Jump to content

IronFilm

Members
  • Posts

    8,098
  • Joined

  • Last visited

Everything posted by IronFilm

  1. Yeah wedding guests have totally different standards/expectations than what even a random small business owner for a small corporate video will have in mind. There is a saying in politics: "explaining is losing" Is true in a lot of other areas of life too. Finally, a job for me!
  2. Get an external monitor and a V Lock battery and then you're sorted! 😉 Seriously, it is a good thing for you too. As a monitor helps with shooting the scene (noticing small details you might have missed before you hit the edit afterwards), and a V Mount battery means you never need to worry for a second about battery usage all day long.
  3. The Panasonic L Mount mirrorless cameras are compatible with the GH5's Panasonic DMW-XLR1 XLR microphone adapter as well.
  4. Feel that ARRI would have liked to have released their S35 4K camera a lot earlier if they could have. And that the ALEXA LF and Mini LF were simply stop gap measures aimed to stem the losses of productions switching over to RED/Sony/Panasonic because they had true 4K cameras and ARRI didn't. I thought they were ready to go with their plans for a new S35 4K for last year or even the year before? As I remember ages ago, ARRI put out an announcement that it will be "next year". But I presume covid and other hiccups has put their release plans on ice for a little while ago.
  5. Got to put on a show for the client! It's arguably the most important thing to look after the client. That's why you'll have snacks out for them, a monitor, headsets, etc Why not have 2x S5? One rigged up with all the extras (V Lock / mattebox / preamp-mixer / 7" monitor / EVF / etc) for tripod / shoulder rig / slider shots. And the other permanently configured on a gimbal. Not only does this "look better" for the client, but it also means you're working better and faster yourself. (as you'll have your S5 gimbal ready to go at a moment's notice) Put up a light / cutter / diff / bounce / etc as well, even if the effect is only subtle. Another thought: a Panasonic EVA1 is dirt cheap on eBay these days, could be a good match with your S5?
  6. Maybe they'd ran out of other ways to spend the short film's budget! haha NZ!! The original ARRI S35 sensor has a little bit more life in it still, until the new ARRI S35 4K sensor comes out! (assuming it isn't a flop?? I presume they'll not hold back in making sure the transition over to their first new sensor is a major success)
  7. In my world, the ARRI Mini is still much more common than either of the LFs are. Yesterday's TVC (promoting a big new show coming up) was shot on the original ARRI Mini. Although this weekend I'll be working on a documentary being shot on 2x Mini LF (but it's been a fair few months since I last worked with a Mini LF). Rather you than me! Think I'd rather go for at least an AMIRA, if I was crazy enough to buy an ARRI for myself.
  8. VENICE/FX9/FX5/LF(full size & Mini) are all proving to be very popular cameras being used by professionals. So they haven't overtaken S35 (yet?), but still proving to be rather popular.
  9. Yup, and that's just one person (heck, not even really one whole person... but a person split in their roles between that and in "lighting" as well) with a small handheld machine fogging up everything in view in that forest we were shooting. Get a whole crew in and pipes laid out? Now we're talking!
  10. @kye lol🤣 Of course that "bug machine" wasn't for the bugs, but a fog machine to make it all pretty on camera. Quite common on sets. Never yet caused the Empire to show up!! Although years ago I was working on the lighting department for a music video, and we got a few fire engine trucks show up because they believed there was a real fire in the bush which they needed to respond to 🚒 🔥🔥🔥
  11. As you can see from the other replies, tripods are commonly used throughout the industry everywhere! And even for weddings which are shot gungho nonstop with a gimbal by some keen muscular dude, they'll still be using a tripod for at least some of angles for the ceremony and reception! And when I say "$100K indie film level" (or $500K) I mean also anything else at that "level", i.e. a web series or TVCs etc. Tripods are worth it, I have a nice one, basically the previous generation to this one here: https://www.bhphotovideo.com/c/product/1431251-REG/vinten_vb100_ftms_vision_100_system_with.html
  12. (all shot with a Canon RF mirrorless camera, if anybody is curious)
  13. Just realized I forgot one person! The person who was doing the BTS stills (she was the fiancé of one of the two actors). I just uploaded a few BTS photos from that shoot: https://www.instagram.com/p/CdIZm-Vv88N/?utm_source=ig_web_copy_link
  14. Am certain there are more than 10 people on this forum who have worked at "the level" of a NZ$100K (or even $500K) indie movie!
  15. Yeah, doing those big sweeping gimbal shots that run for ages and ages are a lot more work for EVERYONE. Art Dept, Director, Actors, Camera Dept, Sound Dept, etc etc I did late last year a very low low budget feature film (dunno about the budget, but I'd take a wild wild guess that it is probably to likely be sub $100K, but with all the favors pulled in we were "operating at" more like the $500K-ish level? Which is still ultra low budget level for a feature film). Bulk of it was shot on either a tripod or a dana dolly. (as a dana dolly gives you that movement in the scene, but also still allowing you a lot more fine control over the camera movement than anything else would. Well, anything else that is affordable that is!) A fair bit was shot handheld / easyrig as well. Oh and of course sometimes a high hat / sandbag / saddlebag. But perhaps a couple of times a week we'd get in a Steadicam Op, for particular scenes/days when camera movement made a lot of sense for the story. We also had at least three days of car shoots, of which two of those days were done with the car on lowrider being towed by a truck (with Director / AD / AC / Grip / DoP all in the back, in the truck bed. With myself, with my mixer & monitor, and the truck driver in the cab itself). Never used a crane. Never used a gimbal. Never used a drone. (although I wouldn't be surprised if there is a splinter unit done sometime after we wrapped main production which goes out to get some drone footage. Or perhaps they just use a bit of stock footage? I dunno) 100% shot on an ARRI Mini btw. The average YouTuber with a big following is totally disconnected to the reality of how the professional world works on film sets / tv productions / reality shoots / TVCs / etc
  16. Depends on how you define "better" and for what purpose? 1) for the purpose of the OMB videographer who wants something to slap under their mirrorless/DSLR camera? Is almost impossible to beat the MixPre3, that's their BEST choice. 2) for anybody with any aspirations whatsoever in the Sound Department? Then the Zoom F8 / F8n / F4 / F6 will all be vastly better than a Zoom MixPre 3 or 6
  17. Nah, wasn't twenty people. It was a microsized (almost)no budget production. Had: Director DoP MakeUp/Costume (same person! She handled props & art dept too) 2x PA / LX Assist (one of them had a fair bit of film set experience, but he's primarily focused on acting/directing and isn't professional tech crew person. The other person it was their first time on set! Just a teenage kid, because he was the brother of one of the two actors) Sound Mixer (me!) As I said, an extremely small production. The smallest I've been on this year. (or the last couple of years for that matter, when it comes to narrative productions)
  18. Am not that old yet, I could still do this on my bike! (although, with a LOT of getting off and walking as I carry the bike down....)
  19. I think the job of "drone pilot" peaked a few years back. Now in most cases it is merely just another tool in the cameraman's toolbox.
  20. https://www.bhphotovideo.com/c/product/1679650-REG/tascam_ca_xlr2d_c_xlr_mic_adapter_for.html Seems like a great product, but at US$500 then if only you could find the Sound Devices MixPre3 mk2 in stock, it would be a so much better choice, for "only" a few hundred dollars more. It is a pity Zoom never made a direct competitor to the MixPre3, an F Series quality record/mixer in the super thin sandwich format for slipping under a camera. The Zoom F6 misses the mark, being neither a perfect replacement for the Zoom F4, or a direct competitor to the MixPre3 for the DSLR/mirrorless OMB shooter. And the Zoom F3 doesn't quite hit the mark either, aiming for a different niche instead.
  21. Still very common, and still good movies get made that way. I worked on a short film this week, 100% filmed with a RED Gemini on a tripod
  22. (yeah, the MTBing is pretty cool too)
  23. ha! Niiiiiiice pick, but sympathies extended to your weak willpower. I understand.
  24. No interest whatsoever in the DSR5P for me, it's only dual channel Do see I linked to the wrong one, I meant this: https://www.lectrosonics.com/dsr4.html I want that sexy quad channel DSR4! US$4.5K each. https://www.gothamsound.com/product/dsr4-four-channel-digital-slot-receiver-pre-order-deposit As for coffee, I'm a 20c coffee man.
  25. @newfoundmass, I feel similar, I spent less than normal in 2021 on audio gear. And in 2022 I'm going to try really hard to not do any major new expenses. Spend much much less than I did even in 2021. For instance the brand new Lectrosonics DSR4 that just got announced would be perfect with the Sound Devices SL2 to pair with my Sound Devices 833 mixer! https://www.lectrosonics.com/dsr-dsr5p.html Exceptionally tempted by it! But nope, won't touch it. Maybe get it in 2023 or 2024 instead.
×
×
  • Create New...