Tim Sewell

I was bored so I put together some A6600 S-Log-3 footage I had hanging around from earlier this year and graded it with the help of Tom Bolles's new CinePrint 35 powergrade. I'm definitely liking the colours and he's simplified the node tree somewhat, making it a lot easier to tweak.

I'm off to the Cambridge folk festival next week with my 15 yr old and I'm going to be shooting a mini-doc focusing on why people love this nearly 50yr old festival so much, ie I won't be risking trouble by filming the big acts etc - more aiming for lots of vox pops and street-style imagery. After a lot of thought I'm just taking my A6600, a couple of my Super Taks - probably the 20mm and the 55mm, together with a straight adapter and a focal length reducer. To go with it and allow me to have some control I'll be adding a 12 inch tube light and a magnetic little RBG, a 14 inch collapsible 5-in-1 reflector/diffuser, 2 little wireless lavs and a VideoMic. All needs to fit comfortably in my mid-size messenger bag. I may take my knock-off cinesaddle as it can double as a pillow in my tent and something to sit on while watching bands!

Last band video I did the engineer did this for me but unfortunately for some reason there was a 3 second jump in the track. I spent about 5 hours trying to figure out what was going on, thinking something had gone wrong with my camera. After I'd covered it up and published the vid one of the band members congratulated me and told me there was a similar gap in every track.

Good points - thanks! If recording from the desk I'd expect to record an ambient mix as well as you want a bit of crowd noise anyway to keep the live feel. I think you're right in tems of a 32 bit solution for this.

This was A6600 on the wides and FS7 on the CUs. Sound was from a wireless shotgun into the FS7 - as you can hear - it clips at the loudest moments and as I was concentrating on operating I didn't have the bandwidth to ride the levels - so any suggestions from the hive mond?

I have this lens and it's a perfectly serviceable general purpose piece of glass that has the benefit of being super small!

Someone else, sadly. I have the 20, 28, 35, 50 1.4, 55/2 and 135 3.5 in the Super Taks and I love them. Sadly I sold the 85 1.8 as I needed to free up some cash a couple of years ago and now I slightly bridle at paying GBP350 or so to get another!

Both are true. Just from my own limited experience - my EF-S 17-55 2.8 has worked well via adapters/focal length reducers, with functioning AF, on every Sony body I've used (FS700, FS5, A7R1, A6600) but is terrible compared to the inexpensive Sony 24-105 f4 - literally worlds apart. So if AF is important, it generally has to be native. Personally I only use it for 'fun' shooting and for anything intentional use my Super Takumars, but even for the 'fun' stuff I want AF I can rely on.

I only had to do the one room but yes - especially as I don't have stuff like speed rail etc and it was rather windy. In fact, I was going to move on to blackout the back ground floor for the next sequence but by then it was just too windy so I had to black out inside and bounce my lights (shooting day for night) inside rather than having them outside.

Actually when my mate arrived to help he did comment that the neighbours might be experiencing a frisson of worry.

Front of my house on the day.

And yet Biden has achieved more bipartisan legislation than any president going back for decades. The Inflation Reduction Act, the Bipartisan Infrastructure Law, the PACT Act, the Bipartisan Safer Communities Act, plus numerous programs and EOs combatting Climate Change, protecting equal marriage, reducing racial inequality etc etc. He's actually one of the most consequential presidents in living memory. It's frankly rather astonishing that he isn't a shoo-in in an election where his opponent is a three-time loser, adjudicated rapist and convicted felon.

I've got a mate coming round to help me with the few shots that need camera movement or a focus rack. I can fill in the rest solo.

Whatever you can fit on your sound cart, surely?

To be fair, that guy could get great video out of a Box Brownie.

I'm sure I'm not the target market - which is good as apart from it being a very good-looking camera, to me it is totally underwhelming.

Spenser Sakurai Tenfold Productions Robert Machado - also deserve a mention.

Sorry. UK idiom. 'Old' in that context doesn't mean old. My bad.

The videos I've seen them in have all been from the last year or two - mainly Nanlites with a couple of Aputures and Godox in the mix. Of course, some of those videos have been in the 'gaffer testing stuff' genre made in guys' garages, but others have been, in the main, DPs on higher end shoots and some tutorials (I think quite a few of the notable working DP Tubers have been given freebies, so they reckon, 'why the hell not use it?'.

Sorry to take the thread off-topic, by the way.

Well I'm no pro, but I do want to get pro results. The tiles were, happily, a fairly neutral dark grey, but the room itself was tiny. You literally could not swing a cat in there. I lit it quite easily - 1 x 5800K Lupo into a bounce on the wall opposite the talent, a 3200K Lupo offside and behind, a 3200K tube on the floor at his feet and then the M20 at 6300K behind him lighting the sloping roof at around 40% to give a bit of separation. It certainly looked nice enough in the monitor! Today's shots (which only took just over an hour - the advantage of the tiny location was that you can only do so many CUs and mids of a guy sitting on a stool playing a guitar and staring at a laptop!)n will be used as B-roll to run as interview cutaways and also to create a monitor LUT for all the other studio work we'll be doing over the next couple of months.

Have you checked out the Shotdeck channel? There aren' a huge number of videos there yet, but those that are seem very good. Basically hour-long Lawrence Sher interviews with directors/DPs etc about their movies, using the images from the site as jumping off points.

I like Luc, but it does seem that since he started really pushing his paid courses the channel seems to have shifted emphasis from practical stuff to more talking head stuff.

I'm doing a b-roll shoot over lunch today for one of the documentaries I'm making this year (first shoot on this one, so looking forward to it!). I haven't been able to scout the room, which is a recording/rehearsal studio, but I do know that it's very small and that the walls are lined with those acoustic tile thingies. So I'm taking: 1 x tiny Ulanzi 40W bi-colour 2 x RGB wands 2 x Lupo 20W bi-colour Smartpanels 1 x Zhiyun M20 bi-colour 1 x FalconEyes RGB panel Also a bunch of pipe clamps, spring clamps, 1/4 20 magnet plates etc, plus 2 5-in-1 reflectors, one of them folded out to black. All battery powered. I probably won't use all of these, but I wanted to give myself some adaptability given that I'm going in near-blind. The look I'll be gunning for is classic split tone so I'll be setting up a daylight wash with the 40W light and using some of the other lights for warm accents. Camera set to 4300K. All of this fits in a single standard aluminium photographer's case from which I've stripped the foam, which is good because the camera weighs about 40 tonnes!

With reflectors on it's definitely around 2-3 stops brighter than my Godox SL200.