Search Results for ' DSLR kit'

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    Here is my input on best budget cameras:

    1. Canon EOS Rebel T6 Digital SLR Camera with 18-55mm EF-S f/3.5-5.6 is II Lens + 58mm Wide Angle Lens + 2X Telephoto Lens + Flash + 48GB SD Memory Card + UV Filter Kit + Tripod + Full Accessory Bundle
    2. Nikon D3500 W/ AF-P DX Nikkor 18-55mm f/3.5-5.6G VR Black
    3. Canon EOS Rebel SL2 DSLR Camera with EF-S 18-55mm STM Lens – WiFi Enabled
    4. Sony Alpha A6000 Mirrorless Digital Camera 24.3 MP SLR Camera with 3.0-Inch LCD – Body Only . visit netgear router login


    Hello everyone,,
    I posted this in wrong sub i hope i do it right this time

    I am looking into buying my first dslr camera but today with all the manufacturers cutting features from entry levels i dont know anymore which one to buy . I know that all entry levels do the job but i dont want to buy something that disappoints or breaks or that i am going to outgrow in a short time . I want something a bit more lasting with decent amount control like shutter exposure aperture ISO . With canon downgrading their entry levels i want to reach out to experienced people on this sub to help me. I dont know if the 2000d or 4000d is worth buying anymore ? My budget is max 500 dollar

    The cameras i am considering are

    Nikon D3400

    Canon 1300D

    Canon 2000D

    Canon 4000D

    All with kit lenses because thats what is cheapest in sweden . Also prices here are high with all the cameras above going for around 400 to 500 dollars . Since decent lenses costs more than the included kit lens i decided to go with kit lenses

    I am not interested in mirrorless.

    I am going to use it for all around photos but some day i want to get into wildlife mainly bird or macro photography

    I have read a lot about different entry level dslr but also about how to operate a camera combined with basic photo theory . I also took some months long course in high school about digital photography that made me come in contact with basic dslr operating . Sadly we didnt get to use the dslr in manual mode lol yea i know . This basic knowledge should be enough to get me started with my own camera.

    I should also mention that ive been looking around for used or display units but evryone here seems greedy to demand almost retail prices for a 5 year old entry level ormidrange camera. The only cheap used i can find is like Nikon D80 WITHOUT lens 🙁

    TL DR Question is are these cameras listed good enough to get me starting? Also will any camera last longer than 1 year? Budget max 500 dollar

    Thank you for your help 😀


    Hello everyone,,
    I know this topic exists already a few times, but never with the mentioning of RAW.

    The conclusion of most Threads is to do a neutral grade before VFX and apply the color after VFX.

    But my question is, that when I film RAW, I need to convert that to an intermediate format, so I loose some information. Which means when I start grading after VFX got applied, I lost a lot of information to grade it.

    So my question is: How do you handle grading with RAW footage when applying VFX?

    Reply To: Colorgrading before or after VFX when filming RAW

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    my issue got solved!


    In reply to: Best DSLR


    There would be a tie between Canon EOS 5D Mark IV and Nikon D850
    But if you ask me which one would be better then I would say Nikon D850. Obviously, the two cameras are made to serve different purposes. The Nikon D850 has a high-resolution 45.7 MP sensor that competes more with the Canon 5DS R (50.6 MP), rather than the Canon EOS 5D, which only has a 30.4 MP sensor. Nikon D850 has a superior back-illuminated (BSI) CMOS sensor and at ISO 64, it is known to yield exceptional dynamic range – something Canon typically struggles with. Without a low-pass filter, the D850 yields very sharp and detailed images, making it an ideal choice for landscape, macro and wildlife photography. In comparison, Canon EOS 5D looks more like a general-purpose camera that is primarily aimed at portrait photographers.

    You can get these DSLRs at the very lowest price at S World Electronics Inc.


    I would go on ebay to a top rated seller and buy a couple of used NIKON N1 J1 DSLRs with the 10mm-30mm kit lens. Equivalent focal lenght is 27mm to 81mm, for about
    $125 each including the lens (or separately the lens is about $40 and the camera body only is about $80. You could probably add a couple of 30mm to 110mm kit lenses (equivalent focal length 81mm to 297mm) for telephoto work and still be around your $500 budget.
    This is a great video and still camera with a 1″ sensor, fast autofocus, and will allow you to set iso, aperture and shutter speed manually for stills and video if you wish. Also will give you a choice of fps like 30fps or 60i fps, etc. It’s a small very compact camera and I dont think you could do better for your purposes and budget. I’ve had one for several years and it’s great indoors and out.


    There’s a difference between artistic ability and technical proficiency, and a video business needs both types of people.

    I have a warning on the idea of hiring out kit.Aspiring video people rarely have any money, yet demand state oil the art equipment. Your budget seems very tight to me. just looking at the equipment I have with me on this extended project – 9 weeks away from base, I’ve got 9 grands worth of video camera, a couple of DSLRs, some Gopros. 5 grands worth of computers, not including the monitors and other kit. The head and legs for the camera cost me 5 grand. I’ve got two grands worth of mics here with me. Your 50-75K budget for everything seems too small to include inventory to hire out. On top of this you have a tough decision to make. To insure or not insure. You can insist the customers take out insurance, but I know companies local to me who have lost huge amounts of kit to people who leave doors open, and the insurance won’t pay, or go bust before the deal is complete. For small hire companies you also get cross when people bring kit back broken – which they do. We started in 1994, and grew substantially in investment in 2004, and video is a money pit. Our camera graveyard is full of fully working, but unused and old cameras that we’ve grown out of. You are also pitching against fly-by-nights who quote ridiculous rates for expensive kit because they over purchased and are desperate to get some return. Video, with the linked audio and computer kit is not going to make you lots of money unless it’s decently utilised, and ours frankly is not, but we need it for some of the projects we undertake, then it sits for six months unused.

    I suppose the most critical question is “how good are you at creating video productions?” If you have the skills and the ideas, that others do NOT have, then all will be good. One of my friends, a competitor really, just has the eye for things I do not, and given the same equipment and same location, his work is more exciting than mine. I do dull commercial projects, he does wild exciting ones. I cannot emulate what he does, and he passes me dull stuff. works pretty well actually and we don’t tread on each others tail!


    Hello Everyone:
    I currently own a Nikon DX40 and a HV30, as well as a small light kit, a reflector, etc. I’m considering adding a DSLR with video capacity because I want the flexibility of interchangeable lens.I want to eventually get into shooting documentaries and short films both for the ‘Net and (hopefully) film festivals.
    What are your recommendations? I’m currently considering the Nikon D5200. Has anybody tried this camera out?

    My issue has been solved,….


    Hello Everyone:
    I currently own a Nikon DX40 and a HV30, as well as a small light kit, a reflector, etc. I’m considering adding a DSLR with video capacity because I want the flexibility of interchangeable lens.I want to eventually get into shooting documentaries and short films both for the ‘Net and (hopefully) film festivals.
    What are your recommendations? I’m currently considering the Nikon D5200. Has anybody tried this camera out?


    Hey all,

    This is my first time posting on here! I recently purchased my first DSLR camera (canon 100d/sl1) for promotional videos. I’m using the 18-55 kit lens it came with.


    I do a lot of indoor shooting and my apartment walls are beige and I noticed that I have a lot of chroma noise when I shoot in auto white balance but it is almost completely eliminated when I use custom white balance.

    I realize that’s not really a problem It is just bothering me that I don’t know why!

    Does anyone have any idea why this might be the case??

    Thank you for your time,


    Sad to say, but the manufacturers of the cameras are just incapable at the moment of making cameras that respond as the eye does to LED light. Not just domestic consumer cameras, but professional ones too. Some are better – Panasonic and JVC are a little better than Sony and the others in my experience, and it also applies to many expensive DSLR stills cameras too. The biggest issue is with blue, because the LED lights are very frequency specific – and to make all the gorgeous collurs they can create, they do it with Red Green and Blue in various amounts – but with PAR cans, which can do the same with red, green and blue gels in them – the cameras cope because they contain lots of different shades of blue. A deep almost black blue, right through to peacock type blues. The greens and reds also go through the shades too. In LED – there is a big hit of one blue colour – hence why you can now have for the first time, a bright, deep blue stage. With gel, over 95% of the light doesn't get through. The trouble is the cameras cannot cope with light colours made up of huge spikes. Pink, magenta and red appear to be the same, and the blue is so blue that some fabrics parents source for costumes fluoresce – while others, exactly the same colour in daylight, don't.

    We are involved with an awful lot of shows that have LED lighting now, and the dance school owners who hire commercial theatres have a tricky decision to make. Light for the audience, or light for the video. If you light for the video, the lighting will be bright and pastel colours – to the eye, dull and boring. If you get the theatre to light for the audience, then the video will be a problem. Sadly, there is no camera that can see what the human eye sees, so the choice is always a pain. We actually do lighting design for these kinds of events and we ALWAY ask in advance, because we cannot change the colours when the video people arrive half an hour before the show. They often rant and rave, but it's just too late. Lion King, and the witch numbers can have wonderful sunsets or deep greens for the Wicked stuff, you can do under the sea in marvelous blue greens and cabaret and chicago can go vicious red for Cell Block Tango and the kitkat club. None of this was possible before without mega budgets and lots of kit. The annoyance with the cameras is worse because the manufacturers don't seem to be addressing it at all. Even worse – it's difficult to recommend new cameras because just because you have one that is better, doesn't mean the new model will be the same. I still use one older camera because it's pretty good with LED, but the new one I was about to replace it with I discovered wasn't as good. I'm sorry there isn't a simple answer to this one.

    AvatarIago Souza

    Hello! I have a Nikon d3100 with a 18-55mm lens kit, I have problems with grains in the picture in any situation. Is the problem in the kit, in the lighting? I wanted to know if anyone can help me with this, I want to enter the world of cinema as a child, and now that I’m older, I want to be able to get the best of what I have.

    Below, some videos


    In reply to: Gear for music video


    Well – I'm the worst person to advise, because despite having one for ages, my DSLR takes stills, my video cameras shoot video, and I'm never going to change that opinion. My biggest complaint is that for shooting with DSLRs you need proper viewfinders, as the ones in the cameras just don't seem to cut it, and worse still, the places cameras tend to get put for music videos make remote monitoring pretty important. My video cameras can have external monitors, but the ones on them swivel up or down, so often I don't need to. Some DSLRs do this, but many, including mine, don't. The real killer for me is simply the lenses. I need slow sharp focus zooms, remote controls, and quick focus to repeatable settings. DSLRs have great images but I just hate them. I also have proper heads, jibs and legs for all the kit. Some of this stuff costs more than a DSLR, and for me – my video style needs certain kit. Music videos need music lighting, and that's quite different, but you can always hire this. Here's a clip from the kind of thing we do.


    Video Camera
    Camera Light
    Three-Point Lighting Kit
    Shotgun Microphone
    Shock Mount
    Audio (XLR) Cables
    Wireless Microphone
    Portable Digital Audio Recorder
    Light Reflector
    Lenses: Wide Angle, Clear “Protective” Lens, Polarizer, Zoom Lens, Macros, etc.
    3-4 Extra Batteries
    Video Tapes, Flash Memory Cards or DVD’s (depending on your camera)
    External Hard Drive
    Video/Photo Camera Bag
    DSLR Shoulder Mount Rig
    Specialty Gear for the “Cool” Shots.


    I suggest getting him a canon rebel t6, it is a beginner dslr camera but still records in 1080p and takes decent pictures. Dslr`s are also nice because you can change lenses for different shots and effects (one being depth of field, which is how much the background behind what your filming is in focus, longer lenses will have a greater depth). As for green screen, you can get kits on Amazon like this one that includes the green screen and essential lighting. Although the bigger the screen is, the more freedom you’re going to have, maybe you would want to be walking in front of it, or jumping.

    He will definitely need a tripod and maybe you can get him a steadicam for his birthday or something, a steadicam helps keep the video smooth when you’re walking with the camera. A spider rig does a similar thing, they are both cool.

    As for editing software, there is free software like windows movie maker, iMovie, and a more advanced but still free, free version of davinci resolve. For mixing audio, GarageBand and audacity are both simple and easy to learn. As for paid video software, you can look into sony vegas.
    Side note: if he wants to do a lot of stop motion, there is software for that too, like dragonframe. Dragonframe is what the professional studios use, like Disney and whatnot. There is cheaper and simpler software, but this one is awesome. How it works is, you plug the cameras usb into the computer, and you actually take the pictures straight from the computer, it records frames and stuff, its cool. I don’t think many of the softwares support the rebel, I think dragonframe does. Here’s a link to the page that shows which cameras are supported in dragonframe.

    Mics are very important in filmmaking, the internal mic is almost never good, it records too much ambient noise, but, it does work if you don’t want to spoil your son too much. Either a lapel or a shotgun mic will do. The canon rebel does not have a mic input, so you can choose a camera that does, or you can get him a Zoom recorder, which the mic plugs into and it records it, the problem with that is that you have to align the audio and video when you edit, some software does that automatically, but it’s easy to do if you make a quick sound (aka clapperboard) but clapping your hand would work too, its just so you can see the audio spike on the cameras audio and the mics audio track and then align them.

    PS: For stop motion, a blue or green styrofoam board would work, you can use the umbrella lights for lighting, an led bank or a desk lamp is fine.

    PS#2: Imovie, sony vegas, and DaVinci Resolve can all do green and blue screen. Warning, DaVinci Resolve green screen is more difficult.

    PS#3: Lighting with green is very important, the light on the screen should be as even as possible and without shadows. Try to stand as far from the screen as possible.

    PS#4: The Rebel t6 is compatible with a free software made from canon that lets you see what the camera see`s on the computer screen, take pictures and video, and also change camera settings.
    Hope this helps


    Virtually all my work takes place in theatres and these complaints always happen when video and photography is bolted on. If you have the right equipment, the right planning and the right techniques it’s perfectly fine. Colour rendition is extremely variable. For stills, I’ve used Pentax for ever – and my latest Pentax DSLR, only used for stills, is much worse for theatres – where blue, magenta and pink light is the rule. This camera has no range of accuracy between pink and magenta. The DSLR this replaced, just getting a bit worn, is hugely better – and it matches my JVC cameras for video, which have been steadily updated – and these thankfully all match.

    Contrast is much greater in theatre. The mood is set by shadows, always has been. Any video crew who turns up an hour before the show and asks for changes gets very short shift. We produce shows – sometimes we also do the video, other times we do staging, lighting and sound and video is brought in. Often firms who just do not understand theatre. We don’t mind others coming in, and the regulars take advantage of the camera positions we make available because we know they work. These others turn up, poke us on the arm when the show starts and ask for less blue, more white, less contrast, complain about shadows – as the show is running. Tough!

    The client dictates priority. Is the show lit for the audience, or the video? We don’t mind, but the lighting is different. We even have video monitors in our lighting box, and ask these crews for a feed. Few can provide it – but when they do, the operator can try to help.

    Forget white balance – what on earth would you choose – there is no white light. Set the cameras to 3200 if they have lots of incandescent lighting kit like PAR cans and Fresnels, but if they have LED kit, then 4200 to 5600 might match a bit better. However – now we do have LEDs that are bright, the lighting designers can have totally blue light for the first time, in decent quantity. The old Congo Blue gel cut out nearly all the light – less than 3% of the 1000W getting through as light! Red, Blue, Yellow and all sorts of amazing bright colours now make the most of costumes – BUT – many people simply don’t understand that the colour people see is never real, without boring old white light. In most cases, colours look better – but are not what the costume designer perhaps intended.

    From 100ft away you’re going top get flat images – but they should not be grainy unless you are using gain, and in modern theatres, lighting should be bright enough. If you get sparkly reds or blues, then something in your profile is wrong – I’ve not had that on any of the last 3 generations of video cameras, unless it’s seriously dark and you dial in gain. Exposure wise, I don’t make any major changes – sometimes scenes are mean to be dark, as said. Trying to get that brighter generates noise. Exposure for me, is about faces. You expose for faces, and not for scenery or costume. In theatres, we can go from lens wide open to f8-11 for the brighter scenes, 0dB gain.

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