![]() I set it up in another couple spots, ran it just as previously. I fire it off when the event begins and later find it in Error 2 mode. I tested it the day before, ran a quick test on site, AOK. I set up a 5d (not II or III) to shoot a time lapse. The only noticeable common denominator being CF. 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. (I've been to Rockport a couple times, Kodak gave me their cinematography workshop. ![]() In a perfect world, anywhere in the world, money is no object, where would you go, would you go at all or do.? With smart, world-wise instructors who can help me connect, and connect the dots. 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. Train my hands, train my eye, find the gotchas, find the fixes. The way my mind works, I have to be very hands on. Skill set substantially into the DP realm. Now I'm contemplating my next steps, and think I would enjoy, and do well, by upping my I like camerawork or I wouldn't have stuck with it for 25 years. My body's trashed and the business is, with a few notable exceptions, in contraction. Been making a living with a camera for 25 years. I understand this is GD, not 'noobs'.īut this strikes me as the best place for this query. Shot the stills too, Pentax 645Z, RAW, three big old Metz's with a distinctly 1970's vibe. Out of pocket for rented gear, excluding the borrowed truck and boat? $3K USD. Mixed results there, mainly on focus, but it couldn’t be helped. So I handed off focus and exposure, and drove the rig. 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. We lost a day when the rental house couldn’t make Mimic work at all. Mimic was balky, requiring frequent fiddling and resets. Moving targets from a moving platform with an unfamiliar and touchy controller. 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. I opted to stop down as we needed all the help we could get with focus. For the earliest shots, I used 356 degrees, thereby gaining about a stop and a half in exposure latitude to use as I liked. We tried our utmost to shoot the magic hour, so close attention to ISO and shutter angle were essential to protect DOF. ![]() I did have to up-rate some of the cables on the Cloud Mount as I was pushing the envelope on weight. 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. 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. 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.Īfter 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. We spent money on that, couldn't get the waiver. Part of the brief included flying a drone over the DC Potomac. Meaning no permits, no pro hands but me, very limited prep. All cards verified formatted (sorry, and thankĪ 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. “A” and “B” CAMS, "AF Manual Boosted”, “Face Detection” ON, and I think….”Tracking” off, but we should discuss. So, FOCUS SETTINGS: “C” CAM, “One Shot” focus mode, Face Detection ON, “Face Only” ON, no tracking. 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. 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. 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. Suggestions, observations, GOTCHAS, please. This will be a first for me so I did a blitz of research, came up with these settings etc.īelow is what I provided the rental house, who are also a bit puzzled, but efforting. Client just sprung a 4K/PAL/25FPS requirement for an upcoming shoot here in US.Īlready had three C300 II's booked, so the camera is capable.
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