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[Gila]

Promised I'd share the recent film I've made for Jameson Whiskey when I had subtitled it so here it is! As with all commissioned work I would have preferred to do some things a bit different or remove certain aspects of the film (You'll know which parts I mean when you see it ;-) ) But regardless I'm still happy with how the film turned out. Wicked cool to make a film for a big brand as Jameson (and stressful as I did the entire film on my own). Originally edited the film in 1080p but shot it in 4K. Only cropped in on 2 shots so I decided to render it out in 4K as well. Really curious how it looks in 4K as I've got no 4K monitor!

https://vimeo.com/152091513

This is amazing, exactly the kind of creations I want to get into. If you don't mind, I'll pm you a bunch of questions

 

[Addi]

Depends on what you really need. A7S II doesn't really offer that much that I feel justifies the price over getting an Atomos. Internal 4k is worth it if the types of shoots you do really require smaller and quicker set ups. The stabilization IMO is barely worth it, as the rolling shutter is just as bad on an A7S II so you don't want to hand hold that anyway.

Personally I'd go with the Atomos. You can record to ProRes, which is easier to work with in post, and it comes with tons of features that the naked camera doesnt have (waveforms, false color, oh and 3D luts is the big one especially if you're working in SLog).

That and once you're ready to upgrade your camera, you can bring the Atomos to your new set up, even if you don't need the external 4k recording it's a beautiful monitor.

I really disagree. The stabilization is amazing. I've done handheld shots with a 300mm zoom and got really steady results. That plus the color science is a lot better on the II and SLog 3 is a nice add-on as well. But the stabilization really is killer feature. I'm not that big of a fan of the A7 line regarding image quality, I much prefer the images produced by the higher end Sony cameras. But that stabilization feature really is something that'll make me consider getting the A7S II.

Haha, these posts don't make it easier Two things that make me lean towards the Atomos:
- I often film stuff for musicians, theatres, dancers etc. so sometime the 29 minutes limitation of the camera hurts if I have to film a show/concert. If I read correctly, the Atomos removes that limitation.
- The Focus peaking on the A7S screen is not great, meaning I can get shots that I think are in focus, but are soft when I watch the material on a computer. A monitor would help.

Things that make me lean towards the A7S II:
- Slog-3, I have gotten deeper into colour correction lately, so that seems interesting.
- Stabilisation.
- Not having to spend even more time building my rig.

hmmmm. I'm really not sure.

Great video btw sec0nd. Lovely cinematography.

EDIT: oh, regarding the stabilisation, I almost always shoot with a should rig, I never hold the camera in my hands while filming.

 

[Sec0nd]

Sec0nd, that was fantastic to watch, I know how it is when you want to iron out the piece, over and over. Did you just shoot that over the course of one day? When you say you were solo, was that for all the camera operating? What was the turnaround, same day? Keep up the fantastic work. I'll have a few edits ready this week, we can trade stories.

Cheers! It was all me for directing, editing, shooting, writing the script, etc. It was shot over the course of two days. Edited over the course of two weeks in the evenings, but wasted a lot of days of rerecording the voice over because it just wasn't where I wanted it to be.

This is amazing, exactly the kind of creations I want to get into. If you don't mind, I'll pm you a bunch of questions

Go right ahead!

- Slog-3, I have gotten deeper into colour correction lately, so that seems interesting.
- Stabilisation.

EDIT: oh, regarding the stabilisation, I almost always shoot with a should rig, I never hold the camera in my hands while filming.

If you use shoulder rigs than the stabilization isn't much of a feature. Though if you are getting deep into colour grading Slog3 is indeed interesting. But regarding color grading they eliminated the weird greenish color cast that the A7S has so you can more quickly get more natural colors with the A7S II.

The Atomos seems really nice and I'd like to try one out in the future. Seems hella large though to use with an A7s!

 

[Strax]

I've been having a lot of trouble in the last 12 months working with some cinematographers. Most of them just wanted the coolest shot at all times even tho it doesn't make sense in the context of the story/shoot.

Meh.

 

[Spaghetti]

Less is more, usually.

If you're having trouble with cinematographers because of that issue, direct them to the Every Frame a Painting videos on ensemble composition, the one about David Fincher, and the Spielberg Oner video. They're pretty eye opening for plenty of reasons, and really help keep things simple.

 

[Flo_Evans]

Haha, these posts don't make it easier Two things that make me lean towards the Atomos:
- I often film stuff for musicians, theatres, dancers etc. so sometime the 29 minutes limitation of the camera hurts if I have to film a show/concert. If I read correctly, the Atomos removes that limitation.
- The Focus peaking on the A7S screen is not great, meaning I can get shots that I think are in focus, but are soft when I watch the material on a computer. A monitor would help.

Things that make me lean towards the A7S II:
- Slog-3, I have gotten deeper into colour correction lately, so that seems interesting.
- Stabilisation.
- Not having to spend even more time building my rig.

hmmmm. I'm really not sure.

Great video btw sec0nd. Lovely cinematography.

EDIT: oh, regarding the stabilisation, I almost always shoot with a should rig, I never hold the camera in my hands while filming.

I have the older Atoms ninja blade and its really nice... A7s II should come tomorrow

Really I think it comes down to what you are doing, do you have time to check color charts, really nail focus on the screen and setup all that stuff? Or is low light and hand held more important to your work?

edit: after using the A7sii I would say the glaring weak spot is the rear LCD and built in focus peaking. I would get the external screen. If you normally run a shoulder rig a screen is great because you can keep the weight of the camera/lens over the shoulder and have the screen in your face.

 

[Strax]

I was hired yesterday to make a "Making of" for a feature film. Today I showed up to the set and talked to the producers and said I needed to bring my own camera and a shotgun mic on the top of it. Maybe tell me this before I show up but whatever, I can get a camera. When I was hired (didn't sign any papers tho) I was told that I would get some money. Its a small indie movie and so I didn't expect much. After having that camera talk with the producers we talk about the money. Now they say "If we like what you shoot, we will maybe buy it from you."

Fuck that.

Less is more, usually.

If you're having trouble with cinematographers because of that issue, direct them to the Every Frame a Painting videos on ensemble composition, the one about David Fincher, and the Spielberg Oner video. They're pretty eye opening for plenty of reasons, and really help keep things simple.

Will do, thanks.

 

[Spaghetti]

I was hired yesterday to make a "Making of" for a feature film. Today I showed up to the set and talked to the producers and said I needed to bring my own camera and a shotgun mic on the top of it. Maybe tell me this before I show up but whatever, I can get a camera. When I was hired (didn't sign any papers tho) I was told that I would get some money. Its a small indie movie and so I didn't expect much. After having that camera talk with the producers we talk about the money. Now they say "If we like what you shoot, we will maybe buy it from you."

Fuck that.

That is the perfect snapshot of being an independent video producer, holy shit.

 

[Anton Sugar]

I was hired yesterday to make a "Making of" for a feature film. Today I showed up to the set and talked to the producers and said I needed to bring my own camera and a shotgun mic on the top of it. Maybe tell me this before I show up but whatever, I can get a camera. When I was hired (didn't sign any papers tho) I was told that I would get some money. Its a small indie movie and so I didn't expect much. After having that camera talk with the producers we talk about the money. Now they say "If we like what you shoot, we will maybe buy it from you."

Fuck that.

lol

Sometimes the indie scene makes me sick.

 

[Addi]

edit: after using the A7sii I would say the glaring weak spot is the rear LCD and built in focus peaking. I would get the external screen. If you normally run a shoulder rig a screen is great because you can keep the weight of the camera/lens over the shoulder and have the screen in your face.

Thanks for that info I hadn't thought of the possibility of having the screen in front of my face while filming on shoulder rig, that's great for me since the camera screen isn't always that easy to see. I think I will go for the screen sometime this spring.

I was hired yesterday to make a "Making of" for a feature film. Today I showed up to the set and talked to the producers and said I needed to bring my own camera and a shotgun mic on the top of it. Maybe tell me this before I show up but whatever, I can get a camera. When I was hired (didn't sign any papers tho) I was told that I would get some money. Its a small indie movie and so I didn't expect much. After having that camera talk with the producers we talk about the money. Now they say "If we like what you shoot, we will maybe buy it from you."

Fuck that.

Haha! But what about networking possibilities and the amazing opportunity of putting this experience on a resume? It's not like eating is more important or anything!

 

[Strax]

Haha! But what about networking possibilities and the amazing opportunity of putting this experience on a resume? It's not like eating is more important or anything!

To be fair I would have done it for free if they hadn't lied about it and signed a contract that said I owned the footage. Also the DP has an old dslr and a shotgun mic on the set but they would not let be use that one, for some reason.

 

[Flo_Evans]

Holy shit - neat video noise reduction plugin...

!!!

Really kills my computer chugging on 4k footage but damn. Worth the fans kicking on high.

 

[nintendork666]

After deciding to get back into video-making, I went ahead and purchased a Sony a58 off of eBay the other night which included both the kit lens and a 55-200mm telephoto lens. I'm excited since this will be my first DSLR, and surely an improvement over the Canon Vixia HFM31 I'd been using

I'm looking forward to getting some shorts/music videos done, maybe even branching out into weddings as well.

Any tips/tricks for someone just starting out with a DSLR?

 

[Addi]

That moment when I'm asked to be an extra in a Michael Fassbender movie, but I'm out of town

Holy shit - neat video noise reduction plugin...

Awesome! But how is the noise reduction without any LUT or grading?

After deciding to get back into video-making, I went ahead and purchased a Sony a58 off of eBay the other night which included both the kit lens and a 55-200mm telephoto lens. I'm excited since this will be my first DSLR, and surely an improvement over the Canon Vixia HFM31 I'd been using

I'm looking forward to getting some shorts/music videos done, maybe even branching out into weddings as well.

Any tips/tricks for someone just starting out with a DSLR?

I haven't tried exactly that camera, but mostly you will want to go fully manual when using DSLRs. Get used to exposing things manually, focusing etc. I don't know your level of knowledge, but you should know about shutter speed (rule of thumb is to have the shutter speed "double" of the framerate, 25 fps 1/50, 50fps 1/100, 60fps 1/120 etc.) and try to figure out what level of ISO is the maximum you can use without making an unsalvageable amount of noise (different for every camera).

Also, here's a couple of things you might want to buy:
-a fast prime lens, 30 or 50 mm f.1.4 or 1.8, will let you film in darker settings and give you cool shallow depth of field. It also teaches you to frame without relying on zoom
- a mic or even better, an external recorder for audio
- Something to stabilise the camera, either a tripod or cheap shoulder rig. DSLRs are really light, so handheld footage have some ugly small shakes.

 

[Flo_Evans]

Awesome! But how is the noise reduction without any LUT or grading?

It looks really good. http://i.imgur.com/foJzKZB.jpg

It seems like recording in Slog you actually capture more noise. Mostly in deep shadows that would be crushed out with the grade. From what I am reading/seeing it really likes to be exposed to the right of the histogram.

This was just a quick auto reduction it seems like a really robust tool. I've been looking for a good noise reduction plugin for awhile. I heard Phillip Bloom mention it in one of his reviews and checked out the demo. https://www.neatvideo.com the website is kind of ...eh? but it works.

Good stuff. Now I kind of want to go back and re-master all my videos lol.

 

[Anton Sugar]

Not sure of the best place to ask this, but since it is related to filmmaking, figured I'd start here.

What's the best way to capture screens/grabs from a movie on your computer? Trying to create a series of look/inspiration boards for an upcoming project and want to be use some stills from a few movies I have.

Everywhere I've looked says to disable hardware acceleration on my video card, but all the computers I have (my Dell W7 laptop, my Surface SP3, and my W10 desktop) don't have that option.

Is there any alternative?

 

[Spaghetti]

Vid-GAF, I need an opinion on exposure (and to a lesser degree, white balance).

http://imgur.com/a/LQOLa

There are four images in the above album from a camera test I did at a location the other day. Two are from T4 footage and the other two at T5.6, and all at 800ISO on the Ursa Mini. No additional lights were used, and the area is lit just by the fluorescent tubes in the ceiling.

Which do you think is effectively the "best" exposure? I can't make up my mind whether I want to keep that higher aperture or not. Also, even though those shots were from RAW footage, we're going to be shooting in Pro Res HQ, so we'll have less flexibility brightening or darkening the image in post than we would with RAW.

Here's an album of stills from Pro Res HQ footage we shot at T5.6. This footage was shot at 3000K, besides the last one which was higher and around 3600K maybe.

http://imgur.com/a/ykDfw

Think I'm going in the right direction with T5.6 and 3000K for shooting?

 

[brerwolfe]

What's the best way to capture screens/grabs from a movie on your computer?

Is there any alternative?

The "print screen" key?

 

[NipplesAndToes23]

Anyone know where I can cop a camera for free?

 

[Anton Sugar]

The "print screen" key?

Doesn't work--the image from the video always comes out as pure black, regardless of the screen cap method.

 

[Addi]

Doesn't work--the image from the video always comes out as pure black, regardless of the screen cap method.

I think it's a Mac thing, no problem print screening videos on mac. VLC player should have a "take snapshot"-function under "video".

 

[Flo_Evans]

Vid-GAF, I need an opinion on exposure (and to a lesser degree, white balance).

http://imgur.com/a/LQOLa

There are four images in the above album from a camera test I did at a location the other day. Two are from T4 footage and the other two at T5.6, and all at 800ISO on the Ursa Mini. No additional lights were used, and the area is lit just by the fluorescent tubes in the ceiling.

Which do you think is effectively the "best" exposure? I can't make up my mind whether I want to keep that higher aperture or not. Also, even though those shots were from RAW footage, we're going to be shooting in Pro Res HQ, so we'll have less flexibility brightening or darkening the image in post than we would with RAW.

Here's an album of stills from Pro Res HQ footage we shot at T5.6. This footage was shot at 3000K, besides the last one which was higher and around 3600K maybe.

http://imgur.com/a/ykDfw

Think I'm going in the right direction with T5.6 and 3000K for shooting?

I would go T4 3600k personally. 5.6 seems a bit dark unless you are absolutely sure you want the it to end up that way. Color temp I would usually like warmer but again depends on what you are going for. Split the difference? Does the ursa mini allow that many steps? I seem to remember the original black magic had rather large chunks when doing kelvin white balance.

 

[Spaghetti]

I would go T4 3600k personally. 5.6 seems a bit dark unless you are absolutely sure you want the it to end up that way. Color temp I would usually like warmer but again depends on what you are going for. Split the difference? Does the ursa mini allow that many steps? I seem to remember the original black magic had rather large chunks when doing kelvin white balance.

The Ursa Mini has a fair few kelvin options.

I'm trying to get as flat an image as possible basically. I'm not totally sure if I want the colour temp to be warm or cold when it comes to doing the final grading, so I'm doing everything I can to avoid baking it. I kind of like the dingy look of the cooler T5.6 footage, but I think I'm swaying towards shooting T4 and lowering the exposure in post instead. At least that way I can be flexible.

I'm also thinking of maybe going for RAW 3:1 over Pro Res HQ, which would throw the white balance issue out the window entirely. I only lose about 14 minutes recording time on a 256GB CFAST 2, but it'll throw me through a loop with working with an editor on an NLE that can't import CinemaDNG stuff correctly. I suppose I could always pick the best takes, sync with sound, then export from Resolve as a 720p Pro Res proxy...

I wish I had a larger lead-in time before we start shooting next Thursday, but such is life.

 

[nintendork666]

Also, here's a couple of things you might want to buy:
-a fast prime lens, 30 or 50 mm f.1.4 or 1.8, will let you film in darker settings and give you cool shallow depth of field. It also teaches you to frame without relying on zoom
- a mic or even better, an external recorder for audio
- Something to stabilise the camera, either a tripod or cheap shoulder rig. DSLRs are really light, so handheld footage have some ugly small shakes.

I appreciate the advice, and will most likely pick up a 50mm 1.4 lens of some sort once I get the hang of the camera. I've got a Shure Lenshopper I'm pairing with the a58 for audio. Honestly, I might even just stick it on a monopod or something for a cheap boom.

 

[BuggyDClown]

My latest youtube video

https://www.youtube.com/watch?v=W44ykYbia7U

Had a soft test launch form channel before holiday. Now it will have one release every sunday from here on out starting with this one. My only regret was a couple of shots the focus was a little off when the cats pulled back, partially because the box shifted back when I put the cats in the box.

I didn't have much help and had to handle the cats for the video so I had my tv hooked up to the camera and I was looking at that to view everything while I did it out of frame.

 

[Spaghetti]

Audio people:

At the location I did the camera tests at (see above), I also did some sound tests on a field recorder and microphone. They came back... far less than satisfactory. There was an extractor fan that wasn't running, but was still creating noise because of the wind outside. We can't find a way to block it off, so we may have to contend with it while filming there.

I decided to invest in a new recorder, as my old one was always the weak link in the chain compared to the microphones.

So currently I'm working with a Roland R-44 and an Audix SCX1/HC. I did think about getting a Sound Devices MM-1 as a pre-amp, but I just didn't have the budget (might have been a better idea just to buy the pre-amp, but it's too late now anyway). The Roland R-44 has a noise gate function in its effects settings, so what I'd like to ask is if I should run the noise gate while recording to block out the noise of the extractor fan, or if I should record the audio without the effect and try applying it in post.

What I've read online suggests I should record without the effect on, and just apply it in post, but I thought I'd try getting an opinion here too.

 

[Benjamin_MFF]

Per the audio question, always go for Timecode as a feature. Here's Tascam's dslr aimed model:

http://www.bhphotovideo.com/c/product/1189478-REG/tascam_dr_701d_linear_pcm_recorder.html

It's well priced, has timecode, works with triggering camera systems over hdmi. Kind of the bees knees.

 

[KalBalboa]

Wow, I didn't know we had this thread. Well, here's my latest pet project: Computer Fighters.

Shot on A7s, external audio and dubs on Zoom H5. Rokinon Cine 35, Sony FE55, and some Canon glass with an adapter. Hopefully having the entire beast up this coming weekend.

 

[Anton Sugar]

I think it's a Mac thing, no problem print screening videos on mac. VLC player should have a "take snapshot"-function under "video".

Yeah, I was just hoping to grab them out of Netlix, Amazon, etc., web player :-| I don't have raw files for a lot of these movies, especially because my "hard" copy is a Blu-Ray. Maybe I should look into a Blu-Ray drive for my PC...

 

[Ronabo]

Have you guys seen this little thing?

http://www.youtube.com/watch?v=9PWQ__2nuf8

 

[grounded_dreams]

Short two-minute silent film submission for my course. Had to reshot the majority of the footage at the last minute due to permission issue with one of the locations I shot in.
Continuity is a bit over the place but pleased with the tone of the work, with what I was able to cover with the time constraints involved:

Eye Test

 

[Spaghetti]

Going to ask this here for the audio people:

I'm using a location with a large glass front and it is causing terrible echo with the microphone. I'm going to hang/stick quilted blankets to the glass to dampen the echo.

Is there a particular technique to hanging/sticking the blankets, and how much does the thickness of the blanket change the dampening effect?

Thanks.

 

[Bold One]

Can anyone recommend any good storage racks that are also portable, the one I have been recommended doesn't seem to mobile http://www.lacie.com/gb/en/products/raid/4big-quadra-usb-3/

and is a bit pricey for what it is

 

[derdriu]

Hi all, I asking advice on what to charge for a 2min film. I studied film production years ago but never finished (for many money reasons) but kept it up as a hobby. I've only ever done personal stuff and spent most of my focus on editing.

I've been asked by a family member, who works for a government dept, to help their office out. They want me to do quick interviews of 6 evaluators. The inteview would consist of one question and the evaluators would give how ever many answers they want. Afterwards these replies would but cut down into a 2 min bit that will be used in meetings or possibly their youtube channel. Graphics are not needed, just quality sound and picture.

I've never done any film work as a job, and very unsure of what to ask money wise. Can anyone give me some idea of what I should charge? The inteview will probably last 2 hours in all, and a day editing, maybe 2 max (I think). I already have equipment and it's for a European office. Also they know I'm not a professional, they are trying to save money.

Thanks guys

 

[Benjamin_MFF]

Ask for your day rate, value your time. When on film productions, think about how much you want to be paid an hour for your knowledge and skills. To give you some numbers to start, minimum wage in California on a film set, the absolute lowest that can be paid legally for a full 12 hour day is $140, that's at $10/Hour. Now factor in the equipment you are using, that is going through wear and tear on the production, that's a rental on your side, which can be added to the total. Usually those two factors will get you in the ballpark of what you need to work out when figuring out your day rate. You can add on from there.

 

[brerwolfe]

If you're unsure of what price to factor in for your gear, go to a gear rental website and look up their rates for the same equipment. That should be a good starting point.

As far as labor, this seems like a super easy project that should take (me) 3 hours, at most, to edit (unless I'm missing some details?). I'd personally tell them $300 and do a same day edit.

As a professional I think my minimum would be $550 for this project.

 

[derdriu]

Thanks guys, this helps alot. I have a meeting with them next week to go over the finer details and now have a good idea what number to give. Thanks again to you both

 

[AwesomeSauce]

Hey y'all

Sony is doing a live interview today around 1PM PST with DP Michael Barret A.S.C.

Sony.com/prolive

I believe they are doing a Q&A too so if you want you can send questions to their twitter or hashtag @sonyprolive and #sonyprolive.

He's gonna go over his experience using Sony's cameras and workflow if that interest anyone.

 

[Benjamin_MFF]

Thanks for the link, they have earlier episodes, I'll give it a look and see how balanced the discussion are. I'm currently working on a feature as DIT, file management for days. If you have any questions, feel free to ask them.

 

[commedieu]

I'm new to audio here, bought a H1 ZOOM.

I listen to the wav file, sounds loud and clear. Just using media player.

However, when I bring the audio into After Effects -- I have to increase it by 12db as well as EQ it to boost it to an audible level.

Am I missing a proper way to import audio into AE? I'm, just not sure why its so low in AE, yet loud in MediaPlayer. The camera default audio -- is fine as well. It doesn't appear to be a volume problem. Media Player plays the audio file at the level that its on the h1,if I were to just plug the stereo jack into the player. But AE, AE has it coming in barely audible...

Any thoughts?

 

[brerwolfe]

Not sure. Why not use it as placeholder audio in AE and use an actual video editor for the the rest of the audio?

 

[commedieu]

Not sure. Why not use it as placeholder audio in AE and use an actual video editor for the the rest of the audio?

Its not a comp, meaning no edit, just a video => remove camera audio => import mic audio => export.

I'm testing the audio qualify out, nothing just jumped out at me as far as why the audio file, which is loud and normal in Mediaplayer/Audacity/QTplayer is some how coming in lower in AE.

Was just seeing if there was something I missed. I'm mainly a compositor, this is all outside of my paygrade. So I guess ill try Premire and see if its the same issue, then figure out why this wav is importing at a lower audible volume. I mean its lower than the Cam's audio as far as AE is concerned, but both are about equally loud if you play them stand alone in Above programs. The wave forms look about the same height as well. Just fuckin weird.

I just use AE for my basic editing needs. As nuke sorta leaves me high and dry for audio and assembling timelines easily. I feel like something is definitely wrong if I have to increase it to 12.db or what not, and then add filters to boost even more. Will report back once I figure it out, for prosperity.

 

[tattooed_dwarf]

Damn how have I missed this thread, I have to through this.

How many here works with video for living and those who do, where do you work? It's always interesting to hear on what kind of companies people do videos.

And I wanted link one work I'm actually proud of, this short documentary I did while studying at Norway last fall. Many things I would change and few that bother me, but that's always the case. Feel free to give feedback too.

http://youtu.be/S8Wxw-49joc

 

[Flo_Evans]

Hmm some weirdness with the a7s ii HDMI output when using slog.

Rented an atomos assassin and it seems it's recording the internal avcxd file at 16-235 ranges and using "full rgb" 0-255 on the hdmi port.

Not a huge deal if you set the exposure using the scopes on the external recorder but kind of annoying if you want to use preset LUT files. Both the gh4 and the d810 allow you to set output range to standard 16-235... Seems like another Sony quirk, but I can't believe they wouldn't know/care about this as they make tons of "real" pro video cameras.

I wonder if they made it this way so if you recorded in slog then played back straight to a tv it would look a bit more saturated and contrasty. Still, give me the option! You have the option to mess with the gamma on the rear LCD when shooting slog.

 

[Strax]

I just found out I got a nomination at the Icelandic Ad Awards for an ad campaign I came up with and wrote.

But I don't work for the ad agency anymore.

 

[Sec0nd]

Quick emergency question;

Speedboosters should fit on a Sony FS7 right? I've rented an FS7 with (accidentally) a speedbooster. Now I was going to go back to to get a normal metabones adapter. Anyway, I tried to put it on the FS7 anyway to get the settings for the shoot tomorrow right, and to test out the Zeiss CP.2's (yum). But it just doesn't fit. It goes in the first part of the way but then it doesn't want to turn. The inside of the speedbooster is also leaving marks on the inside of the camera (not on the sensor thank god).

The reason that I care even though I'm getting a replacement tomorrow is because the place I rented it at was getting confused and almost a bit angry at the fact it didn't seem to fit. Now I've planted my fair share of different metabones adapters on different Sony cameras so I'm pretty sure it just doesn't work. I just want to make sure I'm not missing something that I don't look like a total idiot when I go back to the rental place tomorrow.

 

[Flo_Evans]

Quick emergency question;

Speedboosters should fit on a Sony FS7 right? I've rented an FS7 with (accidentally) a speedbooster. Now I was going to go back to to get a normal metabones adapter. Anyway, I tried to put it on the FS7 anyway to get the settings for the shoot tomorrow right, and to test out the Zeiss CP.2's (yum). But it just doesn't fit. It goes in the first part of the way but then it doesn't want to turn. The inside of the speedbooster is also leaving marks on the inside of the camera (not on the sensor thank god).

The reason that I care even though I'm getting a replacement tomorrow is because the place I rented it at was getting confused and almost a bit angry at the fact it didn't seem to fit. Now I've planted my fair share of different metabones adapters on different Sony cameras so I'm pretty sure it just doesn't work. I just want to make sure I'm not missing something that I don't look like a total idiot when I go back to the rental place tomorrow.

it should?

http://www.newsshooter.com/2014/11/...abones-ef-adapter-problem-and-best-solutions/

Sounds like there may be some aperture issues with EF lenses but I can't find anything on it not mounting at all.

 

[killertofu]

Planning a two week trip to Japan in a few months. Really wanted to rent out some equipment but holy Jesus they're so expensive

 

[Sec0nd]

it should?

http://www.newsshooter.com/2014/11/...abones-ef-adapter-problem-and-best-solutions/

Sounds like there may be some aperture issues with EF lenses but I can't find anything on it not mounting at all.

Turns out they gave me a speedbooster ultra or something. That one just didn't fit.

 

[DrEvil]

I just found out I got a nomination at the Icelandic Ad Awards for an ad campaign I came up with and wrote.

But I don't work for the ad agency anymore.

Damn how have I missed this thread, I have to through this.

How many here works with video for living and those who do, where do you work? It's always interesting to hear on what kind of companies people do videos.

And I wanted link one work I'm actually proud of, this short documentary I did while studying at Norway last fall. Many things I would change and few that bother me, but that's always the case. Feel free to give feedback too.

http://youtu.be/S8Wxw-49joc

Previously worked for 5 years at a digital ad agency for North American brands like McDonalds, Tim Hortons, Wal-Mart, etc.

That was five years ago.

Now I've been 5 years at a game studio doing all the hot marketing materials for our titles