The same company has booked me for another conference/seminar next year in a larger room. What suggestions do you have? I'm thinking of asking them for a separate sound guy with a boom for the audience. As far as lighting goes what would you do ? The main presenter is constantly on the move and the lighting in these rooms is nearly always terrible.

I thought they use go pro camera attached on a remote flight controlled by software but not sure that my answer would satisfy my friend. Help me out please.

If I put a lens at 17mm on the D5200 and 28mm on the 5D then my FOV should be approximately the same. What I don't understand is that I thought that the DOF would be similar since the aperture is the same as well as the FOV, but clearly this isn't the case based on the calculations:

5D - 28mm Depth of field Near limit 7.54 ft Far limit 14.9 ft Total 7.32 ft

D5200 - 17mm Depth of field Near limit 6.28 ft Far limit 24.6 ft Total 18.3 ft

So why are the DOFs different? Can someone simplify the reason for me please?

Thanks in advance.

Can someone write out the command line so I can see where I'm going wrong. Thanks

Via: http://www.luminous-landscape.com/techniques/ten_commandments_of_cinematography.shtml

Exposure

Lens Applets

Convolution

Autofocus

Color

Gamma

Panoramas

If you are interested in the results I could achieve, download this 5 minute sample video I prepared (size: 1.1 GB): https://archive.org/download/na-lx100-sample/na-lx100-sample.mp4

No artificial light, no stands or other accessories were used in its making.

This video was encoded at 32MBit/s in H.264 - somewhat the minimum of what needs to be invested to provide a decent reproduction of the original (100MBit/s) recording. Notice that it won't make sense to upload this sample to "streaming video hosters", as those typically limit the video bandwidth to ridiculously small values, turning "swarms of moving fishes" into mere "displays of mushy compression artefacts".

Please download the complete MP4 file before replaying it locally, it's unlikely that archive.org can provide you with enough bandwidth to replay it "on the fly".

@Vitaliy_Kiselev: I included some shark footage especially for you, so you can see how well behaved they are :-) - even though moving, bigger animals, are almost impossible to get pictures of that would really benefit from 4k resolution.

My findings on the usuability of the LX100/NA-LX100 for the purpose:

Pro:

• great lens for almost all underwater scenarios, including macro shots
• white balancing much better than with the GH2 - color correction in post can be much more gentle
• very good resultion and reasonable recording bandwidth in 3840x2160p24

Neutral:

• focusing still usable only with "AFS" and manual - no reasonable operation with continous autofocus, "depth from defocus" only used for still images

Con:

• optical image stabilization generally useful but does cause annoying "stuttering" for intentional pans.
• Insufficient recording bit rates for 1080p modes - so you can't opt for e.g. 1080p50 shooting if you are after Sailfish, Dolphins or alike were 4k wouldn't reveal more details anyway

BTW: It would really help if Panasonic allowed to assign a "trigger AFS" function to some function key - it is annoying that if you press slightly "too hard" on the trigger to only "half-press" it, some unhelpful error message ("cannot take picture while recording") will pop up when you try to re-focus while recording.

One Shot and AI Servo AF

Sunrise and Sunset Blurs and Silhouettes

Getting the right exposure

Arthur’s Gear Bag

Camera settings

Tele-Extenders

Just wondering what the general consensus is about the 180 shutter rule, how many people absolutely live by it and who likes to bend the rules and why?

I personally always find myself sticking to the rule, for example always shooting at 24fps and then setting the shutter at 1/50 and then keeping that constant either through the use of an ND filter or sticking the camera in shutter priority mode.

Is there any good way of adjusting for variable light conditions while keeping aperture, ISO and shutter angle locked?

Vari ND's with gears? Is it ever done in cinema, and if so, how?

I found this: http://www.fujifilm.co.jp/corporate/news/articleffnr_0727.html very cool and usable looking vari nd from fujinon, but it looks like its for smaller sensors than m43

So, any suggestions? Or do I have to just face the facts and start playing around with auto shutter/aperture?

http://www.getolympus.com/us/en/anywhereclassroom_s1

Season 2

http://www.getolympus.com/us/en/anywhereclassroom_s2

Season 3

http://www.getolympus.com/us/en/anywhereclassroom_s3

The other key issue is not copying the original footage to disk, since my SSDs are re-used on a regular basis. This makes grading a one shot process (well until the SSDs are needed again). Obviously money could improve this workflow, but then there would be no profit!

Thoughts welcomed:

From the article:

"In many cases, this is why a published native sensitivity is clamoured-after in cameras which offer only ISO as a setting: because the cinematographer wants to know what the manufacturer considers normal, which is likely to be a sensible tradeoff between sensitivity and noise. Some cameras, such as Sony's FS700, permit a selection of either in the user interface, which, if nothing else, permits us to evaluate the company's assessment of the camera's native ISO."

If you want to watch the underwater video that I produced at Curacao, you can download or play it directly from archive.org - this link is to the 18 MBit/s .mp4 file that I encoded (size 3.6 GB), you can also watch a seriously down-scaled / low-quality / low-bandwidth version here.

I used FlowMotion 2.02 in 24H mode, the 14-42mm Vario X and no artificial light to produce the above linked vieo.

Conditions
~7pm ET, sunset is at ~8pm ET, so the sky will be not be dark launch direction is east, away from the sun, heavy clouds likely to the west further reducing ambient light launch duration is probably 2-5 minutes

Lens
I'm not exactly sure what focal length will be needed to capture the arc. I suspect 14mm (m43) is about right. I'm planning on using the 7-14mm Panasonic Lens, but I have other lenes available if they might be a better choice. The 12-35mm might be better because it offers some flexibility in the upper range.

Pre-Process

• Tripod Setup
• Camera mounted in portrait orientation - may have to quickly switch depending on the trajectory of the launch relative to my position.
• 3:2 aspect
• RAW
• Manual Exposure
• Manual Focus
• 2 Second Delay
• Long Shtr NR = On
• No filters planned, but do I need ND/IR filters? 7-14mm can't use filters, but if I use another lens, I'm concerned with reflections.

Photo Process

• Launch
• Frame shot for ~30 seconds, guess-timate arc
• Manual Focus on plume
• Engage Shutter (wait 2 seconds)
• Begin Exposure
• Watch until arc nears frame edge (~1:30-4 minutes if I guess right)
• End Exposure

I'm guessing the following exposure settings:

• ISO 100
• A=f8
• SS=B

What would make sense in this scenario? Could I charge the organizer a flat rate for a copy of the video? Or give him one for free, and offer to sell individual videos to each of the bands. What about all the copyright legal mumbo jumbo. Do I need to worry about that? Do I need to get written agreements from all the musicians with them agreeing that I film them beforhand? What if one band covers a song, and I sell the video to them and they throw it on their website, can the Rolling Stones come back and sue me? Is that like a one-in-a-million type of risk?

Logistically, I am going to have myself manning a telephoto GH2 on a tripod (with closeups of the bands singing and playing), along with a fixed wide shot with a GH1. My buddy will be roving around with a handheld for some med shots of different angles.

Any opinions/advice are appreciated. Thanks.