David Daniel Doherty

Ah thanks so much, that means a lot to me.

Yeah the Tv transition doesn’t feel great or well executed, I totally agree there.

I’ll post again for sure.

Dave

Hi all, I hope an Instagram link will suffice, but please have a look at my recent creation.

A7s3 and some godox lighting.

Helpful feedback most appreciated.

https://www.instagram.com/p/CT73zblFzzO/?utm_medium=copy_link

Many thanks lads,

Dave.

Good man, Evan. Very helpful breakdown.

No, not literally in my pocket, just small enough for travel work.

I had an A7S2 but my work requires photography, along with video, so I switched to the A73. A beautiful stills camera with some serious Zeiss glass (55, 1.8). But I won’t go off topic.

Wow, the Z Cam is tempting, no? I hadn’t even heard. I’m not scared of a bit of risk. And I think the anxiety would go once you’ve had a decent session on it.

Wow, the Z Cam is tempting, no

Ok, wow thank you man. I shoot 120 often outdoors so I can use 250 shutter and open the lens up shallow, of course.

60 with an Nd could be a good solution. 

Backing in and out is not something I’m going to introduce into my process, with the pressure for time on our sets, efficiency is key. 

Do you think a good cinematographer can get a more ‘premium’ look from shooting BM over, say, Sony Mirrorles?

Have you shot with the Ursa Mini Pro?

This was shot on an A73 with a 35mm lens, handheld. I’m looking to take this look up a notch.

Thanks for the reply and info. Yes, those new Black Magic cameras, particularly the 6k, look gorgeous. But the crop factor/s (3.3 crop I believe), when shooting high frame rates, is a real pain. I know from my previous A7s2. Thanks again!

Maybe I simply need to go a little bigger again. 

I don’t need to record audio as it turns out. Thanks for the reply, although the fs7 is still pretty big.

Alexa mini rental could be an option. Or one of the Canon C cameras.

Most likely an age old question, but, what is the smallest camera that produces a high end look (that of a cinema camera, say)?

I work full time as a content creator for a sports retailer.

For big campaigns I rent Red, but sometimes I travel and use a Sony mirrorless, for portability and efficiency purposes, obviously. I’d love to take the travel videos up a notch.

Is this possible?

Perhaps the Black Magic pocket cinema 4K? 

Positive, helpful contributions only please.

David.

I appreciate the reply. Yes just been made aware of this, always learning.

I was able to export a pro res video with the odd number, but huge of course.

Using 366 now!

Thanks again, David.

Hi all, some slightly urgent help required.

A client needs a video exported at 480x365, it's for a mobile banner on their site.

Despite my PP sequence being 480x365, Adobe Media Encoder keeps forcing me to set export to 480x364?

I understand this is proportionate to a certain aspect, but I should be able to export any resolution I like, no?

Typical settings, H.264, MP4, 10BPS

Thanks!

Hi all, I’ve started a new job where I will be filming products via a very cool motorized slider, with object tracking.

While I’ve been using sliders for many years, I always defaulted to wide angles to get the most from the small length move.

Obviously with a wide angle, the foreground object will appear to be moving past faster and the move more obvious. Which is great.

My question though is which lens, which focal length actually, would be suitable for filming products - shoes etc. I want the movement to be obvious without the product looking distorted by a wide angle lens.

I feel 24mm might be too wide and introduce distortion but kind of feel 35mm might be too long for a small slider? 

I am baring in mind that product photographers often prefer 85!

Any thoughts? 

Positive, helpful replies only please

Dave

Thanks for the reply, yeah you're probably right.

Always balanced correctly, that's definitely not the issue. I'll post a few samples.

I think maybe turning my full body with the gimbal, with straight wrist which doesn't bend / pan, might be the ticket.

Hey all, perhaps I need to refine my technique, the way I step and hold the gimbal, but I'm having difficulty shooting arc style shots / moving around the subject.

I'm experiencing wobble.

This is a problem at focal lengths which are not wide - longer than 24mm for example. I understand the longer the focal length, the higher the chance of wobble.

I have no problem shooting these with wider angles.

I want arc shots with 35mm focal length.

I guess I want to know if this is a common problem at such focal lengths? Are people commonly shooting such movements at 35 plus?

I also tried with an 85mm and it was hopeless.

Note, with long lenses I shoot straight movements with gimbal, it's only when turning I experience problems.

Any thoughts appreciated.

Eq'd some harsher frequencies out and sounding a bit more pleasant.

Attached is a screen grab of my latest colour and link to the raw file (non processed audio).

Feel free to experiment, looking forward to seeing what you come up with

In reflection, regarding lighting, I may have used too much fill resulting in the flat look face

https://wetransfer.com/downloads/c3389376e106a846bb4037abce21ec6420180629075002/c9c85e

Yeah, I'll post a Slog file later, cheers.

The most unfortunate thing for me regarding the skin tone is that it's exactly the same colour as the background, I can not really isolate or mask it to further adjust.

I'm pretty sure those cupboards in the background weren't much more vibrant than this. Anyway, thanks.

This is a video for Insta - a half decent mic was used, mono, in a poop sounding kitchen, obviously. It has a reasonable audio level (around -3), with no clipping or distortion, and has been normalised.

I will apply some equalisation before it goes to client and that's that.

Hi, is this skin tone ''normal''?

I use a vectorscope but often don't find it completely useful.

Even when I make clearly incorrect hue adjustments, the vector still shows I'm pretty much on the line.

Anyway, probably a thousand year old question at this point.

Any pointers on your skin tone processes would be greatly appreciated.

FS7 Slog3 original

http://iplayerhd.com/player/video/759af92c-c0cd-484c-ab5d-127998dc9353/share

Dave

 

Good luck with your shoot.. as an aside ..I just bought the Sigma T2 cine zoom set..18-35. 50-100.. relatively.. these are very inexpensive lenses .. worth checking out..

Thanks. The shoot went well, lovely image from the FS7 and lights.

My setup may be overkill though. I use a slider on top of two big beast tripods, with the big FS7 on the slider.

Substantial bit of work moving everything from one shot to the next. And a lot of equipment to achieve some simple moves.

This video is to promote a product on Instagram. Set up wise, I really need to consider a more efficient way of achieving camera movement - smaller camera (maybe A7S2) and gimbal.

I could have captured 5 times the content with more freedom to move around the room

How're you finding those zooms? I have the Sigma Art 24mm, but will definitely consider zooms for future work. The may well suit my web video needs more than a few primes.

(Very low res screen grab attached)

Thanks for the contributions, chaps. Camera opinions and gimbal opinions.

In conclusion the FS5 is very nice on a gimbal, in the same way a 5D3 with Magic Lantern is.

I am pretty much over debating cameras now, specifications, will the camera fit on this, yes it will fit on this but you need this, it will shoot 10bit if. Unavoidable I guess, but it’s endless.

I’ll lock down a solid set up and let my work speak.

I’m about to shoot a nice project on an Fs7 though, without gimbal obviously. A little slider.

Thanks again

I could nearly push my budget to a C200B. Maybe. I keep hearing its “designed as a gimbal camera” although haven’t seen it in action around the internet yet

Ursa mini is roughly the same size as FS7 body but heavier and less features. What are you trying to shoot/what specs do you need the camera head to have? It seems a bit backwards to start with a compact gimbal and buy a camera to fit it.

 

Point being - upgrade your stabilizer to fit more cameras instead of finding one camera to fit your stabilizer.

 

Cameras are flavor of the day, support equipment tends to have more lifespan. And - you can't always dictate the camera on the project, sometimes producers/outside forces dictate for you.

Shooting some freelance stuff as a slide line earner to my full time job, which will be event coverage for mainstream news / media. 4K, 10bit, best poss Bel dynamic range.

Yeah a backward approach, I got a good price on the Ronin M a while back, so here I am

I hear your logic. And I’ve considered upgrading or switching gimbals. The Ronin 2 costs around 6000$£Eu I believe? Well out of my range at the minute. And the original big Ronin is too heavy. If I can find a lightweight gimbal, which was FS7 friendly, I would certainly consider doing a switcheroo.

Thanks

The Ronin M is really quite small. Even the FS5 can be a pain to rig if you have a bigger lens, wireless focus, scratch audio on there.

As shown in the video above, Cine Milled plate is a must. I'd also recommend the Pan weight system as well if you're using cine style lenses (even the Samyangs) with wireless focus as you'll only just get pan balance without.

 

I've seen FS5 owners use an Atomos recorder to get better quality out. That adds a bit to the price but would give you a much better monitor to operate the gimbal with on top of better image quality.

Thanks, Atomos looks good. I ideally don’t want to further complicate my set up, but it’s an option nonetheless.

For a gimbal fs5 would be ok.. but its a very different camera from the fs7.. and could be very limiting for work if its your only pony..

 

Codec is only LongGOP XAVC L.. and 4K internal Rec is only 8bit..only has Picture Profiles .. no EI mode.. etc.. and there are some limitations on monitor outs.. . there is actually quite a big difference between the fs5 and fs7.. .. what about one of the high end DSLR/Mirror less cameras for the Ronin.. G4 or A7 series .. or even A9..for the gimbal.. and fs7 can handle just about anything else..

Thanks. Yeah, the specs are little disappointing, when at first FS5 appears as a lighter weight FS7.

A friend uses an A7S2 exclusively on Gimbal and a bigger camera for the rest. Ultimately I’d like best possible quality for gimbal shots though.

Hi all, I hope I'm posting in the correct form.

I own a DJI Ronin M and I am now about to purchase a camera, which I would like to use with it.

My heart was set on the FS7 but there seems to be an awkward work-around to operate the FS7 on the Ronin M?

Another option is the URSA Mini Pro.

An option is to change my Ronin M for a big Ronin, but it's too heavy bla bla.

Anyone have any thoughts on a good camera option for a man who owns a Ronin M.

Budget $/EU6000

(not intersted in A7S)

Thanks. Positive, helpful replies please.

Oops wrong forum. I read it ‘Cameras, accessories and tools”

Hi all, I hope I'm posting in the correct form.

I own a DJI Ronin M and I am now about to purchase a camera, which I would like to use with it.

My heart was set on the FS7 but there seems to be an awkward work-around to operate the FS7 on the Ronin M?

Another option is the URSA Mini Pro.

An option is to change my Ronin M for a big Ronin, but it's too heavy bla bla.

Anyone have any thoughts on a good camera option for a man who owns a Ronin M.

Budget $/EU6000

(not intersted in A7S)

Thanks. Positive, helpful replies please.

Hey, yeah those real projections look more vivid and glowy.

I'm comping it in post mainly because I'm more interested in effects/techniques than experimenting with a projector.

Lots of fun to be had experimenting also with blending modes.

And also, I'm using time lapse as opposed to video, so I can't actually film a real projection. That would also be time lapsed. Actually that could be an idea for another time