HelsinkiZim

Pretty in pink, indeed. This scene needs work, but its a fun foundation imo. Maybe it needs a rotoscope...

I think the idea is that it adds some much needed blush to Gh4 skintones. I have noticed this, GH4 can do clean extremely well- but it sometimes is so clinical. It is a great beauty cam, although beauty folk prefer Canon, but they should use the GH4 - look at Curtis Judd, the cleanest looking reviewer out there and he is using GH4. But Canon skintones straight-outtta-cam-ton are a quick fix for amateurs, and Andrew spotted this and offered a quick-fix solution for us pro-summers. enjoy it, but don't over analyse it - the cam is still the cam.

Just purchased and very excited! I am still trying to figure out its best use, but it definately add some life to lighter skin even when adding a grade/ lut that usually makes everything mush together. After 5 minutes, here is my test grade. Filmed in Cine D - Noam Krolls preferred settings, google them, cant remember... theyre saved as C1

I never had a problem with Premiere, what are the biggest bugs?

I have a contract either signed or by email or verbally recorded that specifies an (generous) amount of hours dedicated to the project. I specify that before these hours are reached, they will be informed that they are running out of time due to contract and must either get their shit together or put more cash in the meter. The truth is noone is watching what you do in the edit and planning, so it is always a useful tool for disorganised clients. sooner or later they see cash flying out the window and you can all reset and power on.

We have general national guide lines that categorise production jobs into 4 categories. A self shooting assistant, ie someone who handles gear and shoots behind the scenes etc, is around 250 euros for the day. However, you can roll the dice on students and recent grads for less...

Will do.

Thid was one set up I enjoyed as all went well on my own. mke60 going into tascam. Rodelunk on the boss. I hire shotguns as they hire here for 15 euros perday for the best. My key is off camera, pixapro mk-something, an aputure lightstorm rip off. Micro cinema camera as b cam off camera at about 70mm focal length. phone acting weirdx, sorry for typos.

I think that is sound advice, thanks! However, some stuff is just too much fun to ditch, like the gimbal and ifootage slider (the pan tilt head was an admitted mistake). I am not ashamed to admit I rely on them to lift the narrative of my corporate work - even though everyone insists the story and content is more important (which I agree with), I want both. 10 years ago I used to be so envious of companies using motion tools and now they are finally at a point where they are reasonably priced to invest in for rhe type of stuff I do. I dont sell movement to clients, I just suprise them with that little extra that they may not get elsewhere. however, I do make sure my ideas are on point before I choose the tool, not the other way round. This all reminds me that im in that right field, because as you mention its hard work and you need to love this gig to go through this and I geuss I do. Marco Pierre White always says.... "perfection is doing lots of little thigs well." Thats what I tell myself every morning im packing all this nonsense into a bag and going to war with these overpriced, finicky but lovable creative tools.

I agree with you. If you are running a shoot on our own, you need to reserve some of that mental energy for other things too. A professional camera helps with that. It was just one of those things I had to experience to see clearer (for my needs). I stand by the peripheral stuff though, and I spend a long time figuring out my USP, and dynamic movement for cheap was my angle and that approach has been producing great results clients are happy with (re: motion syatem, gimbal and jib). So in a sense, I cannot afford to have a main camera that does work with cheap motion support gear. So I am going to wait until next year to see what develops. But for now, because my workspace is corporate promos and music videos with lots of movement, I will hold on to the micro for movement/ b cam and perhaps invest in the mini for all around daily grind.

I'll try say it in a better way... It's like I'm filming with a deconstructed lasagna. It sounds and looks good, even taste better sometimes... but sometimes I just want a plate of lasagna.

Thanks Andrew, had to vent. I'm sure I'll be fine tomorrow. Yes, I spent the extra cash on the iFootage motion system, which was another hassle. Usually, I am on top of it, today just got to me. Gonna go finish of the second season of Rectify and sleep☺ Edit: i used the NDs because I'm still learning how to use lights properly, so they are a guarantee against if I can't get shallow depth of field with these sensors. This was unfair to list as a problem today, but in general... By cables I meant for the micro rig, as I power it with v mount due to battery life issues. So that mount powers the monitor too. And I am using the video assist with the gh4, again some might say fell for marketing, but I wanted prores 422 to match better match with micro. Also, as you mentioned in your guide, the gh4 resets some setting after it sleeps, so the video assist goes back to receiving 50p input from HDMI. Which in turn shortened the amount of footage I could record without me knowing I was running out of space, etc. Again, cables for the iFootage and lights shouldn't count as I just haven't invested enough in batteries, and this is top priority. It just all added up. Rodelink into cam has been to finicky with gain, I.e. I haven't mastered it, so I run it into tascam. Again, learning curve I am not used to re: pretty amps. If you have any suggestions for easy work arounds to these problems, I am all ears. But I'll try figure them out I suppose. It was a learning experience, ill leave it at that.

So today was the most frustrating, ridiculous, soul crushing day I have had with a shoot. I'll explain, but a bit of back story first... I have been shooting digital video since 1998, professionally (man with a camera stuff e.g. weddings, seminars) since 2005. I have also worked to pay the bills as a producer and sales rep in various tv and video production houses in some parts of the world. My wedding and corporate business was a side gig until this year when I went full time solo for various reasons. I took a break for 3 years circa 2012 to do a master's degree in south Africa and the best camera they had was a hvx200, previously my go to camera was Sony z1. So when I left Africa and arrived in sunny Helsinki 3 years ago I decided to see what all the DSLR fuss was about now that I was in a first world country. I joined this forum and perused others, and I fell in love with the community and gear. When I wrote my business plan for yet another video business venture, I was sure DSLR was the ticket to ride. for the price of a camcorder I could have a studio, with lights et al. Today I made up my mind that it is not for me. I had a pretty standard interview which I planned, lit and shot with a gh4 and a micro Cinema Camera as b cam. Yes, I know, but that is not the point. Matching was not what I was worried about, I have come to know them both very well. But the endless, finicky bullshit.... Speed boosters, ND filters, v mount batteries, cages, external sound recorder, screws and cables and screws, monitors... On top of the standard things you need to be concerned about, like exposure, light and focus... Oh, and the actual bloody interview... Its fucking insane. Excuse my language I am pissed off. Yes, you could say I need to practice more, but those hours at my rate fiddling with nonsense and fixing mistakes... I may as well have just bought a all around really good camera. Everything was fine if you do one off jobs, but today was the end of a full week of filming with this apparatus and it is too much for any human to keep track of all the moving parts. Again,, yes you could hire an assistant, but again you may as well invest that money in a camera. Also, this doesn't include post, and trying to compensate for each cameras numerous ridiculous quirks. So, in short, I will be investing in a camera in the near future that lets me do my job. The only things I am now used to is small size. So maybe it's the fs5, I guess I'll see how next year pans out.

shooting weddings is slave labour. You simply have to have a passion for filmmaking and journalism to even come close to not feeling abused by transcoding, watching, editing and vfx'ing 20+ hours of footage for less than most people would happily spend on a tv monitor (which they will even take credit cards for, and pay monthly....). best advice would be to find a new job and do it part-time...

That was some impressive lingo! Don't apologise, was just having a laugh. You know your stuff, school did you well...

I will make a bold statement that may or may not be true - I feel that currently product deliverables like wedding videos are about delivering something the client 'believes' they couldn't have done themselves. Even as far back as 2005 I had to fight to justify video as an addition to the photographs, because people didnt see the value. Once a client/ family firiend asked me to borrow my camera and I let him, to my peril in the edit suite, but he honest thought he could do a better job. At the time that may have been true, but the general consensus of the public is that video is easy and photography takes skill. This may be changing with the instagram generation, but probably to benefit as people realise their limits in creativity and skill. But for weddings I believe a full frame look instantly makes the viewers feel like it is something they couldnt do, because most people do not have full frame cameras at home. Again this might be changing, but it is still a differentiating factor for you as a professionl (on consumer video products). I also feel that 'effort' effects go a long way. These are basically effects that still impress because most people know they take time to excecute, like a good timelapse or title/ shot sequence. I feel grading well is not so important. Of course, you as the producer will know that a great number of skillful and creative decisions went into making the piece memorable, but most people wont know or give a sh**. We, at the end of the day, are dancing monkeys.

Huh? ☺

Sorry it was late, got back returning gear to the rental had the day off today...you can fill in the rest? Anyways, this one was canon 5d 2, full disclosure I don't handle camera anymore for weddings and hire freelancers as I find shooting and then editing the wedding in a documentary style is just too taxing energy wise. Also you fall in love with your footage and this makes the edit longer because you are always trying to make your favourite shots work, when the don't, eg. White balance or focus was of etc. I would say 2 5ds or 2 a7s's is all you would need for 'cinematic'*/beauty and also doc style. You just have to have a fidly audio solution for everything, but as I am snug at home when it's being shot it doesn't bother me. But if I was starting out, I'd go straight to the c100 and have a mark 1 or 2 as b cam to get the best of both worlds. Edit: slap a lav on the groom, a good shotgun on the c100 and a pocket audio recorder for the podiums (UK) or run into sound system (usa - usually) 35mm sensor size just simply does not generate the wow responses as much, and I have been sitting there watching their expressions. My opinion.... *Cinematic in weddings is an oxymoron, and a rather meaningless word. But it is associated by the bride with full frame, shallow DOF, and orchestra music beds, as this is how wedding videographers sold the 5d look when it first came out and it stuck. If I could do this I would, but I am not that confident. Both styles work ok. I usually leave that pressure to make folks relax to the photographer and snipe shots off of his or her coattails. I usually include that banter in the cut and the photographer becomes one of the cast of characters. It adds to the realism.

Sorry to quote myself, but the biggest lesson I learn't is that the 'party' will seek out the photographer to let them know where to be and when. You have to be your own man/ woman and be where you are unexpected. If you can master this, then you provide unexpected value, which is the best kind... I had to battle sony footage, but canon is deliverable as is.

Here are screenshots from my latest wedding (just copied the window of quicktime, no colour or cropping etc...) - combination: full frame, doc style coverage (immense edit).. this is canon with my style I grew inside = unstoppable! STRAIGHT FROM (CANON) CAMERA!!!!!!!!!!!!!!!! Good luck looking good, this easy, with any other camera.

o, and remember... you are the invisible man. Let ur brother do the talking. Know ur shit.

My first ever wedding 2006-7?... excuse the crop... in summary, canon wins every single time (this shoot was canon xl1 and until this year I never knew why it was viewed more than 4 000 times = canon ) Bounce around at your convenience,,,, but deliver canon equivalent. I am doc, but dof is good too. Get an assistant.

here is a wedding at my documentary style peak circa 2007. Watch it and ask me questions. Or don't. Who cares anymore. then i got deep.... and deeper... 2 sony z1 s Start here!

I have been filming weddings for 10 years. Ask yourself: Am I beauty or am I documentary? If you are beauty then go with full frame (doesn't matter by whom, get shallow DOF). If you are doc, then get a c100. Develop an instinct for schedule changes. eg. When everyone is going to the next room, and when. Even if on paper,, it always changes. Ask people where they are going and why. Coordinate with the bride's best friend. Groom knows nothing and his friends are there to get wasted. Develop a signal so your. B cam can. Go wide when u go telephoto eg. Ring on finger Everything on slider, tripod or gimbal. Go hand held at your own peril. Seek perfection. Oh, and don't fuck up the dance by being embarrassed to light it.

Turn this into a poll please, would like to see consensus....