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Hey all, I'm curious to hear if anyone is willing to share their experience if they've been on long camping/working trip where they were to shoot on a small boat going down a river...here are the conditions : - on a small chase boat going down a river. The river has both calm segments and not so calm segments when going down a few canyons! - weather temp: mild during the day and cooler at night/ water temp very cold - camera: Sony fs7 + canon lenses + shape handles ... basic - chasing a hand made canoe for 25 days , with one lunch stop and camping at night - two camera crew + assistants + director + sound ( second camera and team in their own boat ) here are my questions: - have you been in a situation like this where you worked for hours day in day out? what's your advice on being more efficient at work ? - have you ever had to wear a drysuit for long hours? day in day out while shooting? do you have any advice on that? how do layer properly as we start in a cool morning and shoot the whole day under the sun and into the night? - have you used a spray deflector on a handhold rig? - how do you best go about keeping your gear and the camera on your shoulder dry? thanks all!

Hi ,I am Mohamed From Cairo And my question is about stabilization. I I am using sony A7s mark 2 + Tripod + 70-200 sony G lens on a boat (Stabilization), what should i do to get the best steady footage 1- Turn on lens stabilization ONLY. (and which stabilization option since it has 2 stabilization options). 2- Turn Camera Steady ONLY. 3-Both 4- None Thanks

Hi everyone. I'm looking for advice on lighting interviews with a tiny crew (2-3 people) out at sea on a small 30-40ft boats. I'm frequently booked on these gigs but I find that 99% of the time I never dig the look of the interviews. It's always a matter of finding what looks the least bad. For most EXTs (on land) I'll backlight and try to shoot into a BG that's in the shadows...but of course on a boat there aren't any shadowed BG's, except maybe a tiny part of the deck. Most times we end up settling for front lighting the subject and holding a foldable silk to diffuse the light a bit, but even then the BG is well over key. At least that way the talent and BG are both reading okay to camera. It also doesn't help that typically the entire boat is painted a hot white and constantly rotating in relation to the sun because of heavy winds. Sometimes I shoot up in the pilothouse but that's proved the most difficult- even after ND'ing the windows I can't get nearly enough level on talent without blinding them. Are there any general best practices for this type of lighting?