Anaconda_

I didn't say it's worthless, it's just not what it's trying to be. I'm all for delving into the darker tendencies, and loved Nightcrawler the movie, because it was a lot more than just watching busses burn one after another. The only 'story' in this series is the competition between the filmers, and that - for me at least - got old very fast. Like I said though, each to their own. Watch the first episode and see how you get on. It doesn't reveal much more than what you can see in the trailer haha.

Don't be fooled, this is not what it looks like it is! Having watched most of the series already, I came to the conclusion it's nothing more than another car chase show, and is at least close to, the lowest form of entertainment available. The series is not a documentary that offers anything in the way of trying to understand the psychology of a person in the business of filming misery. It also doesn't ask the main players about how it affects their lives, how they sleep at night or how they even justify what they do. There are very small attempts to make it look like that's what the 'documentary' crew is doing, but this show is essentially a car chase program filming the camera men who film the car chase. I honestly believe the people who made this series are parasites feeding off the parasites that feed off tragedy and the emergency services. You know when there's been a crash on the road, and there's so much traffic because everyone's slowing down to look at the wreckage - That's exactly what this series is. It's presented as an inside look into the people who film 'news', but in reality, there's very little more than crash sites, burnin busses and car chases. Like I say, every now and then, there 's a small interview about why they do the job, and how hard it must be, but as soon as they even begin to scratch the surface of anything interesting, it cuts back to an overly dramatised sequence of the cameramen tearing through traffic to film the next disaster. Of course, feel free to enjoy, each to their own, but don't watch it expecting anything more than what it is.

Yo all, I own an Atamos Ninja Assassin, and it's great. Start recording when I press the button on the camera and stops when I press it again. For an upcoming project, I've borrowed a Ninja Star. There's a lot of walking about, and having a monitor on the cam just isn't practical. Anyway, it was my understanding that The Star should start recording when I press go on the camera, but for the life of me, I can't get it to work. I've checked all the settings in the camera, including the HDMI timecode stuff, but it's just not working. I also tried going from camera to Assassin then output from Assassin to Star, to see if that kind of chain would work, but it still doesn't start the Star recording. Could this be an issue with the cable I'm using? Am I missing something? Just to clarify, in all of the above situations, I could press record on the Star and it would record the file, so I know that it does record. I just need to it take the cue form the camera. Otherwise I have to press record on the camera and the Star for every shot, which opens up the possibility of missing footage here and there. EDIT: The Star also isn't showing me any audio levels, but there is sound on the file on the CFast card. I wouldn't exactly base my audio off the LEDs anyway, but it's certainly a nice thing to have if it can work.

I recently picked one of these up: https://www.bhphotovideo.com/c/product/1349307-REG/saramonic_sr_vrm1_compact_liner_pcm_recorder.html I wanted to get the Tascam DR10X, but it didn't have phantom power, which seems bonkers to miss out to me. Anyway, I'm really happy with how this one sounds/works. It's cheaper than all of the Tascam options, and more versatile, you can plug any mic into it and you're ready to roll. If you'd like to hear some samples, I'm currently cutting an interview with two people sitting next to each other. I had two microphones, both the same make and model, with one running straight into a camera and the other plugged directly into this device. I did it purposely to test any noise the recorder might introduce. I can share a sample tomorrow if people are interested.

Ok Go are perhaps more famous for their incredibly creative music videos than they are their music - but that's besides the point. In the description for their latest single, they note : "Your viewing experience will look significantly better if you manually set your YouTube resolution settings to 1440p or 2160p (for desktop, click the gear icon in the lower right). Just leaving it on “Auto HD” results in some pretty intense distortion during a few sections, because when the the colors and patterns get crazy, there’s actually just too much information flying by for YouTube’s normal HD compression. We broke the matrix. The good people of YouTube have been working with us to solve this (it’s a bit rate limitation issue) over the last 24 hours, but there’s no quick fix." You can read more about the issues here: https://www.buzz.ie/music/ok-go-back-absolutely-insane-video-broken-youtube-263041 Do you think YouTube will up their bitrate limitation for everyone's uploads, or will they do it for this video only? And check out the video here:

Not B&H, but those in the UK might want to bennefit form a half price Ursa Mini PL mount. https://www.proav.co.uk/blackmagic-design-ursa-mini-4-6k-pl-mount?utm_source=Pro Active&utm_medium=email&utm_campaign=8920575_Black Friday 2017&utm_content=Blackmagic Design URSA 4.6K PL&dm_i=C1A,5B75R,PRUIOO,KHTNA,1 There are also lots of other great deals on Proav this weekend

I have some short documentaries shot with the GX80 - but honestly, they're more of like my kid on a day out or holiday videos. I think that's the main market for this camera at least. If you want to see, I can post a few videos up here, but like I say, they're not really short film narratives, although they are a bit about home videos. HereThat said I do often use it in combination with my LS300. For this live performance, the GX80 is the handheld cam and the one on sticks is JVC LS300. It might give you a good idea of what you can get out of the camera with a little grading etc. - Sorry about the watermark, not my idea.

Wow thanks Dave, great to hear! I loved my XF100, even with it's limitations and the size is so easy to carry around. If fit in the bag I had in this film snuggly next to the big camera and barely added any weight. There's still a few things I'd like to tidy up about it though, one of the shots outside the very grand building when I"m talking about b-roll is very dark for some reason, so while I"m fixing that, and some audio issues, I'm going to trim some of the fat. I'll post the new version here when I get around to it.. Hopefully sometime this week.

Thanks guys! Yeah such a shame I didn't focus on those army guys more when I was there.. D'uh. It's funny going back to the footage 2 years later, I keep laughing and saying out loud 'Why did I do that?' - Nice to see how far I've come since this haha! Maybe I can dig some parts out to add to that theme. Yeah there's a lot of waffle in here, I'm going to go back to it and cut out the bits about finding it hard to shoot broll of myself, and also the bits about shooting against the sun etc. Having had time to think about it, those parts are too technical for your average viewer, while the rest isnt' technical enough for people in the field. The long and short is, I'll cut it in half and make it more interesting to people who don't have technical knowledge about cameras etc. Thanks again for the feedback!

Hey guys, So 2 years ago I filmed a documentary about myself filming at a film festival in France, using my trusty Canon XF100. I then quickly forgot about the footage because I bought a new camera and wanted to edit with that footage instead of going back to the XF. - Bad planning on my part, but better late than never I guess. Recently I found I had some spare time on my hands so decided to actually do something with this film, and here is the result. I'd love some feedback! Is it too long? Does it give enough info? What's missing? Is it even interesting? Disclaimer: I've never spent anytime in front of a camera, so that was a novel experience for me. enjoy! I planned, wrote, presented, filmed, audio-ed, edited and voiceover-ed the whole piece. In fact the only thing that not me is the music... but I did chose it. The watermarked clips, while shot by me, were for another company. Thankfully, they've kindly let me use that footage with the watermark. Please, don't hold anything back.

Richard, what do you think you're doing trying to bring rationality into a discussion that's basically turned into 'I'm more of a professional than you' contest.

Well, you don't always have a shotgun on a boom. In fact, most boom ops would use a hyper/super cardioid indoors. I was simply saying don't rule out a shotgun, in most situations, it's perfectly acceptable.

There's some funny info in this thread. Shotguns are perfectly fine indoors. I've used the Rode NTG4 in almost every shape and size room you can imagine. Even solid walls or window walls. The results are more than acceptable every time. If you'r shooting in a room where a shotgun simply doesn't work, then you'll be hard pressed to find any mic that will. That said, of course there are alternatives, and many are better in certain situations, but to rule them out like that is kind of silly. I film TV interviews for a living, and have used many different lavs. I will always chose a mic on a pole if the option is there. They don't take long to set up and make it near impossible for the talent's hair/necklace/zips/itches to effect the audio. Of course, that can also be avoided with mic placement, but a stand can go in the same place every time, and nail it every time. EDIT: you can also have everything set up, so the talent can come in, sit down and go, without having to be wired up first and remember not to take the mic with them on the way out. You also don't need to worry about charging extra batteries etc. because they just take power from your camera/recorder. On that note though, if you do decide to go shotgun route, maybe look at the Rode NTG2 - I know it's old, but it can run on an AA battery OR phantom power. If you use it with a battery, you can run it straight into your 5D3 and avoid having to sync anything later.

From what I've found on a number of cameras, you can only output 4K to a recorder if you're also shooting 4K internally. If you are shooting 4K internal, you can also send a 1080 signal to the recorder, but sadly 1080 internal and 4K output doesn't seem to be an option. Of course, maybe there are cameras out there that can do it, but I've not come across any.

Just to chime in on the audio stuff. I'm awaiting a delivery of this: https://www.bhphotovideo.com/c/product/1349307-REG/saramonic_sr_vrm1_compact_liner_pcm_recorder.html I thought about the Shure recorder, but wanted more flixibility, as I already own a number of mics. This funky device essentially turns any mic into the Shure one. It should arrive today, so when I can I'll do some comparisons and post them here. Ideally I wanted to Tascam DR-10X, but for some totally bonkers reason it doesn't have phantom power, making shotgun mics unusable. Speaking of the Tascam DR-10 line, you could look into the 10SG, it's a shotgun with built in recorder. You can also set a clap tone, so syncing up later is much quicker. Again though, it didn't fit what I wanted it to do, but might be a good option for other people.

Here's some links for those who need it: http://thenewcamera.com/canon-gx10-xa11-and-xf405-images-leaked/ http://www.canonrumors.com/here-are-some-xf400xf405-specifications-cr3/ http://www.canonrumors.com/here-are-canons-latest-4k-camcorders-the-xf405-gx10-and-the-hd-xa11/

I think there are many more harmful ways of thinking and of treating others. Of course, each to their own, but if more people thought like this, I can't help but imagine a nicer, friendlier world than the one we live in now. Sure the universe doesn't care about you personally, can it even care at all? What is the universe in this sense? Does it even matter? The original post, and the dodgy looks that woman gives the camera automatically puts Jim in a negative light, like he's a washed up lunatic. Good for him for not caring about a fashion week, and for not caring how he'll be portrayed, knowing full well that what he's talking about will go over the heads of the E Entertainment audience. More power to him. I do think you and Jim are saying similar things in different ways. I don't believe he's negating responsibility, instead trying to spread a message of oneness. We're all in this together, let's do our very best to keep this ride going. Instead of focusing on a fashion show, lets put our minds to better use. Of course, I'm only projecting my own thoughts as I do agree with a lot of what he's saying, but he says it in a wishy-washy way, which makes it easy for the real message to become lost.

These are his words when he has a bit more time to put into thinking about what he's trying to say. Quite amazing really.

Yes it will and it looks lovely. You get a slight bit a vignetting in 4K, but the more you stop it down, the darker the corners get. In fact, just a few posts above yours, someone shared this video all shot with 25mm cmount:

That's what I was thinking, but it could still be useful for draft renders, providing the playback is smooth at least.

Hey all, I'm a proud new owner of an Atomos recorder and I had a sudden thought today. I'm sure there are reasons this is not a good idea, but in a pinch would the following experiment wield passable results? Let's say I've made a 20 minute edit of some 4K footage shot through the Atomos. Everything's cut, graded and ready for export. Filmed at 4K ProRes 422 and cut in a sequence that matches those settings. Is there anything 'wrong' with plugging the Atomos into the computer via HDMI, setting it up as a reference monitor, pressing record on it and playing back your sequence. The end result will be a ProRes file of your edit - pretty neat right? Of course, that's assuming you're computer can play back at 100% without skipping any frames or having general playback issues.

Not sure if this stands up to your guys's stories (those are hardcore) - but when I was shooting one of my first documentaries (camera and director), we spent a fair bit of time setting up for the biggest interview we had on the project (most famous name). All is going well, talent is responding perfectly to the questions and the shot looks lovely. Anyway, it turns out that the lighting guy had, for some reason, skipped lunch that day, and since this was before LED lighting, the heat from the lamps got to him. He fainted taking out a red head, which then fell in super slow motion right towards the talent's face. Luckily, he dived out the way and the light barely missed him. Thank god there was no burns! There was a broken light, a hot bulb scattered across the floor though, not to mention the pile of human to my right wondering why he's on the floor and everyone's looking at him. - He was fine, didn't have any bruises or anything, and we got him a chocolate bar asap for those sugar levels. Of course, we called it a wrap, even if we did set everything up again, the tone would have been completely different, and we'd been rolling for long enough for what we needed. That was about 7 years ago now. I still chow down on my way to any location to make sure I'm well fed. There's also always a fresh bottle of water and some chocolate in my bag for those emergencies.

I never used it, my whole live I've focused with a ring, so trying to move to a rocker is totally different, something like trying to use a fork with your left hand. I'm sure some people do it, and like it, but the 'old' system was never a problem for me.

My tests were with the Black Magic Video Assist, which doesn't allow you to bake the image in. I picked up the Assassin this afternoon, so will head out and get some delicious test footage on Wednesday. The video is missing from the topic you posted, but does it basically say to get the LUT baked in is the way to go? I was planning on using it that way anyway, for a quicker turn around, or if someone else needs to edit my footage. One of my client's workflow doesn't allow time for colouring, so I've previously tried to get it nice in camera, but I'd rather have log files for backups. This way, I can do both! I'm already loving the 'straight to hard drive' workflow. It's certainly a fun thing to play with and get ready for a day out haha.

Maybe the image stabilisation might have issues, but I assume you're on a tripod anyway. Other than that, I don't know how there would be any disadvantages.