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Raafi Rivero

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About Raafi Rivero

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    Brooklyn, NY

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  1. Kinefinity Terra 4k has landed

    I agree that camera-mounted mics are a fallback, and relied on way too heavily. I used a lav in my first two videos about the camera (unsuccessfully in the second). My standard interview setup is a Zoom recorder with a Lav for the interviewee in one channel and a Rode NTG2 boom in the second channel. Then the Rode VideoMic mounted on the camera. The VideoMic is the backup to the backup. But it's saved me on several occasions like when you reframe and continue recording and the subject says something interesting or you're recording and either your sound person (if you have one) isn't on it, or your boom mic placement was only for one setup. It's a great tool to have in the bag. Also, for b-roll when the in-camera microphone would likely pick up sounds of any adjustments you'd make to the lens the VideoMic gives you a much better option.
  2. Kinefinity Terra 4k has landed

    @timpy I think a Rode going into a 3.5mm jack would do fine. Can test it with my Rode videomic soon.
  3. Kinefinity Terra 4k has landed

    @IronFilm the audio's not as bad in this new test but still not perfecto. Some more cine-like images though:
  4. Kinefinity Terra 4k has landed

    I still haven’t shot long enough to drain a battery. The slo-motion test was just a couple hours in the city and the unboxing was similar. The battery I was using did drain between the two shoots but I’d need to take it on a full production day to get a sense. Communication-wise things are ok. Because of the time difference I usually get email replies the next day (sometimes the day after). Another Kine owner I spoke to says if you call after 7pm EST they have someone who speaks English. So far so good. Just got the handgrip batteries in the mail yesterday (Sony bpu-type). I’ve read the camera can go for an hour on those instead of the heavy v-locks so will be testing those as well over time.
  5. Kinefinity Terra 4k has landed

    Yeah and the iPad app doesn’t work anymore from what I’ve heard- it’s from a couple generations back of iOS. Still excited/nervous to see how it’ll perform in full daylight, but gonna link with a Kinefinity 6k owner soon to shoot a comparison.
  6. Kinefinity Terra 4k has landed

    @mercer the wait was crazy! I actually ordered the 5k a year ago, full-price. Was considering asking for a refund but was really intrigued by the specs of the 4k. Will post again when I shoot something legit with exteriors.
  7. Kinefinity Terra 4k has landed

    Pretty sure I'm the first person outside of China who has the new Kinefinity TERRA 4k. I've been a bit of a ghost on this forum since going all-in on the Kine pre-order, but here's an unboxing video by way of saying hello again:
  8. Why Color and Skintones are so tricky to get right

    Here's a pretty comprehensive LED test that was on NoFilmSchool a few weeks back. I thought it was pretty helpful showing the plusses and minuses of a bunch of different brands (including price) in both daylight and tungsten modes: http://nofilmschool.com/2017/04/2017-led-light-shootout
  9. Kinefinity Terra is now shipping!

    Some new Kinefinity Terra footage shot in RAW. Call me a believer.
  10. What is the definition of a "cinema" camera?

    Basically, yes. Super 35mm sensor or larger, professional codec (usually RAW, but if not a high-bitrate codec), minimum 10-bit processing but 12-bit preferred, professional lens mount (PL or EF).
  11. Kinefinity Terra is now shipping!

    BMD's customer service hasn't exactly been stellar either, and they're native English speakers so not sure the comparison really holds water. To me, the advantages of the Terra cameras over BMD are the higher ISO, less FPN in the shadows, lighter weight, cheaper media, ability to add speed-boosters, and more lens mount options. The Ursas obviously have native RAW support via Resolve and faster shipping times. and the UM Pro has native ND which is huge. They're very even competitors in my book, all the way to their near-identical pricing.
  12. Please explain: Video vs. "organic"/cinematic look

    I'm a big fan of the A/B test. Meaning put on your favorite scene from your favorite director (Scorsese, Coppola, Spike Lee, whoever)... and then put on the last thing that you've shot. What are the differences? The low-hanging fruit are things like sensor size and resolution, followed by dynamic range, bit depth, and motion cadence. Then you move on to lenses, lighting, and camera motion. Then there's color-correction. Followed by production design, locations, and costume choices. And, finally, talent. The "look" of your project results from a confluence of all of these things. As you start out, almost none of these will be comparable to your favorite films. But you can pick them off one-by-one. Start noticing things. Get better. Over time you'll inch closer to your idols. Stu Maschwitz, one of the minds behind Red Giant Software, has been writing about getting a film look out of digital tech since the MiniDV era, then designing products to help you achieve it. Lots of insights in his archive.
  13. Handheld Shooting

    Here's a pic of the rig. It's all spare parts or different things I picked up on eBay or at B&H - at least 3 different brands for the top handle, shoulder pad, rails, etc. I have a follow-focus but it's not pictured, and probably didn't use it on that shoot. On the back is a Ken-Lab KS-6 gyro stabilizer. It does help stabilize things a little bit, but it makes noise and the battery runs out after about an hour of use so it's mainly just a counter-weight on the back of the rig. @mercer - it wasn't ML Raw, just plain-old h.264, but I did use a LUT from Vision Color in-camera, and another (light) pass on color in post.
  14. Handheld Shooting

    That thing looks pretty cool!
  15. Handheld Shooting

    Thanks! Yeah I agree, there are a few shots where the shake is unwelcome. That was actually my first shoot with that rig, but I'll never go back to just shooting handheld without one. (until I get a camera with IBIS, that is). Camera was 5D mkII, and lens-wise I had three Leica R primes (manual focus) and two Canon zooms: the 24-70 L and the 70-200 L. The interviews and stuff inside the tents was most likely the primes with manual focus, the racing + track stuff was all on the zooms. Part 1 was shot only on the primes. Really like the smoothness of most shots on that one, too.