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Mark Romero 2

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Everything posted by Mark Romero 2

  1. Hmmm... Could be... I might have to retry this. I usually drop my 4K clips on to a 1080p timeline in resolve... I wonder if I should just use resolves feature to automatically adjust the timeline to match with the clip?
  2. Thanks for the suggestion. I will have to do some tests when i have a free afternoon. Too busy this week with photo shoots (which is good, just need to get some filming done too).
  3. Thank you for the very detailed list of suggestions. I had about four shoots over the last few days so haven't had a chance to try and implement them. But I wanted to say thank you and will let you know how they work out for me. Thanks.
  4. 10-18 f/4. I didn't have any ND filters for it.
  5. Thanks, but I hope someone could maybe explain WHY there is that jitter? I know that may sound like a dumb question, but I would expect to see blur (or rolling shutter). I've seen people do fast pans with the a6300 / a6500 to demonstrate the rolling shutter, but when they do, I don't see that jittery effect. Just blur and rolling shutter. I ain't no engineer but it would seem to me that using a faster fps would make for MORE jitter... Anyway, thanks again. Maybe I am just not seeing the same thing you guys are seeing.
  6. Thanks for the input. I can always try 30fps, but I guess I thought I would see more blur and less of the almost "stop and go" motion.
  7. Firstly, sorry if this is supposed to go in the Shooting sub-forum and not here. But since it is (kind of) an equipment question, thought it might belong in the main forum. I tend to get jittery pans with my Sony cameras (currently have an a6500, formerly had an a6300). Notice as the camera pans left: https://youtu.be/YUNFNs9e_E0?t=1m42s I am using the a6500 on a Zhiyun crane. Because I didn't have an ND filter for this lens, I am stopped down to f/11, shooting at 24fps (23.98), and 1/50th shutter speed. It doesn't look like rolling shutter to me. It just looks like I am panning in "steps." There are a couple of other areas in that video where it looks jittery to me as well. The original footage looks jittery, as does the optimized footage once I upload to resolve. Any thoughts on what is causing this??? Thanks in advance.
  8. Anyone here ever try any of these: https://www.adorama.com/fplcl1144r.html Or at least, do you know who the original manufacture is? (Yongnuo? Godox?) It looks like it has a hole in the center of the disk for an umbrella shaft. Not perfect, but might be good for my needs. EDIT: Just realized they only have a CRI of 83
  9. Darn... it looks like the PixaPro would be great but I am looking for something for a shoot next Thursday and don't think it would arrive in time.
  10. Darn... It looks like the PixaPros are available in the UK but not here in the States??? Thanks for the suggestion. Do you have a link to the mod?
  11. Thanks for the recommendation and the link to the Ugly McGregor's review. Appreciate it. Good to know, and thanks for spelling out the brightness comparisons. It seems so much harder to find brightness comparisons for LED / Constant lights than when compared to strobes.
  12. Thanks again. Unfortunately, it is too late for me to edit my post... I guess their is a time limit to how long you can edit it, so I can't correct the spelling.
  13. Thanks so much! I appreciate the input and the correct spelling. Say I have a budget of US $300. Would you still suggest the Godox SL-60W? Or a different light?
  14. Looking for a key light that is (not surprisingly) good and affordable and would (preferably) have a bowens mount so that I can use the same bowens mount accessories that I use with my strobe lights. Mostly an octabox or a rectangular 36" softbox. I know that Aperture is supposed to make some good ones, but they seem to start around $600 or so. Definitely would prefer something a little more budget friendly. Say, under $300 Mostly to be used in interview settings (real estate agent interviews, corporate interviews, author interviews). I already have a couple of (don't laugh / choke) Yongnuo light panels that are supposed to have a CRI of 95. Unfortunately, since they are panels, it is a bit harder to modify them. And they aren't all that powerful. I could use them for fill or hair light possibly though. Thanks in advance.
  15. Thanks for the link!!! Yeah, a very interesting read for us "color nerds." I really liked the insights in the varicam review on how Arri color science handles highlight saturation compared to Panasonic and Sony. (The rolloff of my a6500 has been bugging me lately and I think that article has pointed me in the right direction in terms of grading my Sony footage.)
  16. I don't know the exact shot details, but flying a drone at twilight, without running lights, in a crowded urban environment, wit all sorts of electrical interference, and the possibility of losing signal if the drone gets out of line of sight, by someone who has never flown a drone (and I assume you don't study FAA sectional charts for fun) is literally BEGGING for disaster. I think if you bought insurance through verifly to try and mitigate damages, they would probably roll on you once they realized what you were doing, too. The FAA doesn't seem to catch a LOT of people flying drones illegally, but they do throw some hefty fines at the people they do catch. Fortunately for those who are fined, the FAA has been known to settle out of court for about 10%, so if one were to be caught, they would be looking at fines of about $1,000 to about $5,000.* https://motherboard.vice.com/en_us/article/xyga8a/faa-drone-fines *That article mentions the SkyPan case, where the FAA originally proposed a fine of $1.8 Million. The FAA and SkyPan apparently settled on a fine of $200,000 https://www.faa.gov/news/press_releases/news_story.cfm?newsId=21374
  17. Just remember that flying over moving vehicles or over uncovered people as seen in the videos you linked to is illegal (if you don't have a waiver from the FAA).
  18. OK, maybe I am stupid or something, but... Why does canon need a full frame mirrorless anyway??? I shoot Sony (a6500) and really the fact that it is mirrorless is pretty unimportant to me. If Canon came out with a new 80D MK II that had good 4K resolution like the a6500 or the GH5 and good low light performance and that sweet dual-pixel AF and a nice h.264 codec, I would probably sell my Sony gear and buy it. IDK.
  19. Anyone used two obviously NOT matched cameras / grades in an interview style (or something kind of similar?) I have a few small jobs that I am doing gratis for some friends of mine with some talking head stuff (both indoors and out) and I was thinking of using my Sony a6500 on my crane gimbal and my D750 on a motorized slider. (I will also have some B Roll from one of the local beaches, since one person is an ocean kayaker and the other person is a landscape photographer). I don't have much faith in myself at being able to grade the 4K footage of the a6300 (going to put it on a 1080p timeline) to match with the 1080p footage of the D750, even though I have EOS Pro Color profile for my a6500. Anyway, if you have some samples of not matched footage that works, would love to see it. Or if you have done interviews with one cam on a gimbal and one on a slider, would love to see that for inspiration, too. Thanks in advance.
  20. Are we allowed to post videos we made in the forum for (hopefully) constructive criticism?
  21. Well... too make things even MORE complicated, the inspire 2 is capable of mounting many different cameras. So it might have a good camera or a really good camera!!! Also, kind of depends on which version of the Phantom 4 your other friend has. The phantom 4 pro (often called a P4P) and the Phantom 4 Advanced (called a P4A) have one-inch sensors and variable apertures. I think the Phantom 4 Standard has a smaller sensor with a fixed aperture. Personally, i like the footage I have seen from the Phantom 4 Pro and Phantom 4 Advanced. I am not familiar enough with the different camera options on the inspire to say if they are better (I suspect they are because I know that the inspire can have a m43 sensor camera outfitted to it.) The Mavic and Spark have lesser cameras than the Phantom 4 Pro or Advanced, and lesser than the inspire. The googles are NOT supposed to be used by the drone pilot. But they might be helpful for YOU if you will be able to instruct the pilot (move to the left, ok lower, go forward, etc.,) The pilot is required to maintain line of sight (meaning, looking at the drone at all times). I would agree with Salim above that an inspire with an m43 camera would be great. But again, a P4P or a P4A might do the job... But I hope others will chime in.
  22. Definitely a jib for indoors shots. I have a drone pilots license (technically, a 107 Airman's Certificate for sUAS). In general, for a rooftop shot, you can fly up to 400 feet ABOVE the structure you are inspecting / working from. But there are all sorts of rules and regulations; 1) Controlled airspace. Are you flying in airspace that is controlled by air traffic control? (Usually airspace near civilian airports is controlled and you need permission from the FAA to fly in that airspace.) 2) Is it restricted airspace? Flying near military bases, certain government buildings, or even national parks has flying restrictions, as does flying near jails. 3) Flying over people: Unless they are part of the DRONE CREW (like a visual spotter or the remote pilot in command), then you are not supposed to fly over them without getting a waiver from the FAA. This means you can't fly over people even if they are your actors. (You can fly over a person in a car, but only if that car is NOT moving and it has a roof that is closed. You cannot fly over a moving vehicle. You will need a waiver to fly over actors out in the open or in moving vehicles. Good luck with that.) 4) The person in charge of the operation will need either an FAA 107 license are an FAA 333 exemption. This is a COMMERCIAL operation. A commercial operating is ANYTHING other than pure hobby / recreational enjoyment. Think of it this way: If you flew over your home to see whether you needed to clean the roof gutters of your house, that we be a commercial operation (even if you plan on cleaning them yourself). If, on the other hand, you cleaned the roof gutters first, and then afterwards flew your drone above your house to admire the awesome job you did cleaning the gutters (because it makes you feel good), then that is a NON-commercial use, and you would not need a drone pilots license. These are just the FEDERAL regulations. The feds control the airspace. Your local town, county or state can control WHERE YOU CAN STAND when you fly your drone. Some cities allow you to fly while standing on private property WHEN YOU HAVE WRITTEN PERMISSION from the owner. So in short, if you want to fly LEGALLY, then you should hire a pilot with a 107 certificate or a 333 exemption and make him responsible for doing all the research on federal and local restrictions. BTW: Flying at night is illegal. You can fly up to 1/2 hour after sunset and up to 1/2 hour before dawn if the drone is equipped with appropriate running lights.
  23. It would probably help us if you explained what type of stills and what type of video you do. Also if you could clarify a few things you said: What does that mean exactly? What sort of work did you find yourself having to do with the GH5 that you didn't have to do with the gx85? How would the a7r2 be a compromise on stills? It is one of the best stills cameras around, as far as I know. How much of your income is derived from stills? How much from video? It sounds to me like maybe the new Sony a7r III MIGHT give you a good compromise of stills quality, video quality, less weight. But it is hard to say without knowing what you shoot day to day. I want to believe that whatever Nikon comes out with will be great, but I am not willing to bet the farm on it. Will they be able to source sensors with great on-sensor AF performance? And if so, what lenses do they have that will work WELL with it? As far as I know, most Nikon lenses are REALLY BAD with on-sensor CDAF, and I would wager that they wouldn't work well (or at all) with any future sensor-based AF technology. My guess was that the new P lenses are designed with an eye on working with any future LiveView AF, but P lenses are few and far between, as far as I can tell. Have you considered how much money you might be leaving on the table by NOT going with two separate cameras / two separate systems and waiting for something that may or may not come?
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