Drew Allegre

I love how in the last shot you can practically see the thought bubbles on the chickens, "is that guy running an inferno in a shoulder bag?" Cool setup!

I always thought it was the Phillip Bloom woodgrain pocket dolly that gave that authentic organic look to footage. It makes sense to me that the playback device is a pretty major factor in perceived cadence. Once you eliminate variables: playback device, frame rate, shutter speed/angle, rolling shutter, jitter (introduced at any point in the chain), scene and lighting, codec and compression, is there some "thing" that makes one sensor or camera subjectively better than another? It almost seems like audiophile territory trying to define the marginally perceptible, but I think many of us would agree that there is definitely something there to perceive and define. Gimme a good motion cadence mixed with that Canon color science.

I agree. Face ID seems like a gimmick and actually a downgrade in terms of practical functionality. Apple has been almost as frustrating as Canon the past few years.

FYI, the face ID failed in the keynote because the phone requires you to enter your passcode once a day. They'd forgotten to set up the demo phone for the demonstration. It wasn't actually a failure of face ID.

I'm still holding on with an iPhone SE. Wanted to be excited about this release, but honestly it's not very exciting at all. The new camera features look okay. Facial recognition and wireless charging offer marginal functional value at best. Of the new models I'd probably just opt for the 8/64. iOS11 looks pretty nice though.

The A9 is probably ahead of its time, but I think it puts the writing on the wall for the DSLR in general. Mirrorless has now caught up to DSLR AF and speed. Sony needs to add to its lens system, probably improve its off camera flash system, and develop a pro support network, and they'll be serious trouble for continued dominance by EF and F mounts.

Yeah, this is pretty impressive stuff. I'm used to Canon h264 footage, so this 3.5k raw stuff is a little difficult to comprehend. Here's a dng still run through ACR. And thank you to Don Kotlos and maxotics for your explanations on the raw/log. Makes total sense to me now.

Can you explain how raw data would be encoded into a log space? I always thought raw was just raw (to an extent) with very little manipulation. Wouldn't all raw be linear, and any "log" space could be created from the linear raw? I'm completely ignorant on this stuff.

This sounds a lot like people said when everyone realized the 5D2 had pattern noise in shadows (in raw stills). I'm not sure what the defensiveness is about, esp from a guy who generates clicks ranting about certain camera brands. It's proven pretty useful to know when and how an image falls apart and how that compares to other known quantities.

Explains on the sales on the v2 lately. The payload headroom would be nice, but I'm not sure I'd ever use the follow focus feature. I wonder if it has anymore clearance room than the previous model.

5D3 - I do a lot of stills work, off camera flash, etc, so it's hard to not keep a DSLR system around. 80D - backup for stills work, great for family/casual stuff, glidecam or gimbal work, fun to use the DPAF on occasions when its useful.

I would come up with an approximate hourly number that you're comfortable with and use that to create a standard half day and full day rate for quoting clients. Shooting and editing rates may be different depending on what kind of gear/skill level you have, etc. Add in (or have available) rates for additional shooters, assistants, rental gear. There's too much variation in markets to really throw out numbers. But don't undersell yourself. If you want this person to be a recurring client, it will be very difficult to raise your prices later if and when this is more than a side gig for you. Contract should include things like: Contacts, addresses, dates, locations, delivery format, licensing information, payment terms, total project price, retainer if any, limit of liability statement. Contracts may vary quite a bit depending on local laws, so it's always best to consult with an attorney, but a document with the basics is better than none at all. You'll want to have model releases for anyone appearing in the video, esp if it is being used for promotional use. You may need a location release or permit if the location isn't owned by the client.

I have both of those cams. You can do redundant recording with the 5D3, but I don't believe the 80D has a clean HDMI out option for recording externally. One thing to keep in mind is that the 5D3 does not transmit audio over HDMI, so you need an audio in on your recorder if you want to record audio. I could be wrong, but I don't believe the 5" BMVAS has an audio in. I use a Ninja Blade with the 5D3, which does have audio in. However, it is worth noting that this is a line level input, not a mic level input. If you want to plug a mic directly into the recorder, it would need to go through a mixer first. Running from the headphone out on the 5D3 into the Blade will work, but I would consider that as reference level audio.

I would think an A7s or A7sII would be a good choice. Excellent at high ISO, very respectable output for both photo and video. 12MP stills should be enough for music/performance art type photography. Downside is full frame lenses are generally larger and more expensive.

Power is definitely an issue. I could see buying a cheap used phone for this purpose (or a couple - keep one charging on a powerbank). Still possibly a viable alternative to something like a SmallHD 502. That said, the Oct release date seems pretty optimistic, esp for iOS. It sounds like the iOS app is still in development, and Apple's approval process can take awhile. Also, it sounds like the unit itself isn't even out of prototyping, so the Oct timeframe seems really short.

Thanks for the suggestions. The one shot I need that I'm a little worried about is a backlit campfire shot with basically just rim lighting. I've been amazed at what can be done with dim/indoor lighting, but I'm struggling when shadow dominates the image. Looks like I have some good suggestions and some more experimenting to do.

Yeah, I generally expose to the right. I'll let some highlights blow depending on the situation. When shooting h.264 I would always try to use ISO160, 320, 640 (1250 if I really needed it). This rule of thumb was simple and provided consistent/predictable results, but I'm finding raw to be a little more complicated. Maybe I'm just experiencing learning curve interpreting the raw histogram?

I'm struggling with this as well. In evenly lit scenes, I feel like I can go up to 3200 and get reasonably clean footage. In scenes dominated by deep shadows and bright highlights I find that I get a lot of noise no matter what I do...switch back to h.264 and the scene looks as I would expect. It's a little big confusing, and this is coming from the perspective of using the 5D3 for photo work and h.264 footage for quite awhile. Backlit scenes, like your top example are the ones that I'm struggling with the most.