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EphraimP

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About EphraimP

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  • My cameras and kit
    X-T3, X-T4, Ninja Vs, Mavic 2 Pro, waaay too much other stuff, and counting

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  1. EphraimP

    DJI PFV Drone

    Ugh. You should warn a guy before you link to a Peter McKinnon video.
  2. Fair, I missed that. I'm not saying we can't compare different cameras. My point was that it's pretty subjective to list one or two points and say that one camera is definitely better than the other because of only those points. Yeah, I think the Sony variable END is an amazing feature and I wish Canon had it. On the other hand, the Dual Gain sensor means the C70 is batting at full frame levels when in comes to noise, even before adding on the speedbooster and gaining a stop of light -- but not in all modes and all ISO, which Canon will hopefully improve in future models. I think that's p
  3. Ha! Curtis Judd has the flattest affect ever. I mean, some of his videos are very helpful and all, but that dude is speaks in middle grey. You and me both! But if you can't afford an audio guy, you gotta be the audio guy. And if you take this stuff seriously at all, you quickly learn just how important audio is.
  4. I'm with you. I think reliable autofocus is key to shooting on a singlehanded gimbal, unless you're locking the focus and maintaining the right distance from your subject. Of course, I'm not the best gimbal operator and prefer handheld shooting. I personally don't think pulling focus with a wireless system on a single handed gimbal is all that great an idea for a single shooter. If I were doing a lot of gimbal shooting and wanted to pull focus for myself, I'd probably build out my Ronin-S, or an S2, with a ring grip and Easy Rig type backpack stabilizer or the Tilta Float -- basically a s
  5. I'm not a C70 or FX6 shooter, but I gotta say, nothing new here. Yes, the Sony leads in low light/low light AF and the electronic ND. But, as has been discussed on YouTube and on this site and others endlessly, and in the video itself, there are other factors to consider, including ergonomics, noise, dynamic range, timecode availability, xlr port placement, etc. In the end, as with most near competitors, the whether one camera is "better" than the other based on an individual shooter's workflow, experience with a brand's ecosystem, shooting style and the lenses and other gear they already own.
  6. While you can definitely rig the nano to work on a gimbal. I wouldn't put too much faith in the unit itself. It's more -sumer than pro. I've had so many issues with it that I hesitate to use it on paid gigs, especially high pressure situations.
  7. You're right about the additional powering solution. Fixed on a tripod indoors for something like a livestream or studio shoot, it's no problem to run it off mains power with the included power adaptor. For mobile shoots, you can turn that particular lemon into lemonade by using a V-mount battery or an NP-F battery with USB and DC outlets to also power you camera (with a dummy battery or a USB-C cable) and even another accessory. I have one rig built up with mini-cine style with a V-mount and two of the super cheap Powerextra 48 Wh batteries for my more minimalistic setup and they work great.
  8. I'm not sure why you couldn't have flown your X-T3 on the Ronin S and done everything that the a6500 did, aside from perhaps a difference in AF in some situations. The Fujis are certainly going to give you better AF than the S5, and the latest firmware increases the AF to X-T4 levels.
  9. Dang, that would make at least for of us on this board. I'm kinda shocked. It's a pretty small place, taken from a global perspective. You can probably find/rent a Ninja V pretty easy up in PDX. I've got two down here in Eugene. If you were close enough to make it worth while, I'd let you play with one for a few hours to see if it is something you'd be interested in using and/or rent you one when you needed it. I use them with Fuji X-Ts and definitely appreciate all the pro features they add to the camera, plus the much bigger screen to monitor and capturing in ProRes.
  10. I'd say that's a bit of an overstatement. You may not need any of this year's new offerings, or last years. But you have no idea what other professionals are shooting on, or what equipment will make their jobs easier or what will help them book more jobs or sell more productions or help them boost their rates. If you don't like the way the market's trending, awesome! Vote with your wallet. I won't be getting an FX3, or a A7SIII for that matter, or an FX6, a Pocket 6K Pro, or an R5 or an R6. But I'm not going to pretend that just because these cameras, or Panasonics offerings or any number
  11. Yeah, I'm over Matti and Peter and that whole crew of YouTube influencers with their increasingly worthless camera "reviews" and their endless blogs about their hipster lifestyles. Back in the day they actually posted useful videos about shooting and editing techniques, plus their shtick was new and interesting at that point and not totally played out. 0f course, I've come to learn that some of their tips, like how to conform 60p footage to a 23.976 timeline were ass backwards and causing problems with a proxy workflow. Gerald Undone, on the hand, is still pretty good on his reviews. I d
  12. 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
  13. I've been running a machine with a similar spec for a year or so, 3950X with 64G ram and a card upgrade to a 2080 Super. No experience with the S5/S1H though. I do edit H.265 files from an M2P and H.265 files from X-T3s and T4s, which are both 10-bit 420. Doing simple edits to a few clips is fine, but I find the machine gets cranky if I am really layering the H.265 files and doing color grades plus heavy effects live warp stabilizing. I agree with @fuzzynormal that proxy editing is the way to go. It's pretty simple and quick to load your batch of files into your Premiere project and then batch
  14. 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 talkin
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