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EphraimP

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Everything posted by EphraimP

  1. I usually shoot unscripted doc-style interviews, but there have been times I've shot non-narrative scripted content, with non-professional talent either trying to memorize their lines or reading large cue cards held next to or right below camera. I have never been happy with those shoots, so usually steer clients to the doc-style approach even if they have clear messaging points and calls to action they want to get across. I have a two shoots coming up for an investigative report style project that are complete scripted with non-actors. The client wants to rent a teleprompter and because we'll be shooting direct-to-camera I think it's way to go. I could just rent one two times, but I have a friend who also runs a small production company who rents a teleprompter about 5-6 per year. So, if I buy one now instead of renting twice, I can put the clients rental fee towards the purchase and rent to my buddy to help make the thing pay for itself. With those considerations, I think the ikan Elite pricepoint is about right and I see that it's rented out by rental houses in the US, so it must be of reasonable quality. Does anyone here have experience using it or a similar price point unit (~$650-700 US).
  2. Yeah, no problem matching the two. Same sensor. It's more about the potential difference in color rendering if you are using third party lenses on one camera and native Fuji on the other. It's still not a huge problem to match them as long as you shoot a color chart to help you. I got a T4 to go with my T3. I'm glad I did. The IBIS isn't perfect, but if you learn how to use it properly, it does help. That's really the biggest difference besides battery life and the small size difference, on paper, since they upgraded the T3's autofocus via firmware. I've not done a side-by-side comparison to see if there are any differences. The extended battery life can be clutch, too.
  3. EphraimP

    V5 - Any ETA?

    The F250 with the V8 7.3L Powerstroke is a hell of a truck. Extra cab, not the crew, full-sized bed.
  4. I'm interested in how you would plan to download/access this bigtime YouTuber's video to edit a clip that is usable, considering YT image killing compression.
  5. Plus one on the 18-55. It's not super fast but it's a workhorse. It pretty much lives on the T4. Actually, it's the only Fuji lens I have as well. Since I already had the 17-40 F4, 70-200 F2.8 and 180 F3.5 macro EF-L lenses, I went the route of getting adapters to Fuji and the cheap F1.8 EF nifty fifty for the rare times I need fast glass. I'm very happy with the look of the Metabones X-Mount speedbooster, though I haven't paid much attention to its autofocus ability because I usually manual focus that one. I also picked up the Meike 25 T2.2 mini cine when it came out. I really like that lens, if it's in a matte box to control flairs. Now that Meike has more choices, I'll probably get more of them, though manual primes really aren't the best choice for run-and-gun doc work. The big question is whether to get the EF mount to go with the speedbooster or stick with X-mount, seeing as my next camera may be a C70 or C200 mark II if I don't hold out to see what the XH-2 has to offer next year. Oh, and btw, @DanielVranic, I just tested the run/record time for the T3 with the Atomos powered by a 48.8 Wh Powerextra battery. I got 2 hours 12 minutes with a bit of dinking around. That's pretty much equal to what I got on the T4. The T3's internal battery was empty at the end of recording, where the T4 still had a few bars. With two power extras and 2 Powerextra batteries, you could record for almost 4.5 hours. Unless you're recording some long live events curtain to curtain, that's probably enough juice for a day's work.
  6. That's a bummer, man. The quality control issues with BM cameras is a major reason I won't go near a Pocket 6k Pro, even though it's go like 80-90 percent of what I want in a mini cine-style body for about half of the C70 or FX6. Good to hear to you have a MixPre, though I wouldn't imagine you use it much on music video shoots. The only issue I've had with mine is configuring sound out so I can send it directly to camera. The manual settings are confusing and I've screwed it up in high-pressure settings. So I have it set to basic, but it outputs line-level signal that my T3 can't take. Luckily the T4 can be set to line or mic level, so I can use it with the 4.
  7. Because you already have your new gimbal and your handheld setup, practice with the handheld setup and see if you can get acceptable shots. If not, then maybe think about upgrading the camera. Or, if you want a two-camera setup, sell some other gear for the T4, and set that up for handheld/sticks shooting and leave the T3 on the gimbal. I don't know if you still have your Pocket 4K (if that's the BM camera you had). I'd definitely ditch that for a T4, because it has the IBIS and better autofocus you seem to want. And working with two cameras with the same color science is nice. Even with different brand lenses that handle color differently, I can correct my T3 and 4 very easily. Love that.
  8. Because they have updated the T3 firmware supposedly to T4 level (I haven't done a side-by-side comparison myself), the only major difference between the two is IBIS. So it really depends on how much you shoot completely handheld, since you are enjoying your gimbal shooting as is. I definitely wouldn't shoot handheld on my T3 with just a monitor and side handle; I feel there is too much shake and micro jitter. On the other hand, that's the main setup I use with my T4 for b-roll and walk and talk interviews.
  9. So now I have a two hour and ten minute video of the ceiling in my office. I spent a few minutes in the settings after I turned everything on and turned off the recording after the Ninja's batter monitor started giving me the low battery warning. I'm not sure how much longer it would have gone on before cutting out, but we can safely say that the 48.8 Wh battery can power a 1000 nit recording monitor and the XT-4 for 2 hours 15 minutes. The T4's battery still had 3 bars left, so I'm guessing that the T3's battery would probably last for the full charge of the NP-F battery. If you really wanted to be sure, I could take my T3 out of its cine rig and pop out its dummy battery for the stock one. Let me know. Btw, that 2 hours and ten minutes of footage is 400 gigs. So that's about 5 hours of 4K 23.976 footage in ProRes 422 on a 1T drive. Not too bad.
  10. No worries. I've never timed it out, but running the monitor and camera on the battery, plus having the internal X-T4 batteries usually gets me a few hours of start/stop recording time in the field. I'd guess definitely over an hour and a half straight run time. I've got my T4 all charged up in the office now. I'll set it up and do a run time test. Should be good for me to know. I'll post the results later.
  11. You mean power my camera off the monitor battery? I thought I mentioned that earlier. I use these inexpensive Powerextra 48.8Wh batteries that have both USB and a DC outlets on them. On my T4, I've been using a USB to USB C cable to charge the camera. No reason you couldn't do it with your T3, in place of the batter bank. I might buy a DC dummy battery for my T4 and start running it that way instead.
  12. Happy shooting then! I'll be interested in how you like the little handheld rig you set up. I've been doing something a little similar with my T4, but skipping the usb battery and powering my camera off the monitor battery. If you use a smaller monitor battery, your system may balance a little better side to side.
  13. 150 mins record time at HQ (ProRes I'm assuming). What size drive are you using? I can get nine and a half hours of record time on a 1TB ssd on the Ninja, and more than 14 hours with ProRes 422 regular.
  14. I was gung ho to buy the C70 when it first came out, but had to wait until the end of the year for the financial side to work. By then, I'd heard the rumors about a C200 Mark II coming in April, and was much more interested in. Thought about the FX6, but I'm not up for changing out my lens collection right now, plus there are a few things about the camera I'm not sure about. Now, as I've been shooting more with my X-T4 with a side handle/monitor set up, I'm not sure if a wide-grip, elbows locked to body setup isn't more stable for hand held than a traditional cine-style rig, at least for me. I think the T4's IBIS is helping a lot here, but it isn't perfect and sometime adds unwanted motion or warping to a shot. And then, of course, there is a new rumor of a X-H2 coming next year with a big new feature. It's probably a new BSI sensor, or so the rumor mill would have it, but would it be too much to ask for it to include e-nd like the FX-6? That would be a dream feature, even over XLR inputs. No reason the H2 couldn't have both (mini-XLR?). But that's just pipe dreaming, I'm sure. So I'm personally kind of in a holding pattern. Maybe I'll just keep pilling up the cash for a new camera in the bank and see what comes next. While my current setups annoy me when it comes to having to use V-ND filters and separate audio recording for one-man-band work, it's not like my clients need anything better from me in terms of IQ or output. It's a matter of what will make shooting less of a hassle and more enjoyable. And, let's be honest, it's always a cool feeling to rock a shiny new piece of kit, especially a camera.
  15. I use regular ProRes 422. It has a target bitrate of 147 Mbps.
  16. Yeah, for the money you'd save, you can pick up a the Nitze cage/sun hood/mount combo. A sun hood is clutch for outdoor shooting. I'm a huge fan of the Ninja and capturing ProRes to edit on instead of H.265. But remember to cost in storage for all those beefy files. And consider how much room each project will take up on your editing hard drives. Of course, you can edit straight on the capture SSD you use with the Ninja.
  17. The WD Blue drive I use is on sale on Amazon right now. You need to install it in a Master Caddy, which is a plastic box that slides into the back of the monitor. Each Ninja comes with one caddy, so you shouldn't need to buy one. You said you have lots of Sony batteries, so $599.900 for the Ninja and $115.98 for the SSD plus cable, you're at $714.98, almost $200 below that package price. Plus, you may be able to get the WD even more cheaply due to your wholesale connection. If you did need batteries, you could by two of the Powerextra batteries I linked before and get more power than the package batteries, plus the ability to power accessories or the camera, for a little more than $50. You'll still save about $140 over that kit, if I'm correct. Those Anglebird SSDs are a rip off, as far as I know. Way overpriced.
  18. For sure. It's the Beachtec DXA-Micro Pro. It has one XLR input plus two mono and one stereo 3.5 jacks. Powered by a 9 volt battery. It is small. I've wanted to replace it with my Mix Pre-3 II, but the Mix Pre is much bigger and awkward to mount. The sound is pretty decent; I was happy with it before I picked up the Mix Pre.
  19. I have my X-T3 rigged out this way, with pre-amp so I can use XLR mics and multiple mics at once. Here are some crappy quick pics. You don't need to cobble together a dummy battery, Blind Spot and several other manufactures already make one. I can't remember which one I have for this rig, a GyroVu I think. It's worked fine for more than a year. This is a heavy rig, but for hand held shots I like that the extra weight tames micro jitters and compensates for not having IBIS in the body. I also like being able to power the monitor and follow focus with one battery. This rig also goes shoulder mount very quickly. I have a pad that slips onto the Manfrotto tripod plate under the pre-amp. And I can move the wooden grip down with a SmallRig extension arm. To make it balance better on the shoulder, I should probably get longer rails for the battery and move it back a few more inches. A counter weight would also help. For a simpler solution, because you are using a monitor, you can always get Power Extra NP-F batteries with USB and DC power ports. I use this setup for my T4, which admittedly I'm using more these days for run and gun b-roll and walk and talk interviews. You can mount the monitor on the top handle, on an arm on the right side, or you can use a magic arm as a side handle if you bend it right. The only issue I see for using a T3 is that it doesn't have IBIS, so the lighter setup is going to give you more micro-jitters from hand holding.
  20. I can 100 percent recommend these Lindy cables through Amazon. I use two of them at present on my T3 and T4. I also have a UGREEN high speed cable that works. Here's the absolute MUST for using micro HDMI cables, in case you don't already know. You've got to use a cable clamp or you WILL break your cables, and fast. That means you've got to get a cage for the T3 if you don't already have one. And when you're buying the HDMI cable, buy at least two. You'll definitely want a spare in your bag in case something happens on set. I haven't used a clamp on the full size side of the HDMI cable until just this week, when I picked up a Nitze monitor cage/sun hood/monitor mount combo (for about the same price as the Atomos branded sun hood alone). I find the full size connection to be much more robust and harder to disengage, but it never hurts to clamp it. There are cable clamps available that aren't a full cage and bolt right to the Atomos. As for SSDs, save yourself some cash (maybe to pay for a cage) and go with the WD Blue. I currently have two 1TB WD Blue SSDs, one for each camera. I've used them for more than a year, hours and hours of record time, and they work flawlessly. Yes, they stick out a bit from the monitor, but that's not an issue at all.
  21. The Ronin S supports Fuji, both charging and stop/start record. So I assume their other gimbals do as well. Interestingly, the S can also control Fuji native lens focus with the Ronin focus wheel and no external focus motor. The wheel can control the internal focus motors of the lenses. When they first introduced this in firmware, it canceled out autofocus, meaning all Fuji lenses became manual focus only when the camera was plugged into the gimbal. Now, I believe, autofocus will work and you can use the wheel to adjust focus even while autofocus in on. Not 100 percent sure about that though. I should probably test it. Shows how much I use my gimbal these days.
  22. Yeah, people are putting out lots of types of content. In my estimate, I didn't include derivative pieces, like when I make a 3-5 minute piece for Facebook and then 1-minute or less versions of the same content for Instagram/Twitter, or even for paid ads on Facebook. I almost always do that, so one video becomes two or even three. Now one of the social media managers who I feed work to is talking about snipping it up for Tik Tok. And you cut out livestreaming, which is becoming more and more important. I did between 7 and 10 multi-cam livestreams in the past 12 months (can't think of them all right now) and they were definitely complicated and involved a serious learning curve on both the shooting and switching (editing) side. You really need to be able to make snap decisions and think on fly, plus know your gear well enough to nail everything the first time. Many of these shoots involved at least one other shoot, plus a sound engineer. I even ran the switcher for one livestream where we had remote camera crews in two states. And almost all them involved some level of preproduction; creating lower thirds, photo or video assets to switch into the stream, logo bugs. So, yeah, switching a good multi-cam livestream is a lot like editing a video, only harder. You can't just fix it in post
  23. I have larger bags by ThinkTank and Porta Brace. Both are well made and durable. The ThinkTank is particularly nice. It's definitely a tank in terms of padding. I'd recommend either brand. Are you just looing for a bag to transport your gear, or something like a soundie's recorder bag you can work out of on set? I'm personally thinking a chest rig type bag might be a good idea for what I do -- recording sound for my own shoots to a MixPre 3. I'm interested to hear suggestions for that. If you just mean a bag to carry the RX and TX around in, you might already have something that will work. I have a couple of soft bags my various lenses came in that I don't use for the lenses. One of them is a drawstring suede bag with a leather bottom from my 17-40 F4 L (I think). It works great for containing both of my Sony UWP-D11 systems, for transport in a backpack or one of my bigger backs. Maybe you already have something like that lying around?
  24. EphraimP

    Redundancy

    Because I shoot for nonprofit agencies mostly (that's NGOs for you non-American types ), the videos I shoot are pretty issue specific and not at all redundant. Just yesterday I was up in a wetlands restoration project that had been burned out in a major forest fire. The Forest Service and our local land trust are replanting it. The clips I got from it will go into a three-part series of social media shorts about how the land trust and its partners are helping the community and the ecosystem rebound from this devastating event. And I maybe be able to use it in a longer term documentary about the fire and its aftermath in context of climate change and the increase of severe wildfires in our region. That's definitely not redundant content and I'm really excited/motivated to tell these important stories. Maybe the answer to feeling like you're creating redundant content is to find unique stories that feel like they have value to you and shoot them!
  25. For the past two years, I had 20-25 videos I shot and edited (not films, really) posted to various social media platforms. And last year I edited another 30 short videos for social media with assets provided to me by others. This was as a part-time professional. This year I went full-time, so I should see an increase in volume of output. I definitely have learned a ton from watching tutorials online and also agree that practice makes perfect, especially on the shooting side of things. Familiarity with gear is huge.
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