barefoot_dp

I tend to agree with you here - and worse still, it's people flaunting the loose laws that will ruin it for everyone. Sooner or later, Governments will realise that technology has evolved and the old laws are not sufficient, so they'll simply ban photography in many public spaces (ie without permits or consent). Now, I'm not saying this guy is not allowed to create his "art", I'm just saying that it'll be perfectly understandable when someone punches him in the face and police become involved, followed by media hysteria, followed by introduction of new laws. I certainly wouldn't want to be remembered as the artist who ruined it for everyone. Putting aside the art debate entirely, I do wonder about the use of his images in the Fuji video. Without a release form, how could they possibly expect to use those images in a commercial video?

Canon are not doing anything special. They just don't compress beyond 5:1 or whatever the limit for the Red patent is. That's why Canon C200 files are still massive compared to BRAW or Prores Raw options.

I'm hoping to get an URSA Mini Pro G2 this year. I'll wait until NAB to see if they bring out anything new, as they've released some sort URSA update every year bar one since the original big URSA. I'm hoping they announce an USRA LF, not because I want full frame, but because then all the G2's will start hitting the used market and I can get one cheaper. G2 is the only camera so far that ticks all my criteria to spend money on an upgrade: 4K120p, V-lock batts, proper audio controls/inputs, 10-bit 422 intra, easily shoulder mountable, and around ~$10,000 for a full package.

As others have said, lighting is the key to cinematic images. Learn to light with whatever you have available. Use sunlight/window light if you have nothing else, and practice shaping the light in mock scenes. Get a feel for how you can diffuse light, or bounce light. Practice, practice, practice with what you already have. If you do come across a few dollars to spend, get some cheap LED lights. Your current camera will be fine while you're just starting out.

Isn't that what anyone who buys a Porsche 4WD gets it for? It's usually a status symbol for the golf club or school pick-up lane. They sure as hell aren't buying it to tackle the Madigan Line.

I had a Pentax as one of my first DSLR's, back when I was still shooting on camcorders and wanted to see what all this HDSLR fuss was about. I mostly used it for photos but did some occasional video shooting with it too. I think it only shot 720p but the image quality was almost on par with the 1080p from the 7D I got shortly after.

I'm perpetually baffled that nobody has release an APS-C lens to rule them all yet. Something to replace the aging ~18-50ish lenses already on the market. I guess the companies all know that APS-C & DSLR's are going to die out so they've pretty much given up on them. I'd love to see a standard cinema zoom made to fill the current gaping hole in the market though. Something like a 19-60 f/2.8 version of Sigma's cine lenses, available in EF or PL. For $3500 that would be an absolute winner for every person who owns an FS5/7, C100/C200/C300, URSA, BMPCC 6K, Raven or EVA1. Everyone I know using those lenses is still holding onto ancient Canon 17-55's or speed-boosted 24-105's and would be happy to upgrade them if something came along. The lenses that have come closest so far are: Fujinon 18-55 T2.9 - but doesn't fit EF/PL Sigma 18-35 T2 - not long enough for "all-purpose" shooting Red 17-50 - PL mount only and no longer in production.

These cameras are designed to be used in a professional capacity. They tend to assume that people using them will not routinely make the mistake of shooting a f/8 instead of f/2.8 (ie: 3 stops underexposed). Same reason why these cameras don't have aggressive NR like the consumer cams do - they assume you'll be using lights and managing your exposure to prevent noise. The downside is that they are less forgiving when you do make mistakes. But, really... 3 stops under? How? When?

But why? I don't understand his claim that what he is doing in not the same as a panorama.... it is.

I think it's got less to do with people not doing it anymore, and more to do with Youtube's algorithm pushing certain content. For example, do a Youtube search for something really simple - eg: How to Speed ramp in Premiere Pro. That should take about 1 minute to teach. Maybe 2, if you explain the reasoning or context. But most of the results will be over 10 minutes. Youtube wants you to watch the ten minute videos because that means the'lly get more ad revenue, so that's all they show you. And a ten minute video for that particular topic is going to be full of irrelevant waffle or sponsor appraisals. There's still plenty of people showing you how to do things in an efficient way, Youtube just doesn't want to show them to you.

He's a working DP in LA. Most of the high end gear would come from connections there, or rentals he's already got temporarily. He's one of the few Youtubers who've impressed me when they've actually shown some of their professional work. Perhaps at some point his Youtube stuff became more lucrative and is now the main focus, but the connections he'd have within the industry would certaily make it easy to get his hands on gear temporarily. Of course, the lower end stuff is probably all brand deals or stuff he went and bought. The Alexa was an older model that he paid $6000 for. That's nothing in terms of professional cinema cameras. He may or may not have ever used it on a proper job but if he did it could've saved/earned him most of that back in rentals. And he could've easily sold it a week later for the same - or even more (the buzz around that video alone would've caused quite a few people to go looking for rock-bottom Alexa's). It might seem like he's flushed with cash but really he's just in a saturated local market. It's not rocket science and if you're already making a full-time living as a cinematographer, gear all just becomes part of the cost of doing business. Most working DP's will rent/borrow any new cinema cameras that come out so they can test them out anyway - only difference is he puts some time in to shooting a Youtube video at the same time.

I can't wait to hear all the (paid) reviewers dancing around without mentioning how impossible it is to edit the raw and how many hard drives they need.

Orange and teal/blue works when you shoot with mixed lighting sources. The reason is simple: Shoot with a tungsten source and a daylight source and WB somewhere in the middle, and you'll get orange and blue tints on the lights. Then you can apply this to use colour contrast to separate your subjects/background/compositions in realistic situations. Warm interior light mixed with "moonlight" coming in through a window. Dusk exteriors with flames or lanterns drawing focus. A candle or warm overhead lamp to make one table stand out in a restaurant/bar scene. By emulating real mixed-lighting situations, we can use the colour contrast very effectively. Pretty much every scene that uses mixed-temperature lighting is using the orange-teal technique to create contrast and draw focus or interest. If you're just throwing a couple of LUTS and maxing the saturation on a scene that lacks colour contrast, it's not going to work.

Mine is my FS700. Had it for six years and it's never skipped a beat. No other camera I've owned has given such longevity. I feel as though 2020 is going to be an upgrade year but I just can't see any cameras at an affordable price range that are not going to be overtaken quickly. It feels as though we're on the precipice of a big leap in standard features; I imagine very soon 10-bit, 4k120, All-I, & super-sampling will establish themselves as commonplace and cameras like the C200, EVA-1 and FS5/7 will fall out of fashion.

I regularly shoot surfing at about 1500mm equivalent (s35 + 500mm + 2x). A good tripod makes all the difference. The hardest part is pulling focus on a moving object using photo lenses that have an increasingly tiny throw as you move towards infinity.

Hi Everyone, Just curious if anybody knows what the current situation is with editing .CRM in Adobe Premiere Pro on a PC? The most recent info I can find is that Adobe was looking into a bug fix for laggy playback on PC's as of about four months ago. Does anybody know if this has been fixed in CC2020? And on the whole, how does .CRM compare to, say, 4K .R3d? Is playback performance equal to .R3d or is it not quite as smooth. Are most people editing the raw, or mainly using a proxy workflow? Anybody got experience cutting .CRM and might care to chime in?

I'm lucky enough that most of my shoots are happening either at the beach, or on a fishing boat, or along outback tracks where you're constantly wading through tropical creeks, etc, which means most of my shooting has been done barefoot for the past few years (hence the handle). Back when I shot weddings, Dr Scholl's were the go-to shoes for those shooters who were often on their feet for 15+ hours a day. I never needed them myself but they were highly recommended by many colleagues.

He's putting in a fair bit of travel time as well. Many of these locations are only accessible by 4WD, helicopter or boat. And some are a couple of days drive from the nearest town.

Don't dwell on it. If your film is good enough, it's not an issue. If they want to show your film, they'll find a screen for it. If they don't want to show it, the fact that they have a spare theater with the right aspect ratio isn't going to magically make them want to screen it.

I love Dan Proud's work. I think what attracts me to it is that he's a photographer primarily, so light and composition are at the forefront of his images. The motion of the drone comes second to add an extra punch to an already amazing image, unlike a lot of 'drone guys' where the wow factor only comes from how small a gap they can fly through or how close to they can get to the action. https://vimeo.com/281383321

I thought the TV in the background sounded German or Dutch the first time I was watching. Turned it up louder and watched it again and it's actually in (very vintage) English! My bad!

I think it could've been a lot shorter. In fact it probably could've started at the 4:00 mark - not because it doesn't hold your attention, but because there's nothing we see before that which tells us anything we need to know. All it does is raise confusing questions like "why does a college-age girl live alone on what appears to be an industrial-level farm?" and "why does this person keep a baseball bat right next to the front door" (especially as they seem to live in rural Europe?), and "what type of monster uses single-use water bottles in 2019?".

I like them big and... anodized? Always use two tripods/light stands though. Don't want it doing droopy halfway through.

Sliders are great for wides & establishing shots. I love the subtle parallax motion they introduce. My problem was that they just don't last; I've been through several sliders due to the conditions I shoot it (outdoors, salt water, dirt, etc). The tiniest bit of dust in the bearings can introduce all sorts of wobble or catching. Gimbals are heavily overused right now (along with drones) but that will hopefully pass soon, when the next new toy comes along (automated robot-legged tripods?). However they'll still have their place for certain situations. I think what separates gimbals from sliders is that you can use them for nearly every shot, so people get lazy and do just that. With sliders, they're too cumbersome to be used on every shot, so they get used sparingly for the shots that really deserve it.

FS700 (with Shogun Inferno) Have been using one since 2014. Rigged up for shoulder-use, nicely balanced with the inferno on the back and a Kinotehnik EVF. 10-bit is a must for me for broadcast work (HD). I do some action sports so I need the slow-mo capabilities. 4K is good for commercial stuff but for 4K a good edit codec is essential. (Hence why I still prefer FS700 + Inferno over just bare FS5) I don't want to be screwing around with proxies or transcoding in 2019. Unlike 10+ years ago when it was pretty much standard to charge for a day or more just for tape ingests, clients today won't accept being billed for transcoding time if your camera is not edit-friendly. I told my self I won't upgrade until something comes along that offers internal 10-bit all Intra up to 4K120p and under 10,000 AUD fully kitted out. The UMP G2 pretty much ticks all the boxes but, once I add the VF, rig, media, etc it lands at around 12,000. So I'm just waiting until the price drops a bit or some used ones start hitting the market.