Interview Shots from a Corporate Project
- Thread starter Elton
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fake sandisk cards
fake sandisk cards
Did you guys buy on ebay? There is a warning out about fake sandisk cards
http://reviews.ebay.com/FAKE-SanDisk-Extreme-Compact-Flash-Cards-Exposed_W0QQugidZ10000000001456539
fake sandisk cards
Did you guys buy on ebay? There is a warning out about fake sandisk cards
http://reviews.ebay.com/FAKE-SanDisk-Extreme-Compact-Flash-Cards-Exposed_W0QQugidZ10000000001456539
Oynk
Well-known member
Nope. I bought at Best Buy.
Please direct me to the appropriate thread if this has already been discussed ...
Why are you guys using Nikon lenses? I mean, I know they're top notch, but if I had a 5DII could I use my Canon EF 24-105 f/4 and still get similar results?
What are the advantages to using the Nikon lenses?
And what mount are you using???
Why are you guys using Nikon lenses? I mean, I know they're top notch, but if I had a 5DII could I use my Canon EF 24-105 f/4 and still get similar results?
What are the advantages to using the Nikon lenses?
And what mount are you using???
puredrifting
Major Contributor
Finster:
People are using Nikons because they have manual aperture rings, allowing you to eliminate one more variable of having the 5D pick the aperture.When using Nikons, YOU get to choose aperture, hence depth of field and then you only have to wrestle the camera for control of the shutter speed and ISO.
Nikons are also cheaper, you can get a great AIS 50mm 1.4 prime for about $150.00
The mounts most are using are the Kawa adapters available on EBay for about $10.00
I like the Canon lenses but for video shooting, the Nikons are better. You can use your stock 24-105 but it is slow and cost a lot and you will have to fight the camera to chose the aperture or do the mylar or unmount tricks.
D
People are using Nikons because they have manual aperture rings, allowing you to eliminate one more variable of having the 5D pick the aperture.When using Nikons, YOU get to choose aperture, hence depth of field and then you only have to wrestle the camera for control of the shutter speed and ISO.
Nikons are also cheaper, you can get a great AIS 50mm 1.4 prime for about $150.00
The mounts most are using are the Kawa adapters available on EBay for about $10.00
I like the Canon lenses but for video shooting, the Nikons are better. You can use your stock 24-105 but it is slow and cost a lot and you will have to fight the camera to chose the aperture or do the mylar or unmount tricks.
D
Elton
Veteran
Here's another interview sequence from the project. http://www.vimeo.com/4232748
Original QT file is available.
Grab:
Original QT file is available.
Grab:
Byrd McDonald
New member
Thanks to Elton and his crew for this great post - essentially a master class on shooting, lighting, and recording a classy little 2-camera doc shoot.
I just shot for a corporate client in China with my trusty, rusty, heavy and predictable HVX-200, but brought along my 5D II as a b-cam, which I shot 3 of my 15 run-n-gun interviews with.
My light bulb moment was around how much more relaxed subjects are with the what they perceive as a still camera. As in, they were soooo natural and unguarded. This is the reason the camera will work for me despite gotchas here and there. It's lite, it's practical, and people aren't freaked out.
My ONE concern is that so many of us are going to be using this camera in the next 12 months that we are going to see an over-abundance of static, overly composed interview scenes. In my heart, that is the problem with the camera - that the energy of handheld shooting - punch ins, whip pans, slow zooms, whatever - is last. Obviously, camera movement is only one aspect, but i fear it's going to be too uptight and stuffy shooting a lot of interview footage with this camera.
That said, most people need to quit moving their cameras around so much...
I just shot for a corporate client in China with my trusty, rusty, heavy and predictable HVX-200, but brought along my 5D II as a b-cam, which I shot 3 of my 15 run-n-gun interviews with.
My light bulb moment was around how much more relaxed subjects are with the what they perceive as a still camera. As in, they were soooo natural and unguarded. This is the reason the camera will work for me despite gotchas here and there. It's lite, it's practical, and people aren't freaked out.
My ONE concern is that so many of us are going to be using this camera in the next 12 months that we are going to see an over-abundance of static, overly composed interview scenes. In my heart, that is the problem with the camera - that the energy of handheld shooting - punch ins, whip pans, slow zooms, whatever - is last. Obviously, camera movement is only one aspect, but i fear it's going to be too uptight and stuffy shooting a lot of interview footage with this camera.
That said, most people need to quit moving their cameras around so much...
Tony_Reyes
Well-known member
Byrd I agree that we will have this great tool and 'use-to-be' plain sit down interviews will look amazing. Almost too good. Weird huh?
But at the same time throwing in there some handheld with snap zooms will be that much more apparent now. I guess I'm trying to say that maybe this is making the locked off shot more appealing? It stands on its own much better. Like it sticks out.
But at the same time throwing in there some handheld with snap zooms will be that much more apparent now. I guess I'm trying to say that maybe this is making the locked off shot more appealing? It stands on its own much better. Like it sticks out.
morgan_moore
Major Contributor
I started off being a lock off freak
this footage does look a bit static as locked off - particularly when cut with the wild movement of the steadytracker
I think the answer is subtle pans or tilts while on sticks to make the footage 'breath' - or even mini whip pans - for that 'the office' look
Or of course a slider of some nature
Absolute lockoffs work maybe where the subject is moving (see sergio leone)
Also his eyeline is a bit strange - he appears to be talking to the cupboard - again I started out asking interviees to look to an imaginary point - but now think real eye contact is essential either with me or a reporter or another subject
S
this footage does look a bit static as locked off - particularly when cut with the wild movement of the steadytracker
I think the answer is subtle pans or tilts while on sticks to make the footage 'breath' - or even mini whip pans - for that 'the office' look
Or of course a slider of some nature
Absolute lockoffs work maybe where the subject is moving (see sergio leone)
Also his eyeline is a bit strange - he appears to be talking to the cupboard - again I started out asking interviees to look to an imaginary point - but now think real eye contact is essential either with me or a reporter or another subject
S
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ESTEBEVERDE
Veteran
Eyeline looks interesting and pleasing to me.
I would have to see the whole thing to really get a complete impression and perspective.
I would have to see the whole thing to really get a complete impression and perspective.
another thing to consider is:
This "interview" was conducted in a busy pharmacy, during business hours with plenty of customers 10 feet away - very noisy too - I had the subject looking at/talking to the interviewer - eye-line, as far as I'm concerned, is fine for me and my client; they are deliriously happy.
I'm just an "old fashioned" kinda shooter - movement "should" be MOTIVATED by a purpose - serving the story / moving the story along. I'm not a big fan of movement for movement's sake - it's just too popular for me right now - kinda like shallow depth of field just "because" you can.
When it serves the story it's so much more powerful - I think.
Michael Schoenfeld
This "interview" was conducted in a busy pharmacy, during business hours with plenty of customers 10 feet away - very noisy too - I had the subject looking at/talking to the interviewer - eye-line, as far as I'm concerned, is fine for me and my client; they are deliriously happy.
I'm just an "old fashioned" kinda shooter - movement "should" be MOTIVATED by a purpose - serving the story / moving the story along. I'm not a big fan of movement for movement's sake - it's just too popular for me right now - kinda like shallow depth of field just "because" you can.
When it serves the story it's so much more powerful - I think.
Michael Schoenfeld
morgan_moore
Major Contributor
You video is great - I really like what the 5d can do in these enviromments - you are using a great tool well
On the eyeline - I just think he is, being right in frame, kind of looking out of the picture drawing the eye away from the screen
We dont know why - of course your final cut may have a scene setter showing the interviewer
On the lock off - you are right the camera should move for a reason
I have been pondering this - maybe with tighter framing in the interview the minor movements of the subject would cause reason to move the camera (subtly) and give a little more life to the shot
Another little thing - is the B sound completely killed ? IMO it should be there - just
S
rapsucks
Well-known member
SLC represent. I've been pretty absent on these boards lately, but this whole vDSLR thing has got my juices flowing again.
Michael, it's nice to see you and yours putting out great stuff on these tools.
For my two cents, I think I'm going to do any audio with an external mic going straight into a laptop/netbook. There are plenty of freeware recording apps, and the same way as with DATs, if your audio rolls every time your video rolls, you'll have two parallel lists of files. Synching would be annoying, but not restrictively so.
Michael, it's nice to see you and yours putting out great stuff on these tools.
For my two cents, I think I'm going to do any audio with an external mic going straight into a laptop/netbook. There are plenty of freeware recording apps, and the same way as with DATs, if your audio rolls every time your video rolls, you'll have two parallel lists of files. Synching would be annoying, but not restrictively so.