TB eSATA drive outboard plus on-board, which edit platform is best AVID,EDIUS,VEGAS, or???
Not including Streamclip and other code conversion?
3) Because transfer to codec is taking real-time plus per clip, does that mean that one may well be better off taking content to a server level transfer house and if so, what costs does that add?
I ask because so far, trying to get .MOV into AVID is a mystery but I'll watch the training video next as my experience is every issue so far in digital land, whether audio, image or video is accompanied with a large dose of personal pilot error.
Thanks in advance if you get time to flesh this post out.
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#16. "RE: 3 more gear questions for Chris." | In response to Reply # 15Chris Ross Leong Registered since 18th Nov 2010Sun 12-Dec-10 06:49 AM | edited Sun 12-Dec-10 07:03 AM by Chris Ross Leong
Thanks for your kind comments and cool questions!
Okay, here we go:
a) absolutely lighting is a factor. Mostly I try to use existing light as much as possible - that's just my personal preference.
I do have several sets of lamps, though, mainly Lowel Omnis, Quartz D's a couple of 2k Lowel soft lights. Some LED lights, around half a dozen Christmas Tree chains, that kind of thing.
A handful of "specials" - spot lights, essentially, that can be focused - Altman Leko stage lights, and also LTM Peppers, which are tiny Fresnel spot lights, 100 to 500Watts. The Lekos are 500s and 750s.
Another handful of high power photoflood bulbs to screw into existing location fixtures. Also an in-line dimmer or two and a set of those paper China balls on a C Stand with a boom, great for eye lights. A mini LED light for on camera (obie) use, same effect.
But by far more used are my reflectors, flags, silks. Even old fashioned mirrors, reflecting sunlight.
What I use from that lot depends on the shoot. The story. How stylized the look, how natural. If you have to protect the complexion of your leading lady. How much protection that needs.
Typically I'll try to use the light that's there, if we have the luxury of shooting at the same time of day or night that the story's meant to be happening at. The lighting, if any, is usually used to maintain that look once the sun moves or goes away, so that shots taken at later times look the same as (and will cut together with) the
first shots in the scene.
It's seldom that one can start a scene with even two people in it, and shoot all the masters, over shoulders, closeups, inserts and cutaways, before the light changes. Once all those shots (that may have taken days to shoot), are cut together, they have to look as if the scene that they depict elapsed in the half a minute to maybe five minutes long it looked like taking, not in the hours or days it actually did take.
2) if you're on Win7, best to apply to and get the Lightworks beta. The price is right, but mainly, if I'd had the choice I'd never have left. (I didn't - they went bust. But they're back - open source, freeware) Check out it. You'll love it. Otherwise I like Vegas, Edius and for larger (read paid) scripted projects, Avid. NLEs are like word processing systems, or 3D animation programs - once you learn the first, the rest are fairly straightforward to figure out. After all, it's just editing, right? How hard can that be? (hee hee!)
3) You know, the transfers aren't that painful, since the D7000 codec yields pretty compact Quicktimes. I've never done more than just take the cards and insert them either into my multi-reader on the Macs or straight into my PC's card slots, and just copy the files off into my archive folders.
Then make copies for editing.
If Avid, I'll do a digital ingest (batch digitize) from the Quicktimes into the Avid flavor of the month. My FCP opens the clips straight up without conversion.
So no, unless you're going to do hundreds of hours of shooting and really need a hefty cloud or server based option for file sharing (multiple editors, for instance) or the like, local or NAS storage is fine.
I'd suggest you check out drobo.com for a pretty elegant and inexpensive solution to the drive problems.
Sorry for going on again, but I'm in the middle of an edit and so don't have time to make this short.
#17. "RE: 3 more gear questions for Chris." | In response to Reply # 16