barefoot_dp

I regularly shoot surfing at about 1500mm equivalent (s35 + 500mm + 2x). A good tripod makes all the difference.
The hardest part is pulling focus on a moving object using photo lenses that have an increasingly tiny throw as you move towards infinity.

I regularly shoot surfing at about 1500mm equivalent (s35 + 500mm + 2x). A good tripod makes all the difference.
The hardest part is pulling focus on a moving object using photo lenses that have an increasingly tiny throw as you move towards infinity.

I regularly shoot surfing at about 1500mm equivalent (s35 + 500mm + 2x). A good tripod makes all the difference.
The hardest part is pulling focus on a moving object using photo lenses that have an increasingly tiny throw as you move towards infinity.

I regularly shoot surfing at about 1500mm equivalent (s35 + 500mm + 2x). A good tripod makes all the difference.
The hardest part is pulling focus on a moving object using photo lenses that have an increasingly tiny throw as you move towards infinity.

I did the film festival / film competition circuit for a while and my takeaway was this.
Content is the only thing that matters.
I've seen barely acceptable videos with out-of-focus shots, shots where the camera got bumped, clipped dialogue, noisy dialogue, car sounds making it difficult to hear people, overexposed shots, and various other problems win competitions outright because they interviewed old people and got them to talk about sex and it was hilarious.  I've seen films win best edit when the editing was clunky because the story was good, etc.
Content is the only thing that matters.
Content is the only thing that matters, content is the only thing that matters...  content is the only thing that matters.

I'm lucky enough that most of my shoots are happening either at the beach, or on a fishing boat, or along outback tracks where you're constantly wading through tropical creeks, etc, which means most of my shooting has been done barefoot for the past few years (hence the handle).

Back when I shot weddings, Dr Scholl's were the go-to shoes for those shooters who were often on their feet for 15+ hours a day. I never needed them myself but they were highly recommended by many colleagues.

Don't dwell on it.

If your film is good enough, it's not an issue. If they want to show your film, they'll find a screen for it. If they don't want to show it, the fact that they have a spare theater with the right aspect ratio isn't going to magically make them want to screen it.

Don't dwell on it.

If your film is good enough, it's not an issue. If they want to show your film, they'll find a screen for it. If they don't want to show it, the fact that they have a spare theater with the right aspect ratio isn't going to magically make them want to screen it.

I love Dan Proud's work. I think what attracts me to it is that he's a photographer primarily, so light and composition are at the forefront of his images. The motion of the drone comes second to add an extra punch to an already amazing image, unlike a lot of 'drone guys' where the wow factor only comes from how small a gap they can fly through or how close to they can get to the action.

https://vimeo.com/281383321
 

I love Dan Proud's work. I think what attracts me to it is that he's a photographer primarily, so light and composition are at the forefront of his images. The motion of the drone comes second to add an extra punch to an already amazing image, unlike a lot of 'drone guys' where the wow factor only comes from how small a gap they can fly through or how close to they can get to the action.

https://vimeo.com/281383321
 

FS700 (with Shogun Inferno)
Have been using one since 2014. Rigged up for shoulder-use, nicely balanced with the inferno on the back and a Kinotehnik EVF. 10-bit is a must for me for broadcast work (HD). I do some action sports so I need the slow-mo capabilities. 4K is good for commercial stuff but for 4K a good edit codec is essential. (Hence why I still prefer FS700 + Inferno over just bare FS5) I don't want to be screwing around with proxies or transcoding in 2019. Unlike 10+ years ago when it was pretty much standard to charge for a day or more just for tape ingests, clients today won't accept being billed for transcoding time if your camera is not edit-friendly.

I told my self I won't upgrade until something comes along that offers internal 10-bit all Intra up to 4K120p and under 10,000 AUD fully kitted out. The UMP G2 pretty much ticks all the boxes but, once I add the VF, rig, media, etc it lands at around 12,000. So I'm just waiting until the price drops a bit or some used ones start hitting the market.

Well, I don't know about you, but if I was a college-age girl living alone on an industrial farm I would definitely keep a baseball bat next to my front door!  You never know what the yokels will do when they get all liquored up!!

Thanks for your feedback! The theme for me was the anxiety and dread of becoming a new parent. The blank face was sorta being afraid of something that you can't understand.
I definitely thought about just starting at 4:00 (and I still might make a cut starting there as a straight horror short).

I think it could've been a lot shorter. In fact it probably could've started at the 4:00 mark - not because it doesn't hold your attention, but because there's nothing we see before that which tells us anything we need to know. All it does is raise confusing questions like "why does a college-age girl live alone on what appears to be an industrial-level farm?" and "why does this person keep a baseball bat right next to the front door" (especially as they seem to live in rural Europe?), and "what type of monster uses single-use water bottles in 2019?".

 

I thought the TV in the background sounded German or Dutch the first time I was watching. Turned it up louder and watched it again and it's actually in (very vintage) English! My bad!

Hey everyone. Please check out my new short film Phantoms. Shot w/ Atlas Orion Anamorphics, Blackmagic Pocket 6K, and RED Dragon X 5K.
For fans of Hitchcock and Bernard Herrmann.

Sliders are great for wides & establishing shots. I love the subtle parallax motion they introduce. My problem was that they just don't last; I've been through several sliders due to the conditions I shoot it (outdoors, salt water, dirt, etc). The tiniest bit of dust in the bearings can introduce all sorts of wobble or catching.
Gimbals are heavily overused right now (along with drones) but that will hopefully pass soon, when the next new toy comes along (automated robot-legged tripods?). However they'll still have their place for certain situations. I think what separates gimbals from sliders is that you can use them for nearly every shot, so people get lazy and do just that. With sliders, they're too cumbersome to be used on every shot, so they get used sparingly for the shots that really deserve it.

FS700 (with Shogun Inferno)
Have been using one since 2014. Rigged up for shoulder-use, nicely balanced with the inferno on the back and a Kinotehnik EVF. 10-bit is a must for me for broadcast work (HD). I do some action sports so I need the slow-mo capabilities. 4K is good for commercial stuff but for 4K a good edit codec is essential. (Hence why I still prefer FS700 + Inferno over just bare FS5) I don't want to be screwing around with proxies or transcoding in 2019. Unlike 10+ years ago when it was pretty much standard to charge for a day or more just for tape ingests, clients today won't accept being billed for transcoding time if your camera is not edit-friendly.

I told my self I won't upgrade until something comes along that offers internal 10-bit all Intra up to 4K120p and under 10,000 AUD fully kitted out. The UMP G2 pretty much ticks all the boxes but, once I add the VF, rig, media, etc it lands at around 12,000. So I'm just waiting until the price drops a bit or some used ones start hitting the market.

FS700 (with Shogun Inferno)
Have been using one since 2014. Rigged up for shoulder-use, nicely balanced with the inferno on the back and a Kinotehnik EVF. 10-bit is a must for me for broadcast work (HD). I do some action sports so I need the slow-mo capabilities. 4K is good for commercial stuff but for 4K a good edit codec is essential. (Hence why I still prefer FS700 + Inferno over just bare FS5) I don't want to be screwing around with proxies or transcoding in 2019. Unlike 10+ years ago when it was pretty much standard to charge for a day or more just for tape ingests, clients today won't accept being billed for transcoding time if your camera is not edit-friendly.

I told my self I won't upgrade until something comes along that offers internal 10-bit all Intra up to 4K120p and under 10,000 AUD fully kitted out. The UMP G2 pretty much ticks all the boxes but, once I add the VF, rig, media, etc it lands at around 12,000. So I'm just waiting until the price drops a bit or some used ones start hitting the market.

FS700 (with Shogun Inferno)
Have been using one since 2014. Rigged up for shoulder-use, nicely balanced with the inferno on the back and a Kinotehnik EVF. 10-bit is a must for me for broadcast work (HD). I do some action sports so I need the slow-mo capabilities. 4K is good for commercial stuff but for 4K a good edit codec is essential. (Hence why I still prefer FS700 + Inferno over just bare FS5) I don't want to be screwing around with proxies or transcoding in 2019. Unlike 10+ years ago when it was pretty much standard to charge for a day or more just for tape ingests, clients today won't accept being billed for transcoding time if your camera is not edit-friendly.

I told my self I won't upgrade until something comes along that offers internal 10-bit all Intra up to 4K120p and under 10,000 AUD fully kitted out. The UMP G2 pretty much ticks all the boxes but, once I add the VF, rig, media, etc it lands at around 12,000. So I'm just waiting until the price drops a bit or some used ones start hitting the market.

If you're balancing with natural sunlight, using Daylight LED's will be easiest since you likely won't need any gels.
I've shot a bit in hospitals and we always use an Aputure C300d in combination with two LED panels; 300d to bounce light off a wall/roof and give the whole room some bright ambience, one 1x1 LED panel with a soft-box as a key light, and the other 1x1 LED as either a rim light or background accent as required.
Make sure you consider what their theatre lamps are balanced at (not the ceiling lights, but the one on the boom arm that the surgeons can move around), and what want them to look like in the scene (ie: either daylight/white like all the other lights, or tungsten to highlight the area) that will help you decide if you want to use them as a practical or augment them with your own lights (something like a Dedo does the trick).
Are you a regular poster at DVX user or was it your first post there? They have a new members section which you have to post in first before you get full posting priveliges. It's designed to weed out spam bots or people who don't basic read instructions.

FS700 (with Shogun Inferno)
Have been using one since 2014. Rigged up for shoulder-use, nicely balanced with the inferno on the back and a Kinotehnik EVF. 10-bit is a must for me for broadcast work (HD). I do some action sports so I need the slow-mo capabilities. 4K is good for commercial stuff but for 4K a good edit codec is essential. (Hence why I still prefer FS700 + Inferno over just bare FS5) I don't want to be screwing around with proxies or transcoding in 2019. Unlike 10+ years ago when it was pretty much standard to charge for a day or more just for tape ingests, clients today won't accept being billed for transcoding time if your camera is not edit-friendly.

I told my self I won't upgrade until something comes along that offers internal 10-bit all Intra up to 4K120p and under 10,000 AUD fully kitted out. The UMP G2 pretty much ticks all the boxes but, once I add the VF, rig, media, etc it lands at around 12,000. So I'm just waiting until the price drops a bit or some used ones start hitting the market.

I'm not sure about the F1 example, but I've worked on the broadcast for an international sporting event series where Red cinema cameras are integrated into the broadcast. There's essentially two camera teams working side by side. 

Broadcast cameras (including specialty slow-mo cameras) cover all the action & interviews for the live stream.
Red cameras get better quality coverage for heat highlights/daily highlights, promos, sponsor/partnerships content, athlete profiles, social content, archival etc.

The Red content is ingested and edited on site so packages can be integrated into the live broadcast, sometimes with very fast turn around times. I'm talking really fast - eg following a good match-up, an interview plus some b-roll & might be shot and within an hour edited into a package (including action highlights) and ready for broadcast.
I'm sure there's plenty of sports leagues around the world doing the same thing, and I've definitely seen plenty of Red's and Arri's in the background when watching sports broadcasts. Anyone who's worked in a live sports broadcast knows that a lot of content that appears to be live is actually delayed, (eg post-match interviews might be recorded during a commercial break immediately after the final buzzer and played back "as-live" 20 mins later after lots of post-match commentary/breakdown) so it's quite plausible that this sort of content could be shot on a Red, ingested, and played out as-live without anyone even realising.

I'm not sure about the F1 example, but I've worked on the broadcast for an international sporting event series where Red cinema cameras are integrated into the broadcast. There's essentially two camera teams working side by side. 

Broadcast cameras (including specialty slow-mo cameras) cover all the action & interviews for the live stream.
Red cameras get better quality coverage for heat highlights/daily highlights, promos, sponsor/partnerships content, athlete profiles, social content, archival etc.

The Red content is ingested and edited on site so packages can be integrated into the live broadcast, sometimes with very fast turn around times. I'm talking really fast - eg following a good match-up, an interview plus some b-roll & might be shot and within an hour edited into a package (including action highlights) and ready for broadcast.
I'm sure there's plenty of sports leagues around the world doing the same thing, and I've definitely seen plenty of Red's and Arri's in the background when watching sports broadcasts. Anyone who's worked in a live sports broadcast knows that a lot of content that appears to be live is actually delayed, (eg post-match interviews might be recorded during a commercial break immediately after the final buzzer and played back "as-live" 20 mins later after lots of post-match commentary/breakdown) so it's quite plausible that this sort of content could be shot on a Red, ingested, and played out as-live without anyone even realising.

That's probably a bad thing.

If they don't use FF/S35 as the differentiator, then the FX6 will likely be missing a lot of other things. I'm thinking no 60p and no 10bit 4K, just like the FS5.