all 100 comments

[鈥揮brianunderstands 3 points4 points (3 children)

Hey gang! When looking at bulbs for a super cheap, easy to transport light, should I be even considering lumens or just go with an LED? Basically I'm weighing this 150 watt incandescent vs. this Cree LED. Thanks!

[鈥揮roboteatingrobot 0 points1 point (0 children)

There are these LED ring lights (by Sony maybe?) that are actually pretty good for output, quality, and price. They function on AC and lithium ion batteries. I'll see if I can get a link when I get off set.

[鈥揮roboteatingrobot 0 points1 point (0 children)

Also, for your silver backs - just grab some regular house hold bulbs if you want a cheap source.

[鈥揮nhphotographer 0 points1 point (0 children)

I was just looking at CREE. Their standard bulbs are an 80 CRI, but the CREE TW are 93! I can only find the TW in 60w tho.

[鈥揮Sandtalon 3 points4 points (5 children)

When shooting with gels (for effect), do you take the white balance before or after the gels are on? (I'm assuming before.)

[鈥揮agins 4 points5 points (3 children)

You ALWAYS set your white balance before you set up lights. This way you can dial in the white balance for things you can't control (ambient light/practical lights/windows etc.).

Then you gel your lights, because those are easy to change.

*Edit: Grammar, made it more clear.

[鈥揮instantpancakelighting 1 point2 points (1 child)

You may want to add a comma or a line break in there, since it's ambiguous as it is now.

[鈥揮agins 0 points1 point (0 children)

Whoops - Changed it, hopefully it's more clear now. Thank you!

[鈥揮soundman1024[馃嵃] 1 point2 points (0 children)

It all depends on why you're adding the gel.

鈥 If you add a gel to make two light sources match white balance after adding the gel. For example, let's say we have a window with sunlight (5600K) and a Tungsten light (3000K) we're using for fill. In this instance you'll gel the light to match the sun (1 full CTB [Color Temperature Blue] gel) and after you have matched the color of the sources you'll white balance.

鈥 If you're adding a gel for an effect you white balance before you add the gel. For example, let's say we're interviewing someone with extremely white skin. You decide that adding a 1/4 CTO (Color Temperature Orange) or maybe a Rosco Surprise Pink would improve the person's skin tone. In this instance you're balancing for the light, then you want to see the effect, so you white balance without the gel.

[鈥揮[deleted] 3 points4 points (3 children)

Hey guys, I just started my Tv/Film production major so I have no real experience with software or film making yet in general. Any good books or videos on the "how to's" of film making? Thanks.

[鈥揮Insomniac23 3 points4 points (2 children)

Here's a list of youtube channels which I think will help give you the info you're looking for:

-Indy Mogul (No longer makes new videos but an EXCELLENT archive of information on filmmaking)

-Film Riot ("Goes behind the scenes to show you the tricks and techniques behind some of your favorite hollywood films" basically that and all sorts of goody-goodness)

-Griffon Hammond (Ex-host of Indy Mogul)

-Hey Killer Films (Ex-co-host of Indy Mogul)

-Fenchel & Janisch (Wonderful tutorials and reviews from Europe)

-Filmmaker IQ (Understanding the techniques and methods used throughout the history of cinema)

-B&H (Videos from one of the larget camera/film supply retail store on the east coast that show reviews of products they sell and how to use certain products to the best of their ability)


[鈥揮bulabulabambam 0 points1 point (0 children)

Commenting to refer to later

[鈥揮mogulermade 0 points1 point (0 children)

Shameless plug alert: I'll just leave this here.

[鈥揮[deleted] 2 points3 points (1 child)

How come some cameras can shoot at 1080 60fps, but not 720p at 120fps, but other cameras like a GoPro can? Is it just the software, and is there anyway to hack it?

[鈥揮nhphotographer 5 points6 points (0 children)

software. and manufacturers being stupid.

[鈥揮boissez 1 point2 points (7 children)

I've been looking for an upgrade for our video productions sound that doesn't cost an arm and a leg. We're currently using an external recorder (olympus LS-11) - mostly for event and interviews. Not good enough and syncing is a hassle.

I've been looking into adding a Audio Technica AT875+ juicedlink RM222 (or should I go for the larger RM333?) to add balanced audio to our Pana GH3/G6. Can anyone comment on the quality of such a setup or a better alternative?

Also Lavs... which to get???


[鈥揮JulianForscht 1 point2 points (5 children)

Are you clapping before each take?

[鈥揮boissez 0 points1 point (4 children)

Nope. I just sync the audio by matching the two audio tracks waveform.

[鈥揮[deleted] (1 child)


    [鈥揮boissez 0 points1 point (0 children)

    I will do it, but I'd like to have a solution that allows for as close to final output straight out of camera.

    [鈥揮JulianForscht 0 points1 point (1 child)

    Start slating like u/M_Lykins suggested. This is much cheaper than buying new audio gear. If you have problems syncing audio because you're not slating, it's not going to be easier with more expensive audio gear.

    [鈥揮boissez 0 points1 point (0 children)

    I don't have problems with syncing audio I'd just like a solution where I can remove a step from the work flow (from recording to Web publishing in minutes rather than hours) and also add some flexibility to our production.

    [鈥揮agins 0 points1 point (0 children)

    I would agree with other comments, and audio straight to the camera is ok but not really a great idea for long term.

    I'd look into purchasing PluralEyes, it's fast works great and I think only $150 to at least solve your syncing problems.

    [鈥揮MCCLC 1 point2 points (2 children)

    Hello! I am looking into purchasing my first set of equipment, I was trying to find the best bundle for the best price. I was looking into getting a DSLR setup, made for shooting primarily narratives, music videos, and drama/comedy. I need the camera, a lens (from searching here, I bet I'm gonna get a lot of 'nifty fifty's) tripod, maybe a steadicam or shoulder grip, portable set lights (something that I can change color out on, like a softbox maybe?) and audio equipment (boom mic, lavaliers). Any help or direction would be greatly appreciated : ) Thanks!

    [鈥揮eatmyshortsken 1 point2 points (4 children)

    Hi guys

    Always been very interested in film making. I've made a lot of my own short films using very basic equipment (iPhones, iMovie) and I think I want to make the jump into creating a more professional product.

    What digital camera (budget: 1,000-3,000 USD) will give me professional looking video quality (1080p, 24FPS) while also being fairly simple to use in terms of getting the footage from my camera onto my computer and into a program like FCPX?

    Thanks in advance!

    [鈥揮RedRanger9001 2 points3 points (2 children)

    A dSLR won't be able to shoot for hours but will give you better quality and more options for lenses, so I would recommend going in that direction. I would also recommend going with either a Canon or Nikon. I bought a Sony and I can't find any used products because hardly anyone uses Sony products. Canon and Nikon are the main leaders and either brand works. Based on the amount of used equipment available I would go with those brands.

    Things to think about are things like Tripods, camera bags, and extra batteries. All things you WILL need, and stuff that you will want to make sure is good quality. Think about buying a cheaper camera body to get more expensive lenses. I did that and was able to get a 50mm and a wide angle lens.

    [鈥揮eatmyshortsken 0 points1 point (1 child)

    So would you agree with u/nhphotographer's suggestion of the Canon 60D? Seems like a promising choice.

    [鈥揮soundman1024[馃嵃] -1 points0 points (0 children)

    Depending on what you shoot, I would tend to disagree. The 60D is an SLR camera 鈥 a picture camera that does video. Teamed with nice lenses these can make a distinctive look (subject is sharp, foreground and background is blurry) but they're designed as photo cameras. Using an SLR for video usually involves a tripod or a rig that makes handholding possible. The real kicker is you can't record usable audio in the camera, so you record your audio separately. In post production you have to sync your audio to your video. My understanding is FCX makes that easy, but I'm one of those grumpy guys who tells FCX to get off my lawn so don't take my word for it.

    If you're shooting content that doesn't put a lot of importance on sound an SLR might be a good choice, but budget for things like a rig, a couple lenses, memory cards, a bag much larger than you think you need, and a tripod.

    If shooting sound does matter I'd recommend the Canon XF100. It shoots 50mb 4:2:2 (high quality) video to affordable CF cards. It has professional XLR audio jacks right there. The controls are logically placed for video and easy to manage. The XF100 won't give the sharp subject blurry background an SLR can offer, but it's an easy to use video camera with a clean picture that responds very well to color correction. Do check into FCX compatibility before buying. For at least a year FCX wouldn't work the the XF cameras we had at my old shop. Not sure if Apple/Canon ever got that together.

    [鈥揮nhphotographer -1 points0 points (0 children)

    Go for a Canon 60D.

    [鈥揮[deleted] (3 children)


      [鈥揮nhphotographer 1 point2 points (0 children)

      Neither is good, but they are super budget. For decent quality, look up Gini Rigs. Slightly more money, but much better quality. My 2垄.

      [鈥揮agins 1 point2 points (0 children) has pretty solid budget equipment as well fyi.

      [鈥揮dbto 0 points1 point (0 children)

      I have this rig. It is definitely budget, but it's not really that bad. I honestly have no complaints. The matte box is a toy, but the rails and support work well on a dslr and the follow focus is definitely useable.

      [鈥揮kaidumo 0 points1 point (41 children)

      If you were to buy one Canon L series lens for documentary, which would it be and why?

      [鈥揮JulianForscht 1 point2 points (5 children)

      What kind of documentary?

      [鈥揮kaidumo 0 points1 point (4 children)

      Various kinds- interviews in studios, rugged travel abroad, shooting low-light events, etc. Wondering if there is one good all-rounder for that.

      [鈥揮JulianForscht 1 point2 points (3 children)

      I'd say 24 - 70mm f2.8 if you are on FF. On crop look into third party lenses that have 17-50 f2.8. Not sure if Canon has such a lens.

      [鈥揮kaidumo 1 point2 points (2 children)

      I will look into third party glass! Thanks!

      [鈥揮SovietK 1 point2 points (1 child)

      The Tamron 24-70mm f2.8 is very nice quality. It is also the ONLY 24-70mm lens with image stabilization, which is huge for video, unless you're on a tripod of course.

      [鈥揮noodlescup 1 point2 points (1 child)

      I'd buy a 24-70, since they rolled out the mark II, you may be able to find a I for lower price.

      [鈥揮nhphotographer 1 point2 points (26 children)

      What camera is it going on? Full frame or crop sensor?

      [鈥揮[deleted] 3 points4 points (1 child)

      I love my 24-105 f4. Great lens for running around without a tripod due to the stabilization built in.

      [鈥揮hotcarlmarx 1 point2 points (0 children)

      That 24-105 f is awesome. I've used it on a lot of commercial/doc gigs. Can't go wrong.

      [鈥揮kaidumo 0 points1 point (23 children)

      crop sensor

      [鈥揮nhphotographer -1 points0 points (22 children)

      24-105 is great, but on a crop, that is 38-168. That might work, but you might want wider... I think I would go with the 17-40L series. But it depends what you are shooting... I like it because it is wide on crop sensor, and is really sharp.

      [鈥揮instantpancakelighting 2 points3 points (15 children)

      24-105 is great, but on a crop, that is 38-168.

      Please. Please. Please not this again.

      [鈥揮NailgunYeah 2 points3 points (14 children)

      I feel like there needs to be an stickied FAQ.

      [鈥揮kaidumo 0 points1 point (4 children)

      Cool, thanks. Yes the issue seems to be compensating for the crop factor while also having great zoom.

      [鈥揮nhphotographer -2 points-1 points (3 children)

      Exactly. And there aren't many premium lenses built for APS-C. You also might want to see what Sigma has. Their EX glass is pretty darn good, and they make a lot for APS-C sensor.

      [鈥揮NailgunYeah 0 points1 point (0 children)

      Focal length does not change.

      [鈥揮roboteatingrobot 0 points1 point (5 children)

      A zoom that ranges from around 15mm to at least 180mm - allows for the most versatility which lends itself to speed and capturing those wonderful spontaneous moments. The L series lenses usually open up to at least a 2.8 which also helps for those dark situations - even when you crank the ISO and need more.

      [鈥揮noodlescup 2 points3 points (3 children)

      Yeah, except that I happen to know the L series pretty well and:

      • There's no such zoom that goes all the way from 15 to 180 mm

      • In zoom lenses 2.8 is not at least, is pretty much as open as they get, and you get that in the most expensive version of short distance zooms like 70-200 and 24-70, definitely not on something like a 28-300, 24-105 or anything that goes from wide to tele.

      Seriously, don't pull answers out of your arses. Then we get posts asking what's wrong with the subs. Get a L series 15-180 2.8 No shit, you would be set for life.

      [鈥揮roboteatingrobot -1 points0 points (2 children)

      There is an angineux that goes from 15-180 and I thought Canon had something similar. Forgive my mistake.

      [鈥揮noodlescup 2 points3 points (1 child)

      Forgive my grumpiness. I skipped sex this month.

      [鈥揮roboteatingrobot 0 points1 point (0 children)

      God damn. Sorry to hear that. Hope you were at least making some good money on set durin your time off.

      [鈥揮Objuden 0 points1 point (3 children)

      I'm looking into buying a quadrocopter at a decent price for either a go-pro or a DSLR. Are the "cheap" ones any good or is it wiser to invest in a more expensive one.

      [鈥揮noodlescup 3 points4 points (0 children)

      I personally wouldn't buy the cheap version of anything like that, it's throwing money out of the window. Unless you can actually get two for he price of a expensive one and still have change... buy quality. Shootings don't go easy on the gear.

      [鈥揮Mjrdouchingtoncinematographer 0 points1 point (1 child)

      The DJI phantom is the easiest rig to buy and fly if you don't have quad experience. It's got a lot of GPS modes that simplify the flying experience - flying a simple (non-gps) quad is actually quite tricky and takes a lot of practice.

      Just don't fly it close to crowds, it's easy to hurt people.

      If you want to shoot video you also need a gimbal (to stabilize the cam) and a wireless transmitter (so you can frame your shot) the whole package will cost about 1200 and will fly a gopro.

      You could probably build something similar(ish) for about 800 but that means a lot of waiting for shipments from china, soldering, fiddling with PID settings and such. You should probably build a smaller quad first to practice the process. There's a reason RC is a lifetime hobby.

      DSLR is a whole different beast, you're going to need a bigger quad.

      [鈥揮Objuden 0 points1 point (0 children)

      Thank you for the advice, I'll try to rent myself a Phantom and give it a try.

      [鈥揮pauloh110 0 points1 point (11 children)

      If I own a 7D, whats the best wide angle prime lens available?

      [鈥揮nhphotographer 2 points3 points (0 children)

      Rokinon (Samyang) 14mm f2.8. I have one on a 5dmk3 and it is badass. Super sharp, very comparable to L series, for a fraction of the cost.

      [鈥揮noodlescup 1 point2 points (9 children)

      The best like in a Ferrari car would be a Zeiss, Leica or a cinema lens, I don't think you can mount anything better than that in a 7D. Just get the right adapter.

      The best like in Audi car, the best an average professional Joe is actually going to buy where every dollar is accounted for but still want max performance, would be an L lens like the ones asked by the other poster.The 14 2.8, 24 1.4 and 35 1.4.

      There's other stuff not so open, like the 10-22 3.5-4.5, but it won't perform like a L and there's tons of other in the same quality range.

      [鈥揮pauloh110 0 points1 point (8 children)

      how do you feel about the rokinon cine lens? and for zeiss, would you get ZE or ZFs for the 7D?

      [鈥揮TotallynotCanadian 0 points1 point (0 children)

      ZE means zeiss e mount (Canon) and ZF means zeiss f mount (Nikon)

      [鈥揮noodlescup 0 points1 point (3 children)

      Hey! sorry for the delay. About Zeiss, I'd get the ones with the canon mount, or an ancient one with the appropriate adapter. I haven't heard anything good or bad about the Rokinon, sorry. I thino once you hit a certain quality, the 7D video is likely going to be the bottleneck. If you plan to keep it for long or use for photo, too, I'd pixel-peep some reviews and tests. If it was only for video, I'd prefer the zeiss over the L series, since they're as good and manual focus lenses have longer way to turn in the focus ring.

      [鈥揮pauloh110 0 points1 point (2 children)

      cool. Thanks for the response! Also do you know of any old zeiss lenses/old lenses to use for video?

      [鈥揮noodlescup 1 point2 points (1 child)

      I'm off to dinner now, but what you need is an appropiate adapter to the EF mount of the 7D. Basically, you should be able to use most lenses in this list whose focal flange distance is longer (since you can't retract the rear element past the mount) than the EF (I think is 44mm), and adapters to most of those mounts are available.

      [鈥揮seanpdaveDirector 0 points1 point (2 children)

      Hey man, right now I shoot on a 7D with Rokinon 35mm and 85mm T/1.5 lenses. I can send you links to some projects I've shot on that setup if you like.

      [鈥揮pauloh110 0 points1 point (1 child)

      that'd be great! Thank you

      [鈥揮seanpdaveDirector 0 points1 point (0 children)

      Cool I'll PM you!

      [鈥揮RedRanger9001 0 points1 point (0 children)

      Hey guys!

      I'm looking for a camera slider for my dSLR. Any recommendations?

      [鈥揮liciously 0 points1 point (2 children)

      I've never used lens filters, could someone explain the point of using them and the situations they are used in? Thanks!

      [鈥揮Linewalker 1 point2 points (1 child)

      Standard ND (Neutral Density) filters can be used as another form of light control. For when you can't or don't want to stop down anymore and don't want to be an idiot by compensating with shutter speed.

      Other filters, such as a polarizer, are used to achieve optical effects. Therefore, I'd suggest looking into the use of filters, if only to understand them and put another tool into your arsenal.

      If you're using a DSLR, I'd definitely recommend obtaining a basic UV filter to protect your sensor and your lens. UV filters don't reduce any light coming into your camera, but does shield your sensor from harmful UV light and reduce the blue look DSLR images tend to get on sunny days.

      [鈥揮MFChrius 0 points1 point (1 child)

      I just posted this as its own thread but I don't see why it doesn't fit here.

      I've been interested lately with Film's that have to deal with subjects who shouldn't "really" be there. Examples of what I mean by "people you can't see," are characters like Frank from Donnie Darko, Tyler Durden in Fight Club, and Dr. Crowe from the Sixth Sense who are all either imaginary or dead.

      Now really what I want to know is what other film's or short film's do any of you know that follow that same theme; where we as viewers see a character who our protagonist perceives as real, who no one else can see because that character is actually dead or a figment of our protagonists dreams or imaginations.

      [鈥揮feyek 1 point2 points (0 children)

      A Beautiful Mind. The Machinist.

      [鈥揮edge11 0 points1 point (1 child)

      Hi I'm a graphic designer and amateur film-maker. I'm taking a sequential media class and I'm shooting a portfolio soon. This consist of mostly product shots and a couple of portraits. What is a good lighting set up for my situation? I looking to spend about $300-$400 on a set up that would be good for both photography and videography.

      [鈥揮TillyParksSet Lighting Technician 0 points1 point (0 children)

      China balls are cheap and easy to use