Focus tracking is becoming more sophisticated every year. Nikon and Canon both have their strengths and weaknesses, and both have good focus tracking, but this is an area where Canon excels. I still prefer Nikon for things like landscapes, but if you are in the sports photography/video racket, or thinking about going into it, I would definitely go with Canon if you need focus tracking for fast movement. The fast auto focus on both of these cameras has made things like rack focusing on a run and gun much easier; especially, when you're a one-man band.
However, you must still be careful. These functions are great, but relying on your camera to make all your focusing decisions can still be tricky. I have had some slightly fuzzy shots from the Canon's auto focus at work. These technologies work amazingly well, but they still aren't perfect. I would still recommend taking the time to do a manual focus on video shoots just to be on the safe side. You don't want to totally rely on your camera for focus out in the field, and then realize that it let you down when you review the footage in post.
For those of you who don't generally do this, or are new to it, select your talents eyes with the focus point in live view, and enlarge that point with the magnification button. Make sure that your talent's eyes are sharp, and then go back to your normal view. If you have a production camera with a built-in zoom lens, or a really expensive T-stop cinema lens, you can generally zoom into the eyes, focus, and then zoom back out without losing the focus. WARNING: Don't try to zoom in and focus and then zoom back out with a cheap zoom lens. You will generally lose the focus whenever you zoom back out. With these lenses use the method that I described for live view.
Feel free to share if you have any horror stories with this.
Saturday, February 25, 2017
Auto Focus and the Crazy Temptation to Be Lazy with Film and Video
Saturday, August 13, 2016
Don't be a Fanboy (or Girl)
Canon fans, much like Apple users, basque in the glorious knowledge that their cameras are the best, even in reviews versing other brands, despite the technical specs and performance tests declaring otherwise. I hate when someone gives reviews with a lot of opinion thrown in that doesn't really have anything to do with tech specs or even accurate user experience. Until the time that the D500 came out, I started to refuse to watch any more DigitalRevTV reviews of Canons, because it got to the point that, if he even had to touch a Nikon, he got so whinny and bitchy that it just became unbearable to watch. I don't know, maybe he thought that he was being amusing. A second example is here:
Canon 5D MK III vs Nikon D800 with Nathan Elson
I generally like the reviews on TheCameraStoreTV, but this time you could tell that it was almost painful to admit that the Nikon D800 was outperforming the heralded, flagship model of Canon, the 5D mk III. Even at some points making comments about how there would be a work around for the Canon in post. Excuses that would never be made for a Nikon if it were coming in at an extremely close second like this.
My point is this: BUY WHAT YOU LIKE!!!
Don't listen to hype or preference. Go by tech specs for what you will be using the camera for, and try to find unbiased user experiences. I use DSLR's mostly for film, and most are great. The Canon 5D mkII-III got a great reputation among indie filmmakers, because it was the first to make high quality video accessible and portable outside of Hollywood. It is a great camera, but so is the D800 (and D810). The D800 has also been used cinematically. It was used to shoot on Dexter and other features:
Nikon D800 Holds Its Own in Hollywood: from Janusz Kamiński to 'Dexter' and 'Wilfred'
I use a 70D & 80D for filming at work - love them! I own a D5500 (Hopefully, a D500 soon) - love it! I've used many DSLR's - Panasonic, Canon, and Nikon. I've gotten great results with all. Use what you like, and what works best for you. Just make sure you use more than one brand before forming an unwavering opinion, and don't be a douche about other peoples choices. This goes for editing software too!!! I prefer Adobe, but if you use FCPX or SONY Vegas, it doesn't matter!!! Use what you are comfortable with and what you get the best results with. And again, don't be a douche about it.
For great tech spec comparisons between two cameras that you might be considering, I would recommend snapsort.com. They give results based solely on tech specs. Also, try Micheal the Mentor on YouTube. He gives a very thorough and unbiased technical comparison between camera models.
So, to recap, use what you like, have fun, and don't be a douche.
andrewjfann.com
Wednesday, June 8, 2016
BeachTek Box - Single System Audio
The whole time that I was learning to wield a camera and capture sound in college, I was always told to record sound separately when you shoot with a DSLR. Every bit of research that I did outside of school (generally reading books or watching videos by sound engineers) reinforced this mantra. As a standard practice, I would still recommend having a separate system/device, and possibly even a person, to record sound. However, the reality for most of us is that we are usually a one man show. Let me quickly explain the difference between options. .
Sound can be either recorded single-system or dual-system, generally. Single-system sound means running the microphone directly into the camera, which can be done with higher end cameras with no problem, usually via a XLR input on the camera.
DSLR's really aren't built with the processing power for sound that other cameras which are strictly built for video have, and they don't have the balanced inputs. So, generally speaking, you don't want to record sound in-camera with a DSLR. However, there are people who do it; albeit, I was never one of them - until now.
At my station they use something called a BeachTek Box. It's a small box that acts as a preamp for an audio signal running into your camera. It looks like this:
You run mics directly into the XLR input on side, the box boosts the signal (and limits it in some cases), and then sends it into the camera. I've heard that lower-end versions of these can be pretty noisy, but I have to say the BeachTek box works amazingly well. I've used it with shotgun mics and with wireless lavs and the sound is amazingly clear. I was pleasantly surprised. Even to the point where I can't decide if I want to purchase one myself, or go with something like the Tascam DR-60D or the Tascam DR-70D. To me, the biggest issue would be price. The BeachTek DXA-SLR Ultra runs right about $300, and the Tascam DR-70D can be found now for about fifty dollars lower and has four inputs as compared to two. The DR-60D only has two inputs like the BeachTek, but is half the cost.
B & H photo gives a great demo of the BeachTek DXA-SLR Ultra here;
Friday, June 3, 2016
Practice Safe Commercial Creation - Use a Concept
Since starting in commercial production, I could easily call this blog Lessons Learned the Hard Way, as problems arise all the time that you never even thought of or could read about. The biggest thing that will save you a headache throughout your entire project is having a strong concept. At it's inception, unless you have a solid concept, your project is doomed to be riddled with problems and quite possibly fail. It acts as a clear map for a direction to go in.
In commercial work, if you work for a company, clients are brought to you through a person who works in the marketing and sales department. Together, you and the sales rep listen to the client's input and then guide the client through the creation process. Usually, this consists of whittling down what the client wants into one solid idea. Unfortunately, they most likely will want to give a you a laundry list of what their company sells or consists of. You cannot fit this into thirty seconds, and even if you could, every point would go by so fast that nothing would stick in the viewer's memory. You need to find a single point to make. A single point of focus or attack. A unique selling point (UPS) to deliver a strong message, and a message that plays to the client's strengths. For example, a client that is a seller of home building products comes to you to drum up business. There are five other businesses like this in town. The questions to ask are easy. First, why would a client come to you instead of a competitor? Second, what service, product, or unique feature sets you apart from the competition? In this case, other stores offered the same products, so there wasn't much that could be done there. However, as features were concerned, this client had a computer program that allows his clients to design their rooms right there in the store, and to get an immediate idea of what the outcome would look like. That is a strong selling point. You can work with that. Another good point, is that he can work with a contractor if you already have one. Making one to three points isn't terrible as long as there is a main focus, just don't do a laundry list. The viewer won't retain anything.
Also, most clients will want to push their customer service as a selling feature. This is a bad idea for two reasons. First, everyone tries to do this. Second, customer service should be a given! If you don't have good customer service, you won't have a business for very long! It shouldn't be treated as something special or unique.
If you're a freelancer, you may have to do all of this on your own, which can be both good and bad. Alone you have to find all of the clients yourself, do all of the negotiating, and then do the filming and editing. This can be cumbersome, but is preferable to working with a bad sales or marketing person. A good sales person will have a good idea of what time constraints that you are under with a thirty or even a fifteen second spot, and will direct your client to a clear singular concept for a commercial. Alternatively, a bad one can end up adding more work if they promise the client the sky and end up letting the client completely run the show, either because they just want the sale that badly or they don't know what they're doing. You get the money, but sometimes it isn't often worth it, because without a concept you usually have to spend a lot of wasted time doing re-edit after re-edit, due to the fact that the client really didn't know what they wanted to start with and they're completely shaping their idea as you create the spot. Also, sometimes you just have to give in to the client wanting a laundry list of ideas in the commercial because the salesperson, or even you, couldn't convince them that the single, unique selling point was the way to go. This will also cause endless hours of editing. This latter part can happen whether your salesperson is good or not. However, in the end, the client is the one paying for it, and you may not be able to convince them of what is successful.
In later posts, I'll discuss ways to steer a client in the right direction, and even mistakes filmmakers make shifting the focus of a commercial to the wrong thing. Also, I will delve into movie concepts, which are a little more elaborate then commercials. As always, feel free to comment.
Tuesday, August 13, 2013
Films for Clients
I'm just now putting the finishing touches on a film that I'm doing for an organization called Mainstreet de Las Vegas, a cultural and historic preservation society in Las Vegas, NM. It's my first film for a client, and the experience has been interesting. Mediating between what your client envisions and what is practical to fit into a video of a certain length can be a challenge, but client input is by no means a hindrance. For this type of work, when your client comes to you with their idea,and it amounts to a good portion of your job already being done. You don't have to pull a concept out of thin air. Your job is to just help your client realize what will work realistically and stylistically. For the most part, you have to take yourself out of the equation. There is no room for your "vision," artistic integrity, or ego in this type of work. It's about what the client wants. I'll post a link to the film when it is finished.
Sunday, July 14, 2013
No Use Crying Over Lost Data
My external hard drive crashed, so unfortunately I can't continue to make corrections to my previous films. It's also unfortunate that I can't do data recovery due to the fact that no one else on campus has a 2TB hard drive to recover the data on - not even the IT department. So, in lieu of cutting myself, I'm just holding out hope that I can recover the data when I'm able to save up for a new hard drive. It was a desktop external by Seagate, and it did tip over once, but it kept working for three weeks after that. I'm not sure what the problem is since, like I said before, IT didn't have a large enough drive to recover the data on.
If anyone has a good lead on an inexpensive 2TB drive, preferably portable, please feel free to write to me and let me know.
Tuesday, June 11, 2013
On Set with Longmire
Last Friday I worked as an extra for the television series Longmire. I was clad in a cowboy hat and a jean jacket, and I was on set from 6:30 p.m. to 5:00 a.m. Even though it was a long night, I loved it. I got to be on a real set and I got to see how things are done. The show was filmed with three Red Epics, and I studied what the director and cinematographer were doing as much as I could. It was interesting to see that the techniques are pretty similar to indie film making, but they have a lot more money to throw around in regards to cast, crew and equipment. Also, there is a vast difference in amount of takes from what I usually do. I do multiple takes from different angles due to the fact that I have one camera. They have three cameras and can shoot each take from multiple angles all at once, yet they film at least twice as many takes as I do. The whole experience was fascinating, and I'm really looking forward to doing it again.