Hybrids
Fast forward to the digital age the film amateur is working with equipment capable of delivering very fine image quality... Still cameras are now hybrids for both motion pictures ad stills ... That's what Ned Cordery wrote somewhere.
When seeing the still camera on the front page of "Film&Video Maker" I would like to buy one. Tom Hardwick presented the Sony A7RMk5 and the 20-7mm f/4 zoom, formidable £4,100 (street price). Together with this camera I would also like to have a new Casablanca 4 Piccolo small and already full fledged 4K UHD video editing system, £1,700. And why not a new 4K TV-set?
I fear falling behind if I don't invest in my future. It all costs about £7,000. Can I afford this? Maybe, but with tears in my eyes I think it is wise only to write scripts in the future. Let's call it making films on paper... I feel I can no longer cross the newest technological bridges. But if you are younger than me, and more energetic, and creative, and aiming for the best quality and relatively well off, please, buy the new camera and piccolo!
With tape and glue
Do you remember the time when footage was hand cut and attached with tape and later with glue? I never did it, but some friends did. It all changed around the turn of the century. The editing technigues changed dramatically. Also the cameras. Old amateur filmmakers dropped out. I was relatively young. I bought a casablanca. I had only written and read narrations for friends. But in 1998 I started to edit movies. It became a passion. Now, we are 25 years later. I'm 77. Approaching 80. Time for dropping out myself?
Colour grading
Two years ago I asked a friend to do camera work for me. I had made more than one hundred pencil sketches. It was my picture story! I would direct and edit everything. He had a Sony FS5 video camera. Just like mine. But we started a heavy discussion. It was extremely difficult. He is much younger and studied at a filmschool. I am "only" an autodidact. The word "only" sounded shocking an denigrating. He had just bought a still camera. A hybrid! He insisted on trying out his own brand new camera. Thinking of my backache I let him do. But I was surprised when he took all the footage home. He had used his hybrid camera and colour grading was a necessity, he said. He wanted to manipulate the images to create the right tones throughout my film. He made me desperate. It took months and months and could not do any editing. Moreover he claimed that the format would not fit my casablanca. Obviously I let my film slip out of my hands. But me, I felt like "The Old man and the Sea", I persisted.
No experience
I didn't agree about the colours he had chosen. The green in my garden had a orange tint. The trees seemed to be very unnatural. He claimed his tan was more professional. Apparently he didn't have any experience in colour grading. I went to his house and I chose the colours myself. Eventually I could edit my movie and I felt it had remained my own creation. But to be honest, it had taken sweat and tears. On the IAC-forum I explained what had happened to me. But not in a detailed way. If you are plagued by back pains do not stop making films, a very kind IAC-lady said. But try to find a reliable person who does what you want to achieve. In one of the next issues of FVM I will tell you what I have decided to do. I want to be free from stressful situations. Making films must be fun!!!!!
Hybrid camera, Piccolo and Colour Grading
Hybrid camera, Piccolo and Colour Grading
Willy Van der Linden
Re: Hybrid camera, Piccolo and Colour Grading
Hi Willy;
4K is the current leader with 6K and 8k and even 12k now available so where do we stop? However, well shot HD (1920x1080) continues to serve the needs of many of us; I have a 7 year old Canon Vixia that I use to shoot our Guerrilla Fest entries and it looks great on the full size cinema screen. I know that Howard Smith shoots HD and he delivers outstanding results, both technically and creatively. So; don't give up on HD.
I do have a 4K hybrid camera; Lumix GX85; purchased used with two lenses for $700. Excellent results but no audio or headphone inputs so a Zoom recorder for double system sound. The main attraction is the interchangeable lenses and I have a collection of old still lenses for something different. Best of all I have a Sony AX700 4K video camera that does everything very well and cost $1800; so you do not have to spend GBP4000 to be in 4K acquisition.
Editing; welcome to files 4 times the size of HD files! I remember the Casablanca edit systems; in effect a dedicated computer limited to editing only. I would recommend that you go to a conventional computer which will give you access to the software of your choice plus additional software for sound etc. There are off the shelf computers for around $2000 that will handle 4K so with a Sony AX700 plus computer with software you will be in 4K for about $4000.
Color management in software; welcome to a steep learning curve; I am still at the low end of this curve so try to shoot as perfectly as possible; if i want a different "look" I use LUTS.
Age; yes I know how that feels; I now need help setting up and moving stuff around; however still filming! Look forward to reading your decision.
ned c
4K is the current leader with 6K and 8k and even 12k now available so where do we stop? However, well shot HD (1920x1080) continues to serve the needs of many of us; I have a 7 year old Canon Vixia that I use to shoot our Guerrilla Fest entries and it looks great on the full size cinema screen. I know that Howard Smith shoots HD and he delivers outstanding results, both technically and creatively. So; don't give up on HD.
I do have a 4K hybrid camera; Lumix GX85; purchased used with two lenses for $700. Excellent results but no audio or headphone inputs so a Zoom recorder for double system sound. The main attraction is the interchangeable lenses and I have a collection of old still lenses for something different. Best of all I have a Sony AX700 4K video camera that does everything very well and cost $1800; so you do not have to spend GBP4000 to be in 4K acquisition.
Editing; welcome to files 4 times the size of HD files! I remember the Casablanca edit systems; in effect a dedicated computer limited to editing only. I would recommend that you go to a conventional computer which will give you access to the software of your choice plus additional software for sound etc. There are off the shelf computers for around $2000 that will handle 4K so with a Sony AX700 plus computer with software you will be in 4K for about $4000.
Color management in software; welcome to a steep learning curve; I am still at the low end of this curve so try to shoot as perfectly as possible; if i want a different "look" I use LUTS.
Age; yes I know how that feels; I now need help setting up and moving stuff around; however still filming! Look forward to reading your decision.
ned c
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Michael Slowe
- Posts: 810
- Joined: Mon Jan 29, 2007 4:24 pm
Re: Hybrid camera, Piccolo and Colour Grading
My old friend and rival Willy! First of all Willy, you are not old, I am twelve years older than you and am only just starting to wonder whether my film making days may be coming to an end. That being said I insist that you do not have to keep up with all the wonderful technical developments to make good films. I continually point out that it's the content that counts, not the kit you use. I see people producing perfect media but the content is often boring and unimaginative. I recall, over fifty years ago, I had a film that I had shot and edited on 8mm film, shown at the National Film Theatre! They had blown it up to 16mm but it still looked bad, no one seemed to mind!
Today's film makers would never believe how we cut, edited and spliced each clip of 8mm film. I then, in common with a few other serious film makers, changed to shooting and editing on 16mm film. It's true that the images looked better but I wouldn't say that the content necessarily improved. Now, as to Hybrid cameras, I am not a fan. If you are only making films why buy a Hybrid? Use a piece of equipment that is solely intended for shooting a film. Whether you shoot in HD, 4K or even 8K makes very little difference unless (a) the film is likely to be projected in a large cinema or (b) a lot of complicated post work is intended. I doubt whether anyone would guess at the correct original codec.
As to editing, I have done all my digital post production on a MacPro using Media 100 software, it's simple, reliable and non fancy. I've upgraded where possible since 2000 but have to stop doing so now as Media 100 has been discontinued. Colour grading is a very difficult subject as people's tastes are so different, as you point out. They say that Da Vinci is the best software but I do simple grading on my own system. The secret is to shoot it correctly in the first instance!
As to letting others do work for you on a film I cannot understand this. You know what you want, do it yourself if you can. You always have done your own thing Willy, please try to carry on.
Today's film makers would never believe how we cut, edited and spliced each clip of 8mm film. I then, in common with a few other serious film makers, changed to shooting and editing on 16mm film. It's true that the images looked better but I wouldn't say that the content necessarily improved. Now, as to Hybrid cameras, I am not a fan. If you are only making films why buy a Hybrid? Use a piece of equipment that is solely intended for shooting a film. Whether you shoot in HD, 4K or even 8K makes very little difference unless (a) the film is likely to be projected in a large cinema or (b) a lot of complicated post work is intended. I doubt whether anyone would guess at the correct original codec.
As to editing, I have done all my digital post production on a MacPro using Media 100 software, it's simple, reliable and non fancy. I've upgraded where possible since 2000 but have to stop doing so now as Media 100 has been discontinued. Colour grading is a very difficult subject as people's tastes are so different, as you point out. They say that Da Vinci is the best software but I do simple grading on my own system. The secret is to shoot it correctly in the first instance!
As to letting others do work for you on a film I cannot understand this. You know what you want, do it yourself if you can. You always have done your own thing Willy, please try to carry on.
Re: Hybrid camera, Piccolo and Colour Grading
At the Bar in Birmingham
Many thanks for your replies, Ned and Michael. But there are also other things that play a role in my decisions for the future. Certainly, not only the rapid technological changes. I'd rather not mention the other things on the forum. Maybe we can talk about them at the bar in Birmingham next year. Anyway, I will try to give you some hints.
Yes, you are right, Ned: 4k, 8k, 16k, ... Where will it end? I can safely continue with my Sony PXW-70, 24x clear image zoom, a zeiss camera lens, zoom D extender 6, focus maginifier, xavc, AVCHD ... I have a fantastic extern RODE NTG-1 microphone, a casablanca 6000, an excellent tripod sachtler ace, etc... but I must take painkillers for my sore back very often... perhaps just like some of you.
By the way, to be clear, I find the articles by Tom Hardwick and the other ones in "Film and Video Maker" extraordinary! Because of Tom I bought a new Sony camera 9-10 years ago. I was very happy with it. Our magazine is super!
Intense Rivalry
Yes, we are old friends and rivals, Michael. I'd like to meet you again at BIAFF. That's one of my goals. But remember, I am a fan of Tottenham, not of Arsenal. Of course, we both hate intense rivalry. I mean a competition for superiority. Really, just like you I have never had that feeling. On the contrary! At BIAFF I have often created my own rivals. I encouraged many (club)friends to take part at international festivals, by talking to them and also by translating their movies. Douglas Boswell, Samuel Faict and others received diamonds. Each time I was over the moon!
I used to work with one camera!
You wonder why I ask others to work on my films, Michael. That's just my problem. You are right, I have always done my own thing: "Breendonk", "On the Road to Passchendaele", "Dancing in the Air", "Breizh, le Cheval d'Orgueil", "An Irish Moment", ... I always worked with one camera, my own! But, I am not able to do this anymore. Just as Ned, I need help setting up and moving stuff around. That's frustrating, sometimes, because I love doing camera work! I adore it!
I appealed 5 friends...
For my recent movie I appealed 5 friends to help me. Actually, that was not wise. One of them wanted to call my work "a club movie" despite numerous months of prep work, of editing, adding sounds and music, translating, subtitling in three languages, balancing everything, etc... I had only asked them to take shots in a hellish crowd at an outdoor party in front of a basilica. It was difficult for me to approach my target with my camera in the crowd. Of course, I told my friends what I wanted to achieve. At another time I took pictures of the nature myself. I was lying on my back in the wood. To film some townscapes I sat down on a folding chair. And to create the end of my story I settled down in the open trunk of a car. To be honest: two drone-shots had been taken. I couldn't do that myself. You need an authorization for it. But it was free. And my friends didn't have to pay anything! I offered them a drink from time to time and Vera was responsible for the catering... I needed some costumes and props, ... I planned a lot of things. It was stressful at times, but I must say I am happy with the outcome.
"Film&Video Maker" issue October-November"
The one who helped me most was Werner Haegeman. You know him, don't you? "Perhaps, we can also work together in the future", he said,... "Writing scripts is making films on paper". More about it see "Film&Video Maker" issue October-November".
Many thanks for your replies, Ned and Michael. But there are also other things that play a role in my decisions for the future. Certainly, not only the rapid technological changes. I'd rather not mention the other things on the forum. Maybe we can talk about them at the bar in Birmingham next year. Anyway, I will try to give you some hints.
Yes, you are right, Ned: 4k, 8k, 16k, ... Where will it end? I can safely continue with my Sony PXW-70, 24x clear image zoom, a zeiss camera lens, zoom D extender 6, focus maginifier, xavc, AVCHD ... I have a fantastic extern RODE NTG-1 microphone, a casablanca 6000, an excellent tripod sachtler ace, etc... but I must take painkillers for my sore back very often... perhaps just like some of you.
By the way, to be clear, I find the articles by Tom Hardwick and the other ones in "Film and Video Maker" extraordinary! Because of Tom I bought a new Sony camera 9-10 years ago. I was very happy with it. Our magazine is super!
Intense Rivalry
Yes, we are old friends and rivals, Michael. I'd like to meet you again at BIAFF. That's one of my goals. But remember, I am a fan of Tottenham, not of Arsenal. Of course, we both hate intense rivalry. I mean a competition for superiority. Really, just like you I have never had that feeling. On the contrary! At BIAFF I have often created my own rivals. I encouraged many (club)friends to take part at international festivals, by talking to them and also by translating their movies. Douglas Boswell, Samuel Faict and others received diamonds. Each time I was over the moon!
I used to work with one camera!
You wonder why I ask others to work on my films, Michael. That's just my problem. You are right, I have always done my own thing: "Breendonk", "On the Road to Passchendaele", "Dancing in the Air", "Breizh, le Cheval d'Orgueil", "An Irish Moment", ... I always worked with one camera, my own! But, I am not able to do this anymore. Just as Ned, I need help setting up and moving stuff around. That's frustrating, sometimes, because I love doing camera work! I adore it!
I appealed 5 friends...
For my recent movie I appealed 5 friends to help me. Actually, that was not wise. One of them wanted to call my work "a club movie" despite numerous months of prep work, of editing, adding sounds and music, translating, subtitling in three languages, balancing everything, etc... I had only asked them to take shots in a hellish crowd at an outdoor party in front of a basilica. It was difficult for me to approach my target with my camera in the crowd. Of course, I told my friends what I wanted to achieve. At another time I took pictures of the nature myself. I was lying on my back in the wood. To film some townscapes I sat down on a folding chair. And to create the end of my story I settled down in the open trunk of a car. To be honest: two drone-shots had been taken. I couldn't do that myself. You need an authorization for it. But it was free. And my friends didn't have to pay anything! I offered them a drink from time to time and Vera was responsible for the catering... I needed some costumes and props, ... I planned a lot of things. It was stressful at times, but I must say I am happy with the outcome.
"Film&Video Maker" issue October-November"
The one who helped me most was Werner Haegeman. You know him, don't you? "Perhaps, we can also work together in the future", he said,... "Writing scripts is making films on paper". More about it see "Film&Video Maker" issue October-November".
Willy Van der Linden