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Not a programmer in any shape or form but...

I'm wondering if we drop the bitrate to web video levels say 12 or 25mbs and with today's 4k capable SD cards that should give the camera (600D in this case) just enough room to do 2K+ HD or 2.5K, SD, at a push?

The obvious trouble with that is two fold:

1. What's the point if the information isn't there, save for downsizing
3. No audio, would use too much memory and use a proper recorder anyway, lol


With these low bit rates your probably not going to get 2 shots from 1 wide but at least the footage will look significantly sharper once scaled down in post, if slightly more artifacty when compared to the full 40mbs, I would also recommend choosing a picture profile to burn in your look as anything below 50mbs is un-gradable.

a lot of pro cameras do use 25mbs (Sony FS700 without 4k upgrade), it's a usable data rate but you don't grade it as it falls apart almost immediately which is why this rate is used a ton for ENG type cameras.

Anyone?

This is more of a wild rambling but could have some merit.

To add a V mount battery to a DSLR you simply plug in a dummy Canon battery which has a lead attached.

Theoretically, the same could be said for memory cards by creating a dummy SD card with two(?) thin wires inside these wires would then go into a capacitor, as I believe SSD's take a higher voltage, by this stage the wires will be somewhat thicker to go into an SSD mounting plate under the camera.

To manufacture something like this would certainly require precision tools and is out of the realm of the amateur as it would have to go to an industry professional. An SSD also raises questions of its own:

- Would ML work through an external device
- You would probably have to drill a hole through your SD door to allow it to shut > rain
- Would the camera even be able to read it
-USB or SSD reader

Could be useful as you wouldn't have to have so many cards shooting RAW but I think it's pure theory.

24fps, 180 degree shutter (1/48th), 24-70mm Lens standard, 50mm 1.2, 85mm 1.4

And know where you want to put the camera!

24fps if your in America 25fps for just about the rest of the world. The 180 shutter is also slightly subjective but it does give the best motion blur.

Shots lengths is a purely subjective matter, don't think by putting on a 'nifty-fifty' you'll get a great look it's about lens quality. Zeiss are the entry level for cinematic quality with their primes starting around $1200 (on the extremely cheap side), next up you have canon with their cinema quality lenses at $5000-7000. To get true cinema quality though a simple prime will set you back $30,000

Having said all this, the difference between a videographer and a cinematographer is coverage not quality. Blair witch project.

A news and reality tv shooter is a videographer wherein they get in, get the story and get out.
A cinematographer plans the shot first (even if it is your kids football game... I'll come back to this actually), and then shoots, and then shoots some more. Notice I never mentioned multiple cameras.


So how are we going to shoot your kids football match without it being boring?

1. Mind map, think of all the crazy things you can do with a camera!
2. Storyboard (you know how a match goes so just plan shots around the key points)
3. If your a professional get permission before hand as even attempting an implied release on the day is still a legal nightmare
4. Ask the ref if you can go near the field of follow him around (or if you have something like a go pro get him or the kids to wear one)
5. Are there any tall buildings near by where you could get a cracking over head? No, then bring a ladder!
6. Tell us where the match is! Suck us in with a good establishing shot and don't you dare film a lock off of the clubs name! How about getting there 30 mins earlier and filming the staff prepping for the match?
7. Pov, OS, ROS, CU, RS, Reation, ECU - about the only English there is Reaction but they are all short for key camera moves
8. Shooting in flat is essential for good colour correction and then grading. Technicolour do an excellent profile for canon, Vision colour do two which you have to pay pittance for but in my opinion they are a tad too flat.

So here's how it could go:


1. A wide shot of the goal posts is in center screen, it's a cold and misty morning
2. Our hero's team comes appears screen right doing a warm up run to SL
3. Tracking shot of our hero (if you have a steadicam this would be great)
4. Close Up of the enemy team getting off bus, battle music starts
5. L-Cut of the ref saying something like 'ok lads, play nice', you would probably have to do a wide shot of this as it would be a fast one take
6. As the match progresses do action - reaction shots and if you can get in the field then follow some of the players ( not likely though)
7. stick the camera by a goal post
8. When they win the final goal would be the perfect time to get in on the action if you couldn't already

Great cinematography, therefore, is about making the right choices before and after the event in the editing program by shooting more you are only helping yourself create a better picture and giving yourself more fallback options if something doesn't work.

Get out there get shooting.

Hi,

I'm new to HDR in video so please forgive if I'm missing something, I have a Canon 600D.

When I switch to HDR I want the screen to display the lowest ISO when I'm recording and not alternate between the two every few seconds as this makes critical focus impossible but when I'm framing up I still want it to alternate.
Am I missing a button somewhere?

mmm... Just as another note whats your motivation to spiraling around a person other than to make the viewers dizzy?

Sure 360 degree tracks may look cool but WHY are you using them? Why must we see all of the subject?


I have a movie short in production that will probably use a spiral and it's motivation is the life-threatening confrontation going on between Protagonist and Antagonists.

I see 360 tracks of skateboarders on you tube all the time and all the skateboarder ever does is...Nothing, doesn't even do a trick.

I would get a Glanz shoulder Rig

I picked up mine for around $300 new, they come with standard 15mm rails, matte box and follow focus.

They're pretty lightweight but have 3 points of contact so you get really steady shots.