2024 Plans

[MrSMW]

2 hours ago, IronFilm said:

We must hold you to this promise

I will upgrade it to my own bodyweight if you like…because it is not going to happen 😉

Otherwise no idea on an EDC with a 3.5…which just goes to show how different each individuals needs are!

[BTM_Pix]

6 hours ago, IronFilm said:

Help, is there nothing out there in the world that meets what I want?? 

EOS-M ?

Bigger sensor for not much bigger footprint and generally available for sub £150 including the stabilised kit lens.

Thats just it as a regular camera but of course there is room to grow with RAW video though that’s far from compulsory.

Ditto room for expansion with the lenses both their own and also some interesting cheap options from Meike and 7Artisans etc.

Plus adapters for EF either speed boosted or with variable ND.

For most people the EOS-M is all about Magic Lantern but outside of that it is a great option as a very cheap compact but expandable larger sensor camera.

 

[IronFilm]

3 hours ago, QuickHitRecord said:

I figured I would just go down the list of the local directories and check out people's websites, and then reach out on LinkedIn.

You think LinkedIn works for filmmakers?? I thought Instagram is the #1 place to be as a social network. With I'd say Facebook being #2. 

3 hours ago, QuickHitRecord said:

I already have the coveted "500+ connections" status and I hear that it makes you harder to ignore.

I'm gunning for that too! Been slowly increasing my numbers. 

Everyone feel free to add me: https://www.linkedin.com/in/davidcmpeterson/ 

3 hours ago, QuickHitRecord said:

That's a Red One MX and a Red Scarlet-X.

Ah ha! I guessed very well indeed. 

3 hours ago, QuickHitRecord said:

I picked up the R1MX at the start of the pandemic at a really low price. I think I feel the same way about it as people who own classic muscle cars -- I don't use it often, but I love it.

I know well the feeling 🙂 Same for me and my older camera and audio gear. 

  

37 minutes ago, BTM_Pix said:

EOS-M ?

I might as well just get any other mirrorless then, of which I have plenty

[BTM_Pix]

35 minutes ago, IronFilm said:

I might as well just get any other mirrorless then, of which I have plenty

Cool.

I’ve saved you some money then.

Unfortunately, since the Japanese manufacturers’ secret accord that was signed in a basement whiskey bar in Kabukicho, small cameras with mic inputs have been thin on the ground.

Nikon weren’t invited though so if you don’t mind something left field and obsolete, the V1 can be had for cheap.

 

[kye]

6 hours ago, IronFilm said:

How do you find which ones to reach out? How do you word your messages? This is something I absolutely need to do too. 

The tips for networking I've learned for networking in the corporate world (which is likely to be broadly similar) are:

• Be brief - people like it when you respect their time
• Say something in the message that is unique to them - this shows them you haven't copy/pasted to a million people
• Tell them why they might contact you
• Tell them how to contact you
• Tell them how to check out your previous work

A message as simple as "Hi - I loved your work on project X, I do sound on similar projects.  I'd love to work with you - if you have something coming up get in touch! <link to bio>".  

What I learned about networking:

• People hire people they get along with, skills are necessary but are a secondary consideration
• When meeting people, establish rapport with the other person first, ask questions about their own work and projects, don't talk about yourself or pitch unless they ask
• If you can solve a problem for them or give them advice (that is welcome!) then you'll stand out and be seen as useful
• If they ask about your work, don't embellish or diminish it - successful people can often tell when people are bending the truth (even on gut-feel) and its an instant fail
• Focus on understanding their situation and challenges and try to help

You probably know much of this, but in case you didn't, and also for the lurkers, thought I'd elaborate.

[kye]

1 hour ago, IronFilm said:

I might as well just get any other mirrorless then, of which I have plenty

Action camera with handle?  They have audio inputs and are wider than 28mm.  

If the problem with the smartphone was fragility, put it in a protective case....  or maybe even mount it in something that gives it a handle and mounting points?  It'd still be smaller than a mirrorless but has audio inputs.  You could literally just use it as a camera and not even put a SIM in it.

[MrSMW]

1 hour ago, kye said:

You probably know much of this, but in case you didn't, and also for the lurkers, thought I'd elaborate.

Very true. As someone who has fielded 5000+ enquiries and booked 800+ of them over 20+ years, I can identify with the process.

Provided your work is of a standard and potential clients can find you, it very much comes down to; price, first point of contact, followed by connection.

I have a question on all my contracts which asks why they specifically chose me and the result is a pretty consistent:

"Love your work, exactly what we are looking for", (happens prior to any form of contact or me even being aware of their existence, ie, them finding my on-line or social portfolios).

"Speed of response". If I am still awake and an enquiry comes in, I will at the very least personally acknowledge receipt and interest and a promise to get back to them at a specific time such as "first thing tomorrow AM". I know some use auto-response software, but I never do and keep it personal at all times.

"Clarity of information including pricing provided". When you reach the point someone asks, 'how much?", simply tell them how much or more often than not, you will lose them at that point.

"Personality, - we felt we clicked with you straight away". Often the job will go to the person/company they click with first, or at least gives you a massive advantage going forward.

The above are not necessarily the exact words or phrases used, but more or less exactly what they are saying every time.

And in case you think 800 from 5000 is only 16%, "so what about the 84% you lost?!", there are many reasons but no excuses including;

Price. Cost is the biggest one by far. The vast majority enquire (or inquire if they are American) often with little to no idea what my type of services might cost. For most, it is above their at the time projected budget and that's fine.

Style. Extremely rare. They are unlikely to even make contact in the first place unless they liked your shit.

Not a good fit. That one is a hard one for me as in it's very difficult for me to put off, never mind say no to a potential client, but it happens occasionally.

Simply not available in the first place. That is around 20-25% of all enquiries.

Finally, I don't like the sound of their job so turn it away at their first point of contact. Currently, over 50% of enquiries immediately go politely in the bin.

My enquiry to booking ratio of the actual jobs I want is somewhere between 75-90% so I think quite good actually.

As Kye said, if this kind of info helps anyone, particularly noobs trying to get into business, good.

Quite simply, showcase what you want to be booked for. Keep clarity a priority. Don't put obstacles in the way for clients you'd like to book. Always be honest (as you can be) and certainly not deceptive or desperate and accept you can't book them all!

[IronFilm]

13 hours ago, BTM_Pix said:

Unfortunately, since the Japanese manufacturers’ secret accord that was signed in a basement whiskey bar in Kabukicho, small cameras with mic inputs have been thin on the ground.

Nikon weren’t invited though so if you don’t mind something left field and obsolete, the V1 can be had for cheap.

Maybe that isn't the wildest and craziest idea ever then. The Nikon V1 is about US$130-ish (Nikon V2 can be found for only marginally more cost, but V3 would be crazy expensive), and the  Nikkor 10mm f/2.8 is about US$70-ish, a slightly pricey combo for something so old with a dead mount, but not too bad either. 

20 minute recording limit though.

But it does have that bonkers 320 x 120, 1200 fps slow motion option.

 

13 hours ago, kye said:

Action camera with handle?  They have audio inputs and are wider than 28mm.  

I do quite like the idea of getting the Sony RX0 (either mk1 or mk2), as they both have a mic input. Maybe in a couple more years the RX0mk1 will have dropped down to something super cheap. 

Or maybe if one my plans for a 360VR production become viable, I'll end up buying a handful of RX0 camera bodies for that purpose. 

13 hours ago, kye said:

If the problem with the smartphone was fragility, put it in a protective case....

Then people will be asking me if I'm happy to see them or if that is just a big cellphone in my pants?

12 hours ago, MrSMW said:

I have a question on all my contracts which asks why they specifically chose me and the result is a pretty consistent:

Watched a video last night that was saying something quite similar:

"...why did you bring me in today? What was it about my qualifications that made you attracted to my candidacy?"

 

[MrSMW]

6 hours ago, IronFilm said:

Watched a video last night that was saying something quite similar:

Same as it’s ever been, people buy people.

Unless it’s groceries or on-line or one service is waaaaay more expensive than the rest and cannot be justified.

My industry is full of venues and planners who don’t have referral lists of the best of the best, or balanced lists for various budgets, but instead, their chums.

But in many service rather than goods situations, many if not most, will go with the first person they connect with. In my experience.

[herein2020]

I really have no plans for 2024, this year has been a steady stream of a wide variety of jobs, possibly one of my busiest yet as repeat customers keep repeating and new customers keep showing up. 

As far as gear goes, I never thought I would like a crop sensor so much but every camera that I own other than the R7 is gathering dust right now. I would say 80% of the jobs this year were hybrid photo video jobs and nothing in my kit is better at that than the R7. Social media is really prioritizing video these days and my setup is perfect for social media content as well as editorial and some light commercial work.

I still love the C70 but its useless for hybrid jobs and so is the R5. I did pick up two Tascam DR-10L Pros for 32 bit float audio recording and a new tripod with a Sachtler head because I shot a lot of dual camera projects and needed a better video head for tracking the talent but that's it.

So for next year I plan on no new kit whatsoever and really just keep focusing on keeping my current customers happy while occasionally taking on new work where it makes sense. 

[kye]

18 minutes ago, herein2020 said:

I shot a lot of dual camera projects and needed a better video head for tracking the talent but that's it.

Why use dual cameras?  One wider angle and one tighter angle?  What types of shots would you use this for?

[herein2020]

24 minutes ago, kye said:

Why use dual cameras?  One wider angle and one tighter angle?  What types of shots would you use this for?

Yes, I typically have the C70 as my A camera locked down with XLR input from the mixer and the Canon EF 24-105mm on it with a speed booster and the R7 is my B camera with the RF 70-200mm F2.8 on it. I track the peak action with the R7 and discovered none of my current tripod heads are smooth enough when punched in at 300mm+ to smoothly track moving objects so I had to get a better fluid head. The Sachtler Ace XL Fluid Head did the trick after buying and sending back two other brands. I have shot everything from opera performances to music videos to dance recitals this year with that setup. 

[kye]

1 hour ago, herein2020 said:

Yes, I typically have the C70 as my A camera locked down with XLR input from the mixer and the Canon EF 24-105mm on it with a speed booster and the R7 is my B camera with the RF 70-200mm F2.8 on it. I track the peak action with the R7 and discovered none of my current tripod heads are smooth enough when punched in at 300mm+ to smoothly track moving objects so I had to get a better fluid head. The Sachtler Ace XL Fluid Head did the trick after buying and sending back two other brands. I have shot everything from opera performances to music videos to dance recitals this year with that setup. 

Ah, I'm with you.

When I read your previous post I thought somehow that you were using both cameras simultaneously on the same head, and that other heads weren't up to having two cameras mounted at the same time.  It makes more sense if you have them mounted separately.  

I occasionally would like to capture multiple FOVs simultaneously from the same setup, but it's not something easily done or rigged up.

[ntblowz]

8 hours ago, herein2020 said:

As far as gear goes, I never thought I would like a crop sensor so much but every camera that I own other than the R7 is gathering dust right now. I would say 80% of the jobs this year were hybrid photo video jobs and nothing in my kit is better at that than the R7. Social media is really prioritizing video these days and my setup is perfect for social media content as well as editorial and some light commercial work.

 

R7 is the underappreciated camera of the year.

I sold my R7 earlier then bought it back again cause it is the only one in the price range that offer long 4k recording without worrying about overheating and offer 32MP stills which is perfect for hybrid setup, when paired with Sigma 18-35 1.8 the image is quite nice.

 

[herein2020]

9 hours ago, kye said:

Ah, I'm with you.

When I read your previous post I thought somehow that you were using both cameras simultaneously on the same head, and that other heads weren't up to having two cameras mounted at the same time.  It makes more sense if you have them mounted separately.  

I occasionally would like to capture multiple FOVs simultaneously from the same setup, but it's not something easily done or rigged up.

With long form content they kind of expect it, I also added Tentacle Sync to my multi-cam workflow because Davinci Resolve isn't very good at aligning tracks based on audio waveform. In this regards I feel like Premier did a better job. TC is awesome though, one click and perfect alignment across dozens of clips instantly. It makes multi-cam so easy that I have been thinking about picking up another R7 for a locked down mid shot but then I would have to rig it, more batteries, another tripod, etc.....not worth it.

 

4 hours ago, ntblowz said:

R7 is the underappreciated camera of the year.

I sold my R7 earlier then bought it back again cause it is the only one in the price range that offer long 4k recording without worrying about overheating and offer 32MP stills which is perfect for hybrid setup, when paired with Sigma 18-35 1.8 the image is quite nice.

 

 

That's the exact reason why I feel comfortable pairing it with the C70, no overheating concerns. I also use that same Sigma 18-35 1.8 religiously. Before the R7 came along I literally forgot I owned it and discovered that I already had it when I was re-arranging my camera gear. Now it lives on my R7 for any lowlight hybrid event work. For daylight hybrid work I typically use the Canon EF 24-105mm and the Meike vND RF adapter.  That combination is perfect for daylight hybrid work.

I have also changed my workflow so that my images are all shot at ISO800 even in the daylight when shooting hybrid. It was just too much hassle to fiddle with the ND filter and ISO for fast events since ISO800 is native for CLOG3. The R7's images are clean at ISO800 day or night so it lives at that ISO. Also the Meike vND does not have numbered markings so you have to watch the histogram each time to properly expose....way too much fiddling in the middle of an event.

I've had to run the R7 for 3hrs straight with one 30s battery change and it had no problems. I will caveat that with the fact that it will start to overheat after about an hour in 4k Fine (7K oversampled) mode, so it needs to be line skipped but my clients can't tell the difference.

[fuzzynormal]

On 10/15/2023 at 12:21 AM, kye said:

I preferred the shooting experience with the GX85 over the GH5

I used this camera for awhile and liked it as well.  Some of us just want that smaller form factor I guess.  Honestly, my fav cam of all time was the imperfect but really fun GX7.  Man, that was 10 years ago already?

[FHDcrew]

On 10/15/2023 at 1:57 AM, MrSMW said:

How about you? What plans do you have? Any direction changes you might be making?

First of all, hello guys!  It's been a while since I've posted, and honestly I haven't kept up with this forum as much as in the past.  Looking to get myself up to speed on what I missed lol.  Changes?  Honestly passion focus.  My main career will be corporate video (in college right now, got scholarships so it's cheap for me).  But I also love broadcast and lately have spent a lot of my time trying to learn more about that workflow, getting reps and networking with people in the field.  My goal is to direct or technical direct either live sports or corporate events.  Sucks cause those positions are very hard to get when it comes to bigger venues.  Smaller venues, more local corporate/college/high school sports events, it's definitely easier.  I've also considered starting my own production company upon graduation, trying to network and build clients and do smaller scale events.

 

Currently building my own video switcher, and for the work I do I need something much more advanced than a basic ATEM Mini.  At the university I attend we use a Newtek Tricaster 460.  It's a very interesting unit; in essence it is a PC running windows (windows 7 actually!) and Newtek's own proprietary switching software.  In essence this unit is a lot like a vMix or OBS PC, but using Newtek's own software.  I do really like the unit; it gives the flexibility of a software switcher with the workflow and familiarity inspired by a hardware switcher.  It has multiple M/Es (mix effects) which are essentially all layerable sub-switchers that can be used in tandem with the primary preview/program bus.  You can also use them as separate switchers within the actual Tricaster.  This, for example, allows one to cut a live-stream feed independently from an IMAG feed (IMAG stands for image-magnification; so displaying output on a projector at a venue).  You can also use these M/Es to create compositions, such as picture-in-picture, and hot swap the contents of the composition live.  Super useful!  These are all things you can't do to the same degree on an ATEM Mini.  I will say that the ATEM Mini Extreme is closer in functionality.

The Tricaster also has built-in media players and graphic banks, all of which are a lot more capable than ATEM units.

I've been trying to build sort of a DIY-Tricaster, using a PC I have on hand, as well as a Blackmagic Decklink Quad SDI (4 SDI input, 4 SDI output capture card).  I have been working on tweaking and configuring OBS to operate in a similar fasion to Newtek's software.  With the right plugins, macros and custom combination of features, I've been able to get OBS to work in a very similar fashion to a Tricaster, both in terms of functionality and workflow.  I can make sub-mixes for IMAG outputs, use downstream keys (overlays on all of your output), preview/program switching with multiview, custom transitions, and more.  I even bought a Tricaster control surface (a legitimate switcher controller with t-bar) and using software called Central Control use it to control OBS.  So the workflow is super nice for me.

 

Downside of software switching is the latency.  An ATEM uses FPGA chips to run everything, so your output latency is wayyyy lower than any software solution, be it vMix, OBS, or a Tricaster.  This makes them more useful for live venue feeds, and as such I will probably purchase a higher end ATEM switcher at some point.  Thinking about the ATEM Constellation 2 M/E, which gives me the ability to make a submix just like the software solutions, but with the low latency and reliability of a hardware switcher.

 

Word vomit.  Lolz.  Broadcast has really peaked my interest as of late.  I kind of need to re-ignite my passion for cinematography; feel like I haven't grown in lighting or color grading in a while.  Definitely have been complacent, so @kyemaybe you can whip me into shape!

 

I'm still using my Nikon Z6/Ninja Star kit.  It's doing the job, and since I'm investing in broadcast gear right now, I'm kinda in a standstill regarding any camera upgrades or even grip gear upgrades, which I do want to do at some point.  The Nikon ZF is insanely tempting; 10 bit internal, full-frame, nice and small, and I can use all my existing lenses while using the Nikon Z6 as a b-cam.

 

Looking forward to reading these posts and catching up!

[TomTheDP]

I just got the Sony FX30 and Ronin RSC2. Going to try to incorporate more moving shots to my narrative work. I will also say Viltrox has a ton of really good and cheap AF lens options. 

I am considering selling my Alexa and getting a Mavic 3 instead. Really go all out with the small compact approach. It's hard to part with Alexa skintones though. 🤕

[IronFilm]

15 hours ago, FHDcrew said:

First of all, hello guys!  It's been a while since I've posted, and honestly I haven't kept up with this forum as much as in the past.  Looking to get myself up to speed on what I missed lol.  Changes?  Honestly passion focus.  My main career will be corporate video (in college right now, got scholarships so it's cheap for me).  But I also love broadcast and lately have spent a lot of my time trying to learn more about that workflow, getting reps and networking with people in the field.  My goal is to direct or technical direct either live sports or corporate events.  Sucks cause those positions are very hard to get when it comes to bigger venues.  Smaller venues, more local corporate/college/high school sports events, it's definitely easier.  I've also considered starting my own production company upon graduation, trying to network and build clients and do smaller scale events.

 

Currently building my own video switcher, and for the work I do I need something much more advanced than a basic ATEM Mini.  At the university I attend we use a Newtek Tricaster 460.  It's a very interesting unit; in essence it is a PC running windows (windows 7 actually!) and Newtek's own proprietary switching software.  In essence this unit is a lot like a vMix or OBS PC, but using Newtek's own software.  I do really like the unit; it gives the flexibility of a software switcher with the workflow and familiarity inspired by a hardware switcher.  It has multiple M/Es (mix effects) which are essentially all layerable sub-switchers that can be used in tandem with the primary preview/program bus.  You can also use them as separate switchers within the actual Tricaster.  This, for example, allows one to cut a live-stream feed independently from an IMAG feed (IMAG stands for image-magnification; so displaying output on a projector at a venue).  You can also use these M/Es to create compositions, such as picture-in-picture, and hot swap the contents of the composition live.  Super useful!  These are all things you can't do to the same degree on an ATEM Mini.  I will say that the ATEM Mini Extreme is closer in functionality.

The Tricaster also has built-in media players and graphic banks, all of which are a lot more capable than ATEM units.

I've been trying to build sort of a DIY-Tricaster, using a PC I have on hand, as well as a Blackmagic Decklink Quad SDI (4 SDI input, 4 SDI output capture card).  I have been working on tweaking and configuring OBS to operate in a similar fasion to Newtek's software.  With the right plugins, macros and custom combination of features, I've been able to get OBS to work in a very similar fashion to a Tricaster, both in terms of functionality and workflow.  I can make sub-mixes for IMAG outputs, use downstream keys (overlays on all of your output), preview/program switching with multiview, custom transitions, and more.  I even bought a Tricaster control surface (a legitimate switcher controller with t-bar) and using software called Central Control use it to control OBS.  So the workflow is super nice for me.

 

Downside of software switching is the latency.  An ATEM uses FPGA chips to run everything, so your output latency is wayyyy lower than any software solution, be it vMix, OBS, or a Tricaster.  This makes them more useful for live venue feeds, and as such I will probably purchase a higher end ATEM switcher at some point.  Thinking about the ATEM Constellation 2 M/E, which gives me the ability to make a submix just like the software solutions, but with the low latency and reliability of a hardware switcher.

This deserves its own thread! I reckon you should go start that video production company, to do live coverage. (plus you are at college, you can likely get some college classmates in to help you man the cameras at events for cheap)

I've thought a lot about doing the same myself. You can get secondhand cameras such as the Sony EX3 / F3 / FS700 / F5 / FS5 for dirt cheap these days (the likes of the EX3 & F5 can easily have B4 mount broadcast lenses adapted to them). But they all have a SDI output (thus you can place the camera ages away, on the opposite of the cricket field, and still be be able to easily run the video feed back to you). 

And the Blackmagic ATEM Minis are dirt cheap too, and they even have SDI outputs! Saving you from the hassle of fluffing around with SDI/HDMI convertors. 

Pair this all together, and you've got a great setup at a low low low cost!

Say if you start with just 3x secondhand Sony EX3 on a couple of cheap tripods, and a third tripod secondhand which has a "good" fluid head, plus a few dozen meters of SDI cable, plus secondhand ATEM Mini Pro SDI equals a total cost of perhaps sub US$4K. (just to start with! And an easy next step to expand out this setup: get a 4th Sony EX3 on a good fluid head tripod, thus you can then have two manned cameras and two unmanned cameras)

Arguably it would be better to combine a collection of Blackmagic Design Studio cameras instead, as they do have a lot of features specifically for multicam live shooting, especially when matched together with the BMD ATEMs! And some of them can be just as cheap as the Sony EX3, such as this Blackmagic Design Studio Camera 4K: https://www.ebay.com/itm/266449406292 (another benefit of this path instead, is you'll be 4K ready right from the start!)

All this would combine a love of watching spot with a geeky love of cameras. (although, when starting the money there is probably merely pocket change. Could make more doing business conferences as such) 

 

[FHDcrew]

3 hours ago, IronFilm said:

you can likely get some college classmates in to help you man the cameras at events for cheap)

Lol I brought this exact thing up!  Only like 20 of the 70 people in the department ever think of doing media things outside of literal class assignments Saturday, and even then would probably only do it for money, which at this stage I can’t promise.