barefoot_dp

Only problem with this is if you run the battery empty and can't get home - you'll still need a generator to charge the vehicle! Looks like it's essentially the same thing as a block battery, just with different (ie no XLR/28V) connections. Though I guess with modern LED lights a standard household power plug is all you need anyway.

Ah sorry, I misunderstood. Well, the solutions I posted still stand - although I never had that issue on internal footage.

I had a similar experience with the external 2K. Solutions are: (a) shoot in 4K with the Shogun series, or, (b) use the Odyssey7Q recorder which has a internal down-scale function to take the 4K raw feed and scale it to HD for Prores recording. The problem is that the 2K Raw stream uses line skipping, whereas the internal HD is scaling down the full image for a cleaner result. The 4K Raw/prores image is fantastic though using an external recorder. I looked back at some of the stuff I shot about 2 years ago and it looks amazingly good for a 2012 camera.

Yes, we're often camping and working out of vehicles - plenty of lights on the 4WDs, as well as flashlights, headlamps, firelight, etc. Plus needing to light a scene does not always mean it is nighttime. I do a 4WD Adventure show and we usually rely on the hero vehicle's dual battery/2kw inverter, but sometimes we're away from the main cars for a day or two (eg somewhere that is only accessible by boat/helicopter) and need another solution. IV - Interview PTC - Piece to camera.

We've got plenty of light off camera. No problems there. This is just specifically for the lighting for remote IV/PTC setups. 600W would be the max if all lights are running but that would not be 100% of the time - just for the 30mins or so to record that piece. If I went the Generator route, I'd be looking at at least 2KW. If I was in a position that I could run a cable then I would, but it's hard to find a power outlet when you're sometimes 1000km+ from the nearest town!

Hi all, Just wondering if anyone has any input for on set power solutions? In particular experiences with block batteries versus generators. I'm looking for something to power a laptop and a v-lock charger, as well as LED lights (up to ~600W total) when required. A battery seems like a much simpler solution and has the ability to have a data/charging station setup in a car or van. And because my work car is also my family car I like the idea of not having it stink like petrol for a week after every shoot just from carting around the generator and petrol can. No problems with sound either if I go the battery route. However a generator does have the ability to run for much longer because you can keep topping it up, whereas a battery solution would only last a few hours and require charging overnight. Has anybody had this same dilemma, and what direction did you go in the end?

Nice to see that they're starting to ship! Just placed me order but not sure if there's any in Australia yet. Might still be a bit of a wait!

As much as I love my ZCam (E2-S6), if you're not the type of person who likes to rig and customise their camera, then the ZCam's are probably not for you. These cameras kind of require you to be a bit of a camera nerd - if you know what you want and why, they are fantastic because they most likely will do what you need. However if you want something that you can just pick up and run with straight out of the box, then these are way off the mark. Lots of people end up having problems (and complaining on the very helpful user Facebook page) about things like skipping frames on SSD's or frying the HDMI port, because they did not do their research on the correct media, cables, power solutions, etc.

Keep in mind that run-n-gun does not always equate to small and light. In fact, often quite the opposite as more weight = more stability when shooting handheld. So often those run-n-gun shooters don't mind the weight that comes with a proper cinema camera. Funny, I'm the total opposite. I want my footage to look obsolete in 5 years, that way the client has to hire me to re-shoot the exact same thing. The big problem there is patents. You can't just take the Prores Raw (or some other similarly compressed format) and put it inside a camera, because Red's patents don't allow it.

Oops, double posted.

Unfortunately you find yourself in a small niche that not many of the brands are likely to cater to (due to my previous comment of it making the products prohibitively expensive/complex for the majority of users). I think you're likely left in a position where you need to decide whether you actually need the things you think you do (ie raw, 10-bit) for what you're doing, or whether they're just imaginary goalposts you've put up. What exactly is it that you think you're missing from the current generation of cameras, that would be better if you were shooting raw?

Doesn't Sigma kind of do this with some of their telephoto lenses? They have a 'Sport' and a 'Contemporary' version?

This is why you should buy cinema cameras, not photography cameras. Can they put those things in the cameras for an extra $1000? Yes, absolutely. But why would they when they majority of their target base won't use those features and don't care enough to pay the extra $1000. I see a lot more potential for Panasonic to sell full-frame cameras than m4/3. The Panasonic full-frame system has only been around for a couple of years - and already I'd say it's got much more of a stronghold than the m4/3 system did two years after it's introduction. Plus, with all the Youtubers pushing it so much, full-frame is now a 'must-have' for most people buying a new mirrorless these days - for both video and photography. Also there's way more Nikon F and Canon EF (not to mention FD) lenses around, but those brands have already shown a willingness to let those camera lines die (albeit a slow, withering decline). Not to mention that the mid-tier consumer/compact camera/casual photography market that Panasonic largely aimed the m4/3 system at has completely disappeared with the rise of smartphones.

I love my E2-S6 and am considering adding an E2-M4 as a b-cam for gimbal & long lens work.

I'll just add that I am in no way looking down on people who aren't in the 'actual' film/commercial industry. Most of the time I am not there either, and I'm doing corporate work or branded content for local businesses. The resources and gear available today make it possible to create amazing content even as a solo shooter. However when it comes to improving, those times when I do step in to a larger crew - even if it's just a 1 day TVC shoot, are without a doubt the times when I learn the most.

In the example I gave I'd be pulling focus. You said I can see when someone else (ie the operator or DOP) miss focus. 😉

Yeah... again, I think you've kind of missed the point of my posts. My point was that, even as a DP, still working as an AC lets me see how other people do things, where they were more efficient or more effective, and where they were less so. There's many ways to skin a cat and if you get caught up in your own ego and think that your self-taught way is the best and only way, then you're severely limiting yourself. You can go out and shoot endless films by yourself but if you're doing the same thing over and over and over you might just be getting better at doing things in a less effective way. This comment makes me think you have no idea what a 1st AC does.

I think you've both missed the context of my post which was that working as an AC does allow you to see the mistakes in real time. I wasn't talking about watching youtube or reading blogs to hear about other peoples experiences. I was talking about being there, seeing the decision making process (even being a part of it), seeing the outcomes on screen while you're pulling focus and again at the DIT station, and seeing the final edit later on. You feel the weight of the mistakes because they impact your role as well (eg the DOP wasted time on one shot, so now you've got to work twice as fast/hard moving all the gear to the next setup), but at the end of the day the responsibility lies with someone else. My overall point was that working under other people (even if they're not necessarily better than you) is a great way of learning, certainly much faster than going out and shooting the same vlogs over and over again.

I don't care who makes the sensors, I just care about whether I can get a good image from it. If you can't get a good image from the current generation Sony cameras ("good" meaning it will suffice for most professional work), then the camera is not the issue.

Watching other people's mistakes is a great way to learn. Much better than making those same mistakes yourself.

Of course you're going to get better at something if you're actually out there doing it, rather than examining endless resolution/DR tests or arguing about film theory or which camera has better colours science online. Rinse & repeat. Rinse & repeat. That said, the jobs I learn the most from are the ones where I'm the 1AC. It's much easier/quicker/less painful to learn when there's someone better than you to learn from (of course this means checking your own ego in at the door).

If it's putting money in my bank account, it's not redundant.

What a f**king roller coaster. I was sitting in a broadcast truck editing packages for an international surf event in early March when the first Gov "recommendations" came through. At about 10am, producer comes in and says "we just got word, we're wrapping this today to be safe", which meant they ran through the final 2 days of the competition in one and had about 14 hours live on air that day. Driving home the next day (8hr drive), every time I pulled over and checked my phone, another Gov update and another job cancelled. $80,000 of bookings gone by the time I got home. 2nd child on the way, wife just gone on maternity leave, and a contract signed for a house to start building, and suddenly all my income for the next 8 months was gone. This was immediately following 3 months of bushfires where basically no video production other than news had happened because the entire state was blanketed in smoke, and you couldn't even go outside without having a coughing fit. And that surf contest had been my first job in months. I picked up a few other jobs closer to home, mostly editing stuff for Zoom conferences, but barely enough for bills, until things finally started to pick up again in September. Throughout that period the biggest issue was that I live close to a state border. Many of my clients are interstate, even though they're only a 45 min drive away. Any rental gear I need comes from across the state border. If I have to fly to my own states capital, I usually drive over the border and fly from there. But that state border was closed. My state was open to them, after the initial 6 week lockdown, but I could not travel there to access gear, flights, clients, locations, etc. So even if clients did want to shoot, I couldn't. Then from Sept to Dec I was probably the busiest I've ever been (not counting single jobs where I'm booked for several months), with lots of stuff for local business, or international brands that simply didn't want to risk any travel to the area (which was also becoming famous as a celebrity destination where Hollywood stars were moving to escape the pandemic). I'd spent a lot of time during the bushfires perfecting my SEO and local marketing, so it was good to finally see all that pay off once filming was possible. Then in the week before Christmas, another outbreak (an outbreak here is considered ONE single case, who is not a returned travel in quarantine; usually a worker at a quarantine hotel) meant that my last day of work for 2020 was basically spent fielding cancellations for Jan/Feb, so again I was back to nothing after barely struggling to get on top of bills and thinking that I might have enough spare to take the wife out to dinner for the first time in a year. That was a tough couple of months and my wife made the decision to go back to work earlier than she'd intended, but she's also a sole trader so that's not earning us any money yet while she gets everything set back up. And then finally last week, bookings started to roll in again to the point where I'm now at capacity (beyond it, actually, but I'm not in a position to say no) from next week through the end of May. I'm just crossing my fingers that state borders stay open moving forward because some of that work in interstate. Talk about a train wreck of a year.

I think this is my biggest gripe with these types of charts: They actually end up putting opposites together in some cases. Eg, if one filter is an equal balance between high contrast and high resolution, and another is an equal balance between low contrast and low resolution, then they would both be mapped in exactly the same spot (ie halfway between the contrast and resolution corners) even though they do the exact opposite of each other. This is why I always find these charts so confusing! But hey, they look pretty!

I can never understand these types of charts haha. The Ultra contrast and Low contrast filters are right next to each other in the contrast corner, so what does that mean? Shouldn't the low contrast be mapped as far away from that corner as possible? And do the "resolution" and "contrast" corners mean "your image will remain sharp/contrasty with this filter" or do they mean "this filter will effect your resolution/contrast so it will be soft/milky" Filters are confusing haha.