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02-07-2017, 05:36 PM - 1 Like   #61
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QuoteOriginally posted by LaurenOE Quote
Any dSLR is better than a camera phone..why?
I'd argue that it totally depends on the situation. To support my statement, this is a video I made a week or two ago the weekend of the U.S. Inauguration. Yes, it is political, but that's not the point in this instance


I used a Vixia H whatever and a Galaxy S4. (Except the opening scene was on a proper camcorder, Canon G30). Both cameras have decent stabilization (correction, the camcorder is way better with stabilization), and pure quality is not the primary goal in this documentary situation. And I would say that the S4 is about as sharp as my K-30 with M 50 1.7. I could even grade the S4 footage better, it seemed to have better tolerance, than some footage I've tried to grade from both a K-30 and a D3200. Although it's not a scientific test, I'm not trying to make any claim here, I'm just saying that smartphone footage is really not all that terrible. It is a small, compact camera, everyone has one, therefore it attracts little attention. Nice and wide too.

My K-30 certainly does not have good dynamic range in video mode, the blacks are crushed far too easily, same with the highlight-blowing. But, in an interview situation, with good lighting, I'd choose the K-30 over a smartphone. For that shallowness
I have shot 720 60p and slowed it down, but again, it isn't relevant for the style I was shooting said video in.

The main issue I have with the smartphone is how slowly it responds - the shutter lag, I suppose one could call it


P.S. Lauren, If you have any feedback on my editing of the video, I'd greatly appreciate it!

02-07-2017, 09:19 PM   #62
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QuoteOriginally posted by LaurenOE Quote
Ok, so here is a quick piece - and this is the sort of thing I do day in and day out.

This is a Pentax K1 and a Sony FS7 footage where I alternate the camera.

Application Containers - YouTube

You tell me how a K1/Pentax doesn't do video.

There is nothing wrong with using a Pentax for appropriate video.

(mic drop)

Wow. I really could not tell. I have a guess but I am no sure. Credit to you. Great job of color matching the footage from two very different sources. Pro job all the way.

Here is my guess. The straight ahead shots are the K1. The shots from the side are the Sony. Am I right? or did I get it all wrong.
02-07-2017, 09:23 PM - 1 Like   #63
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QuoteOriginally posted by Imp Quote
P.S. Lauren, If you have any feedback on my editing of the video, I'd greatly appreciate it!
When it comes to video editing, so much depends on the story you are trying to tell.
I watched your video, I like parts of it, and I can see you're putting in techniques and exploring - which are perfect when making the transition to cinema/video.

I would be a fool to make direct commentary on your video above, as it's clear you are experimenting. Bravo.

However, if I had sent you out to make a piece for general public consumption, and I wanted to suggest an emotion or mood, I would try and get you to think back to your photography. Think about how light and framing make great images, and then take those techniques and apply them to what you want to capture in video.

Imagine the "B" roll you are going to construct around your main footage. Tell your story and shoot the video in your head (or make a little story board) and then go out and shoot it.

The great thing about video, is the order that you capture it (aside from news reporting) does not matter.

Sometimes its fun to go out and shoot, and find the story after.
Sometimes its just about eye candy.

I have a famous friend (he doesn't have much time to really get to know me, but at least he knows my name when we are around common friends, and he does make a Facebook comment now and then, so I know, he knows I exist) who sometimes just goes out and shoots, does some grading, and puts together something that has peaceful visuals.

His last name rhymes with Groom.

Pip Groom (as I will call him) has a following, and people like to emulate his style and visuals. To that, I say create something that is unique, and follow your own personal aesthetic when it comes to cinematography.

So in that last comment are my recommendations in your editing.


Last edited by LaurenOE; 02-07-2017 at 09:33 PM.
02-08-2017, 12:30 AM   #64
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QuoteOriginally posted by LaurenOE Quote
As for the FS7, it forms the backbone of what I do, and I'd be hard pressed to live without it. Truly a fantastic camera. Best workflow I have ever recommended or used.
I had one on a recent shoot for a music video, doing the highspeed shots - Ran an entire 5 minute sequence with carnival performers doing wild stuff, not one dropped frame or any sign of over heating, and we had it at it's maximum frame rate in HD.

And a K-to-E mount, means a K-M 50mm f1.4 fits, and trust me, it's amazeballs for blood splatter effects!

---------- Post added 08-02-17 at 06:36 PM ----------

QuoteOriginally posted by LaurenOE Quote
8) The battery life of the K1/K3/K5/K7 is legendary
K-01, with manual focus lens, I have shot 4 hours of video per battery charge.
I have mates with Canons that have 7 to 10 batteries ready for each day of stop-start shooting.
I'll start the day on whatever battery is in the K-01 and swap it to my second when I need to, if I need to. I've never felt I need to buy a third DLi90.
Frankly, on average, I reckon its more likely to fill a 32gig card before the battery dies.

02-08-2017, 01:09 AM   #65
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QuoteOriginally posted by PiDicus Rex Quote
I had one on a recent shoot for a music video, doing the highspeed shots - Ran an entire 5 minute sequence with carnival performers doing wild stuff, not one dropped frame or any sign of over heating, and we had it at it's maximum frame rate in HD.

And a K-to-E mount, means a K-M 50mm f1.4 fits, and trust me, it's amazeballs for blood splatter effects!

---------- Post added 08-02-17 at 06:36 PM ----------


K-01, with manual focus lens, I have shot 4 hours of video per battery charge.
I have mates with Canons that have 7 to 10 batteries ready for each day of stop-start shooting.
I'll start the day on whatever battery is in the K-01 and swap it to my second when I need to, if I need to. I've never felt I need to buy a third DLi90.
Frankly, on average, I reckon its more likely to fill a 32gig card before the battery dies.
I assume you don't shoot in the cold? I've had to swap batteries on my K-1 (when there was a battery in the camera, and one in the grip) doing Astrophotography in freezing weather.
02-08-2017, 03:57 AM   #66
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QuoteOriginally posted by LaurenOE Quote
Pip Groom


thanks!
02-08-2017, 10:49 AM   #67
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QuoteOriginally posted by btnapa Quote
Wow. I really could not tell. I have a guess but I am no sure. Credit to you. Great job of color matching the footage from two very different sources. Pro job all the way.

Here is my guess. The straight ahead shots are the K1. The shots from the side are the Sony. Am I right? or did I get it all wrong.
I had to bring up that project again to remember.

Straight on shots are the FS7, side shots are the K1.



The FS7 is at 4K/60p with minor grading, without a LUT in Premiere, so that tells you how wonderful the color is from the K1...at least in certain situations obviously.

02-08-2017, 11:53 AM   #68
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QuoteOriginally posted by lithedreamer Quote
I assume you don't shoot in the cold?
Not lately...its been HOT!
02-08-2017, 09:16 PM   #69
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QuoteOriginally posted by LaurenOE Quote
I had to bring up that project again to remember.

Straight on shots are the FS7, side shots are the K1.



The FS7 is at 4K/60p with minor grading, without a LUT in Premiere, so that tells you how wonderful the color is from the K1...at least in certain situations obviously.
Wow. I thought the side shots were the FS7 as they appeared sharper and had better color saturation. It was also interesting how they rendered the out of focus stuff in the background. I was looking for clues there to make a better guess as to which was which but could not tell no matter how much I looked.

I guess, I am going to stop doubting K1's video capability and go out there and shoot the next project with it. You made a believer out of me. Thanks.

BTW, the audio sounded really good. I noticed you used a Zoom recorder (on the timeline). I have the H4N and need to get a better mike than the chepo one I have. What do you use for lav and shotgun? Are they XLR or minis. Thanks again.

Last edited by btnapa; 02-08-2017 at 09:22 PM.
02-08-2017, 09:53 PM   #70
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QuoteOriginally posted by btnapa Quote
Wow. I thought the side shots were the FS7 as they appeared sharper and had better color saturation. It was also interesting how they rendered the out of focus stuff in the background. I was looking for clues there to make a better guess as to which was which but could not tell no matter how much I looked.

I guess, I am going to stop doubting K1's video capability and go out there and shoot the next project with it. You made a believer out of me. Thanks.

BTW, the audio sounded really good. I noticed you used a Zoom recorder (on the timeline). I have the H4N and need to get a better mike than the chepo one I have. What do you use for lav and shotgun? Are they XLR or minis. Thanks again.
Like the cameras I have...I have a ton of mics.

Most of the time I go for a wireless mic because of the localized pattern, my favorites are the Sony UWP series (last generation). On the FS7, I leave an NTG-2 with a dead cat on input 1. On the K1 I usually put nothing (it records in stereo!) or either a Audio Technica Pro-24cm or my latest fave the Rode VideoMicro which I LOVE.

Most of the time, I record a "Back bone" audio track on a Zoom H6, and sync all the scratch tracks from the cameras to that.
Soon, I will transition to a Zoom F4 (Friday) since I now need an XLR passthrough.

Audio is another whole bunch of variables...and another whole set of things to work with.
02-10-2017, 09:33 AM   #71
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QuoteOriginally posted by surfar Quote
Not lately...its been HOT!
Which is why last Sundays model shoot started in a tunnel,....
02-10-2017, 08:49 PM   #72
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QuoteOriginally posted by LaurenOE Quote
Like the cameras I have...I have a ton of mics.

Most of the time I go for a wireless mic because of the localized pattern, my favorites are the Sony UWP series (last generation). On the FS7, I leave an NTG-2 with a dead cat on input 1. On the K1 I usually put nothing (it records in stereo!) or either a Audio Technica Pro-24cm or my latest fave the Rode VideoMicro which I LOVE.

Most of the time, I record a "Back bone" audio track on a Zoom H6, and sync all the scratch tracks from the cameras to that.
Soon, I will transition to a Zoom F4 (Friday) since I now need an XLR passthrough.

Audio is another whole bunch of variables...and another whole set of things to work with.
You do have quite a few mics. I have used a variety in the past but now own a very low end wired lav. I thought mikes had to have XLR output to be considered "professional." I am seeing too many that have mini jacks and a lot of people rave about them. I am new to video editing. I started with Lightworks but quickly gave up on it and went to Premiere. One of the things I have to figure out is synching multiple sources of audio. I want to record on my Zoom because it has better audio. At the same time in camera recoding is already synched. So I have lots to learn. I got into it almost by default. I shot the footage for a client and then I had to figure out a way to make the stuff look professional. I used to do mutli-projector slide shows in the old days. A lot of the principles are the same. I went back to basics. The difference is that the tools available for production today are much more powerful compared to the stuff I used back in the 80's and 90's.

Thank you for ll your help.
02-11-2017, 12:55 AM   #73
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QuoteOriginally posted by btnapa Quote
You do have quite a few mics. I have used a variety in the past but now own a very low end wired lav. I thought mikes had to have XLR output to be considered "professional." I am seeing too many that have mini jacks and a lot of people rave about them. I am new to video editing. I started with Lightworks but quickly gave up on it and went to Premiere. One of the things I have to figure out is synching multiple sources of audio. I want to record on my Zoom because it has better audio. At the same time in camera recoding is already synched. So I have lots to learn. I got into it almost by default. I shot the footage for a client and then I had to figure out a way to make the stuff look professional. I used to do mutli-projector slide shows in the old days. A lot of the principles are the same. I went back to basics. The difference is that the tools available for production today are much more powerful compared to the stuff I used back in the 80's and 90's.

Thank you for ll your help.
Cool.

Most folks recommend XLR mics and such because it's a "Balanced" method that decreases the noise. XLR also has positive locking mechanisms and is a "standard".

Mini jacks, are not balanced, and most dSLRs need some kind of pre-amp. However, mic technology has improved to compensate. Like Pentax not being respected, mic manufacturers used to ignore providing mini jacks as a recording connector, but mini jack mics broke through and have become accepted. Besides, dSLR video is now a viable standard, so we get mini jack mics that are pretty awesome to go with our cameras.

As for mixing all the audio, that is soooooo easy now with Adobe Premiere.
I used to do it the "old way" with markers, timecodes, clappers and audio waveforms.

Scratch tracks are your friend, don't worry about getting perfect recording from your dSLR. It will never be as good as what you get with an external recorder.

Last edited by LaurenOE; 02-11-2017 at 01:00 AM.
02-11-2017, 04:12 AM   #74
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QuoteOriginally posted by LaurenOE Quote
Scratch tracks are your friend, don't worry about getting perfect recording from your dSLR. It will never be as good as what you get with an external recorder.
I know Lauren will know this already, but for everyone else,... A good Audio recorder will have a stereo mini-jack output, that can be set to line or mic level, so you can record the audio separately, and loop it thru to the camera, so you have a guide track of matching audio waveform in the DSLR/MILC files.

If you use an external recorder like the Atomos Shogun I use, you can take the HDMI (,.. form non-Pentax cameras) in to the external recorders for higher quality video, plus the audio you're feeding in to the cameras Mic In Port.
02-11-2017, 12:33 PM   #75
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QuoteOriginally posted by PiDicus Rex Quote
I know Lauren will know this already, but for everyone else,... A good Audio recorder will have a stereo mini-jack output, that can be set to line or mic level, so you can record the audio separately, and loop it thru to the camera, so you have a guide track of matching audio waveform in the DSLR/MILC files.

If you use an external recorder like the Atomos Shogun I use, you can take the HDMI (,.. form non-Pentax cameras) in to the external recorders for higher quality video, plus the audio you're feeding in to the cameras Mic In Port.
Yep.

Now I am transitioning from a Zoom H6 to a Zoom F4 for exactly that kind of workflow.
I needed a more sophisticated method of PFL (Pre/Fade Listen) and both XLR out and mini-jack.

I got my Zoom F4 along with the FRC-8/F-Control board yesterday.

I've been up reading through it, and for about the same price as I paid for my H6, the F4 takes it to another level.

I have a high profile shoot on Tuesday, so I need to work the kinks out this weekend.

(and the K1 along with the FS7 will be there!)

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