Leaderboard

I think you've both missed the context of my post which was that working as an AC does allow you to see the mistakes in real time. I wasn't talking about watching youtube or reading blogs to hear about other peoples experiences. I was talking about being there, seeing the decision making process (even being a part of it), seeing the outcomes on screen while you're pulling focus and again at the DIT station, and seeing the final edit later on. You feel the weight of the mistakes because they impact your role as well (eg the DOP wasted time on one shot, so now you've got to work twice as fast/hard moving all the gear to the next setup), but at the end of the day the responsibility lies with someone else. My overall point was that working under other people (even if they're not necessarily better than you) is a great way of learning, certainly much faster than going out and shooting the same vlogs over and over again.

You’re right, hadn’t realized the FX6/FX3/A7S3 can’t do 4K S35 crop, that eliminates a ton of lens & punch-in options. I guess advantage R5/R6 who can do both and C70 as well with the speed booster.

Very cool. Did not know that. Most of the features of these new gimbals, just stop start, and charging sounds awesome. Can these new Ronin's mount a monitor like the Ninja on it? I have a Fieyu-tech (spelling?) that even fully charged is just not... stable. No amount of tweaking has ever made it work really well so I have given up on it. Trying to plan out kitting the XT3 right now is a total pain. I have everything BUT audio figured out, but well see when it all gets here.

8K is no joke. Forum users like @gt3rs use it to reframe & grab stills amongst other user cases. 4K HQ mode on R5 does exactly that (8K downsampled 4K). It DEFINITELY shows finer & clearer 4K than non-oversampled 1:1 4K. 1DX3/R6 also downsamples from 5.5K and shows similar 4K improvements. Personally, after experiencing 10-bit 4:2:2 log on R6, I can't go back to 8-bit log for grading. MJPEG is also a stone-age codec to manage. Good riddance. That said, I can't deny early Canon CS has a certain mojo (still own my early 5D's & C100). 5D3 ML 14-bit RAW is still the golden standard as far as I'm concerned color-wise. Would be interesting to see how R5 RAW and 10-bit Clog fares against a 1DC.

Every Canon EF lens I have works with the adapter. What doesn't work is the peripheral illumination correction because they haven't created the profiles yet. But peripheral illumination on the c70 is problematic because of some low shadow color noise issues so it's best to keep it turned off until they work things out. Anyway, Canon adapter works perfectly for DPAF and lens communication with the c70, Metabones does not.

I don't care who makes the sensors, I just care about whether I can get a good image from it. If you can't get a good image from the current generation Sony cameras ("good" meaning it will suffice for most professional work), then the camera is not the issue.

Marvels Cine profile is the closest equivalent.

You would downsample the 8k to 4k first since no one has 8k TVs, then compare 4K to 4K….and see the mojo of the 1DC. 😉 Seriously, we are all amateurs here and not trying to create 8k masters to bring out in Hollywood 10 years from now. I think 8k is a joke right now. You really need to downsample to see how it compares to 4k recorded straight up. Maybe then, YOU MIGHT see finer and clearer 4k. I would like to see the comparison. And…don’t forget, the 1DC is 4:2:2 8-bit. It’s a really good 8-bit.

I think it's more about processing than sensor. Dynamic range is nice but newer Sony sensors have that taken care of. The GH5 is a little outdated in that department. The Pocket 6k, Fuji XT3, and Sony A6300 line all have similar sensors but all look quite different to me. Color depth is more what I lust over now. After owning a RED for a short period of time I've realized how much less color information is in a 10 bit file, at least of the Panasonic variety. I have yet to compare it to a Blackmagic camera to see how the 12bit BRAW holds up. I do quite like the old Pocket camera, just hate it ergonomically and the crop is also a pain.

The Ronin S supports Fuji, both charging and stop/start record. So I assume their other gimbals do as well. Interestingly, the S can also control Fuji native lens focus with the Ronin focus wheel and no external focus motor. The wheel can control the internal focus motors of the lenses. When they first introduced this in firmware, it canceled out autofocus, meaning all Fuji lenses became manual focus only when the camera was plugged into the gimbal. Now, I believe, autofocus will work and you can use the wheel to adjust focus even while autofocus in on. Not 100 percent sure about that though. I should probably test it. Shows how much I use my gimbal these days.

Going to add the 1D X Mark III to the mix as well. Not much to shoot and little colour in Berlin at the moment. Not feeling inspired but will get on with it during the week probably.

Indiegogo AFX campaign update #6 (things that caught my eye in bold.) Here’s the link if you what to see the official update with pictures and correct formatting: https://www.indiegogo.com/projects/afx-autofocus-adapter#/updates/all “Shipping Update 27/02/21 Unfortunately, we have to inform you of another short delay to our anticipated commencement of despatch date of 28th February. As per our last update, the potential challenge to that date being met was the main AFX boards not being completed in time for the commencement of Chinese New Year break and this ultimately was the case. We had built in some allowance for this happening but there has still been insufficient time since the resumption of work after the holiday for them to be completed. The fabrication plant has indicated that we should now expect completion on the 5th/6th of March. As the full production run of the housings for the units have now been received, we have been able to mitigate this extra delay slightly by completing the sub-assemblies of all AFX units and this will cut the final assembly time after the arrival of the processor boards from four days to two days before despatch begins. This also means that the full production run of the reduced size MMX is now complete and ready to despatch with the AFX. We have also added the following enhancements to the firmware of the AFX : Support for Tilta focus wheel to manually adjust focus alongside the AF capabilities of the AFX (for both electronic and motor controlled lenses) User preference option to use the REC button on the Tilta wheel to engage/disengage the AF of the AFX. Switchable option for focus motor direction in both calibration and lens loading functions. Adjustable calibration positive/negative offset setting when loading lens to enable re-location of the AFX without re-calibration. To enable more flexible mounting and directional change of the unit, and as a small token of our gratitude for your patience, we have now included a ball head mounting adapter with your AFX when it is despatched and we have also created a focus chart for you to download and print out to aid the calibration process. In what we anticipate to be the short run up to despatch, we will issue an individual update as the key points have been met. Despatch from the fabrication plant. Customs clearance. Receipt by ourselves for final assembly. Commencement of despatch to backers. Once again, we apologise for the delay and again thank you in advance for your patience whilst we complete this process.”

The Canon VariND adapter is the only native behind lens solution for a hybrid mirrorless system AFAIK. I can’t wait to receive mine, game changer for sure.

That was me. 🤣 It's hard to be 100% sure, but going by 2017 to 2019, I had approx 107 clients booked each year. Approx 16 are non Weddings, making 91 approx Weddings a year. Each one gets 3 videos, a 1 min Trailer, Full Length and Highlights. Some of the Weddings (about 50% of them) have 30 minute videos, Marryoke, Guestcam and Video Messages. About 10% have all of the above. Non Wedding includes parties, where they get a Highlights and a Full Length. Even my Corporate work, I'm doing several videos a lot of the time. Such as a Promo video and separate Drone video. Plus I do a few of my personal videos in my time off.... 🤣🤣🤣 I can't say it's that much more than 360, but its around that mark for sure.

https://www.blackmagicdesign.com/products/blackmagicraw Blackmagic BRAW Open Standard and Free to Download Cross platform and license free! For Panasonic and others Blackmagic is a competitor in camera business, so they prefer to use their own codecs internally. I doubt any Japanese camera brand will ever put BRAW inside their cameras. They didn't put ProRes codec too. Which is a pity because BRAW is very good codec and integrate so well with Resolve. And only Nikon and Sigma allow use of Blackmagic external recorders. Panasonic and Sony don't. Again for business reasons. It's another story if those buisness reasons are valid or not.

And timecode! And waveforms! And TA3F with P48! And full size HDMI! (with an additional bonus mini SDI output?? Seriously, these heavily video focused cameras such as the S1H/GH5S/a7Smk3/etc should give us a second independent output. Then your on camera monitor could be log with info overlays, and the director etc can get a clean Rec709 feed)

Because I shoot for nonprofit agencies mostly (that's NGOs for you non-American types 😉), the videos I shoot are pretty issue specific and not at all redundant. Just yesterday I was up in a wetlands restoration project that had been burned out in a major forest fire. The Forest Service and our local land trust are replanting it. The clips I got from it will go into a three-part series of social media shorts about how the land trust and its partners are helping the community and the ecosystem rebound from this devastating event. And I maybe be able to use it in a longer term documentary about the fire and its aftermath in context of climate change and the increase of severe wildfires in our region. That's definitely not redundant content and I'm really excited/motivated to tell these important stories. Maybe the answer to feeling like you're creating redundant content is to find unique stories that feel like they have value to you and shoot them!

If it's putting money in my bank account, it's not redundant.

For my YouTube channel I produce 60+ a year. But when you add in client work, that easily goes up to about 200+ per year as we do promotional videos for some chains that have 300+ retail locations and each one gets a video. Of course our YouTube show is much more involved involving multiple shoots and locations for every video. I find when doing high-volume (it comes and goes based on client projects) there is very little time to stop and really think about what is being done, so growth can be limited simply doe to a lack of bandwidth. I've also done this for close to 20 years.

Less glowing because of slower start up time vs other brand, but it is also the coolest cfexpress card there in terms of temperature. So far I don't have problems with it on set I've been to.