Thread: Just started a feature.

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  1. #11  
    Senior Member DPStewart's Avatar
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    Quote Originally Posted by vicharris View Post
    I'm using them in practical/working lights. Since I can't use traditional lightening except outside, I had to find a way to make all the practicals work for me. There's 2 Ledare 1000 lumen bulbs overhead a main table in the living room where they are sitting, enclosed in the low profile paper lantern lights from Ikea so they are out of my way but still insinuate some sort of overhead light. There's also one used in the crunchy Ikea paper light hanging in the next room but I've put varying degrees of ND on that one from time to time. Actually now that I think about it it, I've done the same with the 2 overheads in our main room.

    Then I purchased 5 of those 26W Kino Tru Color 3200 Flo bulbs for other practicals. Since the Kinos were a slight more magenta than the Ledares, I found that pacing them in slightly colored paper light fixtures, the ones that look a tad bit dirty/yellow/badge, helped to bring them closer and still provided a warmer looking light. You can see one behind the blonde girl and there's on on the other side of the room that has 3 bulbs and I unscrew 1 or 2 at times depending on what strength of back light needed.

    Then finally I have a Fat Boy and Slim Boy for fill where ever needed. Usually a back light for someone or just to throw some light towards a secondary character. We have 6-7 actors for 75% of the film on camera at the same time so this is almost an impossible challenge with this type of lighting and LIMITED crew but it's getting there. I still feel the grade is a little too clean but the director loves it.
    Very smart. I assume you also have many areas where you can't put any rigging at all due to it all being active set space.

    I'm also curious why the Pocket is A cam over the 2.5k.
    Cameras: Blackmagic Cinema Camera, Blackmagic Pocket Camera (x2), Panasonic GH2 (x2), Sony RX100 ii, Canon 6D, Canon T2i,
    Mics: Sennheiser, AKG, Shure, Sanken, Audio-Technica, Audix
    Lights: Every Chinese clone you can imagine
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  2. #12  
    Senior Member jambredz's Avatar
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    Quote Originally Posted by Roman View Post
    Even though I mostly shoot on the 2.5K, I've got to admit when I look at Pocket footage, which is usually assembled onto the gimbal, I notice it every single time. The Pocket has better color. I've shot them side by side so much at this point that it's hard to not notice the difference. I don't know what it is really, but the overall image is just stronger. Plus, I think Vic generally shoots on Pocket or URSA. He might not even have a 2.5K, but he can confirm that.
    Even when shooting 2.5k raw as opposed to the pockets 1080p? (in regards to the "stronger image" reference). Ive never shot on the pocket so I'm curious.
    Darren Scott
    Freelance Director/Director of Photography


    https://vimeo.com/jambredzvisions/videos
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  3. #13  
    Senior Member LochnessDigital's Avatar
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    Quote Originally Posted by vicharris View Post


    Yeah, Thomas and I were laughing about that one.
    I was too busy trolling you I forgot to say I'm digging the look. Really strong color contrast there with the walls.

    This shot I particularly enjoy because has a certain claustrophobic feeling which is awesome:
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  4. #14  
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    Pocket Raw specifically, is beast. Perhaps ProRes as well to an extent, but Raw on the Pocket genuinely seems to have better color in a way. I mean shoot, it could all be in my head because I don't know how in the world I could prove something like that. Perhaps a simple side by side blind comparison of some kind. It's not always obvious, but say in a situation where the camera is going to shine no matter what, golden hour, perfect level of natural light etc, where you can really see just how good your skin tones are... that's where I notice the Pocket just slightly outshining the 2.5K with skin tones specifically.

    Kholi has multiple times, picked out moments in a footage montage of when it was a shot from the Pocket, without me mentioning it or even the fact I shot on the Pocket at all.
    Test footage Vimeo page: https://vimeo.com/romanalaivi
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  5. #15  
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    Short answer boys, the Pocket is a better camera. Took me a bit to get my footing but my BMCC is a paperweight now or insert can that I can grab and pop off a shot. As soon as I get the speedbooster off it, I'm selling. Moire is just too awful for one.

    It's still hard to top the BMPCC shooting RAW with any camera under $5,000. It's damn good in low light too.
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  6. #16  
    Senior Member DPStewart's Avatar
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    Quote Originally Posted by vicharris View Post
    Short answer boys, the Pocket is a better camera. Took me a bit to get my footing but my BMCC is a paperweight now or insert can that I can grab and pop off a shot. As soon as I get the speedbooster off it, I'm selling. Moire is just too awful for one.

    It's still hard to top the BMPCC shooting RAW with any camera under $5,000. It's damn good in low light too.
    INTERESTING.

    Anyone else with both care to share your take on this?
    Cameras: Blackmagic Cinema Camera, Blackmagic Pocket Camera (x2), Panasonic GH2 (x2), Sony RX100 ii, Canon 6D, Canon T2i,
    Mics: Sennheiser, AKG, Shure, Sanken, Audio-Technica, Audix
    Lights: Every Chinese clone you can imagine
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  7. #17  
    Vic-

    Thanks for posting and seems like you are off to a great start. I would you love to hear more about your experiences as you shoot this feature. I assume you are using speedbooster. (That 50 and 85 will get pretty long pretty fast without it) . Do you have a DIT on set to off load cards? Are you overwhelmed by the amount of data you are going through by shooting RAW? What is your battery solution ? Can we see your rig? How are you creating dailies?
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  8. #18  
    Quote Originally Posted by DPStewart View Post
    INTERESTING.

    Anyone else with both care to share your take on this?
    I disagree to an extent. Then again I shoot mainly Prores with several cameras at a time. I think the sharpness is much cleaner on the BMCC thanks to the downsampling of the sensor. The pocket camera sometimes get jagged edges when things are VERY sharp on curved lines and you can't sharpen those shots any more in post. The BMCC just feels more solid in post. Due to the dimensions and weight, the camera also feels more substantional and stable when working on sticks. So I keep mine on sticks. However, for all handheld work, I stay exclusively with my Pocket cameras, where they absolutely shine.
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  9. #19  
    Member Rayinmotion's Avatar
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    Now this I appreciate!, it's amazing what your capable of achieving with such a minimal lighting package and etc.. This is where true film making tactics come in hand to create a compelling image with so little. Also that actress on the last frame, looks to be the lovely Shannon Lark if I am correct.
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  10. #20  
    Senior Member misterkofa's Avatar
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    Quote Originally Posted by vicharris View Post
    Short answer boys, the Pocket is a better camera.
    Preach! I keep saying this. Pound for pound, the pocket is BM's best camera. It seems difficult for some people to wrap their head around the fact that a $1,000 "pocket" camera can be A camera in a feature. It's been used as B cam on major features (Mad Max, Avengers, American Sniper)alongside the Alexa when clearly they could have went with a RED or the Canon C lineup. The super 16 sensor is magical, trust.
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