Gregormannschaft

This guy reminds me of every bad, psychopathic boss I've ever had. Which is 2. He reminds me of both of them.

Also saw this and was wondering whether Zhiyun might release a new Crane at NAB. The Moza ships in the US on April 15th, so expect more footage soon.

Respect to the guy for creating a style. Respect for filming every day. Respect for using every available tool at his disposable and getting rid of it if it doesn't work, for putting himself out there and being so open to criticism. It's not my thing, it's not my genre, but I really can't help but have a lot of respect for the guy. It's always easy to dig on folks because they're popular, and a million times harder to get to that level. Casey represents one side of filmmaking that I suck at. Marketing, being inventive and making shit work if it doesn't go your way, finding solutions when it'd be easier to just say it won't work. I like that, and I'll drop by his channel sometimes to get some inspiration and motivation. It's refreshing to take a break away from conversations about bit rates and colour banding and things that aren't at all related to just telling a story.

Was going to post a new topic, but found this. Nice work, folks. I have that funky, cheap Manfrotto 128RC tripod head with some random Manfrotto legs. Altogether they were around 190 euros, bought about 4 years ago. They've been great, but on a recent corporate shoot I've been a little shown up, with legs that don't hold, a slider that causes the whole thing to wobble and fall a little...it's been bad. But the head has been great. Either way, it's time for a big upgrade. I'm looking at the Sachtler ACE M MS system (http://cvp.com/index.php?t=product/sachtler_ace-tripod-mid_system&nosto=productpage-nosto-3) and it looks like it will work for me. Might not be as portable, but at the moment I'd take anything over setting up a wobbly tripod next to a CEO on a supposedly professional corporate shoot.

So it's weird that I know this as I'm not an avid YouTube watcher, but I checked out his account this past few days and being the camera forum lurker that I am, checked out his stuff. He switched to the Sony A7SII a while back, didn't like the AF (what AF?) and went back to Canon. Then, he got the A6500 recently for it's AF and in the last few days appears to have added a GH5 to the mix. Say what you like about Casey's stuff, but he uses gear if it works for his format or gets rid of it. Which is exactly how it should be.

This is great. Amazing, actually. I'd love to give it a go. But is this thing ever really useable professionally?

COYS.

AF is, by far, the thing I miss the most in the current A7SII. I used a Canon 70D the other day and was blown away by the focus on that. I know that's the very best, but anything close would be a godsend. I do a lot of one man band docs and it would have been a lifesaver. That said, I managed to weave in and around a football match at West Ham, keeping focus pretty well on my protagonist on the A7SII by stopping down to f9. It was totally fine, I'd just like to take it off my 'worry' list.

Does anyone in Germany know whether it's possible to rent the Zhiyun Crane anywhere? Looking specifically for somewhere in Berlin or Stuttgart. There's a few places who have the Came-TV gimbal but I've heard some pretty bad things about it.

This is going to be an ugly thread and no one is going to change their opinion.

Curious to know how much you have travelled overseas in your life.

The importance of autofocus. I discounted it when I first made my mind up, but in hindsight I'd love some sort of usable AF. I hear the lowlight is still pretty good too + you have the added benefit of a full frame 4K mode with minimal rolling shooter, albeit slightly soft. I think the A7RII is a more complicated camera, but I think it might be worth it. Still, there's not much in it and you can't go wrong with either. Thanks for taking the time to watch!

Cheers Juxx, I'd recommend the A7RII over the SII, in case your eyeballing becomes cash spending.

Hey folks. Last year I travelled to Sri Lanka for four weeks, hopping about the place and pulling all kinds of strange poses in the name of having a totally not relaxing vacation. But it's what happens, I guess. I edited together all the footage I collected and I'd love to hear any kind of feedback you might have. In hindsight, I wish I'd collected more footage, but I hope that doesn't shine through too strongly. Edit wise, I dabbled a little with the fast zooms that have become so commonplace in this genre over the past few years but wanted to restrain myself so to not go too overboard. The Watchtower of Turkey style isn't really my thing, as much as I appreciate it, but I wanted to steal a little of that energy films like this can generate. Cam wise, I used my Sony A7SII, GFILM colour profile, Canon 24-105 and an old Zeiss Jena 35mm that I absolutely love. No rigs, no stabiliser.

Cheers Tim, that was a really interesting read.

I think the low sun at this time of day created some harsh shadows in the office, and from the test footage we showed them they liked this look. So harsh shadows, for them, is good.

Sorry, but if you lose resolution from motion blur at 4K, surely you're also losing resolution from motion blur at 1080p? I'm not really getting this argument.

Thanks to everyone who has taken the time to reply here, it's a massive help. The office is a very open plan working environment, so completely blacking out the windows is unfortunately not a possibility. The good news is that the windows won't necessarily be in the shot, so I think what we will aim to do is use the closest window as the key light and boost that light with a couple of LEDS fresnels behind a big softbox. I think that should work. The client has also requested that the kind of light you get at the end of the day, just before sunset, is replicated which I'm thinking won't be possible. Especially given that we are a very small team of two, with the second guy handling the sound.

Lighting, my achilles heel and something I really need to work on. SO, I've got a client who has requested a hard light look for a corporate interview shoot. The only thing is, their office has a ton of natural light and is surrounded on two sides by windows. It's lovely, but I'm not sure how to create that hard light look they're after in such a well-lit environment. Would anyone have any tips at this stage? My gut says, light the subjects extremely brightly and then expose for that in camera, so that the usually light office environment looks like it's in the shade. I'm also very used to working with LED panels and I feel like at some point it might be time to take the step up to more complex lighting systems. Any help is hugely appreciated! p.s We should really have a go-to 'Lighting' topic.

Currently going through a hell of a time grading holiday footage. Be my guest taking a shot at a very easy scene to grade, and one that is giving me nightmares. Shot on the Sony A7S II with SLOG 2.

Thanks for this, I'm now on the hunt for one on Ebay.de. It has a very creamy look wide open at f2 that I'm really fond of, so look forward to checking it out.

I've only read about it in passing. Is it worth looking out for? Lucky that here in Berlin there are so many little boutique shops and markets where these things can be had cheap.

Already in the bag, also a great lens. I find that the 35mm gets a lot more use though, it's the perfect walk around lens and that close focusing distance is incredible. I was looking for a macro lens before that but not anymore.

I've been using the old Zeiss Jena Flektogon 35mm 2.4 lens and am loving it. Beautiful colours and smooth bokeh. It was also relatively cheap at around 80 euros. Can anyone recommend a couple of lenses that might go nicely with it? Specifically something wider and something around the 85mm mark. I'd love to keep that vintage look and not have to sacrifice contrast and character. edit: Found what I couldn't find earlier. Seems like the Carl Zeiss Jena Flektogon 20mm f2.8 might be a good choice. It's expensive but looks real nice. Has anyone used this?

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