Anaconda_

I've had projects like this in the past. My favourite ways of doing it - although very time consuming are: 1. Print the photos, place them in a suitable location, similar to the theme and then film that scene, add some camera movement and it can look really nice. Even placing them in a frame and putting them on a wall / windowsill can help give them sentimental value for people who weren't on the trip. 2. Create parallaxes. Cut out the main subject, and separate the photo into a number of layers. Add a camera, put it all in a 3D space and do very small camera moves. From there, you can also add puppet pins and give people very small movements as well - like waving, or something. The main thing is, don't add too much movement, even doing the Ken Burns thing. Subtlety is key with stills.

I'm liking the limitation, but I'm sure I'm missing a lot of good material because of it. That said, the audience will never know what isn't in the film, so I can overlook that for the most part. On the flip side. I can film for those few hours and then I have 6 days to process, think and even edit the material. As it stands, I'm about half way through the whole shooting process, but already have a clean 1hr edit that's basically ready to go. I'm aiming for 1hr30 in total. The story is there, I now just need to expand on a few points and film some sequences that can't be done right now due to the season. Working this way, means if I need a specific shot to illustrate something, I know that I can pick it up next week. Due to the nature of the subject, filming this way fits a lot better than filming a few 3 hour interviews and then making the film. Instead, we can do half an hour a week focused on one specific topic, then I can shoot broll that will fit into it. I'll head home, edit the segment, see what's missing and pick it up next week before moving onto the next topic. I can also watch the film from beginning to end and think about how to transition between topics, and themes. it also means I can develop a closer relationship with the subjects as I see them regularly. The type and depth of information I'm given now compared to the first day is light night and day.

Great topic. I've never really looked into anyone else's workflows, but it's nice to learn what I've read here. I'm currently filming a documentary where I've imposed some minor limitations. The one which is having the most impact is only shooting between 2 and 6pm on the same day every week. This started out as a scheduling limitation, but I've come to really embrace it. I make sure I'm 110% focused for those short hours, and since the whole film is outside, the light and scenery has changed dramatically since I started in August. I won't be able to finish it until the start of next summer, so there's still a lot more change to come. For personal stuff, I can basically echo @kyeExclusively hand held, natural light, a 35mm lens. I love it.

That's wild generalizing. You can't narrow a whole field down to one piece of software.

I just heard of the Dehancer plug-in, what are the main differences to Film Convert? https://www.dehancer.com/store Dehancer seems to have more options. Input camera profiles 53 Film profiles Expand tool Print options CMY Color Head Film Grain Bloom Halation v2 Gate Weave NEW Film Breath NEW Defringe Vignette False Colors LUT Generator ACES support

Yes, that's the jumping through hoops to download that I'm talking about. The people I'm sending this to are unlikely to have those installed as standard. In my case I'm sending to a few select people and my main concern giving the illusion of security. If I send them a link they have to log in with their email address to see. Or a password that is their name, there's less chance they'll be willing to share it.

Is there a difference between Set To Frame Size and Scale To Frame Size? I've always used Scale

Google drive has it built in, for free. But the processing is ludicrous. Over a week now and still 'processing'. I also uploaded 2 other videos in the same codec and only 1 is actually viewable right now. Such a shame. Anyway, the screenlight tip is perfect. Great quality, individual links and passwords for each recipient and even custom expiry times for each link. There's even an option to overlay the viewer's IP address and time of day over the video to deter screen recording. The search is over, the result is better than expected and free for 1 project at a time. See above about screen recording.

That is perfect! Can even set different expiry times for different viewers! Great find! Signed up, created account, uploaded a clip and it's already processed and ready for watching.

Well, of course. But with Google Drive, anyone clicking the link needs to log into google and request access to the file. Then while watching I can hide any download buttons and they'll need to jump through hoops to actually download it. Even the usual sites that say they can download from YouTube or anywhere else, are unable to, because they wouldn't have permission to view the file. They wouldn't be logged into the viewer's account. The only way I can imagine doing it, is screen recording or showing the page's code. But even then, it's hard to find the actual video link and download it from there... It really seems like a perfect system for securely sharing films for review. But it's all ruined by how unreliable the processing part is.

Ah dang, I got my hopes up then. Even with the crypted stuff, people can still download.

Hey, I'm currently producing a feature length documentary and need to send it to a few people, but keep it very private, disable downloads and disable link sharing beyond my control etc. I was hoping to use Google Drive, as that lets me do all of those things. Disable downloads, viewers will need to request access to the video, and I can take access away from individual people as and when it's necessary. Sounds perfect, but unfortunately, I've got the cursed 'We're processing this video. Check back later or download the video now.' A message that's shown for 3 days now on an .MP4 created in Premiere using the YouTube preset. It's only 1.5gb, so shouldn't be taking this long to process. In the search of an alternative, I thought of using Vimeo. I could change the password every couple days and only let the necessary people know the new one, but they've removed the password option unless you pay, and I have enough subscriptions as it is. Also, 500mb weekly limit on the free account... what's the point? YouTube's private links are ok, but I fear I'll have to keep deleting and reuploading to keep track of exactly who can view it. Dropbox also forces you to pay $199 a year to unlock the 'disable downloads' function. Shirley there's something out there that fits the bill... Or even batter, a way to get around Google Drive's ludicrous processing? I have a Plex server - is there a way I can utilise that to host it privately, with the necessary restricted access described above?

Rightly or wrongly, having Braw as external only means Blackmagic still get a cut of the sales because you need the Video Assist. If it was internal, they wouldn't get as much. The 3rd party would probably pay for the rights to the codec, but I'd imagine there's a bigger margin with the VA hardware sales. It also means people are less likely to go that route. If you don't want the put a monitor on your camera, or want Braw internal, you need to buy a BMD camera, so either way they're getting extra sales.

You have to send the camera to Nikon to get the upgrade. It's a $200 hardware upgrade. I think they should just fit that hardware as standard and charge an extra $50 on every unit. They'd make more money, it's less hassle for the end user and isn't much more on the price, even for those who have no interest in raw. Interestingly:

Amazing! Congrats @BTM_Pix - If Viltrox ever get their adapters working correctly on the BMPCCs I'll definitely pick one of these up.

They've released some footage. It looks really nice - but is also like $10k https://freeflysystems.com/wave

Couldn't you just use epoxy for make it with with the Z axis stabiliser?

Blackmagic previously announced it, I think with the Ursa Mini cameras. But then they went silent and it never happened. I'm probably wrong, but I imagine either it doesn't work in practice as well as they'd expected, or there's a patent on that kind of thing and it's not worth fighting over. The patent would explain why nobody has ever tried it.

Maybe a bit off topic, but if you're still tinkering with the forum, is there a way to open a topic to the last read post? If not, it's not exactly a major deal to scroll down from the top of the last page.

I'm fairly sure this won't work. The SteadXP records the movement of the camera, and then counteracts that in post to give a stable image. With IBIS, the movement of the camera is different from the movement of the sensor, so the recorded data won't match the footage. I'm still hoping camera manufacturers build the gyrodata into the recordings, or as a companion file. That would give the steady results and would still work with IBIS, since the data comes straight from the sensor, not a 3rd party box in the shoe mount.

But then how will you put your photos on Instagram? What's the point in taking them if you can't get loads of likes.

I've never used the Micro or the Micro Studio 4k camera. But in theory, if you used a Ninja V, could you rig up the Micro Studio 4k camera in this same setup, and get a 4k recording? The only thing you can't do is record internally on the camera right? That would be a pretty slick setup.

Like I said, it depends on how you class a digital equivalent. If you want the same final look, then yes, a s16 sensor or a good one. If you want a shoulder mounted doc camera that's ready to go, then that's another set of cameras. If you want a camera that's unlike any other before it, then you're in a different category again. I'm still unclear at to what the actual question is.

You're right, sorry about that. I thought's the g2 did. I should have double checked before posting.

I only mentioned it because @tupp did. I'm not up to date with it really, but from what I gather you can shoot up to 5k, and 2.8k is the sweet spot. It's ergonomics are terrible though, and handheld is a nightmare because it's so small and the crop at 2.8k is quite sever - a 5x crop on an aps-c sensor. So the balance and stable image is out the window for documentary style stuff, unless you rig it up and give it some weight. The live view also isn't that reliable just yet. Parts of the frame is missing etc. For the price, it's amazing what it can do, but I would never use mine in any setting other than hobby videos and family clips. Ursa Mini Pro has an anamorphic 3k setting, but I'm not sure if there's a crop on it's 35mm sensor. BMPCC4k has a 2.8k super16 mode, so maybe that's a good option too? Again though, you'd want to add some weight for handheld use.