So I've had my T4i for about four years now. In that time, its gotten a lot to a little bit of use. Well, I'm coming out of my funk of not using the camera after this hiatus. Over the years since I've had the DSLR I've always heard about Magic Lantern and the wonderful tools it gives you. Hesitant might not be the word to accurately describe why I never took the plunge. I'd seen a lot of articles and posts about how buggy the firmware was and that it messed up someone's camera. That was always offputting to me. Well, tonight I decided to install the firmware on my camera. I'm going to be the DP for my Doc Workshop project and the added features will be beneficial for shooting. Having more manual control over what I'm filming will allow me to tailor my image a lot easier and more in depth.
One aspect of the program I'm most excited about is the intervalometer. Ever since I went to High Cascade Snowboard Camp and was shown by Brad Kremer the workflow and how to shoot a proper timelapse I've always been intrigued about, but never was able to, shooting a proper timelapse. I hope to not only utilize this for passion projects but also with my documentary.
I can't wait to start using all of the other features as well!
Your always looking for that next beautiful landscape shot, or the perfect astrophotography time lapse, but what the lens do you have by your side to capture these amazing scenes. While there are so many options and each lens have it's perks, there is not one perfect lens for any given scenario. It is up to you as the operator to compose the picture how you see fit. however, I recently picked up the Tokina 11-16mm for landscape and time lapse photography due to the amazing wide angle it provided, because I think in this type of photography this is going to help you gather the most interesting shots available.
(Due to uploading to blogger, the quality is quite poor.)
(Captured with the Sony a7s with the Tokina 11-16mm and Glidecam HD 4000)
This past Sunday I took to the football field to gather some B-roll of the stadium, I put together this teaser as a test video of the footage gathered. All material is shot in 60FPS conformed in post.
In the first shot you can see one huge problem right off the bat. The lens flare. While I love a good lens flare, it can be a bit much sometimes. I had no lens hood on while I shot because I was observing the flares and how they compared to my other lenses. But it would be interesting to see how it worked against preventing them. One interesting effect that occurs due to the full frame sensor, is that when completely wide at 11mm a picture will result like this.
The huge vignette is quite unflattering thus making the lens primarily fixed at 16mm. The great
APC-S feature of the camera turns this 11-16mm into a 17-24mm which is a handy trick to get a bit more punch as well as helps with the vignetting.
The football teaser above also demonstrates the issue with the ND filter. Due to the sunny weather we had this past Sunday, the ND was necessary to be able to shoot at an appropriate F-stop. The filter is variable up to 8 stops, but getting close to 6 is when the black streak in the top right corner of the image occurs, in some images it is more noticeable, but is very noticeable in the time lapse below.
While those two issues occurred in the video, the lens overall is very useful. First off the field of view is amazing. Paired with the full frame, even when punched in to the 17-24 APS-C mode, the lens is so wide and if you want that extra wideness, the 16mm is more than useable, however filters do come in to frame so indoors might be the best option for that. But this wide lens is great to make your shot extra smooth with the Glidecam, as well as capturing a a large canvas with time lapse.
(The vertical capability is also a feature which needs exploring.)
A feature I neglected to touch upon until this point is the speed of this lens. With f2.8, this is amazing for night time photography. I've been meaning to test out the low light monster that is the a7s, combined with this lens, because I think it would have amazing results. Now just to get to somewhere that lacks light pollution.
The final picture is one testing long exposure with the ND filter. While in the corners, the vignette is present, the ability to do a 30 sec exposure really made the water quite milky.
Overall, testing new gear is stressful but enjoyable and you learn that ever piece of equipment has its pros and cons. In the end you just have to decide what you want to put up with more and if its worth the resulting image.
Recently I was able to make a huge investment for myself as a filmmaker. I introduced myself to a new camera, the A7s. I have had my eye on this Sony product for quite sometime now. I have been blown away by it's dynamic range and high ISO capabilities displayed online and now I finally get a chance to use this in a real world setting.
(A still from the A7s, Sigma Art 35mm 1.4)
So where to start? The Sony A7s has so many favorable traits its hard distinguish a starting point. I'll start with my three favorite features and move on throughout each blog post, addressing individual features as we move along. For myself there were a few things that I found desirable about the camera that swayed me to switch from Canon to Sony. First off, variable frame rates. I previously shot on the Canon T3i as it was my starter camera and boy did it get me through some times. However, the highest frame rate you can go is 60fps at 1280x720. This is universal through most Canon DSLRs.
(Tokina 11-16mm 2.8)
The 5DmkIII, which previously ruled the DSLR world, couldn't compete. The A7s can also be boosted to 120 fps with the downgrade to 1280x720. It can't compete with the Phantom or RED, but for a Full-Frame DSLR, this variability will get the job done. The video posted below is shot completely in 60fps. All footage is played back in realtime until brought into post to be altered.
While the variable frame rates are so much fun to play with, thats not all there is to this beast. The ISO is off the charts. Most of the footage above, besides what was indoors, was filmed at upwards of 30,000 ISO. This was my first day with the camera and I really was enjoying this party trick. Grain in the image began to increase as I went up, however it is quite clean around 20,000. Some 50,000 iso footage can even be salvageable. Once you increase upwards of this threshold you will need to use plug-ins like Neat Video to decrease grain levels.
(Sigma Art 35mm 1.4)
Many filmmakers have highlighted in reviews this outstanding feature, and I hope to learn how to take advantage of this feature and really get some outstanding footage. Once difference I noticed is that the Video ISO is much cleaner at much higher ISOs than the photos. This is due to the sensor only having 12.2mp, thus the pictures suffer loss of quality in order for the video to prevail. Although the resolution is not quite up to par with Cameras like the 5D or even the A7s older brothers the A7 and A7r, the pictures produced still look very nice when paired with the right glass.
While these two capabilities are useful and help with more advanced shooting, you can never forget the little things. The live recording punch in feature is so handy and is something I've been looking forward to for quite some time. Paranoia strikes at the strangest times, especially when conducting interviews. The everlasting battle of not being able to tell if you have something in your eye or if your shot is soft. Being able to punch in and check focus is an amazing feature especially when it comes to doc work, not only in interview settings but out in the field too. The back tilt able LCD screen paired with an amazing EVF makes this camera very diverse.
(Sigma Art 35mm 1.4)
Using the EVF paired with the punch in focus feature will be great when recording in the field and you need that extra assurance that the subject of your shot, whether that be an animal, mountain top, you name it, is in focus. There are multiple custom keys on this camera that you can arrange which ever is most comfortable for you. I prefer to have my C1 button (located on the top right corner diagonal from the shutter release) to be my short cut to this handy feature, but to each their own.
I'm very excited to start using this new investment for personal projects, thesis films, and even try my hand at time-lapses. It feels weird making the next step of your career goal and being faced with new and unique situations. While the learning curve in this industry is always changing, this factor is what drives me to be the best I can be. There will be plenty more reviews to come in regards to the time-lapse capabilities, picture profiles, and much more. Until next time.
Canon Australia came out with a new commercial emphasizing on people's eyes and what they are seeing.
I thought this was a very powerful ad concept that shows amazing aesthetics through something simple as the human eye. In terms of production, the editing in this is amazing. Whoever edited this brought out colors in the eye so well and adding the visuals the actual characters are seeing into the eye was also very cool. It is kind of odd that they made an ad about eyes, but I enjoyed it. It provides a powerful message saying that everyone is unique and you should see the world in the way you want to. The way you see things are not always the same as the way others do and that difference of views is what promotes individualism and creativity.
A few years ago I found a time-lapse video online that I watched at 2am and I was struck by so much awe and beauty I bookmarked the video and it's been on the top of my browser ever since. Give it a quick look... I promise you'll feel calmer in about 15 seconds:
The soundtrack is what I think really sells it. Even without the visual, the piano is so calming it makes me want to melt away like warm butter into a soft and beautiful sleep. Okay enough of this poetry-mush... let's get down to business. The first question is how do they get these beautiful steady shots over a period of time? For that, let us turn to the magical world of the internet, also known as the largest free education database in existence:
Okay, so now we all know how to create a stunning time-lapse videos. Good. But photographer Keith Loutit has taken it a step further and added another element to his time-lapse videos: tilt-shift.
Tilt-shift, for those less aware, is a stylistic type of blurring that can make large landscape pictures look like little miniature models. I grabbed these two pictures as examples... and even though these are normal real-life shots taken over a large area, this simple blurring effect makes them look very small.
So what happens when you combine this effect with a time-lapse video? Cool looking shit, that's what.
Check out Loutit's time-lapse over the skyline of Shanghai:
As an aspiring filmmaker, one of my pleasures in life is a good lens. Unfortunately, I don't own any. I have the kit lens that came with my camera and the good old nifty 50 (Canon 50mm F/1.8). This doesn't exactly give me a wide range of lenses to choose from in a shoot, so lately I've been searching for some new glass to add to my collection. I'm hoping to share some of the knowledge I've gained from constantly searching for affordable lenses, so, here it goes.
The first lens I'm looking at is the Tokina 11-16mm f/2.8. This lens is as good as it gets for a crop sensor like the T2i. Even on the new camera Black Magic Cinema camera with the large crop factor, this lens is a really good choice. On a full frame sensor like the Canon 5d however, this lens will suffer from some vignetting, so one may want to go for a lens that isn't as wide on that. This lens is very fast for wide glass, so it performs very well in low light and if you need to get that shallow depth of field. Priced at around $700 new, it can definitely put a dent in your wallet, but I suggest buying it used on ebay for around 4-600.
The next lens on my radar is the Sigma 30mm f/1.4. This bad boy has a 50mm equivalent focal length on a crop sensor camera, making it a good buy for someone like myself. This lens is pretty sharp, at wide open it will start to get a little bit more soft, but it's always nice to have that extremely fast option. Priced at $489.00, it's also not exactly "cheap", but for a lens this is a great deal.
If I had to choose one lens that I could have right now it would be between the Canon 24-70mm f/2.8 and the Canon 24-105mm f/4.0. I have a friend who owns both of these and he has let me borrow them on occasion. These lenses are beautiful. When it comes down to it, someone like myself would probably go for the 24-105mm since it has image stabilization, and when you are doing a lot of video it's a life saver. From personal experience I found the 24-70mm to be a bit more sharp though which is also a major selling point. But these are both great and versatile lenses that I would love to own once I have the cash. Being part of the L (luxury) series of canon lenses, they cost quite a bit. Each will cost you over $800 at the very least.
If you're not into selling your soul to buy some nice lenses there are other options, and despite what people say, the kit lens is not that bad. Some friends and I (Clinton, Grant, Andrew) that are in this class shot a 48 hour film last semester on a Canon T3i with most of it being shot with the 18-55mm kit lens. I think it looks pretty good, but I could be wrong. Here's the movie:
Other alternatives to more expensive lenses can be found on both ebay and BH Photo's website. If you go to the used section on BH Photo you can find some great deals on old telephotos and primes selling for less than $100, which if you know lenses, is a steal. Overall though, I suggest researching on your own and determining what is best for your needs and techniques. One thing to remember after you own your first camera body is, you're investing in glass which should last a long time, not the body, which you'll replace in a few years.
Yes, they are two completely separate beasts. One freezes a memory into a single frame while the other records its entirety.
Some schools of thought think that video triumphs all — you can view things in real time, never missing a single emotion. Others believe that photography is more traditional and can be more powerful if done right. Are these purists right? That depends who you ask.
I have worked with both photo and video for a fair amount of time (well, for being a 19-year-old that is): about nine years doing video and about three in photo. Ever since the third grade I have been mystified by video. I took classes in middle and high school to further improve my skills. I have learned how beautiful of an art videography can be, both by creating and consuming it for almost my whole life. I was 100% in the "video is better than photo" mindset.
Everything all changed once I purchased my first DSLR. I'll admit first off that I did not but my Canon T2i for photographic uses; it was all for video. Once I got rolling, however, I realized how majestic photography can be. Even going out into your backyard can bring about some amazing shots. This photo was one of the first I took with my camera. I love it: the flowers blooming from dead leaves, a bee precariously perched on the purple plant, everything. I'm not saying that video wouldn't be able to pick us these same things, but seeing it as a still adds some charm and pleasure to it. It's also easier to view it as a single shot, rather than in a video.
I do not think that one is superior to the other. Both photo and video have their strengths and weaknesses. Knowing about one can really help you with the other. Getting interesting angles, correcting white balance, and adjusting exposure are needed in each. Knowing where to look for the perfect shot is something that I personally found helpful in my transition to photo from video (I still do both currently, in a matter of fact).
Video was born from photo, and its silly to argue over the superior one (if that argument even exists). I look forward to expanding my skills and both, and translating the skills gained from one to the other.
Some videos like "Reverie" by Vincent Laforet, "Tick Tock" by Ien Chi, and most recently Act of Valor really captured my attention. There are a bunch of other short films I have seen on YouTube that are of really good quality and seem really professional. These video as I learn have been shot on DSLR's. What makes them stand out against other affordable cameras is the low light abilities. Other features that I liked is the amount of manual control on them and the ability to put different lenses on the body.
So over spring break I visited the person I interned for in senior year. He runs the TV station in my hometown. So I asked on advice for what type of camera to get, because I wanted my own and an upgrade from my Nikon D3000. The advice he gave me was buy the best body I can afford and then a cheap lens like the Canon 50mm F/1.8. And then for important projects just rent cinema lenses for the high quality. So that is what I did to a degree.
I am starting to learn filming on DSLR's since I got one towards the end of the summer. I've only had two chances to film with it so far. So far I am very pleased with how they turned out and how everything performed. I got a neutral density filter so I can maintain low depth of field and it worked well outside. I was able to do a pretty good job considering I had no tripod or audio equipment, aside from an iPhone. The only thing I really slipped up on was not setting the white balance, but since it wasn't for a project or job I'm ok with that. Also I filmed two quick projects in the same day over a six hour span with unpaid-non-professional talent, so if I took extra time on it, they would have gotten really annoyed.
I am looking forward to what I can produce from this camera, I have high expectations for myself and it. The last thing I want to share is a bit of DSLR humor. http://www.youtube.com/watch?v=bEwUnENlc9M&feature=player_embedded
I was shown this video yesterday of a Canon camera commercial. Now I know the whole thing is designed to advertise Canon, but the images they come up with are so cool. I'm not going to give anything away, so you have to the video for yourselves.
So I've had my T4i for about four years now. In that time, its gotten a lot to a little bit of use. Well, I'm coming out of my funk of not using the camera after this hiatus. Over the years since I've had the DSLR I've always heard about Magic Lantern and the wonderful tools it gives you. Hesitant might not be the word to accurately describe why I never took the plunge. I'd seen a lot of articles and posts about how buggy the firmware was and that it messed up someone's camera. That was always offputting to me. Well, tonight I decided to install the firmware on my camera. I'm going to be the DP for my Doc Workshop project and the added features will be beneficial for shooting. Having more manual control over what I'm filming will allow me to tailor my image a lot easier and more in depth.
One aspect of the program I'm most excited about is the intervalometer. Ever since I went to High Cascade Snowboard Camp and was shown by Brad Kremer the workflow and how to shoot a proper timelapse I've always been intrigued about, but never was able to, shooting a proper timelapse. I hope to not only utilize this for passion projects but also with my documentary.
