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Info over filmen met DSLR
Demon Hunter op 27 april 2010 #
Voor mijn studie heb ik de laatste maanden met een 5DMKII en 550D gefilmd. Hiervoor heb ik een stuk geschreven, samen met mijn groepsgenoten. Het is vooral gespecificeerd voor een bepaalde opdracht die we gedaan hebben, maar er staat hopelijk genoeg interessante info in voor andere mensen die ook geïnteresseerd zijn in de mogelijkheden die HDSLR's bieden
Why use a DSLR for video?
Since I started to shoot video on a DSLR I got a lot of questions why I used a “photo camera” instead of a regular video camera. The answer is short: bang for buck. You get so much more out of a €650 DSLR that does video also than from a similar priced camcorder. With the DSLR you get interchangeable lenses and shallow depth of field, two options that you only get with high-end professional camera’s which costs several times the price of a DSLR like the Canon 550/T2i. This is of course a relatively cheap DSLR, but even the Canon 5D Mark II is so much more cheaper then a normal video camera with these options. Of course you still need some good quality lenses to go with your DSLR body, but you can get a nice zoom lens as your basic lens and save up money and add more lenses to your collection like a couple of fast primes and a telezoom. I use a Tamon 17-50mm F2.8 as my basic lens, which is a fast lens, which also does great in low light situations. A fast lens is a good investment for your DSRL, because you can set your camera to a low aperture and not to high ISO and still get great images in low light situations, without introducing much grain to the image. A faster lens also means shallower depth of field. This is in many cases not possible on a consumer grade camcorder in this price range, because the lens on the camera isn’t that fast, nor it is interchangeable for a better one. In low light situations the video gain must be turned up, which results in grainy images.
Aren’t there any disadvantages to shooting video with a DSLR? Of course there are, every camera has its pros and cons. When shooting with a DSLR there are a couple of things you should be aware of: 12-minute recording, rolling shutter and in the case of the 7D/550D: AGC (at least for now, a firmware update from Canon will fix this probably. And there is still the Magic Lantern hack). The 12-minute recording limit is due to the FAT system the camera’s use. FAT can’t write more than 4GB, and the 44-45 mb/s bit rate from the DSLR’s translate to 12 minute/4GB. All DSLR cameras use CMOS sensors and this type of sensor has trouble with fast movements, even the RED One! This is because data is sequentially read from the sensor and with fast movements the sensor isn’t completely read when the next frame is already there, this results in some parts of the image being “skewed”, this is called rolling shutter. With the full frame camera like the Canon 5D Mark II the rolling shutter is worse than with a APS-C camera like the Canon 550D. This is because the sensor is bigger, so it takes longer the read the sensor. But the bigger sensor also means even shallower depth of field and beter light sensitivity. Just remember to don’t do any fast movements with the DSLR and do slow pans and tilts with your tripod and the rolling shutter shouldn’t be a problem. The last problem only exists when using the Canon 7D and 550D. These DSLR don’t have manual controls for the audio, but use Automatic Gain Control. This means that when there isn’t much background noise, the camera automatically boasts up the audio gain, resulting in a constant hiss in the audio. This hiss is correctable in postproduction, it’s also possible to record the audio on a second system like a Zoom H4N or H2 and not deal with the hiss at all. The Canon 5D Mark II just got the firmware update in which it got manual control for the audio. The Canon 7D and 550D hopefully will also get a firmware update giving them manual control over audio in the (near) future.
Are working around these disadvantages worth it to use a DSLR for shooting video? Short answer: yes. Sure working around the disadvantages can be a bit cumbersome, but the quality of the images is beyond anything in this price segment. The shallow depth of field give your images a film-like look, which was only possible in the highest high-end segment before. With the new Canon 550D this level of image quality is also available to enthusiastic amateurs and film students. The Canon 7D has weather sealing and a magnesium body for even the toughest weather and the Canon 5D Mark II is a full frame camera, which has even shallower depth of field and more light sensitivity. There is a DSLR in every price point now.
The use of DSLR’s for video is getting very popular. None longer a 35mm adapters like the Letus or the SG Blade required and DSLR’s are far cheaper than traditional camera’s who also have these features. DSLR’s are used on a professional base more and more. Quite a few commercial’s where shot using a DSRL like the Canon 5D Mark II and even TV shows like “House” are being shots on DSLR’s.
HD-DSLR Workflow
1 Getting Set-Up
2 Importing into FCP using the Canon E1 Plug-In
3 Setting markers for the beat
4 Edit using markers
5 Color grading using Magic Bullet Looks
6 Using overlays to enhance your footage
7 Exporting and using Compressor for upload to Vimeo/YouTube
Getting Set-Up
You have to start ingesting your clips first. First you have to get out the memory card out of your DSLR. Depending on you model this is either a CF card (Canon 5D Mark II and 7D) of a SD card (Canon 550D). Then you connect the card to you computer via a card reader. Start up your NLE program, in our case we’re going to use Final Cut Pro 7. Canon recently launched a plug-in your this program, which makes it easy to ingest your footage using the ProRes codecs.
Importing into FCP using the Canon E1 plug-in
Canon has recently released a plug-in (it can be found here: http://www.usa.canon.com/dlc/controller?act=GetArticleAct&articleID=3249), which makes your workflow for ingesting footage a bit easier. Before the plug-in you had to convert your footage to ProRes through Compressor or MPEGStreamClip, especially with Compressor this can take quite a long time. The new plug-in is supposed to be three times faster than using Compressor. After you’ve installed the plug-in open up FCP and go to File>Log and Transfer. Press the little cogwheel in the top right corner.
Select “Preferences” from the drop-down menu, there you can choose which ProRes codec FCP would be using when ingesting footage from a Canon DSLR. I use ProRes LT to save disk space and I only do minor color grading in Magic Bullet Looks. I’ve you do heavy grading in Color I suggest using ProRes 442 HQ.
3 Setting markers for the beat
When you have ingested your footage it’s time import the music you will be editing to. Do not use MP3, as FCP has to render this. Use AIFF or WAV, it’s better quality and doesn’t need to render.
When you’ve imported the music drop it on the timeline and listen to it a few times to get familiar with the beat. When you’re listening to it this time add markers on the beat of the music by pressing “M”. Using markers will make it easier for you to edit your clips and it’s always on beat(when you have a good ear and a little bit of feeling for rhythm at least).
4 Edit using markers
With your markers in place you can begin editing. It’s easier to do the editing with “Snapping” on. You can toggle snapping on and off by pressing “N”. When you’re cutting your clips it will automatically snap to the markers. This way your cuts are always in sync with the beat.
5 Color grading using Magic Bullet Looks
With your edit done it’s time to start the grading. I always use Magic Bullet Looks, as I only need to do some basic grading and effects, Color is to complicated for my needs. The way Looks works is that you drop the filter on your clip, move your play head on the clip you want to grade, double click on the clip and select to the filters tab. Click on “Edit” in the Looks filter and the Looks app opens. I’ve made a basic color correction preset in Looks which consists of a basic vignette, a ranged saturation to make the color a bit more vibrant, a curves to increase contrast and crush the blacks, mid tones and highlights and a basic 3-way color corrector. When I’ve applied the preset I bring back the contrast to the image with the curves. You should shoot your footage with the Extra Flat Picture Style. This creates a contrast low image, but the image will have all the details in the shadows and a high dynamic range. In Looks you add contrast back in and crush the blacks. You should also play around with the mid tones and highlights. When you’re happy with the preview just click Ok.
6 Using overlays to enhance your footage
A simple trick to give your images a nice, deep color is to duplicate to clip and set the composite mode to “Overlay”. You can duplicate a clip in FCP by selecting it, holding down the Alt key and moving it one track up. Release the Alt key and then release the mouse button. Be sure to do an “Overwrite” edit and not a “Insert” edit. Set to composite mode of this clip to “Overlay” by clicking with the right mouse button and selecting composite mode>Overlay.
Repeat this with the copied clip so you now have three copies of the clip on your timeline, the top two set to “Overlay”. Next toggle the clip overlays on by pressing Alt+W. Drag the opacity of the top clip to 34 and the middle one to 43. This is an easy trick to quickly enrich the colors of your image.
7 Exporting and using Compressor for upload to Vimeo/YouTube
Now that your clip is finished you can render it out and make a current settings export of it. You can than drag this export into Compressor, use the YouTube preset, which has optimized settings for uploading to YouTube and Vimeo. Yes, it’s really that easy.
How to shoot a live musicvideo
This guide is specificly written for dSLR cameras with a movie funtion.
Concept
In photography school my teacher once told me: “There are two kinds of people. One that think very hard, come up with a concept and then go out to shoot. The other just go out to shoot and afterwards come up with a concept.”
While the latter approach might work for photography, video is quite a different story. It’s very annoying for a viewer to watch a video where the concept, idea or structure isn’t clear. Therefore: think about what you want to tell and how you want to tell it. Think about the store, style and only then begin thinking about technique.
But when shooting a video that has a documentary character, like a concert, it’s equally as important to be open to the moment itself, to be aware of what’s happening around you. The reason is that the most interesting moments are often the moments that you couldn’t possibly have imagined beforehand. If you stick to your concept too much, you might miss those shots. Keep your eyes and mind open at all times!
For the Wax’n’Wane song we wanted to make an energetic, lively video of a concert. The reason was that the song itself (Drum’n’Bass) is full of energy. We took lots of different shots, from lots of different angles and shot handheld. Going handeld was an important decision for us, because it gives it a more chaotic feel than using a tripod. The steadyness of a tripod would’ve given a more quiet, relaxing feeling to the video.
Setting up your camera
Live performances can be very difficult to capture. The lightning is artificial, often in different colors and sometimes it even changes, very fast. Therefore, using your camera in manual mode is often the wisest decision to make. Any other mode will probably mess up your shots too much, by over- or underexposing. Try to follow the next steps in correct order, because things like whitebalance will affect what aperture you will need to use.
The first thing to set up is the picture style. This will affect how much contrast, saturation, etc. will be applied to your footage. The best thing to do is to take a custom picture style like this one: http://eugenia.gnomefiles.org/2010/01/25/flatting-the-flat-look/
This picture style will give you a very flat look, which might not look very attractive at first sight, but will give you far more room in post.
Next up is the white balance. In concert where the lights change from very hot (red) to very cold (blue) very quickly, it’s hard to pick the right color temperature. What we noticed (only afterwards) is that it’s best to shoot manual and lean more towards a cool color temperature. Most cameras can’t handle bright red lights well, which will result in a very odd, almost infrared kind of look. Try to set the whitebalance to manual and dial in the temperature (in K’s), or use a preset like “lightbulb”.
After setting the right whitebalance, you’ll want to set the shutter speed to the currect number. Concerts are often very dark, so using a shutter speed of 1/50 or even 1/30 is advised. We used 1/30 in our video.
The next thing you’d want to set-up is the aperture. Usually you’d want to use your lens wide-open (low F-number), especially if it’s dark. This will however result in a shallow depth of field and make it more difficult to focus. However, I think it’s better than using a very high ISO value
The last thing you’d want to change is the ISO value. This will determine the sensitivity of your sensor and therefore the amount of grain you’ll have. Try to get this as low as possible, because not only will a high ISO value increase noise, it will also decrease your dynamic range, giving you less room for errors in exposure. We shot our footage mostly at 3200 ISO, which is really the maximum for the Canon 5D Mark II as far as noise goes. Some shots with the Canon 50mm f1.4 allowed me to go down to ISO 800, when I used it wide open. A fast lens does pay off in concert settings.
Supporting your camera
More often than not, you’ll want to have some sort of stabilisation on your camera. I’ve tried to shoot completely handheld with my 5D a few times, but it totally ruined my shots. Movement, or even shakey footage isn’t always a problem; it’s micro-movement that’s really annoying. This is caused by your own body/hands.
There are a lot of options regarding stabilizers. We shot our video with one shoulder mount and a gorillapod, with legs bent.
Shoulder mounts are often very expensive (Zacuto), but can also come quite cheap. I’ve used a shoulder mount from Varizoom (http://www.varizoom.com/products/supports/vz1shooter.html)
For live concerts you don’t always have room for a big-ass tripod, but when shooting a video for calm, slower music, I would definitly try to get one up somewhere. The downside is that if you’re limited to one camera, you’ll have to move the tripod thru the crowd to get another point of view.
Monopods can be a nice tradeoff between shoulder rigs and tripods, giving your more flexibility, but also more stability.
Using multiple cameras
If you have the luxury of using more than one camera (preferably with another person using it), there are some things you’d want to check before starting.
First of all, use the same settings for whitebalance. This will make it a lot easier to color correct afterwards. While you’re at it, set both cameras at the same shutter speed, so the shots look as much alike as possible. It’s not always possible to use the same aperture or ISO when using different lenses on different cameras, but try to agree on some sort of range.
The advantage of using multiple cameras is that you’ll have more than one perspective to choose from, so try to agree on who takes what angle and what kind of shots the person takes. When we were shooting the Wax’n’Wane clip, I took a lot of close-ups and the other cameraman took more wide-angle shots, showing the band as a whole. This gave us a nice variaty of shots to use.
Getting the shots
Alright, ready, steady, action! Now on to the fun bit, getting the actual footage. I’ll explain this bit by taking our video as example.
One thing we did is to leave our camera’s recording, even when walking. Why, you say? Because you never know if that piece of footage will be usefull somewhere! Even the shakeiest footage, showing only feet and floor, might come in handy as filler. In our video, we used a piece of the singer, while the second cameraman was walking arround her.
For this specific concert, the band played only 30 minutes. With two camera’s, recording the whole show, you’d have 60 minutes of footage, while the music was only 4 minutes. A ratio of 1:15. If you look at the musicvideo, you might notice we used some shots more than once. Therefore I advise to try to get an even higher ratio, especially if you want fast cuts, like we did. My advise is to try to get to a ratio of 1:20 or even higher.
During that 30 minutes, the song got played only once. We made a huge mistake by getting some beautyshots, and other shots of the band during that song. While editing, we noticed that we had very little footage of the singer actually singing the song. Therefore I advise you: when the song you’re after is beeing played: film the singer! Get the rest of the shots when they’re playing other songs. Ofcourse the drums or guitar will be off, but that’s better than the singer singing a different song.
Because Wax’n’Wane was the opening act for another band, there wasn’t much audience. The people that were there, were hanging out at the bar, drinking beer. We had to improvise and take close-up of people and feet. The only part where we could’ve used those shots was the slow part of the song. If you do have audience, that is moving, get some shots of them. Again: get those shots during other songs!
Some shots you could take, besides the singer (you could use this as a checklist):
- Drummer (+closeup of drumsticks)
- Guitarist (+closeup of guitar)
- DJ (+closeup of turntable)
- Pianist (+closeup of piano)
- Moving feet
- Cables
- Dancing + Talking People
The basics of videoclip editing
Introduction
In this chapter I will make you get used to some of the basics of what I learned while editing videoclips. This chapters focuses more on what steps to take rather than describing in detail how to work with editing software.
So you’ve shot tons of material. Where to start next?
The First thing you want to do is marking the parts that are interesting to use in your video clip and which are not. While doing this also keep in mind to not only mark for example the lead singer. Its often a better idea to mark shots a variety of different shots. You will notice that when you’re filling in the blank parts of your videoclip you will need these different shots to keep things interesting.
So its important to find an easy and quick way to do this. For example in my case I used Final Cut and in this program the easiest way was placing markers at interesting parts of my material. This method also helped me avoiding using one scene multiple times by accident.
The amount of material you have is also important to take into account when choosing a strategy. When you’ve got loads of material you don’t have the need to mark every adequate scene. So when you’ve got the luxury of having loads of material (which is more than 20 times the length of the video you are going to make) its usually more effective to stick by marking only the best scenes.
Now you’ve made an selection of shots we’re going to take a look at using these shots in combination with the music
I’ve talked about how I used markers to make an selection between shots. Now I’m going to tell you an even bigger advantage of the use of markers while editing on music. In Final Cut you can place a marker in the timeline just by pressing the ‘M’. If you add the music of your videoclip to the timeline and play the music you can easily add markers to the beat. Okay you have to concentrate on pressing the key on the very right moment but when you’re precise in this it will save tons of time.
Now you’ve placed all those markers on the beat videoclip editing becomes much easier. You just select the scene you want to add to your videoclip and make that the start at one marker and let it end at another.
Things you also should keep into account
One of the most important parts of video editing is being very aware of what the final result will be. This means that you’ve got to have some idea of the way your video is interesting to others. Of course this comes partly when you get more experienced in this. But by playing the video you’ve made so far after you’ve taken a break also helps. Playing the video without the sound turned on will make it easier to spot illogical sequences of shots. For example when in the first shot the guitarist is playing a difficult solo, the follow-up shot shows the guitarist playing a slow part, people will notice. This sounds very obvious, but mistakes like these are very easily made.
On the other hand you don’t need to use the video of the same piece of guitar solo when you want to show the guitarist. At least not when the shot is short, the rhythm of the guitar music and the video is right and you’re not working for a big video editing company. If you are though the company probably will have the solo on video.
While most people won’t notice the guitar player playing a different part, its different with singers. People will notice when the singer sings a different part. Making sure you use the right shots of the singers at exactly the right moment is one of the most time consuming parts of editing. It is however not a very difficult job, but you have to work precise. The thing you have to do is playing the music and try to place the shot at the right moment. Then play the videoclip again and look whether you have to move the shot forward or backward. Now you’ve got to repeat this until you’re satisfied. I found out that it might help when you play both the music you’re going to use in your videoclip and the music that was recorded during recording the shot you want to use. The trick is to play them from different sides (so one from the left side and the other from the right side) of your headphones while you’re synchronising the shot with the music. Try this, it really helps!
Some tips to make your video’s stand out
Its often not enough just to use a lot of nice shots for a videoclip. Its also very important that you get the feeling when you’ve to change to the next shot. Videoclips are often fast paced so its advised to keep that into account. However, the intro and sometimes other parts of the song as well require in general longer shots as the music feels slower too.
Another thing to keep in mind is that you vary in the length of your shots enough to keep your viewers from noticing any repetition. While editing you’ll probably will notice that shots of the singer in general are more interesting and those shots last longer than shots of the drummer. But then again this is in general it’s different for each case. If the drummer for example starts an interesting solo, that might be a very interesting shot. Shots that capture the atmosphere a the venue, like shots of the public might also be interesting at moments when the music slows down. As long as you are aware of these things you will be able to be less predictable and it will make your clip more interesting!
The key to edit brilliant videoclips is to gain experience. For one person it might mean that he should read a lot books and watch a lot of tutorials, while for the other practice makes perfect. I also advise to you that you post your video’s on more serious video sites like Vimeo, to get more professional feedback on your videoclips. Listen and learn from the reactions they are really constructive!
timmyboy op 27 april 2010 #
Holy shit, lang stukkie. Ik ga het vanavond wel even lezen want ik ben erg bezig met dit vraagstuk.
Demon Hunter op 27 april 2010 #
Ik ga mijn gedeelte nog wat uitbreiden en een Nederlandse versie van maken en dan wordt het een artikel voor op de frontpage Waar willen mensen nog wat meer over weten? Ik wil nog wat vertellen over camerainstellingen, ND-filters en shutterspeed, wat info of rigs, statieven, slider, steadicam. Verder nog verzoekjes?
Goodmovie op 27 april 2010 #
Wow echt heel goed uitgebreid.
Ik ben zelf in het bezit van een JVC HM700 erg leuke camera en je komt er zeker professioneel mee over.
Ik ben er echter achter dat ik voor video clips toch graag met minder DOF wil gaan werken. Als ik voor de jvc een adapter moet kopen ben ik al ongeveer 3000€ en dan moet ik nog aan de lenzen beginnen.
Wellicht een optie om de JVC te gebruiken voor reportages met nieuwswaarde en een DSLR aan te schaffen voor de wat creatievere video's te schieten.
Ben alleen bang voor de bestanden van zo een camera naar FCP nu met de hm700 kan ik de video bestanden direct van de sdhc kaartjes in de tijdlijn slepen.
Ik zal jou zeker in de gaten houden zeer interessant en wellicht belangrijk voor mijn besluitvorming later.
Demon Hunter op 27 april 2010 #
De HM700 is idd erg fijn, die heb ik op stage gebruikt. Het eerst coderen is een nadeel ja, maar maakt de monteren een stuk fijner. Gelukkig gaat het via de Canon plug-in een stuk sneller dan met Compressor. Heb trouwens net een oude manuele lens binnen een 135 f2.8. Eerste indrukken zijn erg goed! Prima voor video en zelfs foto lijkt goed en dat voor een lens van 30 jaar oud en voor €35,- incl. adapter. Zeker ook een stukje over schrijven voor de filmers met een beperkt budget
olbo op 27 april 2010 #
Ik zit er ook over te denken voor een DSLR of de Panasonic GF1 voor het filmen. Ik zal stuk eens lezen...
Hoe zit het met de shutterspeed en filmen? In fotografie snap ik het maar met filmen eigenlijk niet (het zal wel een 'o ja' antwoord zijn... maar uitleg wordt gewaardeerd...
Demon Hunter op 27 april 2010 #
De regel is dat de shutterspeed het dubbele moet zijn van hoeveel fps je opneemt dus 24P is 48(50 in geval van DSLR, want kan geen 48), 25P is 50 en 30P is 60. Echter wil je soms als het heel licht is buiten je shutterspeed omhoog doen, zodat er minder licht in je DSLR komt en je beeld dus minder overbelicht wordt. Pro's raden dan een ND filter aan, omdat zij altijd de shutterspeed gelijk houden. Ik heb nog geen ND filter en gooi de shutterspeed dus wel omhoog, maar zie niet echt verschil, bewegingen blijven vloeiend(tot op zekere hoogte natuurlijk). Het makkelijkst is dan een Fader ND filter. Dit is een filter waar je door te draaien de sterkte van de filter bepaald. Dat is makkelijker dan steeds filters op je lens wisselen
timmyboy op 27 april 2010 #
Mooi stuk.
Kun je me uitleggen waarom conversie met compressor langzamer gaat??
olbo op 29 april 2010 #
Kan dit stuk echt waarderen; moet het nog wel helemaal doornemen... maar een paar vraagjes:
- Wat is een goede lichtsterke lens? Is dat de lage F waarde? Glas misschien (is daar een code voor)?
- Is handmatig scherp stellen te doen? In de filmwereld hebben ze bijvoorbeeld focus-pullers(dus die de focus verleggen onder het filmen is dus niet voor iedereen weggelegd!
- Is de 550D bijvoorbeeld stabiel. Is uit de hand filmen te doen? (met de Kodak Zi8 cam bijvoorbeeld zie je elke trilling van je hartslag zowat terug in beeld; een erg groot minpunt)
- Als ik een statief koop, is het handiger om een film statief te kopen? (voor zowel foto's en films maken)
Dankje....
Demon Hunter op 29 april 2010 #
Is goed komt allemaal in het artikel ga er volgende week mee aan de slag. Ff snelle antwoorden.
-Snelle lens=lage f waarde=kleine dof
-Handmatig is prima te doen, helemaal met een follow focus. Ben er zelf nu aan het bouwen, materiaal kosten €40,-.
-Is NIET stabiel mee te filmen, alleen werken vanaf statief en schouderstatief.
-De Manfrotto 701 HDV statief kop is een goede. Niet duur en een fluid head. Paar leuke poten erbij en voor €200/250 ben je klaar.
fuen op 29 april 2010 #
Mooi artikel! Ik schreeuw ook al 'n half jaar dat iedereen die camcorders lekker moet laten liggen en 'n dslr moet kopen. Veel mensen geloven vaak gewoon niet wat ik op m'n 500D/550D schiet. 't is echt ongelofelijk wat je voor die prijs krijgt. En niet alleen perfect filmen, maar je hebt dus ook een geweldige fotocamera. Bestaat 't dan toch; een ding dat in twee dingen goed is? :P
Uit de hand gaat over 't algemeen inderdaad niet zo heel geweldig, maar voor veel dingen gaat 't eigenlijk best, zeker als je toch al veel eigen beweging hebt.
Tip is overigens wel om een andere lens te gebruiken dan de kitlens. Ik heb de 1.8 50mm gekocht, en 't is écht een ongelofelijke wereld van verschil. Vooral een stuk minder ruis.
Om jullie een idee te geven waar ze tot in staat zijn - de 550D in dit geval:
http://www.skitch.com/danieldols/dytfq/sd-small-040.mov
http://vimeo.com/11122396
http://www.youtube.com/watch?v=6KnzzvxHR4w (vanaf de helft)
olbo op 29 april 2010 #
Dat tweede filmpje is mooi zeg. Moet toch maar eens gaan kijken voor een statief.
Nog 1 over de 550D:
Ik word hier zo ontzettend hebberig van!
olbo op 03 mei 2010 #
Als ik vele filmpjes bekijk van de 550D op YouTube dan is de kwaliteit matig. De meeste maken er toch een zooitje van (verkeerde compressie, overdreven kleurcorrecties) en kunnen niet goed focussen heb ik het idee. Lastig om de daadwerkelijke kwaliteit te bepalen.
O ja, wat is de output formaat van de 550D? Is dat .MOV?
timmyboy op 05 mei 2010 #
@Olbo, lastig om kwaliteit van de gebruiker te bepalen dus. Kijk maar naar gasten als Philip Bloom, dan weet je dat het materiaal zijn werk wel doet.
Dat Glidetrack filmpje is waanzinnig, zelf gemaakt Fuen??
Demon Hunter op 05 mei 2010 #
Ik heb vorige week mijn 14 pagina tellende artikel over filmen met een dslr en bij behorende fcp workflow gemaild maar nog niks van gehoord. Zijn de heren van de frontpage op vakantie?
Cube op 06 mei 2010 #
Hee,
Eindelijk een topic over DSLR's! Top!
Mijn vraag was waarom je de 5D MK II hebt gebruikt en een 550D? De 5D is dankzij de full-frame toch het maximale wat je uit een DSLR kan halen wat betreft filmen? Heb je misschien een filmpje online van je werk? Welke lenzen heb je gebruikt? Heb je ook verschil gezien qua kwaliteit met de lenzen opeen 550D en een 5D MK II?Wat voor apparatuur heb je eromheen gebruikt? (mattebox, zoom h4n, etc)
Demon Hunter op 07 mei 2010 #
Die 5D is van een vriend van mij Hij is beroepsfotograaf en heeft er 2. De 550D is van mij, ik had ook wel liever een 5D MKII, maar die is natuurlijk wel een heel stuk duurder (€650 voor 550D body, €1800 voor 5D body...). Door de full frame sensor heb je inderdaad een kleinere scherptediepte en is lichtgevoeliger. De grote sensor van de 5D heeft echter ook een nadeel. Vanwege de grote duurt het langer voordat deze uitgelezen is, wat zorgt voor meer rolling shutter.
Voor mijn 550D heb ik een statief en schouderstatief, Rode Videomic, 2 batterijen, 2 16GB SDHC kaarten en een DIY Follow Focus. Ik heb een Tamron 17-50mm F2.8 lens en een oude M42 Pallas 135mm F2.8 lens. Andere lenzen die ik gebruikt heb op zowel de 550D als de 5D zijn de Tamron 28-75mm, de Canon 50mm F1.4, 85mm F1.8 en 135mm F2.8 Soft Focus. Op het cropfactor effect op de focal lenghts en de scherptediepte/lichtgevoeligheid na heb ik geen duidelijke verschillen gezien tussen de lenzen op 550D en 5D, voor video iig. De extra lichtgevoeligheid, kleinere scherptediepte, meer knoppen/betere body van de 5D is het absoluut waard boven de 550D hoor
Die vriend van mij heeft ook een Zoom H2 voor de audio, voor toen de 5D nog geen manual controls had voor audio. De Rode Videomic volstaat voor mij voorlopig, die hiss die de AGC van de 550D geeft krijg ik er in FCP makkelijk uit. Later sla ik wel een tweede Zoom H2 op de kop, soms leen ik hem namelijk wel, als de audio echt belangrijk is, bijvoorbeeld voor een voice-over of een interview.
Een mattebox heb ik nog niet nodig gehad. Ik heb geen dure 4x4 filters, wil alleen nog een Fader ND filter halen, maar die schroef je op je lens. Ik heb ook al een lens hood bij de Tamron en geen controle over flares nodig die de mattebox je geeft.
olbo op 07 mei 2010 #
@ Demon Hunter: ik heb belangstelling naar jouw artikel... kan ik hem ergens dowloaden?
Over downloaden gesproken! Kan ik ergens originele footage uit de 550D downloaden? Kan ik de kwaliteit beter beoordelen (YouTube en Vimeo filmpjes zijn toch weer 'bewerkt').
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Gestart op 27 april 2010 door Demon Hunter
Laatste reactie door timmyboy
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