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herein2020

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About herein2020

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    C200, 5DIV, GH5, T6S, GoPro Hero 8

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  1. 2024 is upon us and I have decided to look back before looking forward. How did everyone else's year turn out? Work 2023 has been the busiest year I have ever had, I have shot an even wider variety of events than before as well as small projects such as photoshoots, social media content for clients, etc. This year even logging into this site was a luxury I rarely had. Next year looks like it will be the same as I continue to build a repeat client base across a wider spectrum of project types. Gear Each year my goal is to buy nothing and of course it did not work out that way for me. My biggest purchase this year was to build a new editing workstation. I was having real problems editing the H.265 10bit 422 footage that the R7 and R5 produce and time is money as they say; with so many jobs my workstation became the limiting factor. I ended up building a custom workstation with a Core i9 CPU, 24 cores, 128GB of memory, NVME drives, and RTX 4080 GPU. Most importantly I made sure that the CPU I selected supported QuickSync which can hardware accelerate H.265 10bit 422 footage. This setup with Davinci Resolve finally fixed my Fusion and footage lags once and for all. I also now have access to AV1 with the new CPU which produces almost lossless footage quality. I thought it was going to be a great new codec to use; until I found out Vimeo does not support it even though they say they do (my first AV1 upload to Vimeo stuttered horribly and was unwatchable), and on YouTube the user has to specifically enable it in their profile to enable AV1 playback. I will still probably always upload to my personal YT channel using AV1 but for clients I will need to stick with H.265 or H.264. As many of you already know, my setup is now 100% Canon; R7 (Photo/Video), R5 (Photos), C70(Video) and I use them in that order from a frequency standpoint. The R7 has exceeded my expectations in every way (battery life, Image Quality, reliability, photos, video, rigging options). The R5 is a bit of a disappointment, 95% photos, sometimes a B cam for the R7, or a C cam for the R7 and C70. I probably would be better off with two R7's and the C70 but it is too late now. C70 The C70 is great when locked down on a tripod and especially for long form with XLR audio as an A cam. I am far from a pixel peeper, but for me when looking at the footage after a shoot, its always a bit of a disappointment. I can't quite put my finger on it, but it always seems flatter and duller than the R7 or R5 even though they are all set to CLOG3. I personally think it is a combination of the Canon speedbooster and the Canon EF 24-105 F4 lens that lives on it as well as the fact that I have little or no control over the lighting for most of the events that I shoot. The 24-105mm is underwhelming in all areas, but I just can't seem to find a better lens for the C70; something like the Tamron 35-150mm F2-2.8 I think would be a better lens for the C70 but that's not an option in EF mount. I think the 24-105mm combined with the speedbooster does something to the contrast and saturation that is hard to recover in post. Also, the slightest bit of direct light and the image washes out very quickly due to the speedbooster; and when I say direct light I don't mean direct sunlight, I'm talking even shooting concerts and music videos the image washes out terribly from DJ or music video lights. Needless to say, my setup is not doing the C70 any favors, but as a OMB my setup times are already long as it is. I am thinking about switching to a native RF lens for the C70 but that would be an expensive endeavor. The Canon RF 24-105mm F2.8 is $3K....insanity, it would probably greatly improve the C70's IQ but do nothing for its reach. R5 The 30min recording limit pretty much kills it for anything long form which eliminates it as ever being an A cam even if overheating weren't a concern (which it still is to me). I do shoot b roll clips in a pinch with it or go with the C70 and R7 locked down and shoot the R5 handheld but its rare that I need all 3. The EVF has so much latency that I still miss my 5D4 for photography action shots. Other than the EVF lag, it is great for photography. R7 I've said enough praises about it, but I do find myself thinking a lot about FF equivalency these days when picking up the R7 (more on that in a moment). To my eyes; the IQ out of the R7 and R5 are identical until the R5's second native ISO kicks in, but if the ISO needs to be that high I am in trouble anyway. These days I use an F7 panel light and pretty much never have to go above ISO800 with the R7 combined with the Sigma 18-35 F1.8 EF-S lens. Stability I shoot almost exclusively handheld now. Many projects I don't even bring the gimbal and the few times that I do, I hate everything about it and either don't use it or only use it for one or two shots (long form speedramps mostly). The R7's IS is great, and I no longer try to emulate fancy YT camera movements, I let the action do the moving and just slightly follow it with the camera work. For very short walks (backwards or forwards) I am stable enough combined with IS and sometimes DR warp stabilization that I can pull it off, but needing to walk really isn't as common as you would think for the projects that I shoot. vND Meike Adapter My favorite accessory of all time for the R7 and pretty much any camera I have ever owned has become the vND Meike adapter. No more fiddling with lens ND filters, it is nothing short of amazing. It does add a slight green cast to the footage but it is an even cast, no dreaded X pattern or variable cast. In post I just add 20 to the magenta slider in Davinci Resolve and its fixed. Sometimes the green is complimentary, and IMO gives it a higher end look so depending on the situation I will leave it. My only complaint with the filter is it does not go to zero stops of ND so if you are running back and forth from inside to outside for an event you have to accommodate the 2 stops when you are indoors by raising the ISO. It is also very easy to bump the little wheel and there are no numbers or steps on it to set it precisely to where it was before. FF Equivalency Over the course of this past year I have spent more time than I would like thinking about FF equivalency but not in the way most people do. I personally think the FF "look" is a myth, I have no clue when looking at a shot if it was a FF sensor or not. When I personally think about FF equivalency it is from a lighting perspective. Before arriving at a new venue for a project I always worry that there won't be enough light available and all of my F2.8 FF lenses are no longer F2.8 on the R7 and the Sigma 18-35 F1.8 usually isn't long enough for back of the room type of long form content (dance recitals, corporate events, holiday shows, etc.) so I usually use the RF 70-200mm F2.8 on the R7 for B cam work. The R7 also does not have a second native ISO so it gets noisy pretty quickly after 1600ISO. Those situations and the fact that 60FPS is line skipped (in both the R7 and the R5) sometimes makes me wonder if the R6 II would be as good of a fit for me as the R7. So far the R7 has delivered on every project and my concerns about lighting were overblown, but I feel like its the one thing that adds stress to my day when arriving at a new venue for a new project where I have no control over the lighting. 2024 Demo Reel I also created a new Demo Reel for 2024. This was shot across many years, projects, and camera eco systems. No matter how busy you are, you still need to keep those new customers coming in so I decided to start off the year with a demo reel. Below are all of the cameras that I think I used for the footage in this video. I also uploaded this video using AV1 to YT. Cameras - Canon R7, R5, C70, S5, GH5, C200, R6, GoPro 8 Drones: DJI P4, Mavic Pro, Autel EVO II
  2. herein2020

    2024 Plans

    With long form content they kind of expect it, I also added Tentacle Sync to my multi-cam workflow because Davinci Resolve isn't very good at aligning tracks based on audio waveform. In this regards I feel like Premier did a better job. TC is awesome though, one click and perfect alignment across dozens of clips instantly. It makes multi-cam so easy that I have been thinking about picking up another R7 for a locked down mid shot but then I would have to rig it, more batteries, another tripod, etc.....not worth it. That's the exact reason why I feel comfortable pairing it with the C70, no overheating concerns. I also use that same Sigma 18-35 1.8 religiously. Before the R7 came along I literally forgot I owned it and discovered that I already had it when I was re-arranging my camera gear. Now it lives on my R7 for any lowlight hybrid event work. For daylight hybrid work I typically use the Canon EF 24-105mm and the Meike vND RF adapter. That combination is perfect for daylight hybrid work. I have also changed my workflow so that my images are all shot at ISO800 even in the daylight when shooting hybrid. It was just too much hassle to fiddle with the ND filter and ISO for fast events since ISO800 is native for CLOG3. The R7's images are clean at ISO800 day or night so it lives at that ISO. Also the Meike vND does not have numbered markings so you have to watch the histogram each time to properly expose....way too much fiddling in the middle of an event. I've had to run the R7 for 3hrs straight with one 30s battery change and it had no problems. I will caveat that with the fact that it will start to overheat after about an hour in 4k Fine (7K oversampled) mode, so it needs to be line skipped but my clients can't tell the difference.
  3. herein2020

    2024 Plans

    Yes, I typically have the C70 as my A camera locked down with XLR input from the mixer and the Canon EF 24-105mm on it with a speed booster and the R7 is my B camera with the RF 70-200mm F2.8 on it. I track the peak action with the R7 and discovered none of my current tripod heads are smooth enough when punched in at 300mm+ to smoothly track moving objects so I had to get a better fluid head. The Sachtler Ace XL Fluid Head did the trick after buying and sending back two other brands. I have shot everything from opera performances to music videos to dance recitals this year with that setup.
  4. herein2020

    2024 Plans

    I really have no plans for 2024, this year has been a steady stream of a wide variety of jobs, possibly one of my busiest yet as repeat customers keep repeating and new customers keep showing up. As far as gear goes, I never thought I would like a crop sensor so much but every camera that I own other than the R7 is gathering dust right now. I would say 80% of the jobs this year were hybrid photo video jobs and nothing in my kit is better at that than the R7. Social media is really prioritizing video these days and my setup is perfect for social media content as well as editorial and some light commercial work. I still love the C70 but its useless for hybrid jobs and so is the R5. I did pick up two Tascam DR-10L Pros for 32 bit float audio recording and a new tripod with a Sachtler head because I shot a lot of dual camera projects and needed a better video head for tracking the talent but that's it. So for next year I plan on no new kit whatsoever and really just keep focusing on keeping my current customers happy while occasionally taking on new work where it makes sense.
  5. Even the R3 is micro HDMI, hard to believe but its true.
  6. You are right, it does work if you select external monitor only. For me only the R5 and C70 work the way that I think it "should" work, but at the end of the day you can livestream and record internally with the R7 with a clean HDMI feed and it probably works the same way for the R6II. So for me, its back to the original cripple hammer problem which is the micro HDMI port, just the two times I plugged in the HDMI cable to test this feature felt like I was going to break the port. I can kind of understand no full HDMI port on the R7, but the R6II and R5? Really Canon? My Canon Rebel has a better HDMI port than the R5.
  7. Very interesting find, I tested with my R7 and it does the same thing, if anything is connected to the HDMI port it disables internal recording. I then tested with the R5 and it will record internally while the HDMI cable is connected but it has that ridiculous 30 min time limit. The C70 of course has neither of these limitations. I don't use an external monitor with the R7 so I had no idea it has this limitation. Canon really knows how to screw you in strange and mysterious ways. The only way that I can think of to do what you want to do is with an external recorder that is also a monitor but IMO that is a PITA with the micro-HDMI port since it is so flimsy. I have been shooting more long form content lately and I was actually considering using an external monitor with the R7 when it is locked down on a tripod to see the screen better, but I decided against it due to the micro HDMI port, now I realize it won't work at all due to the Canon cripple hammer. For streaming, there is no way to use the WiFi to do it? I don't ever turn on the WiFi so I am not familiar with its capabilities but I thought there was a way with a laptop to connect directly to the camera and have the video stream sent to the laptop.
  8. I think that is the biggest first lesson to learn when shooting for someone other than yourself is; don't fall in love with your own footage. We have all shot a shot that looks so perfect we want to show the world the whole thing so we let it run a little bit too long; but the reality is no one else cares about that shot except you and by letting it run too long you start to lose your audience. I still find myself doing it occasionally and I have to remind myself to stay aligned with what the customer wants, not what I like the best. Ground hyperlapses is one thing I have never done. I've done simulated ones where I shoot 6/7K images then keyframe camera motion, but a true hyperlapse where the camera is moving I have never done. I think it looks really impressive and would look good in events but it just seems like it would take so much time and the other problem would be all the people upset that you are not talking to them or taking their picture while trying to stick to the hyperlapse path.
  9. I sometimes use time lapses or hyper lapses to help tell the story. I mainly only use hyperlapses with drone work and occasionally timelapses to show a setup, or for dramatic effect such as to show the sky rolling across the horizon. I have a dedicated Canon Rebel T6s that I use just for timelapses, it has incredible battery life with the dual grip handle (over 2,000 images in one timelapse once and it still had over 50% battery life remaining), plus I don't want that high shutter count on one of my more expensive cameras, additionally I like to set up my timelapse camera somewhere and leave it while I go shoot other content so there's the theft concern as well. Lastly, it is blazing hot here in the summer and it has never once overheated during a timelapse so its a great little timelapse camera. Many times I have lugged the timelapse camera with me planning on setting up a quick 15min timelapse to use as the opening or closing for the video and many times it's just a not a good fit, either there's no place I feel is safe enough to leave it while I do other things, or the sky is completely cloudless so it would be a wasted effort, etc. As far as where in the edit I tend to find them the most useful, for me its usually the very beginning opening sequence or the closing i.e. a timelapsed sunset is a nice closing shot especially in places where I cannot use the drone. But without the right conditions (cloudy skies, progressive changes, etc.) timelapses aren't worth the time or effort to me. When editing 60FPS on a 30FPS timeline I do occasionally only slow down say the last few seconds of a longer 5 or 10s clip, just enough to stretch it to the jump point which keeps the rest of the clip real time while getting it to the logical jump point, also sometimes I combine 60FPS with optical flow to drop all the way down to 25% to simulate 120FPS without actually shooting 120FPS if I want truly slow motion; this effect followed by a speedramp can be quite dramatic. I know purists may say optical flow isn't "pure" enough slow motion, but in DR with the right settings it does a really good job depending on the content being slowed down. I decided years ago to stick to 30FPS and 60FPS for all of my work unless the client specified 24FPS, or PAL....for me it eliminates all of the conformance issues and reduces the problems with pans, eliminates the jittery look, etc. etc. I figured out long ago I will never be a Hollywood feature film videographer so the 30FPS delivery framerate looks the best with the least amount of work to me.
  10. Yes you are right, the same goes for here, certain churches don't allow flashes during weddings, many events/venues don't let you bring anything even resembling a professional camera on their property or in their venue unless you get approval first which of course is nearly impossible to get. For places that are that bad, I just tell my client that I refuse to film there. These days I don't really do the tourist thing anymore but if I did even the R7 would probably be too big for venues like that. I didn't even think about the smaller size of the venues there. I have been to Europe a few times and each time, the smaller size of everything was the first thing I had to get used to. By comparison most things in America seem large to the point of being wastefully excessive. Events are the same way, most events are in huge venues with large crowds and the zoom lenses really help close those gaps. I think with smaller venues I would be more likely to consider primes or something like the 24-70 F2.8. I guess that's why it was hard for me to even imagine some of the lens choices that people were making here when I was thinking about the amount of space I need to cover in my typical event. I have even used the 70-200 on occasion because things were just so far away or so high up that the 105 wasn't long enough for me to capture the level of detail that I wanted. BTW the 70-200 RF F2.8 is incredibly stable handheld even at 200mm way more so than the EF version ever was. Its funny, I don't look at them as compromises at all as long as you deliver something the client is willing to pay for. At the end of the day it is just photos and video footage, to me it's only a compromise if you compare it to something else you could have done or some other equipment you could have used, but if the client is pleased with the final product then I consider that as having picked the right equipment for the job even if that client happens to be yourself. Sure you could have picked a sharper lens, shot with a higher resolution camera, used a gimbal instead of handheld, etc. etc. but none of those things mattered in the end so I don't consider not using those things to be a compromise.
  11. I agree, the 105 can fall a bit short at times but that's the power of APS-C, I can double that 105 end to 300mm with the R7 + crop mod; it really was a genius addition by Canon and I am not sure that any other APS-C camera offers an almost 3x crop like the R7. I couldn't deal with the 18-135 EF-S lens, I hate variable focal length lenses, for me they are way too unpredictable for event use, I would spend too much time fiddling with the vND filter to keep everything properly exposed and the background compression would be harder to do at F5.6. That is definitely true, I think this particular thread was focused more on event work since the OP asked about shooting an event. I do not cover as wide of a spectrum as you do, maybe if you include all of the photography work that I do as well but not video; but I definitely have a variety of setups depending on the projects requirements (photo only - R5, Photo/Video R7, Video only C70 or R7, etc, etc.) along with the different lens setups depending on what is needed along with audio, lighting, effects, props, etc.
  12. All very true, for me 24mm on the R7 is actually around 35mm so we are on the same page there, but for me I use the 105mm end (around 155mm) FF equiv for background compression for detail shots and also for reach at the long end. I would say that I spend maybe 50% of my time below 70 but the full 50% of the rest of the time I am above 70, that's just how often I need take detail shots which is where I use background compression since F4 isn't particularily fast, and also where I am far enough away from the action to the point that I need the longer focal lengths for a quick shot or I want to punch in and fill the frame with some activity. At the type of events that I shoot, the clients expect a full compliment of detail shots of the vendor's wares and that's when I use the long end for background compression. To me the 24-105 at 105 looks better when taking detail shots vs the 24-70 at 70. I also shoot almost exclusively handheld these days and the Canon 24-70 does not have IS where as the Canon 24-105 does so that's another plus.
  13. I agree, its great to hear other people's perspectives even when sometimes I don't understand them like the whole focal length matching what your eyes see thing 🤣. I totally get the math, and I get the logic, but I don't get the point. Background compression, composition, and lens speed is the only thing I consider when selecting a particular lens for a job but that's just me. You are right, its all about personal preference, but I can tell you first hand, that I will take the 24-105 F4 literally any day over the 24-70 F2.8 for events unless light is an issue. On paper they may seem similar but when shooting events you have no idea what the subject to camera distance will be; sure you can crop for photos but if you are shooting photos and video cropping is not an option. So many times the peak action at an event is in the middle of a crowd, or up on a stage, or where I live across some body of water and you are too far away for a 24-70. Yes the 24-105mm F4 is big, its slow, and its not particularly sharp, but it is absolutely fantastic in every other way specifically for events, especially the Canon EF version since it also has lens IS. Modern cameras with crop mode options make it even more useful. On my R7 that lens turns into an approximately 35mm - 160mm FF equivalent and with the crop mode enabled that stretches all the way to 300mm and yes at some events I have needed every bit of it. My clients typically give me a shot list that is many times multiple pages and they expect wide, medium, and closeups of most of it or at least I do. There's no way to predict ahead of time how many people, obstacles, or even geography will be in the way until the time comes. I mention geography because where I live water is literally everywhere both manmade and natural, its not uncommon for me to have to shoot over a small body of water or around water fountains, etc. In the old days the standard setup for event photographers was two bodies one with a 24-70 and the other with a 70-200, I can now cover 35-300mm with a single body. Sure its F4, but most events that I cover are in the daylight anyway, night/lowlight events are more intimate anyway so a faster but shorter range is not unreasonable for night events. As far as primes go, I literally can't imagine shooting an event with primes, any event for that matter. When working one on one it is easy to just backup or get closer to get proper framing, with a fast or even slow moving event you just don't know how crowded it will be, how much space there will be to move around, exactly where the action will be, etc. In many situations you simply don't have the time or space to properly compose a shot with a prime or at least that's my experience. Sure I could do it, but it would definitely lower my content rate; anything that I know will lower my hourly photo or video rate I stay away from. In my proposals I write in my minimum hourly capture rate for photos based on the video requirements, type of event, etc. so anything that will make that capture rate harder to hit I stay away from. Flash is another thing that I always use at events unless the sun goes down and after that I always use a panel light even if there is enough ambient light to not need it. I approach my flashes like I do my lens choice, I never know what the lighting conditions will be or when the subject will be backlit and need fill lighting so I never shoot without a flash in the daytime. The vND filter greatly helps here, since my video is set to ISO800 for CLOG3 I typically set the photo side to ISO640 and the fill flash to 1/8 then dial in the vND so that the video is properly exposed; switching over to photos the subject is perfectly exposed via the fill flash while ensuring the flash becomes the key light by slightly under exposing the ambient which removes color casts and makes the subject "pop" a bit. Totally different from how I shoot in the studio. For lowlight events I switch over to the fastest zoom that I have and use a panel light for fill. The biggest problem with uncontrollable low light that no one seems to talk about isn't the noise, it is the color casts from the ambient light sources; every possible shade of white lighting as well as non-white sources such as purple, green, blue, etc, these all affect skin tones terribly so I use my panel light and sync my WB with my panel light's Kelvin temp and have perfect skin tones every time because my panel light becomes the key light. Of course it also lets me keep my ISO at the native video ISO, but I care more about ugly color casts on the subject's skin more so than noise since any modern camera is great in the noise department. Absolutely, or any scenario where you get stuck too far from the subject to compose the shot the way you want to. With zoom lenses plus the extra crop reach I don't really have this problem these days. I have noticed a trend though where I seem to get farther and farther away from the action for one reason or the other; it feels like post COVID events are bigger and more crowded making it more challenging to get as close as I would like. 🤣 Actually these days in the LOOK AT ME EVERYONE AND SEE HOW MUCH FUN I AM HAVING world, at events people love the bigger cameras, they love posing and showing off to show the rest of the world how much fun they are having. but yes, I have been rigged up like the second picture many times but thanks to modern bodies I feel like those days are mostly past. One body, a good zoom, a speedlight or panel light (daylight vs lowlight), a small sling bag for batteries and I am all set for nearly anything these days. Now if you are trying to sneak into an event and film candidly then yes, my rig would not be optimal.
  14. @Chxfgb I agree 100% with @kye, I maintain my own website and some weeks I spend more time on it than actually shooting content. It needs updates nearly weekly, frequently the update will break something or change the look of something so I have to troubleshoot, Google changes their SEO algos so I have to try to keep up with that, the website needs to be backed up, backups need to be monitored to ensure they were successful, you have to monitor and renew your domain name before it expires, you have to monitor and renew your hosting plan before it expires, if you make one penny of revenue then state, local and feds govs all want to split that penny into non-equal parts while making sure that you get the smallest part of that parted penny, etc. etc. My site is relatively small, I can only imagine how much additional work would be needed for much larger sites. Also, the longer the site ran without new content the fewer visitors it would receive until it reached the point where the only ones viewing the content were the admins. Behind the scenes it was probably already close to being there anyway; the hardcore photography enthusiast demographic is exponentially shrinking and as it does sites like those will appeal less and less to whoever is left.
  15. I don't recommend to organizers anything at all about how to actually use the videos/photos unless they ask. I learned years ago that they are nice enough people but most tend to take offense if you in any way try to tell them how to do any other area of their job. They are typically handling $1M+ worth of vendors, getting venue permits, managing sponsors, obtaining equipment, transportation, food, supplies, etc. etc; basically managing a massive project which is the event; they don't take kindly to advice from their photographer/videographer. if they hired me that's enough for me, how they run their business is their business unless they ask me for advice. Unsolicited advice is a quick way to not get re-hired the following year. As far as multiple edits, it depends on what was in the proposal. I offer add-ons to every project such as social media orientation, multiple videos/edits, etc. but it all depends on their budget and what they are willing to pay for. A video per sponsor though wouldn't be feasible; that would take way too much time away from the rest of the event with minimal added value. Sponsors that want that typically pay for their own dedicated photographer/videographer or bring their own social media expert to provide 24/7 coverage of their participation in the event. As I mentioned earlier, content is king, there is no way you would get enough content to create a dedicated sponsor video when you are shooting a big event with hundreds of sponsors multiple buildings/tents to cover, speaking engagements, ticket sales coverage, etc. etc. I would rather create nothing, than something mediocre which would alienate the sponsors and would probably result in something they wouldn't even use all the while taking time away from your actual client who hired you to cover the whole event. Plenty of times smaller vendors/sponsors have complained if their setup didn't make it into the video and I tell them then hire me to cover your participation in the event and I will be your dedicated photographer/videographer.....to date not a single one has been willing to pay for their dedicated coverage. So at the end of the day they can complain but if they aren't a paying client then my focus will always be on making my paying client happy. I have seen that, I don't think it would be that difficult to do if you had two people and a fast editing laptop; you would just hand off your media cards to your assistant, have an audio track ready to go in advance, probably just a basic ambient audio track and throw together some key moments from the grand entrance, ceremony, and venue shots. With a slow enough audio track you could easily stretch each clip to 12s or more which makes the edit much easier and since weddings are slow anyway it would all look natural. But the common theme here is always the budget; the budget would have to be healthy enough to pay for that assistant and that editing laptop. I could throw together a 5min edit like that in less than 30min as long as the laptop was fast enough to not have to wait for proxy media/import/export delays. That is true, I don't do any candid filming so to me the camera size doesn't matter. I only shoot candid videos when I first get a camera to test it out and for those situations I go to public places and use longer lenses to film far away people/crowds/subject matter or there's a few tourist spots nearby where everyone is filming everything so I will go there where it is no big deal. I only deliver at 30FPS so for me 60FPS just gives me more options without conformance issues. I like to have the extra frames and not need them then need them and not have them but I don't deliver them I just shoot them. There are ways to conform 60fps to a 24p timeline but they are not as elegant as 60fps on a 30fps timeline. I have actually gone in the opposite direction, with the R7 the stabilization is so good that it does not feel realistic so I deliberately add slight camera movement just to give it more first person realism. I have also noticed how the IBIS actually gets in the way sometimes; I will add deliberate slight camera shake or movement and there will be a delay while the IBIS tries to smooth out the movement then it will suddenly catch up and the movement looks less natural than I intended. But yes, that level of stability is only obtained with a larger body, 3 points of stability and the side handle.
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