The head and accessories are in top condition, kept most of its life in storage with minimal set days. I purchased the kit in like-new condition, and have since taken it out under 20 days.
Located in NYC. Cash and carry only.
Joker-Bug 1600W Head
Flicker-Free Electronic Power Supply, 90-265VAC, 50/60Hz
Beamer Optical Accessory
Fresnel Frosted Lens with Ring
Super Wide Flood Lens with Ring
Wide Flood Lens with Ring
Medium Flood Lens with Ring
2 x Full Double Scrim
Full Single Scrim
Four Leaf Barndoor
Frosted Glass UV Protection Beaker
Clear Glass UV Protection Beaker
2 x Beaker Safety Wire and Bug Ring
Hard Carrying/Shipping Flight Case w/ Telescoping Handle
I am not sure where to discuss or promote myself for film scoring / music composition, here on dvxuser? I spent years here on the screenwriting forum, I have produced a few short films, but I have transitioned to where I want to compose music for film, score films. Recently completed a course in composing for film. I would love to connect with short film filmmakers here, offer to score their short film for free, but I just do not see an appropriate forum? Considering how dull a film is without music, it might be nice to have a Post Production subforum on Soundtrack? Idk,just asking, as I am not sure where to discuss this or shamelessly promote myself for composing for film.
In the circles of content creators, the Netflix 4K requirement seemed like a war against creativity and art.
The logic is straight forward:
Netflix advertised 4K content and starting charging a premium for adding that to the service. If they are showing customers content that is 2k or 3k blown up, they would be accused of false advertising.
Arri knows this and is totally fine with it. Hell, Arri even went out and made higher resolution cameras and sensors.
Customers don’t need 4K for movies, but if they are paying for 4K, let’s hope they are actually getting 4K.
I'm shooting in a factory with fluorescent lights on the ceiling. The space is too large and the ceiling is too low to light the whole space. Can you share some knowledge about how I can shoot this using tungsten and daylit LED lights? I have 1/2 plus green and 1/4 plus green gel filters. Which plus green matches with which light? What temperature should I dial my camera to? Thanks.
The GH4 is new (from B&H), and I've spent a few days reading most of the 420 page PDF, making detailed notes of how I will setup the camera, then I actually set up the camera with the dial set to Creative Video.
The manual (p321) was not clear on how to set up the custom menus, so I went to three websites that had instructions how to do it. They were also unclear. So I've come to the experts.
After setting up the camera, this is what I did:
1. With the dial still set to Creative Video, I went into the "Cust. Set Mem." menu.
2. I clicked on C1 and it asked me: "Overwrite current camera settings with Custom Set 1?"
That is not what I wanted to do. I did not want to overwrite my camera settings with whatever already existed in C1. So I've come to a halt. Maybe the wording is back-to-front, and they actually mean: "Overwrite Custom Set 1 with current camera settings?"
This leads me to a few questions:
Q1: Is it possible to set up C1, C2, C3 with various video frame rates, bit rates and so on, so that when I press the shutter when the dial is set to one of the C positions, it's as if I am in Creative Video mode and the camera starts recording video?
Q2. Or can I only record video when the dial is set to Creative Video?
Q3: Is that message "Overwrite Custom Set 1…" the wrong way around?
Q4: How do I set up Custom Set 1 so that it becomes my Academy-Award winning film setting? Thanks for any suggestions.
A tired question, I suspect, but also a moving target as firmware is updated.
We aren't Netflix-approved lol so I'm not worried about that, but I want the best image quality I can get when shooting V Log. If that's HEVC 10 bit 4:2:0 or all-intra h264 4:2:2 that doesn't matter to me. In fact, if they're 98% identical that's fine. But I've been tricked before... by 150 Mbps on the F5 (in 1080 10 bit) and 150 Mbps on the C200 (in 4k 8 bit). Not great.
What matters to me is media reliability, playback on a modest laptop (2016 15" rMPB) in Premiere and Resolve, compatibility with Premiere, Resolve, and After Effects, and price. Image quality does matter. I do a lot of chroma keying and heavy grading, so if the difference between 4:2:2 and 4:2:0 is invisible generally but substantial there, it would make me reconsider. However, if it's 98% the same, whatever.
Would this very affordable card work for 4k HEVC (24p and 60p):
Doug a longtime member here and creator of some damn good courses most of which I have purchased has a sale for the next two days on his Stock Footage course. I have been meaning to buy this since he announced it and at the sale price for a six month rental it is simply a NO BRAINER. So since he would probably not plug his sale, I thought I would and I hope others do as well.
My boss is interested in getting a new camera. He is used to using the PMW-400 (XDCAM EX HD Camcorder). What he loves about it:
1. It has a servo zoom lens. You zoom in and focus and zoom out (focus stays). Zooms are smooth with the servo.
2. It had a viewfinder that work well for bright sunlight.
3. It has multiple XLR inputs.
4. It has built in ND filters.
What he doesn't like about it: It's heavy (even without an Anton Bauer brick on it).
Is there an affordable camera (or gear combo), that can do all of these things, that weighs a lot less? Thanks!