FHDcrew

Indeed. I work with 3-4 cameras, 2 of which can be static any time, 2 lights, 6 audio recording devices, shooting video and stills 100% (or as close to as makes no difference) all day long.
But only because of 3 essential ingredients.
1. Practice practice practice, starting simply and building up over time, adding and eliminating elements that work or do not.
2. Having a game plan in advance based on an understanding of what is going to happen and when etc. Advance knowledge is key.
3. Determination/hard work.
4. Bonus element, being organised and having a system.
My environment is weddings and at one level they are ‘all the same’ but at another, they are all different and people do random stuff. But it’s rare for there to be enough random stuff to make a difference.
It’s not rocket science and there are limits so it’s a case of knowing those limits and working up to what is possible but without it totally frying your brain.
It’s more weird for me if I am doing just video or just photo and the latter feels like I am doing just 20-25% compared with both and the kit level is tiny by comparison.
My brother by comparison gave up working in the video industry because he couldn’t work alone or make more than solo shooting viable. 
We must have different genes!

Very true a lot of them think they can sit around and just graduate and magically make it. Classes barely teach what you need there is so much I’ve learned about cinematography from YouTube that no one in the department will ever learn if they themselves don’t take advantage of online resources. Also they all shoot on crazy old canon vixia camcorders. And I’m over here shooting full frame mirrorless with a bunch of light. 

First of all, hello guys!  It's been a while since I've posted, and honestly I haven't kept up with this forum as much as in the past.  Looking to get myself up to speed on what I missed lol.  Changes?  Honestly passion focus.  My main career will be corporate video (in college right now, got scholarships so it's cheap for me).  But I also love broadcast and lately have spent a lot of my time trying to learn more about that workflow, getting reps and networking with people in the field.  My goal is to direct or technical direct either live sports or corporate events.  Sucks cause those positions are very hard to get when it comes to bigger venues.  Smaller venues, more local corporate/college/high school sports events, it's definitely easier.  I've also considered starting my own production company upon graduation, trying to network and build clients and do smaller scale events.
 
Currently building my own video switcher, and for the work I do I need something much more advanced than a basic ATEM Mini.  At the university I attend we use a Newtek Tricaster 460.  It's a very interesting unit; in essence it is a PC running windows (windows 7 actually!) and Newtek's own proprietary switching software.  In essence this unit is a lot like a vMix or OBS PC, but using Newtek's own software.  I do really like the unit; it gives the flexibility of a software switcher with the workflow and familiarity inspired by a hardware switcher.  It has multiple M/Es (mix effects) which are essentially all layerable sub-switchers that can be used in tandem with the primary preview/program bus.  You can also use them as separate switchers within the actual Tricaster.  This, for example, allows one to cut a live-stream feed independently from an IMAG feed (IMAG stands for image-magnification; so displaying output on a projector at a venue).  You can also use these M/Es to create compositions, such as picture-in-picture, and hot swap the contents of the composition live.  Super useful!  These are all things you can't do to the same degree on an ATEM Mini.  I will say that the ATEM Mini Extreme is closer in functionality.
The Tricaster also has built-in media players and graphic banks, all of which are a lot more capable than ATEM units.
I've been trying to build sort of a DIY-Tricaster, using a PC I have on hand, as well as a Blackmagic Decklink Quad SDI (4 SDI input, 4 SDI output capture card).  I have been working on tweaking and configuring OBS to operate in a similar fasion to Newtek's software.  With the right plugins, macros and custom combination of features, I've been able to get OBS to work in a very similar fashion to a Tricaster, both in terms of functionality and workflow.  I can make sub-mixes for IMAG outputs, use downstream keys (overlays on all of your output), preview/program switching with multiview, custom transitions, and more.  I even bought a Tricaster control surface (a legitimate switcher controller with t-bar) and using software called Central Control use it to control OBS.  So the workflow is super nice for me.
 
Downside of software switching is the latency.  An ATEM uses FPGA chips to run everything, so your output latency is wayyyy lower than any software solution, be it vMix, OBS, or a Tricaster.  This makes them more useful for live venue feeds, and as such I will probably purchase a higher end ATEM switcher at some point.  Thinking about the ATEM Constellation 2 M/E, which gives me the ability to make a submix just like the software solutions, but with the low latency and reliability of a hardware switcher.
 
Word vomit.  Lolz.  Broadcast has really peaked my interest as of late.  I kind of need to re-ignite my passion for cinematography; feel like I haven't grown in lighting or color grading in a while.  Definitely have been complacent, so @kyemaybe you can whip me into shape!
 
I'm still using my Nikon Z6/Ninja Star kit.  It's doing the job, and since I'm investing in broadcast gear right now, I'm kinda in a standstill regarding any camera upgrades or even grip gear upgrades, which I do want to do at some point.  The Nikon ZF is insanely tempting; 10 bit internal, full-frame, nice and small, and I can use all my existing lenses while using the Nikon Z6 as a b-cam.
 
Looking forward to reading these posts and catching up!

I see significantly less oversharpening in Apple LOG, which is really nice. Seems like a good option now that that change has been made. 

Personally I’d still go MotionCam RAW as it’s still more organic of a look, plus it’s achievable on less expensive android phones. 

I see significantly less oversharpening in Apple LOG, which is really nice. Seems like a good option now that that change has been made. 

I see significantly less oversharpening in Apple LOG, which is really nice. Seems like a good option now that that change has been made. 

This is awesome. Finally a cheaper Nikon option with internal 10 bit. Might be my next camera. And I could keep my Z6 as a b-cam. 

Yeah that is the biggest hurdle with iPhone video.  No matter what app you cannot undue the horrendous oversharpening.  And the "log" profiles feel very fake with no real benefit.  I've been tempted to switch to Android for both the increased OS customization as well as the DNG RAW video which trumps anything the iPhone does.

Yeah that is the biggest hurdle with iPhone video.  No matter what app you cannot undue the horrendous oversharpening.  And the "log" profiles feel very fake with no real benefit.  I've been tempted to switch to Android for both the increased OS customization as well as the DNG RAW video which trumps anything the iPhone does.

Yes, the video from the iPhone is no match for the RAW android video.
I suspect the BM camera app will be subject to all the same image processing that the normal app is subject to, just with adjustable compression ratios.  I'd love to be proven wrong, but I haven't seen any examples of third-party apps having less processing than the default app.

@IronFilmYeah it's going to be 5 years old pretty soon.

@IronFilmYeah it's going to be 5 years old pretty soon.

There is an app called "Sensor Logger" for iOS that works well for me.

Speaking of OG cams…
Nikon Z6 - 1080p NLOG (oversampled)

If I had no money I would be shooting with a Canon 50D. People keep saying the EOS M is the budget king (valid) but this camera literally costs $109.98 with shipping! That is freaking cheap for 14-bit RAW video!

I'm also starting to see the benefits of gyro stabilisation in the newer cameras.
My preferred camera is the Panasonic GX85 but if they released a successor that had internal gyro data (and the tools necessary to utilise it in post) then that would be an attractive feature for me - far more than 10-bit or log or other more technical upgrades.

Haven't been super active in a while, so I hope you are all doing well 🙂
Two big reasons I might consider this camera instead of sticking with my Nikon Z6 are:
1.  10-bit internal
2.  Internal Gyro Data
 
#2 is big for me.  I've realized how convenient gyro stabilization is, at least for me.  Allows me to get a wide range of awesome motion shots while having a convenient shooting experience.  Less weight, less setup time, no need to balance a gimbal or steadicam.  Well...it would be convenient if I had a camera that recorded internally.  I've done some stuff with gyro data on my Nikno Z6 by using a smartphone as a gyro logger.  This works and can work extremely well, but the workflow is a pain because you have to keep track of all the gyro data on your phone and match all of the files, not to mention having one more thing you need to attach to your camera.  The Sony A6700 as well as pretty much all of Sony's recent offerings seem very appealing to me for the sole reason that you can quickly get perfectly synced gyro data without needing any external devices.  You can process this footage in Gyroflow to get a lot of power, and can even use the Gyroflow OFX plugin in Davinci Resolve to get a very streamlined workflow.
 
The 10-bit internal is nice too.  Of course a billion cameras now offer that, and that feature is solely convenience-based for me.  I think I could rock the Sigma Contemporary Primes and sacrifice a bit of lowlight for these features.  IDK.  We'll see.

Funny thing about this…
It was harder to shoot and edit a movie in this day; forget about the price of equipment too.
Even harder to shoot a “good” movie, forget about an “amazing” movie… with amazing characters and scenes…
But, once it was said and done… it was easy to sell… there was always a major buyer/distributor.
Fast forward to today… easy to shoot and edit, hell you can do it all on your phone… you can do it well too… it might take some time to write the script, storyboard and even find decent actors - go to a drama school and take your chances with auditions etc…. Nonetheless the price of admission is super low… again you can do it all on your phone. 
 
However!!! You will have a hard time selling it.
 
 

I found this video to be a breath of fresh air.....

I think that's why the C100 is so good in log despite being only 8-bit 1080p; the 4K downsampled to 1080p gives you more flexibility in grading than if the sensor was 1080p.
I helped a buddy film with three C100s a couple weeks back and the image still holds up. He upscales it and it looks really good. I wish the C70 had kept that form factor, because the C100 is possibly my favorite ever. It's such a pleasure to use. Heck, I wish more companies would copy it!

I too have gotten good results from Nikon FLAT (on my Z6).  Try doing a CST to Arri LogC followed by the Arri rec709 LUT in davinci resolve.  Set the tone mapping to none.  Add contrast prior to the conversion.  You'll like the results:

I’m telling you. Color Space Transform. 1000% better. You can export the CST as a LUT in Davinci and use it in Premiere. I do that to monitor NLOG on my Atomos. 

I just shot my first couple of things in nlog.  Can anyone point me to alternative luts I can check out?  The nikon lut is contrasty, and the skies are a bit fluro-turquoise.  I've just had a go at grading it myself without the lut and I need something in-between mine and the nikon one.   I'm in premiere for now.  I've tried turning down the intensity and tweaking the HUE/HUE controls in premiere but its a bit limited.