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Everything posted by EphraimP

  1. 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
  2. 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
  3. 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
  4. 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
  5. 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
  6. The micro HDMI on my Mavic 2 Pro broke as well. That one was user error on my part (I tried to plug the charger in the wrong way) but they are pretty fragile and break without much force. Luckily it was easy to swap out the board that the port is on at home. I'm not so sure it would be easy to replace a port on a camera. If you are using micro-HDMI ports on a camera, I think it's critical to use a cage and clamp, both to protect the cable and port and also to make sure you don't have the cable come loose during a shoot. I agree heartily that cameras that can't host an SDI or full-size HDM
  7. True, in terms of 10 bit vs 10 bit. When I read Llaasseerr's comment I saw ProRes. Missed the RAW part. I find that ProRes files are some much nicer to use on a long/complicated edit. Plus, you do get the bump from 420 to 422 and a bigger, brighter screen with pro monitoring tools like false color, monitoring luts and desqueezing anamorphic footage.
  8. If IBIS isn't a must, I second the notion of getting an X-T3, especially used. It's a great camera. I use mine all the time in combination with my T4, and the latest firmware beefs it up to close to X-T4 performance. The T3 is a better video camera than the H1, even though the H1 was supposed to be their top range APS-C body. Unfortunately, I'm seeing the T3 body only for just over a grand, so it'd be a bit more for a lens, the 18-55 F2.6/4 being an excellent everyday zoom for video with stabilization.
  9. That's a very good idea. I'll have to talk to the client about whether this works for the project, but it would solve the problem and help bring context to some of the pieces we're going to use.
  10. Their expectations about the color grade, that's a good one. The more I think about it, the more I realize I'm beating myself up over nothing. This client is currently having me edit short videos sent in by authors and musicians on random phones and cameras in random resolutions (lots of 720p, even 960 X 540 or 568 x 320 for crying out loud, in a 1080 timeline). Some of the video landscape, some is portrait. Half is shot way too dark so the noise is insane. They don't notice, or don't seem to care. Their pain threshold for video quality is really high. Mine isn't. That's why I w
  11. Good points. I think you are right about getting over the technical details. I know what they think is acceptable is way below my personal standard, so I really shouldn't worry so much.
  12. I'm starting on a new video project for a client making a 60-Minutes style piece that will include outtakes from several old videos that various people have edited at different times. I would of course prefer to working with all original camera files and NLE project files, but this isn't going to be possible. So I'll be forced to cut sequences from videos that were already rendered for YouTube mostly. In one case I'm in contact with the previous editor. I may be able to get him to rerender his video in a beefier codec, so I don't loose as much quality on the re-render. Is it worth it to ask
  13. I have my T4 programed the same, with the front bottom below the shutter button and dial programmed to switch between IBIS mode. If I remember mode I have turned on when I start to shoot it's great. My 18-55 F2.8/4 lives on it, so that's about 27-82 mm with added IOS stabilization.
  14. Exactly. It says so in the menu system. I think some people didn't figure that out at first and thought that boost mode would make their moving shots even smoother than normal mode, so go that terrible jerky movement instead.
  15. I've been shooting on an X-T4 with IBIS a fair bit, and think I've figured out how you are supposed to use it. The X-T4 ISIB warp is only really bad if you are using Boost mode and moving the camera. If you turn boost off, you can do more of a pan or a title moving the camera on one axis. It's good to hear that the S3's IBIS is good. It's probably like the T4 in non-Boost mode, I would guess. I should get together with my buddy who shoots on the S3 and do some side-by-side tests. We'll see if that happens.
  16. A buddy of mine who shoots Sony emailed about this camera talking about how I'm going to be into it for a cine camera and how far ahead Sony is going to be than everybody else. NOPE! This form factor for a "cinema" camera is a big nope for me. At least the C70 is big enough to include a lot of function buttons and (mini)xlr inputs right on the body. And it has built-in NDs. Putting a pre-amp several inches above the body and out over the lens? Yeah, that's going to help stabilize my footage. I'm not a big fan of mounting recorders like the MixPre 3 or pre-amps under a camera, but it
  17. That's interesting. My issues isn't with soldering itself so much, though I'm sure I could get much better at it. It's with electronics in general. To whit, I can't read a wiring diagram anymore than I could Dostoevsky in Russian. And I'm a very visual learner when it comes to things like that. So watching a video that shows where to solder each wire to the appropriate lead or whatever is much easier for me to get than a diagram and set of instructions. It's all about the Monkey see, Monkey do.
  18. Have you thought about making a video on how you did this? Palle Schultze made video about drilling and milling a wooden side handle to fit a button, but didn't get into the wiring at all. That was a bummer for someone like me who is pretty clueless about wiring but owns a soldering iron and is willing to learn.
  19. Thanks for the feedback, however it's just a bit late For some reason Emanuel kicked up an old thread from January of last year. I pulled the trigger on a custom machine in February. I'm typing on it right now. Ryzen 9 3950X on a Gigabyte X570 AORUS Ultra with 64 gigs of ram and 3 NVMe ssds (500G C drive, 2TB media drive and 500G scratch drive). I'm pretty happy with it, though I'm sure I could do some tweaks to it to increase performance.
  20. If that's case, you should probably just read up on it, watch a bunch of the tutorial videos and see how the buttons are used, and, if you can, program midi controller with the same functions. Or, if you have a Stream Deck you could probably do the same thing. In my case, I do have an XL Stream Deck, so I'm guessing I could probably set it up to do virtually the same things as the Speed Editor. On the other hand, the Speed Editor is mainly programed to the new Cut Page and doesn't have as much functionality on the Edit Page. I think I may end up programing my Stream Deck to compliment the
  21. It's been almost a month since I placed my order, and it's still on backorder at B&H. And the sale is still going. So anyone would be silly to buy a Resolve license without the Speed Editor right now, unless they were getting a steep discount. And, don't hold your breath for getting one. If there are Speed Editors on eBay or other resellers, BTM_Pix is spot on about that being a better way to go in getting it if you don't want/need a license.
  22. I've been kicking over the idea of picking up a color meter for quite a while. Most of my filming is outdoor run and gun with natural light, so a color meter or even a regular light meter isn't essential. However, I do shoot a bit of lit indoor interview footage or live show/concert scenes with difficult or mixed light situations. Something like a Sekonic c700 or 800 seems pretty price for what I'm doing at the moment. And old studio photographer I know lent me a old Minolta flash color meter, which should give me basic color temp measurements and plus green/magenta values, which is all I'm re
  23. Ok, ya'll convinced me to pull the trigger. I have an Resolve activation card and speed editor on the way... whenever B&H gets them in stock, anyway. Looks like 2021 will, among other huge video related changes for me, will be the year of Resolve. I don't imaging I'll entirely ditch Adobe, but it's more than time to learn a new NLE/workflow.
  24. Yeah, I think you're right. The ability to have two instances loaded on computers at one time is attractive. How does it do for team projects. I'm a one-man band, but it's getting to the point where I may want editing help on some projects just to keep up with the work I'm getting. Mainly, I might want to get someone sorting clips for me, weeding out footage I don't need, marking in and out points on b-roll and marking up interview footage so I can quickly go through it and cut something together. Can someone with a free version start a project and do this sort of stuff and then hand it over t
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