Thanks for the help.

Best. F. Frank

Thank you!

So far I did no color grading - just plain cut with Edius.

Any feedback appreciated.

I wonder if (until we find a vaccine for COVID-19, or it naturally burns out) in the near future we'll see a shift back to more single camera shooting instead? 

Could mean more shooting days, but there could be a strong desire to shoot with the smallest minimal crews possible. As the bigger the crews, the bigger the risk someone comes down with COVID-19, causing the entire production to be shutdown!

With one exception, I can see the sound department needing to add an extra boom op than they'd usually budget for. Because lav-ing a person is quite intimate, I can see for the next few weeks/months that lavs will be avoided. Thus it becomes even more essential than usual to make sure you get the best possible coverage with the boom. 

Wonder too what will happen to the generous film incentives these scripted productions get from states/countries? When their state budgets are already under massive stresses from increased costs and a reduced tax intake, they'll be looking to cut "costs" (although I'd argue it is not a cost, but merely a tax rebate? Tax money the state would have never got otherwise, if the production wasn't shot there).

These tax rebates / film incentives will be especially vulnerable to attack if they were implemented under the basis of being "marketing for the region" to help promote tourism. Was where is the tourism now?? Dead. There is very little tourism to promote, and many regions would not want to promote tourists coming! As they want to lock out everyone who is "non-essential".

Moving on from the scripted narrative world, to the corporate world of videography and also event shooting. Am expecting a rise in live streaming. Soon nearly everyone will need to offer, just like the shift from SD to HD, everyone had to offer HD. (and we're almost at that point with 4K now)

Who charges extra for 4K these days? Most don't, or only a small token extra amount. 

So will be the case with live streaming I think, you'll either throw it in to get the job or just a modest upsell extra cost. 

And because an ATEM Mini Pro costs only US$599 you can easily eat that cost, as if it only gets you a couple of extra jobs that you wouldn't have otherwise, then it is worth it!

I am trying to get my head around setting up something like this:

The idea came from a potential client who wants to pull off something similiar but with a more interactive setup, where People can go to an pre-installed Ipad and "launch" the comet (for example) through the push on a button.

Here's what I've got so far:

LED screen stands on street. Pre-rendered rgba clips sit on an Ipad which is connected to an ATEM unit through Lightning->HDMI Adapter (setup as secondary Screen). A camera behind the LED screen feeds the "window content" live through HDMI to ATEM. In ATEM software the live feed is overlayed permanently with whatever comes from the Ipad. ATEM output goes to LED screen.

So when a user goes to the Ipad and chooses a clip to launch it gets played over the Ipad's output and mixed live in ATEM and then displayed on the screen in front of the user.

There are a few possible problems which I can already think of: Will the Ipad output "black" (which would then black out my live feed) when nothing is being played? Can ATEM overlay two vieo feeds, one with alpha? Will alpha even be transferred via HDMI? EDIT: No it's not. So instead of rgba I could use greenscreen footage and let ATEM do a live key?

I would very much appreciate any of your thoughts on this.

THANK YOU!

From there you can use, for example, an iPad to view the video and dynamically adjust white balance, tint, exposure and lens distortion in real time for each camera. You can monitor the video in three different ways -- Perspective, Panoramic and Headset -- so you can see just how your viewers will see your content, whether that's on a mobile device, in a Web browser or in a VR headset.

The Sphere app can then be used to live-stream the 360-degree video to platforms like Wowza and YouTube, which now supports live-streaming 360-degree content.

"With the ability to stream to any destination at bit rates of up to 10Mbps and the flexibility to work with any rigged camera setup from GoPro to RED, Sphere will be the go-to solution for high-quality 360 streaming," said Teradek Brand Manager Topher DeLancy. "As VR grows we feel it will be another powerhouse media division alongside cinema, gaming and broadcast."

The Teradek Sphere will be available in June for $3,000 (approximately AU$3,875 or £2,100), but you can get a taste of its performance right now via a live-stream of the NAB 2016 convention or by downloading the free iOS app.

http://teradek.com/pages/nab

RARE: 16-160MM CONSTANT F/2 M4/3 CINEMA SPEED LENS IMMACULATE CONDITION

1. INFINITY FOCUS. The lens is made "parfocal", providing proper infinity focus. Minimum focusing distance with this lens is about 3 to 4 feet.

2. PRECISION GLASS. Manufactured in Japan, this zoom precision lens is nearly perfect in optical quality. As the photos demonstrate, the glass on this lens is stunning, though it only resolves 1080p.

3. PARFOCAL. With most zooms you lose focus as you zoom the lens. However, this lens maintains perfect focus throughout the entire zoom range of 16mm to 160mm. (See photos straight off GH2)

4. ZOOM. The zoom throw on this lens is about 55 degrees, the zoom barrel is tight with no play. It is smooth and a pleasure to shoot with.

5. VERY FAST. This is a constant F/2 lens which is an exceptional low light performer. An 8 blade aperture produces a nice round bokeh. The declicked aperture for silent, butter smooth operation. Aperture throw is 45 degrees.

6. NO VIGNETTING. As set up and tested on the BMPCC and the GH4 in 4K in UHD, there is no vignetting anywhere on this lens. This lens covers the 4K image circle on the GH4, but it only really resolves 1080p resolution, you need Canon Cinema lenses to resolve 4K… As you consider, remember that this lens has a CONSTANT aperture of f/2 all the way out to 160mm! Please be aware, the lens has better sharpness at F/5.6... F/2.0 wide open, like any lens, is relatively soft.

If you are interested in purchasing this lens from me, please send me a PM or contact me below... This lens is valued at $500USD, but I am willing to sell it for $400USD and free shipping because I know people like good deals! Besides, I need to buy a Canon XA35 so this lens will no longer be needed by me. You win!

Please visit https://www.dropbox.com/sh/6qy72l557o3h9em/AABsnc2nzu38jiwa8ZyhjgA4a?dl=0 for high resolution photos.

Contact: Brennan Kirkpatrick brennan@infinichair.ca 613-466-0222

Been away for a long time having a blast shooting all sorts of wild things and acting directing. I thought I would share this little clip (to show off my new car ** cough ** I mean spaceship) and also show 60fps vs 30 fps vs 24fps in the same shot.

24p film look vs 60p live look in ONE file so you can see the psychological effect. You'll need to DOWNLOAD and play (only 1280 x 720p sorry full 1920 x 1080p was too big. This switches in REAL time between the two in the same shot so you can really feel out the difference. I prefer 24p for narrative story telling and 60p for POV horror or news live look or 3D holographic shooting which I have been doing lately (not with the gh2 - using modded sony 3D pro cam, consumer ts10, and red epic for that). Note: this will only stream at 30p online (i really dislike 30p) you must download and play to see what I am talking about, No current online streaming service that I know of except for LIVESTREAM currently supports 60i or 60p streaming. I HAVE done it with livestream on my site which is astounding WHEN it works but it is still a little unreliable as of yet you need a business class hard wired ethernet cable and black magic card and an upstream of at least 20mbit down 5 megabit up CONSTANT. 1.5 won't do. Wifi won't do even dual band it gets blips. I can do 848 x 480 and sometimes 1280 x 720p live with a 4G card.

Enjoy... hope everyone is well...let me know what you think.....more to come!

http://vimeo.com/michaelbiggins/filmlookvslivelook

PS - just for fun and giggles - Disney let me toy around in one of their sets with Trumpet:

;)

Michael Biggins AKA Blackout BLACKOUT'S BOX STUDIOS Hathouse Films New York City - Florida - California 877-9-BLACKOUT michael @ REMOVETHISandSPACESforspam blackout.com

I'm new to this forum. Have already done some research but havent found the information so far. i'm owning the panasonic lumix gx7 and i'm pretty happy so far. but one big dissapointment is, that there is no live video output during filming. it is not working on hdmi nor on the av out. dissapointed that panasonic does not mentoin that on their product specifications... anyway i wanted to ask if someone here is working on a hack on this camera which would enable live video output. i think it is "only" a firmware related limitation...?

thanks

To do some live streaming I’ve looked at many solutions and this one seems (at this point) the most ideal for my multi camera setup : hook up 3 gh3’s to 3 Ultrastudio mini recorders with thunderbolt and use wirecast to do the streaming and encoding on the mac pro/hackintosh.

I’ve seen however some conflicting messages on forums where it seems that the GH3 signal will not pass through the mini recorder, so does any one have experience with this? Can anyone confirm the mini recorder works with the GH3 and wirecast?

I believe the GH3 has 4:2:0 out and the codecs supported by the mini recorder are:   AVC-Intra, AVCHD, Canon XF MPEG2, Digital SLR, DV-NTSC, DV-PAL, DVCPRO50, DVCPROHD, DPX, HDV, XDCAM EX, XDCAM HD, XDCAM HD422, Apple ProRes 4444, Apple ProRes 422 (HQ), Apple ProRes 422, Apple ProRes (LT), Apple ProRes 422 (Proxy), Uncompressed 8-bit 4:2:2, Uncompressed 10-bit 4:2:2.

So perhaps the GH3 might not work due to different colorspace?

 Here a post where you see a setup using to minirecorders thunderbolt + usb camera to stream live with wirecast: htttp://forum.telestream.net/forum/messageview.aspx?catid=45&threadid=13444 The guy doesn't use a dslr but dedicated camera but you can use the mini recorders with wirecast, only question is, will it work with the GH3?!

Hope one of you can shed some light on this matter

Update:

Interesting links for this thread: Setup using mini recorders: http://forum.telestream.net/forum/messageview.aspx?catid=45&threadid=13444 How to setup GH3 for HDMI output: http://provideocoalition.com/atepper/story/how-to-make-the-lumix-gh3-camera-deliver-proper-recordable-1080p-over-

I had the chance to work with a great musician and friend Maneli Jamal to shoot a video of him performing his original song Cold Arrival.

He plays a very niche type of acoustic guitar called fingerstyle guitar ( Andy Mckee, Don Ross, Michael Hedges to name a few)

This was with the GH2, Flowmotion 2.0, Canon FD 24mm f2.8 and a wicked musician!

Let me know what your thoughts are on the grade and overall shoot!

And definitely check out Maneli on youtube he's incredible.

I've been looking around for info on how to use my new 2013 macbook pro to show live video primarily, and images if possible, that are being recorded/photographed live from my GH2... essentially using my Macbook as a monitor.

There is a thread on PV that is a couple of years old which I have posted to, but through I'd open this up as a new topic as well, as I'm sure there are people out there in GH2 land who could do with this info as well. Here's a link to the original topic: http://www.personal-view.com/talks/discussion/1207/gh2-live-streaming-solutions/p1

I'm hoping that in the 2 years since the original thread, the tech options have moved on. My macbook has thunderbolt, which, from experience connecting macbook to tv, works well with hdmi, and as thunderbolt connectivity can be used to transfer data from a hard drive back and forth, it must be a 2 way connection, so theoretically should allow for possible hdmi data being inputed to my mac.

I am relatively new to this and am trying to gather information, as this forum has been so informative in the past, I wanted to ask you guys what you would do in my situation? I would appreciate cheaper options if possible, primarily wired options as from scouring the web, there are issues with data signal interruptions and signal distance on wireless options.... plus wired is, I expect, considerably cheaper!

Can you help?

Thanks, Rob

Just to give you a bit of the process: I was asked just the day before and I was lucky that two of my students had tickets and would be in the audience. I gave the each a camera and I was backstage (We used Sony EX1/3, all handheld), but I also handed out a consumer handycam and my iPhone (with Filmic Pro) to people I didn't know in the audience to really get a documentary feel to it. And to play a little safe I had my GH2 (Flowmotion) and Tokina 11-16 on a tripod in the back. A friend of mine mixed in Pro Tools.

Of course it's not perfect, both coverage lacked sometimes and the LED lighting gave some nasty artifacts, but the raw feel of the footage and the energy of the band and the amazing old theatre we filmed in gave it all av very special feel. I edited in FCPX we're I also did my grading with Filmconvert (to enhance the raw feel and it did combat the harsh blues of the LED lighting and the grain hid a lot of the artifacts.) Not the best I've done technically , but considering the circumstances I'm happy with it and it's all about the song and helping my friend and her band to reach out.

"We will never lose our pride".

50p to 30p or 24p to 30p

Does anyone know which would give the best results? Or would 24p itself work fine? The videos are only static shots of a guitar(lesson) so no panning.

A second question would be: i want to do live streaming with those 2 cams, would 24p be the best setting for live internet streaming? I've heard 25p is crappy and 50p not yet possible...

Thanks!

André

So we're looking into other strategies. I like the idea of getting lapel mikes, having the actors wear smartphones or recorders, and syncing the tracks up in post. Good aspects; cheap, simple, easily expandable to any number of performers.

Someone suggested that we get a system where the mikes send wireless signals to a central recorder. I'm not keen on this, because it may be expensive, it may be difficult to balance the sounds afterward, and the number of mikes may be limited. But I don't know, so I agreed to ask around for such a system.

We're shooting with DSLRs (mostly GH2's), so that may be a factor here.

Any suggestions?

This is a link to the facebook page - I can't find out where the original source video is so you'll have to visit the page to see this. Well worth it, though, for anyone considering doing video of performance, just for some ideas.

http://www.facebook.com/photo.php?v=232639466870299

While you can do an imaginative video using all sorts of locations and parallel stories, I think it's a challenge to do an interesting video of performers which just concentrates on them throughout. I really like what they've done here and would be interested in seeing any other examples of video which is confined to the one location.

I want to make the following picturew iwth the GH3:

http://www.daveyjphoto.com/tagged/long-exposure

and here the tutorial:

http://www.daveyj.ca/fireworks

2 problems I have with the GH3 there: When I want to make a picture that starts out of focus, it automatoically focusses what I push the button. I have set the menue from "Focus" to "Release" but no difference. OK, I can search for a target elswhere and then refocus or use manual focus mode, so that is possible.

But the 2nd problem is a hard one: When I do a longe time exposure, for example 3 seconds or also "B" Bulb mode, during the taking of the picture, the live viwe is gone. So how can I refocus then? I have to do it blind, trying before hand where it is is focus like written in the tutorial, but he used a 5D Mark II. So he has a mirror. We don't have one and still have no picture.

Does anybody know, how to keep the picture on the screen while taking the picture? Any assistance would be helpful.

(Possible before December 31st, beause ther I would like to try it :-)

Here are 2 examples with Libby O'Donovan & Australian Country & Western Singer Beccy Cole.

Edit: FCPX; Settings: Cluster v7 'Apocalypse Now- DREWnet' 12-15 GOP Settings; Glass: Tokina 28-80mm 2.8; Tokina 80-200mm 2.8; Nikkor 50mm 1.8

Does anyone have any recommendations for a hack that would work best in a live music setting with constant changing lights and what not?

Q: If I get a GH2, and hack it with the GH2 version of the blackout-powell native 24p patch, can I hook up my hdmi computer monitor to it and be able to monitor the output live with that 24p patch installed (at 1080p)? I want the live HDMI out so that I can easily see when the focus goes out and be able to keep adjusting the manual lens as I look at the hdmi computer monitor while recording. My question is I don't know if after I hack the GH2 into 24p native if it will have a live HDMI monitoring feed that is useable direct into an hdmi computer monitor or not. I read that the output from the GH2 only works in 1080i mode, so from that I was thinking if I hack it and put on the 24p native patch the hdmi out may then not work, and that I may be forced to keep it in 1080i mode only if I want to get a live HDMI feed that works into a computer monitor while recording.

I hope everyone can advise me on this if you have tried what I am talking about and know what the results are. Since I don't yet have a GH2 I can't test this and don't want to buy one unless I know I can do this because I don't want to ever again work with anything except native 24p footage, and I don't ever want to work with any new camera that can't do that and give me a live 1080 output that I can use as a focus aid while recording, since the lcd is not sufficient to visually see well enough to focus at a professional level of exactness.

The live hdmi 1080 will probably work as i or p, as long as it is true 1080 out, since I am not recording the live output to a recorder, I just need it for a visual focus aid to magnify the image into a big computer monitor so I can get better focus whenever someone moves a bit out of focus.

Thanks very much.