well that's just fantastic....

[Karim D. Ghantous]

you need to find out how to make all cameras sing, that's a major part of being a cinematographer.

I agree with your sentiment but the FS100 is too good a camera for that kind of challenge. To really test your skills at lighting for limited cameras, you'd need something like a MiniDV camera, maybe a Canon HDV-20.

 

[Mark K.]

Not a problem. Many professors want to even the playing field to help students learn and cope with equipment outside of their comfort zone. It's actually a good thing in my opinion. Sort of like the IROC, everyone has to use the same car, same setup. I remember having to use a TLR in school, which I found to be quaint and yet fun. I think everyone should have the chance to use older equipment, something like a Speed Graphic, to help them develop beyond themselves.

It's not the same as when you get to use your own gear, but you'll reap benefits from doing so.

^
This.

It's hardly a big deal, it keeps things even for students across the course. Use your Scarlet for your own projects. I would have been over the moon to have had access to a camera that could put out an image like the FS100's when I was going through my film course. We got Canon XL1s and the cheapest, crappiest B&W 16mm stock money could buy (which we had to run through handcranked, 40 year old Bolexes).

With the FS100 you're getting a camera with a S35mm sensor, the ability to see in the dark with high ISOs, and up to 60fps at full HD - it's a damn sight better than a sharp stick in the eye! If you can't make pretty pictures with an FS100, having RAW and 4K aren't going to help you.

 

[Melih Engin Eskier]

Starting my 2nd year at NYU and we're forced to use the school's new shipment of Sony FS100's leaving my Scarlet to dust in my dorm room. Says an F would be given to students using different equipment..... hehehehehehhe

I had started my camera menu learning career all the way down with a Sony PD 170 in London College of Communication. But I had learned the importance of grabbing everything on a camera's menu. Then we were directed to 16mm and so on.

However in your case the ongoing is downwards. It is what you would call a "downgrade" for your matter if you're leaving an EPIC in your dorm room. )

Good luck with your studies mate.

 

[Shane Kelly]

I agree with your sentiment but the FS100 is too good a camera for that kind of challenge. To really test your skills at lighting for limited cameras, you'd need something like a MiniDV camera, maybe a Canon HDV-20.

good point.

 

[Hrvoje Simic]

Guys, although I was guilty of it myself, I don't think the OP was really asking for advice. He was pointing to the irony of being forced to work with a certain camera while having a superior camera sitting idly in his dorm room.

Good time and place to start getting used to ironies.

 

[Michael Pyon]

Just got out of class where the instructor basically told me that this FS100 is the "top of the line of professional cameras" and that it's 4:2:2 compression is a marvel of 21st century digital filmmaking. Did I also mention that she said that 720p was "good enough" and that even 1920x1080 is just too much, much less 4k for that matter.

I understand that what NYU is providing me is a treat compared to what most of you were given in film school, but come on this is just too much. Frankly its just backwards mentality that's being said here. And yes I am doing marvels with my Scarlet, not letting it go to waste at all whether its shooting outside projects, gigs, or renting it out in NYU and NYC. I was just making a point that its ridiculous to limit the artist with the tools he or she uses. It shouldn't matter what I shoot it on as long as it produces the results that I want.

Anyway, not trying to lash out at anyone here, but I need to make a stance.

 

[Mark Phelan]

See, you've already learned that not everything you learn in school is good or useful. Sometimes you'll learn what NOT to do or believe because the instructor is on a soapbox. As much as "higher learning" tries to build a noble reputation for itself, there is a lot of garbage passing for education these days. P.T. Barnum said it best.

 

[paulherrin]

mark is right... if you decide to stay there, don't let the bad taste in your mouth get in the way of learning. no matter what you do, your education is always in your hands. make the best of your life.

 

[Hrvoje Simic]

Just got out of class where the instructor basically told me that this FS100 is the "top of the line of professional cameras" and that it's 4:2:2 compression is a marvel of 21st century digital filmmaking. Did I also mention that she said that 720p was "good enough" and that even 1920x1080 is just too much, much less 4k for that matter.

I understand that what NYU is providing me is a treat compared to what most of you were given in film school, but come on this is just too much. Frankly its just backwards mentality that's being said here. And yes I am doing marvels with my Scarlet, not letting it go to waste at all whether its shooting outside projects, gigs, or renting it out in NYU and NYC. I was just making a point that its ridiculous to limit the artist with the tools he or she uses. It shouldn't matter what I shoot it on as long as it produces the results that I want.

Anyway, not trying to lash out at anyone here, but I need to make a stance.

You will rarely meet a source of absolutely reliable information.

One doesn't build muscles relaxed in a lounge chair.

 

[Rick Darge]

You're in school.

It's not about what camera you shoot on. It's about WHAT you shoot with your camera.

 

[Mitch Gross]

I believe that NYU's FS100 cameras are for some of the school's more introductory level undergraduate classes. There are many things being taught in those classes about filmmaking that have little to do with the individual camera choice. The camera that was previously used at NYU (for some 40+ years) for this work was the ARRI-S. The point is give everyone in the class the use of the exact same equipment to perform their various exercises.

Don't worry, in future classes you will have the option of using the school's equipment or your own, or renting from us! ;-)

 

[Elsie N]

Just got out of class where the instructor basically told me that this FS100 is the "top of the line of professional cameras" and that it's 4:2:2 compression is a marvel of 21st century digital filmmaking. Did I also mention that she said that 720p was "good enough" and that even 1920x1080 is just too much, much less 4k for that matter.

I understand that what NYU is providing me is a treat compared to what most of you were given in film school, but come on this is just too much. Frankly its just backwards mentality that's being said here. And yes I am doing marvels with my Scarlet, not letting it go to waste at all whether its shooting outside projects, gigs, or renting it out in NYU and NYC. I was just making a point that its ridiculous to limit the artist with the tools he or she uses. It shouldn't matter what I shoot it on as long as it produces the results that I want.

Anyway, not trying to lash out at anyone here, but I need to make a stance.

It's the "No young adult left behind." school of thought. That is, can't have the students knowing more than the instructors. '-)... Plus, if you shoot with your camera and outshine the rest of the class, that means that a whole class of students has been left behind.

Moral? Never let those in charge know that you are smarter.

 

[Victor MOREIRA]

Says an F would be given to students using different equipment..... hehehehehehhe

OMG ! Seriously ! Wow ! Looks like Hitler is back and IN OUR BUSINESS !

If you are studying cinematography, the best thing to do my friend is to save your money, spend 50% of your time shooting, shooting and shooting again, and 40% of your time learning on the internet (reduser.net is a goldmine for cinematographers !). The last 10% is for watching other's work, getting inspired, and figuring out how things are done. At the end you're gonna have an A from the industry.

You are lucky to have a Scarlet, so Wake up with it, eat with it, exercise with it, learn with it, party with it, drink with it, pooh with it and sleep with it. It has to be your e-Arm.

Shoot some stuff, pretend it's the FS 100, and when anyone agrees that your pictures are the best, tell them that it's from your Scarlet. Lol.

Good luck anyway. Not funny to study in that type of "sponsored" shitty environment.

 

[Victor MOREIRA]

Lots of good advices in this thread for a student. Being a cinematographer involves more than a camera. You have to be aware of that. It's not about a brand it's about YOU. it's about your style, builded by images surrounding you, influencing you. Evening the tools for a more efficient learning environment doesn't have to lead to an unfair F though. I still believe that nowadays, and more than ever, you can be a successful cinematographer learning by yourself. You need to be REALLY passionate and dedicated to your craft. That's what it takes to achieve such a goal.

 

[Satsuki Murashige]

Just got out of class where the instructor basically told me that this FS100 is the "top of the line of professional cameras" and that it's 4:2:2 compression is a marvel of 21st century digital filmmaking.

Well, that's just factually incorrect. Better get used to it, film professors who are up to date on technical facts and best practices are few and far between. That doesn't mean they don't know more than you about filmmaking though, so maybe reserve judgement until you get to know your professor better.

That said, maybe it's not a good thing to be known as the classmate whose footage only looks better because he's using a more expensive camera. You won't earn much respect from your peers until you can out-light, out-compose, and out-visualize them while using the same gear they're using. I would look at the situation as a chance to prove yourself and your talent. The classmates who blew me away with their talent in school used a DVX, an Arri S, a Bolex, a wind-up toy Super 8 camera. I dare you to do better

BTW, you know what would be really cool? Getting your classmates together on weekends to shoot film exercises... on your Scarlet. Maybe a few of them will surprise you with their talent and vision. And you'll make some lifelong friends and colleagues. I know I did. Just my $.02...

 

[Shane Kelly]

I was just making a point that its ridiculous to limit the artist with the tools he or she uses.

.

I have to disagree, you are in school so exercises that limit the tools that you use are extremely useful. What happens when you get out and a producer hands you a 5d to shoot on? Happens to me all the time even though I would prefer to shoot on my epic. Can I light for the 5d? Of course because I am a cinematographer, not a "red" cinematographer or an "alexa" cinematographer. It seems by your desire to shoot exclusively on the scarlet, you are in fact limiting your own growth as an artist.
Think of school as a training environment with exercises that stretch you. In order to learn you must step outside of your comfortable space. For you , that is shooting on red as it's easy to get good results with it.
A level playing field is a very good idea. That will show the real talent.

 

[Sandro Klopfstein]

Classic corporate buy outs forcing their crappy equipment o schools to whom they give some cash in exchange of exclusivity, such an insane sac of S^%@#...

Well, the FREE Film School at KETCH ROSSi TREE of LiFE will use ONLY EPIC and SCARLET, so I guess I'll be also forcing the same products on to our students, but it will be a little better gear, and it will be provided by us to the students for FREE...

can I enroll?

 

[BRANDON JAMESON]

I have to disagree, you are in school so exercises that limit the tools that you use are extremely useful. What happens when you get out and a producer hands you a 5d to shoot on? Happens to me all the time even though I would prefer to shoot on my epic. Can I light for the 5d? Of course because I am a cinematographer, not a "red" cinematographer or an "alexa" cinematographer. It seems by your desire to shoot exclusively on the scarlet, you are in fact limiting your own growth as an artist.
Think of school as a training environment with exercises that stretch you. In order to learn you must step outside of your comfortable space. For you , that is shooting on red as it's easy to get good results with it.
A level playing field is a very good idea. That will show the real talent.

There is the real polarity between a polytechnic and a university.

If only the camera you use had anything at all to do with the brilliance (or lack thereof) that comes before, during and after the technology you choose.

IMPO, arriving to university with an IMAX camera or a Panaflex, won't make the results of your assignments any better or worse that your classmates, because exercises are not meant to showcase the technology, but the vision you have as a film maker.

It amazes me how many brilliant photographers I have worked with, who know nothing about technology, but have extraordinary vision of what they wish to achieve. These famous artists, hire assistants who do the “tech” of actually lighting and choosing the camera and lenses ( and f stop) to produce the image the photographer had in his head.

Here’s the most interesting part of the equation, 99.9 of the assistants, who are unquestionably skilled in the mechanics of what it takes to create an extraordinary image, ever make it as photographers.

Owning a camera just makes you a camera owner.
The results you attain with any tool have to do with the unique vision, talent, education and expertise you bring to it.

 

[Zack Birlew]

Be thankful you have FS100s as an option! During college, we were limited to Canon GL1s and DVX100s for everything but the top end classes which got to use the school's lone Varicam system setup, at least until they got a couple of new HVX200s for specialty classes. Then in grad school at Chapman, they had HVX200s galore for just about everything but they were still majorly film based for major projects. Over the course of my three years there from late 2008-2011, I had been the first student to ever use an HDSLR for first year projects (the Nikon D90 had just come out and I picked it up immediately for the 24p factor), then the 5D Mark II came out but nobody really used it for anything major until they added the 24p overhaul, and RED became a major format alternative for cycle and thesis projects until the last year when the majority of undergrad and grad students had been using RED and HDSLRs entirely or partially for pickups and reshoots.

So, yes, you may have your own Scarlet but you shouldn't feel like you're missing out on anything by having to use an FS100 instead. If anything, it gives you more varied camera experience (important job point), experience with modern non-RED HD workflows, and it will show what you can do with a less capable camera. It will also allow you to become more familiar with the limitations of compressed HD workflows that your RED RAW workflow wouldn't normally encounter. Again, even though you might know this stuff already, at least you'll get practice using the Sony FS series, which may have to be an alternative or primary consideration on a future project that you do yourself or get hired to do.

Overall, just be thankful that you're not limited to 1/3", 1/2". or 2/3" video solutions with various 35mm adapters like the old days.