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Mark Romero 2

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Posts posted by Mark Romero 2

  1. 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 😞 

  2. 8 minutes ago, LloydPDX said:

    True observations about gear lifetimes, I think. Good mics can last a career, and beyond, as can lenses. My 2008-released Panasonic HPX170, bought used, has great features and taught me lots about video. As problematic as the sensor limitations/ image quality look now, I’m loathe to sell it. But I won’t use it for any client work, so it’s time to move to better image quality with good features, on a used, new-to-me camera. Which I’ll probably squeeze every last pixel out of, too.

    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.

  3. 19 hours ago, LloydPDX said:

    Thanks. Yeah, the 10 bit 422 of the GH5/S cameras is a big plus. Moreso than trying to keep it in the Nikon family. Even the Z series is lacking in the in-camera codec. And for now I do want to keep it in camera. I haven’t looked at the s1, primarily because it’s another FF camera, and max sensor size isn’t my preference right now. I’ll take advantage of my 850 as best I can, of course, because I already have it, but overall size with lenses is a factor...for what I’m currently doing. And to be clear, I bought the 850 specifically for its  still resolution while also knowing that Nikon isn’t known for leading in the video department ... because that feature wasn’t significant to me at the time.

    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 though.

    Be warned that a camera like the GH5 will have 108 different video parameters that you will want to adjust to your preference. Setting up my Panasonic S1 took a couple of hours, and in the middle of shoots I find myself cursing out loud and wondering why I didn't set parameter X to a custom function button / quick menu / my menu and have to dig in through the main menu to change it.

  4. 14 hours ago, kye said:

    People seem to have very strange and often illogical ideas when talking about investing in equipment, but I'd suggest that a camera body is one of the investments that lasts the least amount of time, with people often re-buying their camera body every few years, when things like lenses can last many body upgrades, external recorders last until the next resolution bump,  audio equipment can last until your quality expectations are no longer met, and lighting basically lasts forever.  Oh, and none of that makes basically any return-on-investment compared to educating yourself and making better content.

    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 painting in watercolors as a profession 😱

  5. 11 minutes ago, LloydPDX said:

    My thinking is to add one of the cameras I’m considering as a primary, with my 850 and LX100 as potential b-cams or backups for now, or renting a second cam as needed. This would evolve with time.
    I’ve picked up some bargain second hand kino-type lights (Lowel) and have a couple LED ac/dc monolights with modifiers.

    Audio of course is significant too. I got into sound-for-picture before video though, and I have some good kit already.


    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 the OPPOSITE direction of where you want to go 😞

    The only other thing I can really add that might be helpful is that (personally) I am really thankful for the 10-bit color on my Panasonic S1 because i shoot in situations where it is all ambient lighting and I have to work with mixed lighting. So I am able to do more color correction with that 10-bit footage than I was ever able to do with the 8-bit footage coming out of my Sony cameras.

  6. 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?

  7. 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. 

  8. 21 hours ago, Trek of Joy said:

    Makes sense, I try not to speak in absolutes because everyone has such different shooting scenarios where issues may arise that I'll never see. I guess the best solution is one of the standard single handle gimbals instead of the Weebill's design, time for a RS2 LOL!

    Well... maybe not an RS2, but I might go for a Crane 2... either the original old-school Crane 2, or the new Crane 2 S.

    The one thing I liked about my a6500 is that I could use it on my original Crane 1 and put on these dual handles and use it in inverted mode, where it was much easier to use. With the Weebill S I can't really do that.

  9. 1 hour ago, EphraimP said:

    Belt and suspenders baby, belt and suspenders. I definitely use lavs. Whenever possible I use a shotgun as well.

    If we're not too far from vehicles and doing a formal interview, I have boom a shotgun over talent from a c-stand or light stand. I've drafted people who are part of the group I'm interviewing but not being interviewed at the moment to hold the boom, under the camera's site line. It's almost guaranteed that they'll move the boom up into the frame of the wide angel at some point, but I typically shoot in 4K for a 1080 timeline. I've even held the boom myself once or twice, while running cameras and directing the interview; that's a pain in the ass.

    If we're doing a moving interview or I'm filming people in their natural habitat, as it were, I'll run a lav on talent and an on camera shotgun. In these situations the lav is usually the best sound, but it never hurts to have multiple tracks to choose from.

    The biggest problem I have with booms in the field isn't usually how to get it over/under talent, it's wind noise or other atmospheric noise like highway traffic or river noise.  This winter I finally got a Rycote blimp. It's supposedly for Rhode mics, but of course it fits my Deity S2 perfectly. 

    Thanks so much for the reply (and thanks everyone for letting me go off topic). Yeah, definitely redundancy. Thanks again.

  10. On 2/19/2021 at 1:02 PM, EphraimP said:

    There are lots of interview situations that don't call for a chair, or where one isn't even possible. I, for instance, shoot mainly doc-style pieces for environmental nonprofits as a solo shooter, which means 70-85 percent of my works happens outdoors, in the field. Thus, standing interviews are a must almost all the time for me.

    And even if you tell someone to stand on a mark and not move their body too much, most of them are going to move in some way or another as you get deep into the interview, especially if you get them comfortable with the camera and really into what they are talking about. And if possible, I'm running two cameras in these interviews, so I can cut between different angles to add interest to the piece and hide cuts that would be obvious I only had one camera angle.

    Off Topic: I'm interested in what you are doing for audio for those types of interviews. I am guessing it would have to be a lav mic then???

  11. 7 hours ago, gt3rs said:

    On Ronin S you can disable selfie mode etc... I did it to avoid these mistakes not sure if it can be done on weebill s...

    Thanks, I will see if it can lock it somehow. The only issue is that I do NEED the ability to double tap the trigger to get the camera back to straight and level.

  12. Thanks for sharing your experience with this, @Trek of Joy @gt3rs @scotchtape @UncleBobsPhotography

    I think with my weebill S the main problem would be if I accidentally press the function button three times in a row (instead of two times) which puts the gimbal in to selfie mode. So maybe spinning around the camera would cause the LCD to crash in to the extension handle .

    My weebill s is a bit temperamental in that it when I want to click the function button twice (to bring the camera back to straight and level), it ends up acting like I clicked it three times.

  13. On 2/17/2021 at 6:43 PM, IronFilm said:

    Ouch! I used to shoot with an a5100 (over heating SUUUUUUUUCKED!

    Just wait for a really cool day, and you can get a good... five or six minutes out of it before the tripod head starts melting. 

  14. 4 hours ago, crevice said:

    Last I checked the C70 has a 16 stop DGO sensor found in a $10k cinema camera.

    Are there any real scientific tests of the actual DR of the C70? If so, can you link to them? 

    Gerald Undone used a Xyla chart and came up with 13 stops of DR, which put it pretty much in line with an a7S 3 or a Panasonic S1 / S1H / S5.

    I am truly hoping that it is NOT 16 Stops of DR because I really don't want to spend all that money for one.


  15. 10 hours ago, newfoundmass said:

    Things like eND, internal ProRes (even if not Raw), proxy recording (especially if they go with 8K), and other higher end features need to be seriously considered. And it needs to be competitively priced.

    I don't know if you watched the video by Photo Joseph where he interviews Matt Frazer from Panasonic but the issue with a built in neutral density filter is that they would have to take out the mechanical shutter to make room for it (if they wanted to continue using the same lens mount). So, if they made a camera with a build in ND, they would need to have electronic-shutter only. Now, that might not be a bad thing, but I am guessing the sensor would require very fast read speeds.

    Here's a link to the interview. Worth watching if you are interested in the full frame cameras.


    10 hours ago, newfoundmass said:

    Panasonic lenses are still very expensive compared to their Sony equivalents

    If we are comparing first-party lenses (i.e., Actual Sony-brand lenses to actual Panasonic-brand lenses) aren't they more-or-less the same price about now? For example, I think there is only a $100 difference between the cost of the 24-105 f/4 lenses (and if you can live with the AF woes, the Lumix lens is MUCH better for video than the Sony lens, and has 1:2 macro to boot). Panasonic 85mm f/1.8 is $50 more than Sony version. The Panasonic 24-70 f/2.8 is about $100 more than the Sony version. 

    Yes, the Panny 16-35 f/4 is $250 more than the Sony equivalent. (about $1,500 vs about $1,250... pardon my America-centric prices, everyone not in the US of A)

    I guess the biggest savings though is that 1) There are enough second-hand Sony lenses on the used market to reduce the price by around third off the new price if one doesn't mind buying a used lens, and 2) there are a boatload of third-party lenses at less expensive prices available for Sony.

    10 hours ago, newfoundmass said:

    and Panasonic's stubbornness when it comes to AF in my opinion has become a serious detriment to the brand at this point.

    Agreed. I am sad that my seven-year-old a6000 (bought second hand for $300) and $100 kit lens focuses better than my S1 and 24-105 f/4 do. Heck, my a5100 that I bought off craigs list for $125 has better AF than my S1 😞

    10 hours ago, newfoundmass said:

    As much as I hate to admit it, the influencers have influenced people into making it into THE selling point and it's impossible to ignore how many people, from larger to smaller YouTubers, have left Panasonic. It's pretty much the first thing people tell me they want more when asking for camera recommendations. As much as it shouldn't, that stuff matters a lot now. 

    Well... true. Part of that has been Sony's "fault" since they had to really do something to catch up to Canon and Nikon. 

    On the other hand, when a Panasonic lens DOES focus, it has one of the most beautiful transitions in to focus one can imagine. Meaning, it is slow but smooth, while I find Sony AF fast but jarring. Probably a lot of that has to do with the amount of focus breathing I have seen on most Sony lenses, plus it appears to my eyes that the AF on Panasonic lenses tends to ease in to focus.

    10 hours ago, newfoundmass said:

    I'm watching for developments and already looking at plan b myself. Plan b is just trying to decide between Sony and Fuji, though the unlimited recording with Sony makes it the favorite which doesn't make me very happy.

    If the a7 IV comes out and the only thing it offered (above the a7 III) was 10-bit 4:2:2 4K at 30p and 60p, I would probably switch from Panny to Sony and not really regret it. 

  16. 7 hours ago, Origami101 said:

    What irritates me is there's no business case for the L mount, at least not for Panasonic. Assaulting Canon, Nikon, and Sony where they're strongest is simply foolish. To succeed, the S series cameras would have to not just be better but dramatically better, and they're not.

    The Af is substandard compared to other cameras, no doubt about that. And full frame is indeed where the other competitors are headed.

    But for hybrid shooting, the S-Series of cameras are really good.

    I am really impressed by VLOG at ISO 4000. 

    The S1H has 6K internal, and that is coming to the S1 in the next firmware update (this spring?!?!?!)

    The Panasonic lenses (although there aren't that many of them) are great for shooting video (as long as you get things in focus). Minimal focus breathing, near parfocal performance on the zooms, linear focus, adjustable amount of focus throw. 

    Maybe no one cares about that but people like me. Which is a way of saying, yes, the full frame cameras need to be significantly better to grab a larger part of the market.

    The thing is, for m43 (and for Panasonic in particular), they really are only missing:

    1) Great AF

    2) Better Low-light / high iso

    3) Better dynamic range / lattitude

    4) More AI features???

    5) 6K internal?

    6) ProRes Raw over HDMI

    So they are going to be dependent on what Sony or any other chip fabricator comes up with. (An m43 sensor with dual gain optimization like the Canon C70 has would be great and would take care of #2 and #3 above).

  17. 3 hours ago, thehebrewhammer said:

    I think they'll be doing documentary work in the far north. Likely pretty rough on gear.

    I don't think they need 4k, but they seem to want it. At this price the options are pretty interesting for 1080 cameras - including even something like a c100.

    I don't think they will rely on AF.

    Regarding your sound points, I have to admit I've never been great at sound. I was thinking of getting them a Deity V3 and calling it a day, just so they can start with something better than in-camera sound.

    Hopefully @IronFilm will chime in on the audio side of things.

    But yeah, if you just want to get them ONE mic / something simple, then getting a shotgun mic might be ok to start them out. They will have to learn when to use it on camera (when vlogging, mostly), when to boom it (and how to boom it), and when to unplug it and just rely on the camera's in-body mics. 

    Personal Hall of Shame Moment: I once tried to record a concert with a shotgun mic. It was not pretty.

  18. What exactly are they going to be filming?

    Do they need 4K?

    How important will AF be?

    Are you sure a shotgun mic is going to be the right choice for them? (Either they will need to be vlogging with the camera at arm's length, or they will need the shotgun mic to be boomed within 2 feet of the person talking). Maybe a lav mic (or several lav mics) will work better for their needs.

    BTW: I find that INDOORS I have better luck recording decent audio using a Cardioid / Hyper-Cardioid mic than a shotgun mic (again, boomed over talent). Outdoors, the other way around.

  19. To anyone who has experience using Flip-Out screen cameras on a gimbal, do you actually flip the screen out and use it for things like touch focus and to adjust settings?

    Or does using it on a gimbal necessitate that you keep the screen in against the body?

    Thinking of getting an S5 to use on my Weebill S, but have concerns about the LCD screen banging in to the motors, or sticking out to far to the side that it becomes hard to balance the roll access.

    Since I normally shoot closer to waist-level height, rather than eye-level height, and since the S5 doesn't have a top LED display, would be difficult to see the settings as well.

    Thanks in advance.

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