mojo43

17 hours ago, mdebono said:

Is anyone else using any sort of quick release (something along the lines of Manfrotto 323)? I'd love to replace my Ronin M with the Crane for weddings and small shoots but I need to make sure that it's easy & quick to remove / attach the camera without rebalancing  

I have used two different types of manfrotto quick release plates and they both worked well.

2 hours ago, sgreszcz said:

Wow, thanks for this.  Hopefully this will get me up to speed quickly (at least with setup).  I really need to get some practice in with the crane.  I subscribed to your channel and really appreciate the shoot breakdowns.  The hockey one is really interesting and looks great.  I'm sure I will have some questions as I am preparing to shoot some video at the bobsled/skeleton world championships at the end of February (my brother slides for Canada in skeleton).

Hey thanks for subscribing. I am still trying to see if this behind the scenes breakdowns is going to help people out. It takes a bit of time to make them... That sounds really cool. That sport is crazy! Have you tried it at all?

4 minutes ago, jonpais said:

Josh - nice work, good presentation. The tips are excellent, too, especially #1, because I always worry I'm going to lose that screw! Your brief balancing tutorial is quite different from every other one I've seen, or how I balance, but whatever works, you've obviously got a lot of experience. Subscribed to your channel!

Thanks jonpais, I am still getting used to being on camera. Thanks for the subscribe, means a lot!

Zhiyun Crane Unboxing // How to balance // 3 tips for using in the field

2 minutes ago, jonpais said:

If you're wondering why I'm quoting you, it's because I lost control of my keyboard.  Anyhow, i just bought my second Crane this evening. It has several upgrades from the original Crane, making it much more usable. The grooves in the arms are longer, allowing for more adjustments. Cosmetically, the it's now pretty much all black, whereas before two of the caps were silver, so now it's more fashionable.  Most importantly, and I commented on this months ago, the screws did not remain tight. Now, when turning the three screws, they have a much nicer feel, fit snugly and won't come loose. Zhiyun could have continued making the Crane the same way but they listen to user feedback and make changes.

Great, I have a new one on the way as well. I am glad to hear that they sorted out the screw issue. It was manageable, but nice if the issue is solved!

2 hours ago, Oliver Daniel said:

 

This is the video that convinced me to get the Zhiyun for the A6500. 

I think it's the best gimbal you can buy, when considering price / performance. 

It's an absolute joy to use, especially with the A6500 autofocus voodoo. 

I don't know much about the Beholder, but from what Brandon told me about it, the Zhiyun is the way to go. I basically just put cameras on it and start flying.

Also I was filming side by side with the a6500 with my a7sii and the AF on the a6500 makes it so much easier. I messed up a ton of shots because I didn't stop down enough on the a7sii and the AF fell off the subject. FYI.

7 hours ago, BasiliskFilm said:

Lovely combo. Even the slow-mo footage doesn't look too bad at 4K. 
Looking at the Sony options now, I would wait to see if the A7iii comes out soon. If they match the A6500 for full sensor 6K downsample and AF, then it might be the best FF option yet, except in very low light. The A6500 is very tempting with a focal reducer, but the 28mm f2 is a very attractive option full frame, and if you add in good native AF performance then it could be the gimbal option of choice.

I used cine4/pro for years. I just switched recently and did tests between the two. There wasn't much difference in the end. I think so long as you are manually WB then your colours will come out well. Maybe I am just not that picky either  

3 hours ago, Axel said:

The images are great. I am interested in this particularly because I am currently evaluating the "need" to buy a GH5. In a way your video is more stunning than Neumanns Beyond film. 

Thanks, the a7sii has a great image. Filming in 4k with this camera is certainly a hard image to beat for something else in the size.

6 hours ago, mercer said:

The color looks great. Slog?

It was shot with EOSHD Pro Color.

2 hours ago, Oliver Daniel said:

I've used the Zhiyun Crane on 2 shoots now with the A6500 - and it's the first time ever that I've been really pleased with a camera / gimbal combo. 

The Zhiyun is a beast and operates brilliantly. Works very well with the A6500 autofocus. 

The only real downside is that the A6500 doesn't have 4k60p, the 1080 60p is just ok, so I'd say it really depends on the GH5's autofocusing capability. 

I'm covered for cameras, the GH5 would be a treat if anything. How long until we see 4K  60p in Sony cameras? (But it likely won't be 10 bit in a firmware upgrade!) 

 

I am not finding that I need 4k60p a whole lot, but I would definitely use it. The Gh5 sounds like a beast. I can't wait to try it out!

20 minutes ago, mercer said:

My a6500 arrives today. I had the 6300 back in December and I convinced myself not to like it, so I returned it, but after reevaluating the footage, the image is undeniable.

In the long run I am glad I returned it, because it now forced me upgrade to the 6500 with it's touchscreen af and ibis. Now I just need to work out the kinks with the color profile settings. After my brief time with the 6300, I preferred cine2 with cinema color and the usual tweaks, but I still have some more testing to do... and pointers? I assume tweaking the yellow and magenta will help with skin color?

Have you tried using the EOHD Pro Color profile yet? The image looks good to me. Alternatively I was using cine4/pro and so long as you expose correctly or a little under with a manual WB then the image is beautiful. I am not sure if they have cine4 on the A6500?

Thanks, it was around -28C at it's peak during the time I was filming there. I went through 4 Sony a7s batteries in an hour. So pretty cold. Surprisingly the gimbal didn't run out of batteries and performed flawlessly. 

Hey guys, I put together a behind the scenes video about how I film my travel videos for clients. I have been posting a few of them lately and I plan to post one every week or so. Let me know if you have any questions or comments and please subscribe if you like it!

I filmed some tests with the EOSHD Pro Color with the Rx100m5

Hi all, I shot this in Jordan a month or so ago with a Sony A7sii and a Zhiyun crane. I used two lenses, the Sony 28mm f2 and the Canon Fd 50mm f1.4. We also had permission from the Jordanian gov to use a Phantom 4 while we were there. Would love to answer any questions and if you would like to follow along on Fb and on youtube that would be great, thanks!

youtube.com/channel/UCw0J_iNkme1qf2Q1nucVxJA
facebook.com/joshuamorinfilm

Edit: it's showing up a bit weird. Here is the link: https://www.facebook.com/matadornetwork/videos/10154847045404394/

Made a quick test today with a Sony RX100mV and some picture profiles.

So I was playing around with workarounds for the proxy problem with interpreting footage. Here are steps to resolving the issue.

1) import your footage into the project

2) create proxies

3) In bin, sort clips by frame rate

4) Select similar frame rates and change speed

Voila! Hope this helps someone.

16 hours ago, dbp said:

I used to be a huge champion of Premiere, but have since soured on it a bit over the years. Having to rely on it for work has made the bugs and instability increasingly intolerable. Certainly not all the time, but enough to be annoying. I have little experience with anything else, so I of course assume the grass is greener on the other side. I'm guessing they all have their issues though. 

Coming from Edius, an NLE where you can drop 4k on the timeline and start editing, it is very disappointing. In terms of controls, Premiere has a lot of bells and whistles. though and I love that you can dynamic link to an AE comp. Really that is the reason why I have been using Premiere. That and my client wants me to work in Premiere.

3 hours ago, Axel said:

@MountneerMan 

I must apologize. It was me who didn't get it. So you first interpret the original footage (say 120 or 60 to 24p). After you did this you transcode to proxy to match those. You are right.

So that would work then? I'll have to try this out.

In the project files, before putting them in a sequence you can interpret the footage to whatever frame rate you want by right clicking on them. This way if you have thousands of files you don't have to adjust the speed on each clip on the timeline.

Ya it took around an hour to queue it up in Encoder and then I went to select all of the tracks to interpret the footage to 23.976 before transcoding and it just hung for 30 minutes. This proxy workflow is really not working out.

I just tried to transcode the proxy footage. I selected all of the footage in my project (700 Gigs) and selected "create proxies" and it took about an hour to queue it in adobe encoder. Is this normal?

12 hours ago, Cary Knoop said:

May I ask what is the original fps?  Is this a 23.976p source packed in a 59.94i video stream?

 

30fps, 59.976fps and 120fps all progressive

13 hours ago, dbp said:

I discovered this as well. It's a big deal for my work, but luckily, there's a (mildly annoying) workaround! https://www.youtube.com/watch?v=0evKZXohM7o&t=774s

I'll add one thing that isn't in the video. It's best to have a dummy job first in the queue in media encoder, because you have to stop the queue since it starts automatically. If it stops on a proxy file, then premiere won't be able to find it and you'll have to manually re-attach it. Having a random other render queued first ensures that none of your proxy renders get cut off mid-render. 

Thanks, I actually saw this video a while back. I am not sure why I forgot. Thanks! Hopefully they will fix it in the next release.

Damn, the proxy workflow doesn't work with interpreted footage. After importing all of my footage, I interpret the footage to 23.976 and then create the proxies, but they don't match. They only come in at the native fps. Bug in Premiere I guess...

Ummm, I don't know where I said that shoot 1 TB per day nor what money has to do with anything? 

To prove my point. Are you saying that the amount of footage that someone shoots per day has a monetary value. And if so is there a formula for it, like 1 TB/day = $1000

I am on the road constantly and editing on a laptop lags for me using Premiere, thus I am discussing the proxy workflow.

RIght, I guess that's my problem... I usually come home with 1TB and the transcoding takes over a full day of time. I guess I need a transcoding machine. My complaint is that I don't need to do any of that in Edius.  I go straight to editing.

How many terabytes and are you on Mac or Pc?

Doesn't it take a day or two to transcode all of your footage though? I know you can do it in the background, but it still takes a toll on your system when you are editing. I am just not having the same experience. Oh and what codec are you transcoding to?