ntblowz

Seems like all other thread is about overheating I thought about starting a thread about actual user experience on shoot.
 
While patiently waiting for S5 I actually just bought a used R5 which sells for few hundred dollars cheaper than new.. and only one month old, the previous owner got 2 R5 and use it for trackside ( horse racing etc) and found out they don't really need use the 2nd one at all after all the overheating blow out on the internet.
 
I will be using it for motorsport racing which we are contracted to cover for a team, the next race is in early Oct, after done our first race on c200 and c100 with 150-600 last week I found it is quite hard as AF only work up to 300mm and from 300-600 its all manual focus .
I also bought 600mm f11 to see how it fair, I was using f11 on 150-600 anyway so I could get car in focus more when I pan accross or focus pull when the car coming in.
By the way anyone  got tips on covering motorsport?
 
 
 

The EOSHD Forum has been going since December 2011, so nearly 9 years now. What have been the single most popular topics during this time?
https://www.eoshd.com/news/the-top-20-most-popular-cameras-of-all-time-on-the-eoshd-forum/
 

Thanks! I also use the 70-300 for wider shoot which is much easier because of AF working perfectly and less tight.
 
Yeah I mainly wait around the corners as on straightline they are really fast..
 
I haven't have the chance to use 600 yet but the lens it is so bloody light vs 150-600, the 150-600 is quite a beast for impression but the AF issue and VC constantly jumping is pain the bum! I was moving around the track through out the day and run back to pit when the cars are in (they give me 10 min notice so I have chance to run back in time), carry the 150-600 on c100/200 and big tripod and running around is quite tough. This R5 with 600mm will be much lighter! Though will still use the same big tripod for stability.
 

For those interested in DIY projects today I tested my new invention - a DIY video jib using a decoy retriever with a tripod fluid head at the end - it makes for really nice smooth raise and lower shots. I've included some video on my blog.
 
https://www.springbokphotography.com/blog/2020/9/26/diy-budget-video-jib
 
 

I'm going to wager that the grown-up conversation going on on the other thread about the exciting new camera and it's capabilities is going to be a lot more interesting than this one.  Just a hunch. 

I suppose the upside of not being able to have fans in the stadium at the moment is that the cellular bandwidth doesn't get eaten up !
 

Not car racing but i think the same would apply as bike racing and years ago even a little with harness racing  and greyhound racing.
If possible, I would get on the exit side of a corner and facing them as they come out of it.
That way they are going slower and it also means you can use a shorter lens, then walk back a bit and do the same with a longer lens like your 600.     Closer to the corner will be almost head on.
Good luck with it!
What do you think of the 600?   

There are a lot of variables with this mate !
The first of which, of course, is budget.
The second which, may or may not be related to the above completely although of course they will impact on each other, is how many cameras you want to use.
The third would be how many of them are going to be live operated.
The fourth would be the network capability of the venue, both in terms of is it wired as well as the speed and if it will be for the exclusive use of you broadcasting.
So if it is just a single camera on the halfway line then you will only need a way of encoding and getting the stream out, which could be done with one of the low price HDMI encoders with wifi and/or singular cellular option or a more sophisticated, not to mention expensive, one with cellular bonding.
The upload speed you will need for 1080 live streaming is around 5 Megabits per second so isn't particularly onerous for a fixed installation but if the club also use that connection for other purposes such as providing internet access for staff, press or fans then you'll be sharing that with them. With cellular its exactly the same if not worse as a lot of fans will be as glued to their smartphones these days as they are to the action in front of them sadly.
If you can guarantee a network connection (ideally wired but wifi if not) and are only using one camera then the price of entry for you to do it will be an HDMI cable and about €150-170 on Aliexpres for an NPF powered on camera encoder like this one.

 
The version with a single 4G sim will be around €350.
If you want multi-cellular bonded connections then you are looking at products from Teradek or the LiveU Solo which will be over the €1K mark and also require fees for cloud services that reconstruct the different data streams into one for broadcasting with.
In terms of scaling up, the encoder/transmitter aspect won't change but obviously you'll need to have a budget per camera channel both in terms of the cameras themselves, the switcher capacity and the control and connection costs.
That last part will form another big part of the equation because the cable runs and infrastructure required to have multiple cameras around a football pitch can become a headache and might actually end up determining what sort of cameras and switcher you have to buy.
As will whether you are just having to provide a basic video stream or are being asked to do a full production with scoreboard, action replays etc.
Definitely a how long is a piece of string question this one.
 

So here's a simple story:  I was in the market to hire a guy about 4 years ago for a video shoot.  A shooter contacted me to inquire about the gig, but had almost no experience with motion pictures.  
He was just getting into video from photography and he asked me if his lowly Pentax, which only did 60p @720 would be okay.  His photos showed that he had a great eye for composition and when we talked about the assignment he explained that he was a video neophyte, but was willing and eager to learn.
Seemed like a bit of a risk to hire this dude. After all here was a guy shooting on a decidedly not video-centric DSLR and admitting that video wasn't his main thing.  After some coaching, both of us reviewing past examples of the job I was hiring him for, and collaborating about what I wanted to see in the footage, we decided to partner up, and off he went.
Meanwhile, I simultaneously hired another guy for the same sort of shoot on the opposite side of the country.  Dude made sure to tell me more than once what his list of gear included (would you also like to know about his C300 and PL mount lenses?  Apparently he was convinced I did) --and how he was a video professional with years of experience.  Sure, he knew what I wanted, not a problem; don't even need to discuss it.  After watching past examples of the job and assuring me he could do it, off he went.
With that narrative set-up you can probably imagine who delivered spot on incredible b-roll shots that were a bit IQ mushy, but captured great scenarios and emotion --and who gave me a pile of shit footage with no cohesiveness or creativity, (plus couldn't even get the horizon level) but sure looked super sharp with great colors.
I don't know if any of this is germane to the thread, but... Here's hoping that niche players like aspiring videographer Phil from North Carolina hang in there...and their camera gear supplier does too.

quite insane DR vs C200 and other camera when shooting underexposed shot (like interior with window and expose for the window)
The RAW on C200 cannot help at all.

That comment aged badly!
 

Looks like 1DX in the front!
Atm I m definitely flavour more on this cam than Komodo! 

It looks like the Sharp Viewcam from the 90s 
 

quite insane DR vs C200 and other camera when shooting underexposed shot (like interior with window and expose for the window)
The RAW on C200 cannot help at all.

quite insane DR vs C200 and other camera when shooting underexposed shot (like interior with window and expose for the window)
The RAW on C200 cannot help at all.

Look like I need to save up for 24-70mm 2.8 II

That joystick looks like it's going to get knocked off within the first week 🙂

Definitely my next camera. The C300 III is very good.
This is a baby version of it with integrated grip! I love it!
Perfect 4K mini cinema camera with an speedbooster adapter for EF glass. Ticks all the boxes for me.
Need to save the pennies.
 

says 404, guess they deleted it, but luckily google cache have them
EF-RF Canon speedbooster will be released at same time, C70 can do 4K120P with Audio and PDAF! 10 Stop ND filter system
 
 

My 12K URSA arrives in two days and I’m beyond stoked to play with this thing. Honestly it has a lot hype to live up to (for me personally)

So UK got S5 body already.. first in the world?  The kit lens will be shipped next month ughh.
 
How many S5 owner here going for Anamorphics?  I had my ISCO ready!  Gonna miss the 6K anamorphic from the GH5 though.
 
 
 

So UK got S5 body already.. first in the world?  The kit lens will be shipped next month ughh.
 
How many S5 owner here going for Anamorphics?  I had my ISCO ready!  Gonna miss the 6K anamorphic from the GH5 though.
 
 
 

I m definitely keen on EVA-2 with L mount and similar size as those RF cinema cam. If they can push the 24MP more i be really keen too as I think it is the sweet spot.

Rumored price is $6299,  dont think it will cost $4500 when C300III still cost over $10K
The one with C200 sensor will cost $3499 though
 
It should have rear screen, that for right is the mechanic for filppy screen