Podcasts about 5d mark ii

Initially released in spring 2012, the 5D Mark III is the replacement to the wildly popular 5D Mark II. And like the Mark II, it's a high-end professional workhorse DSLR photography camera aimed to tackle the harshest shooting conditions. Blog Post https://photographypx.com/canon-5d-mark-iii-review/ Video https://youtu.be/Aa1M0v8TVWI

The Canon 5D Mark IV, initially released fall 2016, marks the latest installment into the highly popular and acclaimed 5D series of full-frame SLRs. Canon's EOS 5D series is among the most sought for and respected digital SLR cameras to date. The previously released 5D Mark II created a highpoint for the series and kickstarted the digital SLR video revolution. https://photographypx.com/canon-5d-mark-iv-review/ Video https://youtu.be/69u8odc9CqE Lightroom Presets https://bit.ly/mobilelightroompresets  

La vidéo est venue à lui et il a su saisir cette rencontre pour en faire un changement de vie exemplaire.  Pascale Délé, lorsqu'il est encore aide-soignant à l'hôpital d'Arles, a ce goût de l'émotion à travers le cinéma qu'il adore. Une vidéo pour un hôtel de Nice déclenche un « Save the date », qui une fois posté sur le blog de « La mariée aux pieds nus » lui fait chauffer sa boite mail !  Le cinéma le touche et Pascal retranscrit ça avec ses films de mariage d'une façon unique et qui lui permet de faire mouche dès ses débuts avec sa clientèle.  Entièrement autodidacte, il puise ses connaissances via des blogs et pratique avec son Canon 550D. La révolution du 5D Mark II et l'arrivée de la compagnie américaine Still Motion lui donnent les bases pour s'affirmer.  C'est de cette manière qu'en 2014, Pascal Délé s'extrait des codes de la vidéo pour imposer son propre style, sa propre identité visuelle. Son crédo : « La vidéo sera faite en fonction de mon état naturel ! ». La photo ne s'apprend pas dans un manuel, mais sur le divan d'un psy ! Vous allez découvrir dans mon échange avec Pascal que c'est la même chose quand on est vidéaste. Il vous expliquera également qu'un mariage n'est pas un shooting corpo et malgré une clientèle qui devient de plus en plus sélecte, le côté humain reste l'essentiel !  Sa qualité repose sur sa discrétion pendant le jour J, comme le fait de refuser l'usage de Steadicam pendant la préparation de la mariée.    Mon interview avec Pascal Délé va notamment vous faire découvrir : Les avantages et inconvénients des boîtiers de dernières générations Comment savoir dire merde aux règles de bases en photo et vidéo Comment apprivoiser le zèbre qui peut sommeiller en vous Qu'il n'est pas forcément évident d'avoir 15 min de vidéo sur un mariage de plusieurs jours Comment faire le show avec Sophie Turner au milieu de la piste de danse sous les yeux de Jo Jonas !   Les personnes mentionnées dans ce podcast : Merwen Ba avec ses blogs « Obturation » et « Lovinpix » Olivier Schmitt et ses concours vidéos Siegfried Cey lors de son passage sur le podcast : https://open.spotify.com/episode/1LUXnuNfJcVCQB3p6nA4c5    L'objectif préféré de Pascal Délé : Helios 58 mm N42  Le site internet de Pascal Délé : https://pascaldelefilmaker.com/ Le Facebook de Pascal Délé : https://www.facebook.com/pascaldelefilmaker/ Le compte Instagram de Pascal Délé : https://www.facebook.com/pascaldelefilmaker/ ------------------------- ▼ Formez-Vous Gratuitement à la Photographie de Mariage ▼

Initially released in spring 2012, the 5D Mark III is the replacement to the wildly popular 5D Mark II. And like the Mark II, it's a high-end professional workhorse DSLR photography camera aimed to tackle the harshest shooting conditions.https://photographypx.com/canon-5d-mark-iii-review/

Initially released in spring 2012, the 5D Mark III is the replacement to the wildly popular 5D Mark II. And like the Mark II, it's a high-end professional workhorse DSLR photography camera aimed to tackle the harshest shooting conditions.Blog Posthttps://photographypx.com/canon-5d-mark-iii-review/Videohttps://youtu.be/Aa1M0v8TVWI

You would think after 33 episodes the PoddiMouths would be able to stay on a single topic.  While they didn't break any records for off-topic conversation, they did go from talking about cooking to the techie parts of a DSLR camera.  Who does that?  Well, Jon and Nick do...  A lot!Support the show (https://www.patreon.com/user?u=15325671)

Episode 4 - Cinematography with Karl Jenner Check out Karl's work here http://www.digitalrealm.com.au/Give Karl a follow https://www.instagram.com/karljenner66/ Transcript for our hard of hearing/deaf listeners Gareth Carr:Hey everyone, welcome to Action Cut and Everything in Between, episode number four. Today on the show, I've got Karl Jenner he was the director of photography on my film, my 50 man. And he's also just completed his own feature film called guilt. So we're going to jump right in and we're going to listen to the power of cinematography and the impact that it has on your movie. Gareth Carr:All right, so Karl Jenner, welcome to the show.Karl Jenner:Yeah, thanks for having me.Gareth Carr:That's all right. So you've just shot my film, Life After Man and your own feature film, Guilt. But how did you get to the point where you are now? Tell us about your journey over the years.Karl Jenner:For me, I actually started photography, underwater photography back in the day and always had a fascination with photography and cinema and anything creative, graphics and things like that. But my passion for diving led me into photography and I taught underwater photography. And through my diving, I worked on films and TV commercials, mainly doing a lot of underwater safety work, but some shooting as well. And I met up with an old character who shot documentaries on 16 mil. He used to build his own underwater housings and being working in the dive shop, we just chatted and I used to go out with him and we'd test all these housings and shoot all this underwater footage and things like that. And we ended up doing quite a bit. And then I just got hooked into filming and that kind of led me into where I am now.Karl Jenner:So just you know, an interest of anything creative in the photography field. And I worked on TV shows and did some big camera operating and shooting and eventually people asked me to shoot stuff for them, mainly corporate videos and corporate training and lots of this stuff. And I decided one day I'll just branch out on my own. And I had a very primitive set up back in the day with an older Amiga computer and an old video camera and an old VHS deck and a very primitive gen lock, which enable me to overlay graphics onto tape and just glue all this stuff together. So I had a very kind of early technical background in filmmaking. So this kind of led me from there. And just as the technology grew, I just grew with the tech. But I have to say, I got a bit disappointed with cameras, especially video cameras of how terrible quality they were.Karl Jenner:So I actually stopped shooting for quite a number of years and just got myself heavily into post production. And always had a fascination with visual effects, so I taught myself visual effects. I've done 3D animation ever since the very early days where you could do it on a home computer and actually wrote software out of a book, a Ray tracer that's how nerdy I was, and learned computer graphics that way. And then starting with my post production editing and graphics and visual effects work, I just spent years helping other people make their films and eventually the 5D Mark III came out. And so my interest then was piqued to get back into shooting. And so I bought a 5D Mark II and shot that with that.Karl Jenner:And then my passion just ignited from there and I've just been full steam ahead ever since, the shooting, shooting, shooting. Because now I can actually, what I have in my head or had in my head, I could actually get on screen. And so that's, I'm a bit of a perfectionist in a way. So I always hated those cameras and the look was horrible and everything was horrible about them. But the modern tech enabled me to get my creative vision that I had in my head across and we launched from there. So I just hung around with cameras and lenses and things like that and just became creative. So that's my journey in a nutshell.Gareth Carr:Yeah, that's awesome. So it was pretty much the DSLR revolution and the 5D Mark II that got you to where you are today?Karl Jenner:Yeah, pretty much. Probably, maybe a little bit earlier with the mini DV. I had a, I can't remember what it was, it was Panasonic FS 90 or something like that. And then I shot some, I actually shot a series for Fox Sports on old sports stars and where you actually use that little camera. And that kind of got me there, but I never used it to shoot really any kind of anything of significance. You know, I did my corporate work and stuff on that. But even when the price of cameras, like Digi beaters were astronomical and then they're crappy. So it wasn't until the 5D Mark III came out that I thought, "Nah, I can now get some focus separation and do all that fancy stuff that what kind of gives it that cinematic look." And it was at an affordable price, so there you go.Gareth Carr:Yeah. So since since the 5D, what cameras have you used or owned from that point to get to where you are now and tell everyone what camera that you're using now?Karl Jenner:Okay, well I bought a second hand 5D Mark II and then I had a 70 as well, and I was shooting quite a lot with that. And then the thing that made me kind of migrate up was the audio. The audio was always a challenge and post syncing though it was achievable, it was always fraught with danger. And so I built out a rig and it was like a big Franken monster just to get audio out, proper professional kind of audio with XLRs. And I had pre-amps and all these sort of things stuck in there. And it was just so many points of failure and always that fear in the back of your mind when you're on a big job that something was going to go really wrong. And then you'll get back to the studio and someone hadn't hit record or some, there was a hiss or a hum or something would just destroy it.Karl Jenner:So it was just this fear. So that's when Canon C100 came out so I was very interested in that camera. And then working with other DPs, I know a good DP friend of mine, Tom [Gleason 00:06:58] Had a RED Epic at the time and he also had a RED One and we did a lot of early testing on just some VFX and we shot some stuff on his RED One. So I was very familiar with the RED format and the difficulties in the early days of the R3D Kodak. But you know, being a bit of a tech head, I could get around all that. And I helped a lot of other companies deal with their workflows with the RED camera. But the C100 was in my price range, but it was only 1080p had Canon log on the camera, which is again it was interesting but I could see that the world was moving to 4K pretty quickly and then you could get 4K out the C100 I think, but you had to buy an extra module. And that price-wise, that pushed it up into the RED Scarlet range.Karl Jenner:So I started to look at the Scarlet as my next camera. And I, being familiar with the Red Epic of Tom's camera, I just thought the Scarlet is probably the way to go. It had 4K native, it had R3D, which is really the major selling point of the RED camera. So I jumped into that and I bought a Scarlet and I had, all my lenses went with it. Because I had a lot of Canon lenses. So I just bought a camera mount for it and for about the same price as the fully kitted out C100, I bought a RED Scarlet at the time. But it was based on the MX sensor, it was a great sensor, at the time it was probably the best one around, but it aged pretty quickly.Karl Jenner:And so I shot with that camera for about two years and it's enabled me to get on bigger projects, bigger, more high end stuff, shooting more high end projects. So that enabled me to basically, that camera paid for itself. And once you're in the RED ecosystem, you can actually, RED will buy your camera back and offer an upgrade path. And I think their mantra is obsolete, obsoletion, obsolete or something like that. And so I jumped and bought the Epic, which still was an MX sensor, but enabled me to shoot 6K and had all the goodies on that. And it wasn't compromised in any way. So I jumped to that. And then about probably 18 months, I had that camera and then they had the Dragon sensor come out and that was a beautiful sensor and still probably one of my favorite kind of looks in the RED line as sensors go.Karl Jenner:And so I used a lot of my money from that camera to buy that sensor. So I've got a sensor upgrade on that, which wasn't cheap, it was about $20,000 I think Australian. So it was serious money. But the camera was paying for itself. So I was kind of at a break even point by then. And I had the dragon for a good two and a half years I think. And that was a work horse, that was a real workhorse. Loved the look of it, that was just a tank. It was a bomb proof camera. Went through everything with me. And then, I then jumped to Epic W, which is then based on the HELIUM sensor. Again, I would've probably stuck with the Dragon for a lot longer.Karl Jenner:But the new form factor and all the new goodies that we're going in. And that's where they were going. And they offered a very good upgrade path. So I jumped on that. And so currently I shoot with the HELIUM 8K, which is basically the 8K Weapon. And that's my current camera. I don't know if I'm a RED fan boy or anything, but I'd be pretty camera agnostic if someone shoved a good camera under my face, I would use it, and that. But you use what you can afford. And fortunately I worked my way up into that camera over about five years. And that's the tool I've got. And it's, for somebody starting out, it's way out of most people's price range. But if you did what I did, you just start small and just build up and build up. But my God, the iPhone now shoots amazing pictures. So you know you can have a good camera. It's in your pocket.Gareth Carr:Yeah. Now we, well you shot both our films in 8K. Do you think that that's the way the industry is going and where will this resolution battle or war, where will it end and you know, what's the advantages that you found with shooting 8K?Karl Jenner:Okay. 8K yeah. I think 8K is where it's all going to go because TV manufacturers need to sell TVs. From a broadcast point of view, 8K is probably a long, long way away from a lot of broadcasts, especially in the country like Australia where some of the cable channels are still on standard def. Because it's cost prohibitive just to get in to HD. But as an acquisition format and a future proof your work, 8K is probably a good place to be. The reason I chose to shoot 8K for our projects was two fold, one is, it maximizes the full width of the sensor on the camera without having to go to [inaudible 00:12:30]. Because the way that the RED camera works is that you can have multiple resolutions but it's a sensor crop when you start to lower the resolution.Karl Jenner:So if you got down to 6K or 4K, it crops in on the sensor so you lose a little bit of the width of the sensor. Potentially compromising ... You got all those pixels that you paid for so you might as well use them. So I shoot 8K 2:1 which on the RED camera it's Super 35 but it's actually a little bit larger than a super 35 sensor. So on any of my lenses, I just want to maximize the width of that sensor. And 8K 2:1 gives me the full sensor across, because we shot the films with looking at doing a 235 output because you know, more cinematic. I just put up the frame guys for 235 and we just shot and framed everything within those guides.Karl Jenner:And it gives us the ability then to in post, just to do reframes and move, give people more head room if you feel like it, or lower the head room and that. But I'm not frightened of the 8K workflow and that. In fact my system here that I use, is not particularly powerful. I've got a five year old iMac Pro, 5K iMac. And I've just got a normal spinning backup drives but with a fast rate because I use Final Cut Pro just use their proxy workflow. And I barely touched the actual full res files which just sit on my drive and I've just got the proxy files sitting on my hard drive and I don't really have any slow kind of paid playback or anything like that. I've never had a glitch.Karl Jenner:I get perfect editing speed and I've got effects and layers and all that sorta stuff that all plays back in real time. So the workflow is not an issue with these computers, even a five year old iMac. But the ability to reframe, maximize the width of the sensor just gives you more possibilities and stuff. And I love the RED R3D which is really its signature selling point to have that, to have the ability to go in and when you're on set just to ... Because we're moving so quickly, we don't have a lot of lights or equipment, so difficult lighting situations or shooting in very low light, I can just, I know how to use the tools on the camera. So I just look at my histogram on the camera. I can look at the, I've got a little, a short cut to look at the raw sensor data so I can see what the sensor's seeing and if I can see detail in there and I can double check that across with my histogram and my tools, I'm pretty confident that I've got exposure I can work with in post.Karl Jenner:So when it comes back to post I can with the R3D I'm not locked into ISO or any of that stuff, so I can change that to do shot matching from shot to shot. Because I'm flying around the ISOs all the time just to try and get exposure as I need. I don't kind of lock myself into an ISO like some DPS will just say, we'll shoot 800 and that's it, the whole. But once you're so quickly and I need to get a stop or two stops and I don't have time to change an ND or anything like that, all right. And I do want to shoot fairly wide open most of the time one, five to two, eight is usually where I'm living.Karl Jenner:Sometimes I have to use an ISO change just to get those extra stops of light that I need. And I know that I can go in back into the R3D and change all that data if I need to. And you know, it's worked so far, so I'm pretty happy with that. That's why I think I liked the RED camera, just that flexibility and that bit of a safety net.Gareth Carr:Yeah, that's awesome. And Guilt and Life After Man both looking incredible. And I'd say, do you have a favorite shot now that you've edited Guilt and it's almost at it's kind of screener stage, do you look back through and you've got like a favorite shot from the film?Karl Jenner:For me I like all when the camera's moving. I don't think I've got a particularly favorite shot because the nature of the films that we've made, we're just moving so quickly. So I kind of have an idea of how I want the shot to go. But usually it's almost like shooting cinema verite in like you're making a documentary, you've got your actors all kind of lined up And as a DP you're looking for, trying to create some three dimensionality in your shot with a bit of separation and not having a large crew or a truck with any real light control and stuff. So it's really just kind of placing your actors very quickly, looking through my viewfinder and trying to find the best kind of composition and how to move and how to move the lighting that we've got into position and then snap that shot and then moving onto the next.Karl Jenner:So every shot was in a way a little bit challenging because a lot of the locations we would just walk in and we've got to figure it out on the fly. And so I think overall I'm pleased with pretty much all the shots because thinking back on how we got them, there's always kind of a pleasure. And at the time when you're shooting it, you're thinking, oh, I hope this works. And then you get back in the edit suite and you look at and think, "Okay, that's pretty good, I'm really happy with the results." But anytime I can get the camera moving, especially on the gimbals or little cheats or whatever, like we did sitting on the back of your truck, driving at 60 kilometers an hour hanging out the window, and those shots kind of worked.Karl Jenner:They are kind of like, wow, that's actually, yeah, that actually is really good. We got away with something and a lot of people will never know how it was done and think, wow you must have had a techno crane or some weird piece of gear. But it was really just gaffer tape and muscle power that gets the shot. So, yeah. So, yeah, no particular shot, but I'm pleased with how all the shots kind of come out. In Life After Man, I think probably my favorite shot is the horse shot with the sunset. You know, bomb it along with a gimbal that's at that breaking point, hanging out the window with the sun dropping and looking in the viewfinder, I could barely see thinking, I hope this is in frame and everything just lined up at the right time and it works.Gareth Carr:That's good. That's an awesome shot. I love it. So what advice would you give to people who want to shoot their first feature film? I know you said about starting small with your cameras and working their way up, but what about conditions to avoid? Like what's the most difficult conditions you'd say to shoot in and to avoid writing them into your script?Karl Jenner:Probably would be like shooting in the rain because rain has it's own kind of problems. Not for the fact that you don't want to get your camera wet, but you can be shooting in the rain in one direction and you can't even see it. Because you have to backlight rain to really see it. And then you turn it around to get your other coverage and suddenly it's bombing down with rain and you can see it. And then so when you go back to the edit suite and you're cutting, it's raining in one shot and not in another, even though it was raining. So I think above all, I think the biggest advice for anybody starting out in making a feature is control. You know, keeping control, having control of your set. Especially if you're using outdoor locations.Karl Jenner:And making sure you get the permissions and all that sort of stuff to shoot because there's nothing worse and we've experienced it, you know, when your guerrilla-ing and stuff that someone's going to kick you out and you've spent half a day getting all these shots and suddenly you can't even finish it, the work that you set out because you can't get access again and stuff. So having control and knowing that you can go in and you can block, you can work with your actors and get the shots and walk away at the end of the day. So above all it's control. And that control might have to spend money to get that by hiring a location and stuff. But the other things is just preparation.Karl Jenner:I think the thing with Guilt, even though we've managed to make a film, we were so time poor and we were always racing and that, because we had constraints before going in. We had a script and the script could have done with a few more revisions and stuff because we couldn't get the actors together to give them the words and then you want to hear those words by actors and then you can make those little changes. And if you get that script down and then you get on set, everybody knows what they got and you're not sitting there debating a bunch of dialogue. Because all that stuff's been done and then so you can get on set and everybody's on the same page. But if you try to make it up, that's always fraught with danger because then you end up with big continuity problems. So proper preparation prevents piss poor performance. So we weren't particularly prepared and we really paid for it at the end.Karl Jenner:And we were as prepared as we could with the time that we would given. But I would have love a bit more prep. And the thing with guilt is that was only myself and the main lead, Janet finding locations before we shot. So literally we spent two weeks finding all the locations for the film. So by the time we even got to the film where we're already knackered just by that sheer workload. So having people that can find your locations and do all of that paperwork and get all those permissions. And it was really myself, Janet and Lindsey doing a lion's share of the work even before we got to the shoot. And Lindsey, you know, she was based in Melbourne so she couldn't help out in that department. So she was doing as much of the prep work, getting on the phone, giving us permissions, doing all that sort of stuff.Karl Jenner:And then I was doing, up here, doing all the leg work, finding locations, negotiating with people, things like that. So by the time you get to that first day of shooting, you're completely knackered and you need to be fresh as a daisy because once those cameras roll, it's if you're shooting a big block, it's ... For us we shot for 15 days pretty much straight and after 15 days you are completely floored. And so yeah, script. Get the script right and be properly prepared. Cameras are irrelevant at that point. Get a good camera obviously to shoot your piece. But that's, you get a good DP, actually, he should come with his camera and not worry about all of that stuff. So look at your script to break it down, work out your scenes, get your actors together, do a script read, then get to set and everybody is on the same page and prepared to work. Because I think a lot of people in with short films start out on that adventure of making a film and it just gets bogged down in detail and everybody loses sight of what the end goal is and everybody loses direction and it only becomes too hard.Karl Jenner:And you end up, people walk away and I think a lot of films are never finished because it does get hard. And that can all be eliminated in the beginning if you're prepared. And for anybody out there who's going to be a director or the writer, producer, director, you just got to have tenacity and you got to fight every day to get your script done and stuff. But at the end of the day, it's worth it because I forget about all the pain now. I remember from your film, how many days we spend freezing cold on that farm. And it's worth it at the end of the day. It's like, you look at the fruits of your labor and you look it up on screen and you forget how you did it. In fact, I think I look at 80 and 90% of it thinking, I don't remember shooting that stuff. And that's what makes it worthwhile because then you just become an audience member and you can watch it.Gareth Carr:That's it. Sit back and enjoy the fruits of your labor. Yeah.Karl Jenner:That's it. And knowing that you've done it, it's just that sense of accomplishment because I think a lot of people want to go make a movie, but a lot of people don't even try because one, because a lot of people tell them it's too hard and you'll never succeed. And the other is that they do try, but they don't realize the burden or the amount of work that they're going to have to do. And that puts them off and stuff. But if you really want to do it, you'll do it and you'll do anything to do it. but it is worthwhile at the end of the day, even though you'd probably be poor at the end of it.Gareth Carr:That's it. You'll have no money but it's worth it. No, it's great. Such good advice. So where do you see now the future of cinema heading? I know we had 3D a couple of years back that seems to have died its death now, and then you've got kind of your 360 and AR now. Do you think that's going to take over or do you think the way cinema is, is it's here to stay?Karl Jenner:I think, personally I don't think you can beat the current cinema experience. I think 360 has its place, but I don't think it's an entertainment platform. I was involved not so long ago in doing some 360 tests for narrative with some good friends of mine. I was actually a little bit cranky and stuff because we've been talking about making films for so long and then 360 comes up and it's, oh we'll do 360 and I'm like kind of saying we just spent five years solving all the other problems. So now we've got all the cameras, I've got all the gear, we've got everything, we should be making a film and now you want to go solve a whole another set of problems, you know?Karl Jenner:And I said, let someone else figure that out. And I can't, personally don't want to sit in a room with a big headset on to have watch this movie. I think it'd be great as an experience. Just to go in, especially if it's like a good ghost story, a short film or whatever. But I don't think as a filmmaker I want to have people sit in a cinema and then look all around the room. As a filmmaker you want to ... But I've put something over there, there's the clue and then you've got somebody's looking at the back of the room because, that looks interesting. But I did read some statistics with 360 and it was like the first, and these were videos that were on YouTube and you can look at the analytics and this is why I'm always having these big discussions about doing 360. And it kind of transpired that it was usually the first 30 seconds people would look around, and then their vision would be usually where we watch movies because the experience was over and stuff.Karl Jenner:So they started to watch the movie where it was supposed to be. So it's like, but you went to all this effort to make this 360 movie. But the other issue with 360 movies are, where do you put the lights? Where do you put the crew? Everybody has to hide behind trees or duck behind cars. And you know, it's just like, no, no. 3D's again interesting, again an experience kind of movie. I think it's great for animation and things like that. 3D movies don't make me sick at all so I can put the goggles on and watch it and it doesn't bother me. So I can enjoy a good 3D movie and that. But going for, that's for high end productions. You got to have the dollars to do it.Karl Jenner:And most movies now aren't shot in 3D, they shoot with just one camera and they just dimensionalize them after the fact and stuff. I have been involved in doing some early 3D testing and things like that. And I've got some very good friends, Alpha geeks that worked on that stuff. And Yeah. But again, died a death, because I think people just want to go to the movies, pay their 10 bucks or 15 bucks, have that popcorn and just enjoy something and just be transported somewhere else and stuff. So yeah, putting on the headset and it kind of isolates you from the person next to you as well if you're wearing a big headset. So.Gareth Carr:Yeah, you might as well just sit at home-Karl Jenner:Sit at home.Gareth Carr:... and do that.Karl Jenner:Yeah. Yeah. So yeah, I think the way we're shooting movies now, even high frame rates, I don't like high frame rates. I think 24 looks really nice. There's a big push to have all those TVs, the DPS from Hollywood all want those TV's to come with the default off of that super smooth motion they stick on the TVs because it makes your work look like a soap opera. So, yeah. So anyway, maybe I'm a traditionalist, but-Gareth Carr:No, no, I'm with you on this one. I like it, yeah. I like what you're saying. [crosstalk 00:30:52].Karl Jenner:... But also from a post side of view, I don't want to rendering out 24 frames at high res it takes a long time, I don't want to do 48.Gareth Carr:I know. Right? Listen, this has been awesome Karl. Like I hope this has inspired people to just get out there and make their feature and you don't have to have a RED, do you, to shoot a movie.Karl Jenner:No, right. There's some amazing, very cheap cameras out there that just cut your teeth on something that's achievable and eventually all that stuff will become available as you progress as a filmmaker. People want to work with you and all that high end gear will naturally kind of come with it. But at the end of the day, you can give someone a RED camera or an Arial or something like that and they can still make it look bad. So the camera doesn't mean a thing. I know it's cliche and when you own a camera, big camera and saying, Oh, you've just got to use the camera because everybody craving for that new, big toy. But yeah, essentially at the end of the day most of these lower end cameras, sub $5,000 cameras and make amazing images like your little black magic pocket cinema cameras, just that's an amazing camera .for less than $2,000 you can shoot a feature on that no problem. RED cameras and Alexis and things, they come with a whole life support team because you're just going to have so much stuff on them. You can make them lightweight, but you know when we're shooting, you so often, I don't have a big set up, but that was still heavy and to lug that around all day. So yeah, shoot with what you have, make good films. That's the way to do it.Gareth Carr:So listen, where can people see more of your work and see your back catalog of stuff that's brought you to this point?Karl Jenner:I don't really have a big social media presence, but just go to karljenner.net and that's my DP site. You can see some of the stuff and some of the shorts on there. A lot of my stuff is client work never really ever sees the light of day. And I'm on a Instagram as @karljenner66, @karljenner66. That's how much I use it.Gareth Carr:Well there you go. Check all those out and hopefully-Karl Jenner:I'm getting better.Gareth Carr:Yeah, you're getting followers. Well, after this you never know, you might get a couple more followers. We'll see.Karl Jenner:I might get 10.Gareth Carr:But no, this has been awesome. Like I've loved hearing about your story and the process that you go through to shoot and like I'm just blown away with how Life After Man looks and I think it's probably going to be like one of the best looking zombie movies of all time and I can't wait to see how Guilt goes and the journey.Karl Jenner:Yeah. I've basically just got the screener ready and the Looking really good. I spent the afternoon painting out logos. The tedious work that you end up doing. That's why I always say to people, you always start out with like two people, three people with an idea and then you ramp up to your shooting and you might have 20 or 30 people and then eventually one day it's you in a room by yourself. And it becomes a labor of love. And I'm a perfectionist and bit of a pixel peeper. So I'll go in there and fix stuff that I probably don't even need to fix, but it annoys me. So I want to fix it. But yeah. But the film's looking really, really good and the story-wise and everything came together and I haven't even done the grade yet or we haven't got a sound mix or anything like that.Karl Jenner:And I'm really, really happy and super proud of everybody that worked on it. And it was a bit of a journey to get there, but we got there in the end and I think when people see it, they'll actually be quite surprised because when you're shooting a film, it doesn't look like a film, you know? And I've always said that's one of the reasons I love to operate as a DP because when I look through the lens, I actually get to see the movie. It's extraneous of all the other things that are around, you don't see any lights stands, you don't see any other people standing around. And that I just look at the lens and look at the actors and once you get a good performance and you know it in your eye that you can see it happening and you know, you've got some good stuff and you'd just piece together the film in your head.Karl Jenner:And that's the same with Guilt. And same with Life After Man. I could see everything as I'm shooting it and stuff. So I knew when the edit came together exactly how it would look and how it would feel. And it's once you get into the grade and you start to really craft it and that's a bit I like as well is just crafting your movie and eventually you can sit back and it looks amazing and sounds amazing and you're chuffed to bits that you've actually gone ahead and done it and stuff. So. But yeah, I'm super happy. With your crew, I think life After Man, it felt like a little family, when we were tucked away on the farms and all the right remote areas and things like that we were filming in. And we had all these animals and horses and all those things and you really bond as filmmakers and I always think in my mind, it's just a bunch of crazy, crazy filmmakers in the middle of nowhere trying to make this film, and everybody else would be laughing at you for doing it, but you get a kick out of doing it because it's fun. And it's fun and it's tough, but it's well worth it. And that sense of camaraderie and everybody on the same trajectory and it's inspiring to see.Gareth Carr:Yeah. I feel like it's not just the movie, it's the journey that the people that you go on the journey with that makes it, makes the experience what it is.Karl Jenner:I always find, yeah, that first day that everybody meets, no one really knows each other and by the end of the journey you're all like best buddies. Or people that, they'd ring you up and say, "Hey, can you come and help me on my thing?" And you go, "Yeah, absolutely. I'll be there in a heartbeat," because they've shed blood for you kind of thing and then so you're willing to go to bat for them and they need you. And that this kind of level, where you do rely on a lot of favors and people giving up time and going out of their way and stuff. And you could use that going back to preparation for other people's films, just be mindful of people's time and try and schedule around that and stuff.Karl Jenner:Because the last thing you want is to piss your people off and just be mindful of all of that. Yeah, and you'll find the end of that journey you'll end up with some good relationships and then those people might get a really good gig and then bring you along with them. And that's how it all works. So, you never know. So the industry's too small to really piss people off.Gareth Carr:Yeah, definitely.Karl Jenner:Yeah.Gareth Carr:Well Karl, listen, this has been so good. And I hope everybody's taken a lot of information out of it and yeah, hopefully you all go on and just have the confidence to shoot your own films. So Karl, thank you very much.Karl Jenner:No worries. Pleasure.Gareth Carr:All right. Cheers mate.Karl Jenner:All right. See you.

In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco, Charles and Erik Luers discuss whether a new potential move by Amazon will change theatrical moviegoing as much as it changed shopping, a new Netflix feature that is sure to piss off some viewers, and a surprising turn in the #MeToo movement. In tech and gear news, a new upgrade to the ‘5D Mark II of 360 video’ means that immersive filmmaking might finally be hitting the masses. Liz and Charles also answer an Ask No Film School question about the viability of breaking into the film industry at any age. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, new indie film releases, weekly words of industry wisdom, and other notable things you might have missed while you were busy making films. You can see all the links from this show in this week’s podcast post at nofilmschool.com

Kurze Zusammenfassung: Tobi sucht noch immer eine 5D Mark II, Chris verhandelt hart, Marv bekommt keine Newsletter mehr, Bewerbungsbilder auf Hochzeiten, Hochzeitsmagnesium, Hinter Tobi ist es ultragefährlich, keine Fotos in der Kirche!, die große netucated Liste gegen Langeweile auf Hochzeiten (der Anfang), Mais im Glas, Chris ist genervt von seiner Photobooth, lecker Oettinger, Film und […] Der Beitrag 84 – Hochdosiertes Hochzeitsmagnesium erschien zuerst auf netucated.

On August 25th, the Canon EOS 5D Mark IV - was officially announced amidst a cacophony of both praise and disappointment - depending on whether you are primarily a stills photographer or videographer. Ben Bruton-Cox of the Our Week In Video podcast helps me work through my own angst over Canon. Is the Mark IV right for me?   “Expectation postponed makes the heart sick, but a desire realized is a tree of life” –ancient proverb.   After 8 years of unrequited love and anticipation, Canon has slammed the door closed on the convergence market that they gave birth to. When the 5D Mark II was released, it had the most basic of video features. But, O!, it was the loveliest HD video ever seen (only 30fps in the beginning, moire, poor dynamic range, and rolling shutter notwithstanding) from a camera costing less than $3,500. With that camera, Canon accidentally created the “convergence” market, and with it, hope and expectation that  Canon would continually improve the video features of the EOS 5D line.   Sadly, I feel that if Canon could go back in time, they would never approved video capability in any of their DSLRs. However, the genie is out of the bottle. The convergence market’s expectation was that their desires for pro video features would be built into 5D Mark IV. They thought “surely after 8 years we will have the ultimate convergence camera!”   Alas, that expectation - at least by those who consider themselves convergence photographers and filmmakers - was unrealized. They are the ones most disappointed in the EOS 5D Mark IV because Canon has the capability to deliver and meet the needs and wants of convergence creators, but have deliberately hobbled these features. What makes this sting even more is the marketing language Canon used to announce the 5D Mark IV gushes with phrases such as:   “see legendary"   “builds on the powerful legacy of the 5D series"   “amazing refinements"   “creative videographers will appreciate the brilliance and power that the EOS 5D Mark IV delivers"   You certainly have to have a creative imagination to believe that.   Frankly, the EOS 5D Mark IV feels like an intentional hobbling of features that – I believed if were reversed – would see Canon crush it over and beyond what they are doing now with the sale of mid range DSLRs.   The EOS 5D Mark IV is no doubt a superb still camera with competent - though mostly outdated - HD video baked in.  It’s a camera I want to like. I personally haven’t bought into other convergence cameras by Sony and Panasonic yet.   I love Canon. I love Canon gear. I love the Canon image. I love the Canon ergonomics. I love Canon lenses.   I get it that my love for Canon is unrequited and they probably don't want me – a convergence creative – as a customer. It hurts a bit in part because I and so many other convergence bloggers, podcasters, and YouTubers have resulted in the sales of tens of thousands of Canon DSLRs to convergence creatives - all to Canon’s benefit - and all without any compensation to us whatsoever.   Some folks make the claim that we should all just trust Canon’s marketing department, that they are smart, and know what they are doing. This is a dubious claim. Many large companies have marketing departments that have been clueless about their customers - resulting in massive failure for those companies. The same can happen to Canon.   It’s a serious mistake for Canon to jilt the very market they created – albeit accidentally.    Mentioned in the episode:   CrumplePop's website http://crumplepop.com   CrumplePop AudioDenoise http://www.crumplepop.com/fcpx-premiere-plugin-audio-denoise/   CrumplePop EchoRemover http://www.crumplepop.com/fcpx-premiere-audio-plugin-echoremover/   Soundstripe.com http://soundstripe.com   Ben Bruton-Cox and Our Week In Video podcast https://www.facebook.com/ourweekinvideo/   Canon EOS 5D Mark IV https://www.usa.canon.com/internet/portal/us/home/products/details/cameras/dslr/eos-5d-mark-iv   Official Canon EOS 5D Mark IV Introduction https://youtu.be/8Z9089048wk   Introducing the Canon EOS 5D Mark IV https://youtu.be/BtD-xEvG21E   Jared Polin “Fro Knows Photos” Canon EOS 5D Mark IV DSLR Preview https://www.youtube.com/watch?v=j0ou39qKoWM   Planet 5D article by Mitch Anger - RANT: “The Canon EOS 5D Mark IV Doesn’t Have…” http://blog.planet5d.com/2016/08/rant-the-canon-eos-5d-mark-iv-doesnt-have/

Creativity on a budget is the theme of this week's episode of the Digital Convergence podcast. We talk about two low budget films that prove to be a good antidote to the toxins of stratospherically high priced gear and software that have unfortunately dominated our conversations on this podcast for a while. Join Chris Fenwick, planetMitch, and I as we talk about how creativity does not need a gazillion dollars of gear and software. The first film is titled The Camera by Peter Lewis. Peter says that this film was "largely born from its constraints. It had to be doable in my free time, and I had to be able to shoot it during my vacation... with a budget of only $50 to cover the props." The props included an old Polaroid camera that reveals more than is seen. The second movie is called Copelandia by Luke Neuman. This movie is more than a test of the new Canon 5D Mark III. With just a little grading and a judicious bit of 35 film grain added, Luke has created an engaging movie full of twists and surprises. The film was shot with Nikor primes - something I like to do with my 5D Mark II. The Nikor lenses have a creamy, warmer look than the cooler L glass of Canon. Until next week, that's a wrap!

Episode 37 - Featuring Tara Oldfield and Jason DeRose of Novacut - with host Carl Olson (http://16x9cinema.com) and co-host Chris Fenwick (http://chrisfenwick.com).  Chris and I begin this episode by talking about the Digital Dark Ages and huge problem of archiving and backing up video, photo, and other media files - affordably. Our banter migrates over to the controversial question "Is HDSLR video dead?" In the interview segement, I talk with Tara Oldfield and Jason DeRose of Novacut. Jason and Tara are developing a free video editor that allows artists to collaborate over the internet and harness cheap cloud computing. The Novacut editor is aimed at professional-grade TV and movie production using HDSLR cameras (like the 5D Mark II). These cameras have drastically lowered production costs, but we want to reduce costs even further... so they are taking the lean, distributed workflow perfected by the open-source community, and bringing it to video. Distributed teams are a big part of what has allowed open-source to amazingly produce better software, yet for less money and in less time. The Novacut team feels they can do the same for video. Tara and Jason want to see an explosion of financially viable independent TV shows distributed directly to fans over the Internet, funded through direct fan support, licensed under the Creative Commons. Chris and I wrap up the show with the latest on Chris' epic journey to switch from Final Cut Pro to Adobe's Premiere Pro. We talk about the Shane Hurlbut "sizzle" trailor video featuring highlights from Shane's 2010 HDSLR Bootcamp.

The Tax Cut Myth, 9/11, Halo, 5D Mark II, Pedo Bear, The Return of R&B Poetry, 4Chan Puppy Revenge, Seth's Music Cafe & Dave's Videos.

Scooters. Wreck diving. 5D Mark II. The Backscatter folks take us scooter imaging with the Canon 5D Mark II in beautiful blue Caribbean water, and talk about how they got the shots. More info at Backscatter.com. Music by Luce. More info at LuceBand.com.

Scooters. Wreck diving. 5D Mark II. The Backscatter folks take us scooter imaging with the Canon 5D Mark II in beautiful blue Caribbean water, and talk about how they got the shots. More info at Backscatter.com. Music by Luce. More info at LuceBand.com.

Episode 18 of the Digital Convergence Podcast by 16x9 Cinema with host Carl Olson - a visual artist, photographer, and filmmaker based in Atlanta, Georgia, USA. Featuring: Philip Bloom, Director of Photography, Cinematographer, Director, Editor, DSLR Video Pioneer No other name is more synonymous with DSLR video than Philip Bloom - a London, UK-based director of photography,  cinematographer, director and editor with over 20 years of experience. He embraced and popularized the use of 35mm adapters to achieve a filmic look with video. On the heels of that innovation, came the new video capable DSLR. Philip received his first Canon 5D Mark II in May of 2009. After spending several weeks learning how to use the 5D Mark II, he began shooting almost exclusively DSLR video for both commercial and personal projects. He chronicled in great detail his experiences with DSLR video on his website and blog www.philipbloom.net. On June 1, 2010, after just a little under 3 years of existence, his website surpassed 10 million views - a testament to the value of the information Philip shares so willingly to other aspiring DSLR cinematographers. In this interview, Philip and I go on a Mr. Toad's Wild Ride of a conversation covering a broad range of topics that you will find entertaining, informative, and inspiring. Philip's tireless passion for the art of cinematography and photography comes shining through. We talk travel, business, filmaking, toy camera photography, lighting and camera support systems, timelapse, DSLR meet-ups and workshops, and his plans for the future. This is Philip Bloom like you have never heard him before.    

Episode 16 of the Digital Convergence Podcast by 16x9 Cinema with host Carl Olson - a visual artist, photographer, and filmmaker based in Atlanta, Georgia, USA. Featuring: Shane Hurlbut, ASC In a recent conversation with Gale Tattersall, DP for Fox's House MD, Gale mentioned Shane Hurlbut - along with Rodney Charters and Philip Bloom - as one of the pioneers of using the Canon 5D Mark II in cinema. That's quite an honor to be recognized as a member of the triumvirate of video DSLR pioneers. In recognition of Shane's pioneering work with the Canon 5D Mark II, Canon inducted Shane as one of the first cinematographers into their Explorers of Light program. Shane's long list of accomplishments include working with director Rob Cohen on the feature films The Guardian, The Rat Pack and The Skulls. A partial list of other feature films that credit Shane as the cinematographer or director of photography include Into the Blue, Drumline, Swing Vote, The Greatest Game Ever Played, and Terminator Salvation. He has also worked on several commercial shoots and is an accomplished still photographer. In this episode of the 16x9 Cinema Digital Convergence podcast, Shane Hurlbut shares his passion for using DSLR video. He describes the Canon 5D Mark II as a game changer - one that's beat him up and heavily bruised him - but nonetheless he has successfully tamed the beast and embraced it as a serious tool for the cinematographer in feature films, short films, and commercial work. There are many self-appointed pontificators who arrogantly proclaim that the Canon 5D Mark II is not suitable for serious filmmaking. Shane proves them wrong by doing just that - using the 5D Mark II for serious filmmaking. Shane talks about how he uses the Canon 5D Mark II on feature films and commercials. He talks about his short film, "The Last 3 Minutes" and tells us why and how he did it. Shane candidly talks about his initial failures with DSLR video and the lessons he learned. He does not hold back from sharing what he has learned. His willingness to share is evident by his blog: Hurlblog - an incredible resource for all filmmakers - whether you use DSLR video or not. It was a pleasure talking with Shane. His enthusiasm for filmmaking and using the Canon 5D Mark II will motivate you to get out and shoot your next indie film!  

Episode 3 of the Digital Convergence Podcast by 16x9 Cinema with host Carl Olson - a visual artist, photographer, and videographer based in the Atlanta, Georgia, USA, area.  In episode 3, I talk with Trammell Hudson, creator of the Magic Lantern firmware update for the Canon 5D Mark II. Magic Lantern addresses some serious firmware limitations and turns your 5D Mark II into a 5D Mark "Free." Trammell talks about the features of Magic Lantern, exciting developments he currently working on for the next firmware update, and his thoughts on the art and craft of fimmaking. Trammell is a rare genius whose software prowess has helped users of the Canon EOS 5D Mark II push the camera into a more manageable video tool. But wait! There's more! Magic Lantern is not only for videographers, but has features that benefit still photographers. Trammell discusses those features, too.  

The new Zoom H4n gives DSLR camera operators the option to shoot video and sound with equal consideration

In this short episode we wanted to show you a selection of clips taken from three different cameras. This camera review covers the Canon Mark II, the Canon HF11, and the Panasonic HVX200.