Riadnasla

@mercer Thanks! This last year had me finally operating on a few more projects, but still so much to learn. @Kisaha Thanks, the goats were interesting to film as they love to perch right above a busy highway and kick rocks down into traffic! I actually had a bit of difficulty making them look good in footage, as they were in the shade on grey rock with dirty white coats......separating them was interesting. Also, completely agree about the C100 and am unfortunately having to try and sell my F3 as the bulk and intimidation is simply too much for the projects I have to work on.

Really cool! If you're using 200mm, are you on a tripod at that point, or just really good optical stabilization?

100% Agree with this, I run with an F3 (S-log) + Gemini 4:4:4, and they're built like bricks, never had any issues. Often my clients have difficulty re-focusing from "need 4K" to "need awesome image quality", but after the shoot when I start going through the dpx footage, all debates stop. Biggest downside for me: It's a light cinema camera, but it still heavy as a cinema camera compared to stuff like the C100s. I'm usually a one-man band, so that means a lot more work, but if that doesn't bother you, I can't recommend better IQ for the price. In addition, the native FZ mount can adapt to pretty much anything other than E-mount for the price of a cheap adapter. My reel, shot mostly with available light, with this rig for demonstration:

This was both entertaining and somewhat educational, thanks for sharing!

Hello! My wife and I are considering moving to a small town in the Northwest Territories from the big city. If this happens, I would be working a non-video gov't job, but will still want to do some sort of video production as a hobby or side job (scenic, grad, wedding, and micro-doc videos?). Some friends living in the area also suggest that I could start teaching a 101 course at the local college.This in mind, I think I would sell my Sony F3 kit, and aim for a more lightweight camera package including an A Cam, action cam, mics, and accessories. My biggest concerns with the gear I bring up there are that I would be doing EVERYTHING. Hauling, lighting, camera, sound, file management, editing. I'd need the entire kit to be portable enough for me to manage without making 10+ trips between truck and location every time. Setups would need to be simple and quick. My budget would not be able to accommodate the large uncompressed footage I'm spoiled with right now. The new A Cam would need to be lightweight to use on my Glidcam HD-2000, Kessler Traveller Pocket Jib, and Manfrotto 502HD head. Not expecting the dynamic range I get now, but am still looking for the best image I can get in compressed format. Currently eyeing the C100, due to the lens mount, XLR inputs, ergonomics, simplicity of use, etc., etc. I'd use my T4i for photos and B Cam as needed, and the action cam needs at least 1080p, but no real requirement for it to be more than that. I'd prefer to use as few proprietary parts as possible (looking at you Sony SxS), but as long as I can afford them with the budget of selling the F3 and interface them to computers easily, it's not a dealbreaker. Have any recommendations?

Awesome, thanks! I've just replaced the video with a second full cut. In this cut, I added some footage from another project, removed "dead" shots, and replaced the music to something more motivated. All that's left is to really fine tune the cuts, and add the lower-thirds. Any new thoughts? Edit: And replace the temp audio with paid no-watermark version.

Wow....thanks for the overwhelming response! Imma take the next few days to finish the assigned reading.

100% second this. I use Premiere for editing, and resolve for footage printing, but I know several people who enjoy Hitfilm and make some seriously good stuff on it.

Hello! I've been looking around google, youtube, and vimeo, but haven't found answers to my specific situation. I'm operating a Sony PMW-F3 with the S-Log upgrade. Through experimentation, I've found that it does not play nicely with S-Log2/3 LUTs, and searching around, I can't seem to find any specifically for S-Log(1), nor any manner of translating 2/3 LUTs for 1. Do you have any resources you know that I can look into using a LOG to Rec.709 to do simple utility-grades for dailies, etc? Or am I better off spending hours developing my own LUTs? Thanks!

Thanks! Good to hear. I am quite new to cutting reels at all, and couldn't find any "standard" across Vimeo and YouTube. Could you link something that you think fits the bill? I picked up on my current overlay as a cinematographer mentor does this to prevent others from ripping his shots from his reel, though I'm very open to using other styles that might do the trick. Awesome to hear what shots you like, as I was unsure about keeping the snow shots or not. The music was a case of a temp track becoming a "better something than nothing" as my editing stack kept growing while on Christmas break.....excuses, I know. That's actually a fairly annoying turn of events to be honest. 2 years ago I bought an F3/Gemini(3x256GB incl.)/18-50mmPL kit without realizing the cost of SxS media, Sony battieries, and fairly basic rigging, even off amazon. Now, I finally have a fairly basic kit that I can tripod or shoulder-mount without renting anything, and will last about 4-6hrs without charging batteries. If I could ask for your opinion, I am actually at a bit of a crossroads. When not shooting speaker events, any camera work I do is as a solo shooter, often without *any* kind of help. While small for a "cinema camera", the F3 is still fairly large, especially when you include extra lenses, lights, etc. I would love to work on more creative projects, but also would enjoy dipping my feet in journalistic camera for local stations. Everyone seems to want to buy "budget" F3s recently, and I'm debating whether to keep mine, or sell it to fund a more portable camera such as the C100MkII. As a newbie operator with zero dollars to keep investing, I am not sure what the "business smart" thing to do might be. 1) I love the image I get from the F3, and no doubt is it a cinematic image with forgiveness, but I'm marketing against people with Red Epics and Weapons, as well as people running DSLRs. The F3 is neither the 4/5K beast with 14 stops latitude that the Red is, but it is much heavier and more unwieldly than any C-series or DSLR as well. 2) I have heard good things about the image of the C100MkII internal codec, as long as you don't need to perform a heavy grade. It is also only about double the size of my T4i, and the lenses are much more portable and available. (My F3 has an 18-50mm PL, as well as FD lenses I adapt to the body) I can see bringing around an entire C100 kit in my camera backpack vs. the larger kit I currently bring with the F3. However, I don't know if it can handle filming anywhere near the same image I am used to with the F3, especially when you consider the snow and driving shots in my reel. Anyways, just some of my musings. If you have any opinions or recommendations, I'm all ears!

Hello! I've referenced this website for trouble-shooting as any other lurker for the last few years, but finally set up an account and logged in recently. Figured I'd introduce myself and start joining the conversations, starting with posting my first camera reel. Except for shooting speaker events and conferences, all footage was shot exclusively with my Sony PMW-F3, and much of that was recorded via my Convergent Design Gemini 444 with S-Log. For this project, I did the colour in Premiere CC's Lumetri Panel, using Tangent's Element-Vs app for fine-tuning. (for more detailed work, I often print in Resolve free). The conferences are typically the resulting file from live-editing jobs, where we record with Canon XA30s into a Roland V-1HD and recorded on an Atomos recorder. We're still waiting on our automated pan/tilt heads before we can kick that business into high gear.