My July podcast is all about camera technology from formats and exposure to the emotion and motivation of focus pulling and much more. Topics covered include:
- What it takes to capture the “cinematic” look and feel with your camera
- Selecting your next camera: the pros & cons of Panasonic GH4, Sony A7s, Canon 5D Mark II & Mark III, C100, C300 and the Blackmagic Cinema Camera
- The emotion and motivation of focus pulling
- 3D LUTS and false color
SIC Podcast EP. 12 is now live on iTunes!
Download the file here:
Thank you to everyone who submitted questions for this month’s Inner Circle podcast. Just a reminder that you can submit more questions here-
On the C100 I was told my Cinema EOS support line that shooting PF24 mode would be best when having XLRs going into the camera as there were issues when shooting 24p mode. I now see that PsF files are a pain and all 1080p files in any NLE shot in PF24 mode are read as 1080i and 29.97fps. I have to take all of my footage as a workaround and use the 3:2 pulldown removal option under “interpret footage” and it automatically turns the footage to 23.98 and 1080p. This is quite annoying and don’t quite understand why this happens. Help?? Or should I just shoot 24p from now on and ignore PF24 mode altogether?
Can you talk about the obvious difference VISUALLY (when shooting DSLR) between regular still camera primes and master prime lenses —basically, when we’re going to shoot a low budget project on a 7D or 5D, should we just use the lenses we have (18-135, and a 50mm prime OR opt to rent higher end prime lenses) ? thanks!
As a camera operator who often works as a one man band with the desire to break into feature work and shooting is there an affordable and versatile camera package that you would recommend? I’m coming from the 5d Mark II and FS-100 and am feeling the pressure to bump up to 4k to stay competitive. What are your thoughts?
Can you give a few sure fire tips about nailing skin tone exposure when shooting LOG (C-log, S-Log, Log C)
Would you rather over expose or under expose your image and why?
HI Shane, I need to know what are the best settings for a Canon Dslr, and if you can share with us the picture style that you use in your productions. Thankyou!
Hi again Shane, this is my second question. The first one was about the Canon C100, this is more general which everyone can get benefit from. Can you please explain, in your mind what the “film look” is and how to achieve it, or to get closer to it beyond simply setting the camera to 24fps with 180 degree shutter, or 25fps at 1/50th shutter, in my case. I find for myself it’s very hit and miss, my shots still look pretty good and my clients are happy, but for me personally, it’s very unsatisfying to keep missing the mark, but hey I guess thats why i’m not a DOP….yet! The lack of it seems most apparent when shooting daylight, particularly whites or mixed color temperature scenes. Thx for the keys… Ben Gurvich Melbourne, Australia
When shooting with DSLRs, is it better to establish the look of your movie in camera or during post-production? I understand that the h.264 codec is not very rugged so I try not to push it too much during the color grading / color correcting process. What are your suggestions on this topic? Thanks!
Thoughts on Sony a7S? Thanks!
Hey Shane! I know that you shoot a lot with the Canon 5D’s and seem to like them a lot. I think they produce a great image but wish you could record internally to ProRes 4:2:2 or higher. I currently am a Canon shooter for music videos and corporates and find myself renting more and more. I’d like to buy a good “go to” camera. I am currently looking at the Panasonic GH4, Sony A7s, and Canon 5D mark ii. What are your opinions on which would be the best in the way of color representation and ability to manipulate in post, low light, and sharpness? I think after reading your blog post about the GH4 where you say it has a “video” look more than a “filmic” look that the A7s or 5D mk ii would be better?
hi shane, thanks for everything you do with the inner circle! i have two questions: 1. false color. actually i think i understand how it works but can you explain how you especially use it? I heard in one of your lighting videos that you changed the false color setting. why? 2. in simple terms: what is a 3D LUT? is it possible to buy LUTs for specific cameras? thanks a lot for everything! best, carlo
Shane, I would love to hear your tips and techniques on focusing – rack focus & follow focus techniques, marking points on follow focus wheel vs on the lens, cinema lens vs DSLR lens (pros and cons), techniques for operating both camera and rack focus alone (no camera assistant), choosing where to focus as it relates to story telling etc. Thanks, vance
Dear Shane It was indeed a revelation to learn what the Go Pro can do. Up to then I thought it was just good for web posting and the usual surf and sports stuff. What was your workflow to be able to get the images good enough for projection on the big screen? Did you use the file from the micro sd cards or did you use an external recorder? Thanks Ariel
Hey Shane! I’ve had the opportunity to work briefly with the BM Cinema Camera and thought that it performed very well. But, I did not have the opportunity to *really* test it. I hear horror stories about the BM Pocket Cinema Camera having severe orbing effects, black spots, and moire. For the BM Production Camera (4k), I hear a lot of complaints about fixed pattern noise. Have you experienced any of these issues? Sincerely, Brett
Would love thoughts on slow motion with the 1DC – Mike Collins