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Everything posted by blaisedouros

  1. I certainly didn't intend to accuse you of tarring and feathering--your comment was measured and reasonable, and didn't use the words "murderous" or "psychopaths" either Please construe my comments as illustrative hyperbole only. My point, to clarify, is that I believe that there's a place for sport hunters and sport fishermen in the conservation community, and many of them are just as committed as imaging enthusiasts to a healthy and productive ocean. I've seen photographers charge through a sea fan to get the shot they want...which to my mind is just as bad as someone taking fish irresponsibly. Perhaps the feedback that HookBuzz can take away is that highlighting a conservation-focused mindset in future spearfishing media might open a few minds to an oft-maligned group in the underwater community.
  2. While spearing videos may not be the usual fare for Wetpixel, I think it's too bad that everyone automatically assumes spearfishermen are murderous psychopaths intent on destroying the ocean, when the exact opposite is often true. It's worth investigating whether the fisherman is hunting responsibly before getting out the feathers and heating up the tar.
  3. Luckily that's not my gear, it's a fellow whose blog I follow. I get out hiking a lot shooting nature and wildlife stuff, so sometimes slipping and falling or some other unforeseen event is inevitable. I sacrifice a very small degree of sharpness to the gods of paranoia...
  4. Some kind of cable linkage to a secondary shutter trigger on your circular handle might do the trick...
  5. 24p was chose as the framerate for film because it's the lowest framerate at which our eyes and brains detect smooth motion. Your comment makes me wonder if there's an upper limit, too, at which we can't distinguish anymore; at that point, if there's enough frames there, the shutter speed might not make a difference because our brains aren't fast enough to process the number of images separately.
  6. It all depends on how sharp you want each individual frame to be. Think of it like this; for regular footage, you want comparatively smooth motion, which means every frame will have a small amount of motion blur. That's when you double the framerate to get your regular shutter speed. But, when you want to increase the sharpness of every frame, shoot at a higher shutter speed. Now your motion will be less smooth, but each picture will be sharper, since there is less motion blur present. This is ideal for creating slow motion, since it gives you a sharper picture to start with when playing back at a lower speed or interpolating frames. If you watch the battle scenes in the movie Gladiator, you'll see the effects of using a fast shutter speed during fast action; everything looks sharp and crisp, but it has a lot more flicker. Test it for yourself--shoot a shot of your hand waving at the camera using a 1/60 shutter, then a 1/125 shutter, then a 1/250 shutter. Then review it frame by frame, and you'll see the difference.
  7. Unfortunately you're going to have a very difficult time getting solid slomo if your camera can only shoot 30 FPS max. The only way to actually shoot video for slomo is to shoot at a higher framerate, like 60p, 120p, 240p, etc, and then do a framerate convert/conform to a lower framerate. A faster shutter speed will of course make each individual frame sharper, but you have to have more frames to slow the video down. The slowest you're going to be able to get using the traditional method is if you shoot at 30p and do a conform to 24p, which will get you 80% speed. If they want anything slower than that, you'll have to either find a rig that can shoot at a higher framerate, or use a software frame interpolater like Motion's Optical Flow, After Effects' Time Warp, or the Twixtor plugin to generate new frames in between each frame. The software option is not one that I recommend, but it can sometimes help in a pinch. Make sure to shoot with a fast shutter speed and the fastest framerate possible if you plan to do this; you need very sharp frames to get good results.
  8. Unfortunately, there is no good way to remove camera shake--to put it bluntly, the best way to get rid of it is to shoot in a manner that eliminates it in the first place. No judgement, though, I've been in your position before. You can sometimes get decent results by applying (in the graphics/editing package of your choice; I use Adobe After Effects) a motion tracker to a steady point in the footage, and then applying the output of that motion tracker to the position of the video. This will somewhat stabilize the footage; however, you'll have to crop the footage to the extent that the tracker moves it. So if the footage bounces up by 20 pixels, the tracker will adjust it down by 20 so that the steady point remains in the same place; you'll then have to crop the overall canvas by 20 pixels so that the edge of the video doesn't become visible. A more comprehensive tutorial on this technique in After Effects .
  9. Call Otherworld Computing, and get a Raid 5 system from them. Raid 5 is a great combination of speed and reliability; it takes 3 or more disks, and allows any 1 of them to fail without losing your data. However, it also increases the read speed since the data is striped across the three disks, with redundancy. They have good warranty support, and additional coverage can be purchased.
  10. Well, for starters, some joker drew blue arrows all over your dome port! In all seriousness, though; is it a silver or other brightly-colored piece that is reflecting? If so, taping over it or painting that piece matte black may help.
  11. It all depends on your finishing format. If you're shooting for a client, they'll specify a framerate for any natural history footage they need you to shoot. If you're just shooting for yourself, then it's all about your personal preference of what "look" you prefer for your footage. Personally, I'm a fan of 30p. I think it gives you a little bit smoother motion than 24p, without losing that "progressive flicker" look that everyone loves about film. The nice thing about shooting at 30p, as well, is that you can do a framerate convert to 24p and slow down the footage a little bit to give it a little extra gravitas.
  12. It's the representation that everyone recognizes; of course almost no one is shooting film anymore, but then, my cell phone uses a picture of an old handset to represent making a call. Not because anyone actually uses that kind of handset anymore, just because it's the most recognizable symbol. And ironically, pixels are tough to represent graphically Although the flushing image is awfully tempting...
  13. I use a jacket but I don't love it; am thinking about going to back-inflated BCD sometime soon. The integrated weights on mine sit too high on my 6' frame, and so I struggle not to pitch forward.
  14. Silly question, but do you have exposure bracketing enabled? If so, that would lead to uneven exposures unless you were shooting in groups of 3 shots.
  15. Add some 35mm film perforations around the borders of whatever dive flag you prefer, then maybe you've got something.
  16. I think the point M43user is making is that universal native file support is as much an upgrade to transcoding as transcoding is an upgrade to capturing from tape. Once you don't have to do it, you realize how much time the new method saves you, and using the old method starts to seem like a problem because of its relative inefficiency.
  17. Another vote for handbrake, it's a flexible and free tool.
  18. I'm not saying the average person should hire a composer Music libraries are fine if you want royalty free music in your home movie for YouTube. My point is: for those who have a budget; it seems a shame to hire graphics artists and color graders to make the custom images look good, while using the audio equivalent of clipart. It's a personal annoyance to me when I hear on TV a library cue that I recognize. That's all!
  19. Yet another reason for productions to budget for hiring a composer to write custom music. Not that I have a vested interest in that, of course... Most people here aren't working on that kind of project, of course. But for those who are; would you use a bunch of color-correction presets instead of a professional color grader? A lot of composers will be willing to work with you on rate - if you can't afford their straight buy-out license rate, you can negotiate; one compromise I've seen a lot is that the composer writes custom music that you license for use in your production, but retains rights to resell it as stock music. The results you get will almost always be better, and you won't have to worry about stupid licensing issues...
  20. Shawn, these are really fantastic. Great work on both the motion and the stills.
  21. The t3i has the video zoom feature I mentioned, while the t2i does not. Otherwise they are pretty well identical. One nice thing about Canon cameras is that their lowest-end cameras are compatible with all of their EOS EF-Mount lenses, all the way up to the most expensive lenses. The lower-end Nikons, as derway points out, are only compatible with AF-S and AF-I lenses--AF lenses will meter, but will not focus automatically. That said, Canon ain't better than Nikon, Nikon ain't better than Canon. There are plenty of great lenses available for each camera; it's all about which one has the right mix of features for you. Bottom line is that almost any camera body will take great pictures and good video if you know how to use it. Invest in lenses, not camera bodies!
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