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Mark Romero 2

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About Mark Romero 2

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  1. Thanks for sharing your experience. I have to admit; I haven't had much of a chance this last year to shoot anything with skin tones (since I shoot real estate mostly), so I am probably not seeing the differences that you notice between the V-LOG and BRAW. Maybe you could link to a shot you have done recently on the 4K with skin tones in it? I only ask because there seems to be a lot of REALLY BAD sample footage out there shot in BRAW on the 4K and 6K cameras. I had been really contemplating getting a 6K for BRAW (since I edit in Resolve and have zero interest in going ProRes RAW).
  2. I know people were bringing up the particular excess red in Panasonic V-LOG. One thing I do in Resolve is put a node near the end of the node tree that I turn off channel 2 (green) and channel 3 (blue). This means it only effects the Red channel. (Leave color space for the node as RGB) Then if the red is too much, I bring it down a touch in the color boost or in the saturation (in control wheels palette). If you like working with curves, you could use the Y curve (since it is only affecting red channel, pulling down the Y curve will reduce only the red). The HSL levels won't wor
  3. True, The AF is not dependable, but I am not personally convinced that you will be getting that much of an improvement shooting in RAW over the internal 10-Bit V-LOG codec. Pretty much all the tests I have seen seem to show only minor improvements. It's a really good codec and in Resolve 17, just use DaVinci Wide Gamut and the HDR grading tools and you've got a ton of flexibility. As for autofocus...
  4. Is the amount of money you get from these gigs really enough to justify a major equipment upgrade??? Are you getting paid enough that the clients really expect great color grading? What made you decide that your a6500 and X-T3 weren't good enough? Was it something a paying client said to you? Or was it something you read on a forum somewhere? If you still have the a6500 try looking up extrashot on youtube for his s-cinetone setting for the a7 III (not the a7S III, just the a7 III) and see if they might work well for the a6500. Yeah, the color science of the a6500 is different t
  5. Sorry, tried to delete my post but couldn't. Fotodiox makes a cheaper, fully manual adapter for Nikon F mount lenses that has a built in aperture ring for G-Series lenses (those lenses without an aperture ring).
  6. Just a follow up to using my S5 with side flippy screen on my weebill S... It seems to work fine for the most part. If you keep the weebill S UPRIGHT (not in the underslung mode) and you don't have any added handles to the side, you should be fine. If you have a side handle attached and either lean the weebill s too far forward or go in to underslung mode, you could potentially cause it to bang in to the attached side handle (I have my side handle on the left side of the weebill s). However, that would really only be a problem in either pan follow or pov or maybe the go mo
  7. Unfortunately for someone like me who shoots real estate, I have found 10-bit LOG to be really useful When you are trying to capture a dark bedroom with a beautiful, sunny view of the Pacific Ocean, that extra dynamic range comes in handy. And the color casts from mixed lighting are a lot easier to deal with in 10-bit footage. I mean, people are paying stagers $8,000 to $12,000 to have furniture brought in for the photos and videos, and the stagers are putting in bulbs of different color temperatures in the same small room
  8. I agree with what you are saying, but if you are going to be doing client work, then there comes a point where you need to look at the gear and say, "Can I either 1) make more money, or 2) spend more time with my loved ones" with this new gear.
  9. Well... the two things that stood out to me in your above elaboration are overall size and 10-bit color, which to me are totally legitimate concerns. Apologies if I am placing too much emphasis on those points. Also I know you had mentioned previously that you didn't want to blow a hole in your budget. So I guess if it were me I would be looking pretty strongly at the X-T3 and the G9 - used / refurbished if possible. Stretching for the GH5 would be tempting since around here they go for about $1,000 used with the V-LOG update. I don't know about adapting Nikon lenses for those cameras tho
  10. I think you make good points. The only issue is that buying a camera can "lock you in" to a certain set of compatible lenses. And then, once you have bought those lenses, you are kind of married to the system. Certainly metabones / sigma / viltrolx adapters make it easier to have affairs with other camera brands. I say this because I am shooting Panasonic L Mount now and about eight times an hour I have an existential crisis over the availability and cost of L Mount glass and wonder if it might not be better to give up being a photographer / videographer and take up painti
  11. Good to see that you thinking of the big picture. If you can live with 1080p, and since you already shoot with Nikon and have Nikon lenses, the D750 is a good B camera... if you want to stick with Nikon to swap lenses easily. No, it isn't a video-focused camera. I don't know if Nikon has any more video focused DSLR camera. I had been shooting on some sony APS-C cameras (a6500 for 4K and a6000 for 1080p). Very detailed image for the 4K on the a6500, but it just isn't a user-friendly experience. And since you mentioned a C100 in your first post, I guess an a6500 would be going in
  12. My opinion is that if you are actually going to do this professionally (even as a side hustle to your stills business) you are going to need TWO video cameras. sure, you can do the things you mentioned with one camera, but having two cameras could make things easier or faster, and at the very least can save your backside when the client knocks over your tripod and breaks your camera and lens (been there, done that, got the insurance check). Did you budget for lighting yet?
  13. I didn't own that lens, but I thought it was supposed to be pretty decent from 28mm up to about 50mm, just not so good once you zoom in past 50mm.
  14. Please People!!!! Stop saying it is going to be a good lens. My wallet can't take the pressure!!! I was really thinking of picking up a used 20-60mm (they go for around $375 used) to put on a gimbal but now this Sigma lens is putting a damper in my camper.
  15. OK, so looking again at this, I noticed that actually I won't have to worry about the flip-out screen hitting the GIMBAL itself when panning / rotating / going in to selfie mode. So, that's a relief. The only time it might have an issue is if I mount an HDMI monitor on a side handle on the Weebill S.
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