Aquilasfx

If I use 4K longGOP 10bit in vlog- l internally, it will save the file as rec709 color space? It will save FULL or limited (video)?

I need to know in order to use properly DaVinci resolve color space transform. It ask me color space source and gamut source. Thanks

13 hours ago, Andrew Reid said:

I'd go for the same LUT on each, then minor adjustments to adjust by eye for each scene.

13 hours ago, Andrew Reid said:

I'd go for the same LUT on each, then minor adjustments to adjust by eye for each scene.

What about use on GH5 of x color space transform from v-log L to z-log. Then apply to another node to Z6 and to GH5 the same chart transform of xrite chips passport video and then slightly adjust?

is it a bad workflow?

I tried also to use cinematch, but it seems a costly tool that almost do the same thing. Don’t you think?

8 hours ago, kye said:

I've found one of the really important things in matching two cameras is to use a colour checker (under identical lighting conditions) and use the Hue vs Hue, Hue vs Sat, and Hue vs Lum curves to match up the colour patches from the colour checker.

If you haven't done that then it's worth a go, as often those curves take a match from being quite bad to really close.

I did it but it really suck... doesn’t  match properly..

Hello,
I’m on the way to produce an interview with my nikon Z6 attached to atomos ninja V and I I need to use a second camera as B-Roll. 
Actually I can use a Panasonic GH5
Or an old D800. Using D800 I can only record 8bit internally , and the file seems a bit softer)
Otherwise if nothing can help I could rent another nikon z6 or a nikon D850. 

What about matching Z6 and GH5 that I own? I have criteri color checker passport. I tried some times matching them but unfortunately it seems hard to match them..

In nikon Z6 I don’t want to use proresraw but I would prefear log 10bit. 
In DaVinci resolve I usually I set the color chart (in GH5 I set blog in input and rec709 in output, in Z6 file rec709 input and output) but they don’t match well. I usually register 10bit log on Z6 and same on GH5 10bit 155mb/s. Any suggestions to have a good and usable B-roll with matched colours? Using xrite color match passport seems to doesn't work very well...

@Andrew Reid Do you have any suggestion? thanks

8 minutes ago, Anaconda_ said:

Depends who they are, where you are, how you transfer the material, how much you've charged them already, what their budget is, how much extra you want, how much you'd like to work with them again and 100 other things.

I meant in percentage of the cost of the editing? Because I put in the cost estimation the fee of the editing, and that after the first modification included I will charge an extra 20%. I also put that for structural changes the cost has to be rearranged depending on the time spent. I don't want that they are asking eventually for the timeline for skipping to pay these extra costs... not only for changing captions.

Otherwise I could make a pre-comp prores timeline with only the music and eventually the srt file...

1 minute ago, Anaconda_ said:

Find out exactly what they want.

If they want a timeline where they can adjust cuts, then you also have to give them the source material. I personally would negotiate a fee for that.

In that case what would be a fair fee?

1 minute ago, Anaconda_ said:

Yeah. 

Did you have to make an srt to begin with? Captioning takes quite a bit of time, so if you're only making it as a second thought, let them do it.

If you have to make captions in one language anyway, then yeah, send them one they can edit.

Ok, I think they asked for an editable timeline for what I understood. I don't think they asked when they said "editable" for only the video with lossless codec as prores. Don't you think?

1 minute ago, Anaconda_ said:

Give them the edited version, in a format that will let them add the captions - ProRes instead of h264 for example. Let them work out the captions. I wouldn't make a project file for them.

So, basically an exported video in prores with an srt file that they can edit? Without giving the cutted timeline with transictions music ecc footage?

9 minutes ago, Anaconda_ said:

Is it just a straight up interview with not cuts or anything?

If you have edited the file with b-roll and music etc. I wouldn't give them the raw footage without negotiating a fee. If it's just a single interview clip, then why not just give it to them?

Unless otherwise specified I always give my clients a ProRes file of the final edit and a web friendly MP4. If they want to put captions on the Prores and then send it to their granny, I don't mind. They've paid for a product, the video, so give that to them.

 

Hello Anaconda,

I will shot 5 mins of internal use video (tutorial video that they are going to use by sending it to users of different countries for training). I will shot with 2 camera (one with a slider and one static), edited with music. They asked to an edited version of the video, probably because as I said, they would let different local teams of that client to modify captions by themselves.

Do you think that I could give only a pre-comp timeline with a srt over to be modified? Or I give the product without ask for this extra cost?

Hello,

I have a client that asked me an interview video, that is going to be used for internal use (promotional tutorial video sent by email to other clients).

Now the problem is that this client asked me to receive after we will make this video an editable copy of the edited video. Because they will want probably to use different captions for different languages.

Do you think that I have to charge for this?

Or I can give this editable file to them without charging?

Any other solution/suggestion?

Thanks

6 hours ago, Robert Collins said:

The advantage of the Edelkrone (through app and headone) and the ifootage Nano (app or on slider controls) is that they are 2 axis sliders with slide and pan. The Zeapon is just slide.

It has motion control

What about ZEAPON micro 2?

2 hours ago, Robert Collins said:

I had the edelkrone sliderone V1 (and headone V1). Typical Edelkrone build (and high price) but I didnt particularly like it. (Actually the first one I bought juddered but Edlekrone quickly replaced it.) It basically only works through the app and it was near impossible to set it to very long duration slides for timelapses.

A couple of months ago I bought the ifootage nano. It really is so much more intuitive and easy to use - you dont really need to use the app for standard slides - it considerably cheaper too. I wish I had had a chance to use it more but am Covid constrained. Gerald Undone has done a good youtube review of it.

Oh thanks. What about nano in vertical movements? Have you tried it?  How it works?

do you get the standard version or the bundle one with bag and batteries?

Hello,

I would like to buy a slider for my corporate job. I used in the past a ginball but I’m not a big fan of that tool, and after only a couple of time used, I sold it. It stayed almost all the time at home because it needed too much time to calibrate and most of the time not so usable. And for me that kind of movements are also too floating. For this reason I’m oriented to buy a small portable slider. 
What do you suggest for product and interviews (second camera)?

- motorised one

- or manual one?

I recently saw these too piece of gear:

- edelkrone sliderone V2

- ifootagegear shark nano

they are on the same price range.

What about your point of view, which system is more usable and fast to use?

Thanks

what about them instead?

/1

/2

/3

/4 

I am full of bags to put things inside, I want something small only for the audio wireless set.

no, only for storage transport to not stress too much the antennas. what about amazon basics case eva https://www.amazon.com/-/es/universal-AmazonBasics-dispositivos-electrónicos-accesorios/dp/B002VPE1QG/ref=sr_1_5?__mk_es_US=ÅMÅŽÕÑ&dchild=1&keywords=amazonbasics+eva+case&qid=1615032172&sr=8-5

?

Uhm I’m asking for something small only for TX, RX, mic, cables and zoom H5. 🙂

Hello, at the end I finally bought a super sennheiser G4 ew112p kit and I am very happy for the choice. What bag do you suggest to carry around these things?

I want something not plastic hard style like (hprc) because when I flight these things are too heavy to carry around. Anyone experiences with amazon basics bag, or other bags like orca-bags, tenba?

it seems sometimes that iron is a Sony ambassador for how it push hard toward Sony in every forum or YouTube video... and this is very strange..

12 hours ago, newfoundmass said:

It's fine to have a preference but Sennheiser G3/G4s are the most popular wireless systems I've seen here in the US and it's not even close.The only thing rental houses care about is having what people want, and what most people want are Sennheiser kits. I don't think they particularly care about the brand, their only concern is meeting the demand of their customers. 

@AquilasfxI don't think you'll have any problems going the Sennheiser route if that's what you choose. They're popular for a reason. They're extremely common in the industry, last for a long, long time (I know people who've had their G3s for 10 years) and are easy to get serviced. Once you're in a position to do so I recommend upgrading the mic to a Sanken or Countryman, which I'd also recommend you do with the Sony. The mics they come with, while decent, are kinda big and could be better. 

I'd steer clear of the Deity Wireless Connect as I've heard a lot of people who've had problems with them, particularly when it comes to drop outs. I'm not sure why they were suggested, given that's a pretty well known and widely reported issue.

 

 

Is it worth go for a g4 new ew112p for 490€ and eventually buy another mic or go straight to ew512 (that has included make-2) new (almost 1000€ new). Or take an used G3 ew112 (not easy to find under 350€/400€ with a good range of frequencies)...?

8 minutes ago, rdouthit said:

The Sony is better. Not just the transmitter/receiver but also the quality of the sound from the lavs they include. 

For what I have read from many comments all around the forums and video tests is the opposite...

1 hour ago, IronFilm said:

That's the same type of logic behind recommendations such as buying a new Sennheiser 416, or a Canon 5Dmk3. 

Both are a bad, or at least suboptimal, idea in 2021. 

I have read many comments all around and you are always commenting about Sony/sennheiser wireless lav  pushing strong all the time for Sony.. it seems that you are ambassador for Sony ;D

6 hours ago, IronFilm said:

That's a marginally small difference that feels worth it. 

If you have your heart set on Sennheiser, then don't buy a new G4, get a secondhand G3 instead. You're not missing out on anything when comparing the entry level G4 vs G3. 

Ok but what about frequencies?

*D21

1 hour ago, IronFilm said:

 

No way in hell would I want my talent wireless to be in those frequencies! Far far too close to the mega wattage (I jest... they're not quite that) RTs that hundreds of people are using all around me on sets. 

What frequencies would you suggest for europe? I know that in usa you have some problems with frequencies over 600mhz.

Here they sell: A1,  A 516-558 MHz, B (626 – 668 MHz), G (566 – 608 MHz)

The thing was that for SONY UWP D26 I have to spend 200eur more then the same G4 new set.... In Italy is not too sold that kind of set, and also for service Sennheiser is faster and there are many services center...

Ok, I think after research, to go for EW112P G4 A1 (470 – 516 MHz), that seems to work almost all around the world for now.

For now I can't find a deal for an used G3 or a decent price for a sony UWP D26. The G4 new has a better price in this period.