It's nice to see a fellow professional 'getting it wrong' even if it is only in his own head. Stressing over something that only our peers would spot. But, I guess it is our peers who judge us because the general audience won't notice the mic, or the colour. They should be glued to the subject. We all come away from every job thinking 'I could have done it better' - we're never (or rarely) satisfied. Good to know that you're human David 🙂
I appreciate the transparency in narrating your own work. I didnt even spot the slither of mic until you pointed it out. I think we're all very critical of our own work, the panic when we see things that were missed, or concern of things that slip through. So its reassuring to see its not just me, and we're all just trying to improve and do the best we can.
Hey David! Absolutely love the vlog, been thinking about following suit in the near future. When shooting an interview in these fast paced corporate or docustyle setups I’m wondering if shooting a clean plate for 30 seconds before/after your talent has sat in might help serve as a redundancy for the edit. Could be useful to hide issues like the boom pole or anything unwanted in frame.
for these shots with the mics in frame you wouldn't even need a clean plate. IF the editor wanted (or had the time) he could just paint them out in PS or even the NLE they use.
Love seeing the footprint of the MOS’s with a handheld fx3/DJI mic. So much faster to reset for the next person. I’m guessing the ibis held its own. Now that I have an a7s3, I’m using it in so many less than ideal situations. And that is fantastic to know the nominee interviews were shot with those older newer panels. The final look came out great and I bet they pack away and travel really nice. I’m going to have to figure out my airline luggage situation soon for one man band interviews coming up. Biggest hurdle is finding cases that can fit decent stands.
I use reds. And for the led walls and flickers you have to adjust the camera angles. 172 degrees doesn’t always work, sometimes you have to for down to the 140s for it to work. But it’s a camera angle thing you have to play with.
Whats your subject shift set to , for interviews I always go 1 locked on , and 5 focus shift speed, face only. The only times Ive ever had AF face problems , is something bright in the BG , I wonder if those screens were throwing it off.? I use the Sanken CS -M1 , its tiny and good audio , then I just put it on the camera for B roll. Started using Molus G300 / Godox 90T travel series dome ,for travel work interviews . Think tank Airport International for the two cameras fx9/fx3 , Sigma Art 24-70 , 50/35 Art Primes. This a great bag and really no attention from airport security , unlike Pelican / Portabrace .
Always enjoy your video's . Why was there such an emphasis on shooting in slo-mo ? Was this agreed beforehand or edited that way ? It looks a bit strange to see it used on people talking .
@@bambam7515 our time is capped with the subjects to shoot broll. In 2023 we switched to slow motion for more screen time. I need to work with the producer to better direct the talent so I have less taking and more reactions.
The editor should have noticed the mic, and could have easily either cropped it out or made a Photoshop clone overlay to hide it, don’t beat yourself up over that.
I noticed you had a DJI wireless receiver while doing MOS. What handheld were you using with it? If found a 3d printed dummy mic to use with mine. Is that what you are using?
Could you talk about any tips or advice for filming b-roll for a film, when you have limited time in an unrelated (to interview content) location. I always run out of ideas very quickly, and feel awkward in front of client/ talent 😅
Pen Condensed Super-Cardioid mics are usually good for internal interview shots. I got Rode NT5, designed for percussions but widely used for cheap internal interviews mic. Pencil mics are usually sell in matched pairs for stereo but there are single options as well
Its crazy how much of a problem flicker was and to some part, still is. With how good the LED walls are becoming, I wonder when it will be eliminated. I am always running around in a lot of odd mixed lighting, and still run into some places that have bad LED fixtures that just cause that rolling effect across a shot. I've got an order out on a C400, and those are supposed to be coming with a clear scan feature that can detect flickers and then adjust the shutter speed to correct it. Not sure how often I will use it, but looking for the option.
I'm curious; what plugin did you use to remove the flicker? I shot a wedding not that long ago and the lights the band brought were making my camera do crazy things. Kept getting those nasty out of sync vertical lines and was unable to get rid of them even after adjusting the shutter. I'd love to know how to remove them in post! Shots look great! Picking up an FX3 later this year! :)
@@housepandacrew581 That's good to know actually. For the day job I have to use Premiere, but I've been thinking about using Resolve for personal projects for some time.
I was given a Panosonic aj-px2700 ENG camcorder from a retired KENS 5 cameraman during a yard sale. He told me that it will still be used for 1080P delivery shoots. I agree with him it still have a beautiful image.
Glad to see the 7D get some action! I use mine along with 6D2 for getting same time lapses and have zero complaints. Always love the output of them for things like this too. Hate to admit it, but DJI Pocket 3 is a usable little device to have in the bag for things like this. At the very least, handy for easy and good quality time lapses, but in a pinch could do MOS. Only downside is you’d like a baffoon filming with a king size Snickers bar hahhaaa.
Thank you for your videos Mr. Winters. I'm vlogging my city's downtown and would like to have the lowest possible profile so a gimbal is not an option. Should I get an FX30 with a stabilized lens and develop some very steady hands? is APSC a bad investment? Thanks again and wish you all the best.
@@VictorGuzmanIpina for filmmaking and advertising Super35 / APSC is a more popular format and more workable lens range and DOF. I’ve only owned the Burano for about 6 months and the majority of the projects haven been in Super35 scan.
For that sort of thing, something like the DJI Pocket 3 might be the perfect camera for you. If not and you feel you need interchangeable lens options, an FX30 with the 10-20mm F4 or even the 18-105mm F4 PZlens might work just fine. There’s also the sigma 18-50 F2.8. If you’re working night time, one of the 11mm or 15mm F1.4 APS-C primes would be something to consider. In the modern Sony world, APS-C isn’t as big of a deal as it was back in the APS-C vs Full Frame - 5DII and 7D days. At the end of the day, it often comes down to fast glass and/or lighting. You can do a lot with a cheap light, as David demonstrates daily.
@@billmakesmovies thank you for your input, right now Im using a a6400 with the 18-135 but tend to use it for wide angles with the occasional tight shot but since I also take photos inbetween filming I need a hybrid body. You made me consider an fx30 with a 11mm prime and another stills body strapped around but that will draw atention. I think an a7iv with a cage and a single side handle might work for a hybrid high volume work. Thanks for your suggestions as I would re-read them/save them for my final considerarions.
Be careful. Long ago I got a Metabones EF to E adapter to use Canon EF mount lenses on a FS100. Worked fine….until it didn’t. Suddenly lost control of the iris and camera would randomly scroll the iris lighter or darker for no reason. It had a lot of ‘hinky’ behavior like that which wasn’t repeatable but would totally hose your shot. Also I was camera op on a TV series in 2020-21 and I tried using a Metabones and EF lenses on an FX9. Autofocus was total crap. The best one I could find was the Sigma MC-11 EF to E mount for autofocus but I think it only worked with specific lenses. While I am sure they have improved their adapter, definitely test it as they did not use to work in anything even close to a satisfactory manner.
This client came from one of my mentors from 26 years ago when I was first starting out. The majority of my work is very long term repeats and referrals. I wish I had a fast solution, but it has been slow growth due to time in business.
I heard you say you didn't want to shoot with flat lighting on this project. With my corporate work, I like to keep everything highkey with minimal lighting ratios on the face. Like 1:2. I get too scared to push the ratio higher. If you don't mind me asking, what kind of lighting ratio (was it facial ratio?) were you looking for with this shoot? I think you wanted the men to have a bit darker side than the women.
Good question, I stopped carrying a meter years ago. Going forward I need to meter and document for consistency. And a defense reference if clients get nervous and want to just make it all flat and 2D.
Its the curse of corporates , they don't come from a background to know about lighting often , its always, can you get rid of that shadow , like no one ever said to Rembrandt :) . But it's changing and sometimes if you show them that some shadow is needed to give a 3D look , they will actually agree , otherwise its a vicious circle , we give them flat lighting and nothing changes :)
Readers…. So relatable. Regarding the pencil condenser mics: have you thought about the sennheiser mkh8050. It is said to come close to the amazing mkh50 yet a lot smaller. Or the same size Rycote SC08 which has RF-shielding. ruclips.net/video/TZ2j-9wRGq8/видео.htmlsi=ToArgbhbPrKX85Gw
The flicker removal in Davinci Resolve is also really amazing.
It's nice to see a fellow professional 'getting it wrong' even if it is only in his own head. Stressing over something that only our peers would spot. But, I guess it is our peers who judge us because the general audience won't notice the mic, or the colour. They should be glued to the subject. We all come away from every job thinking 'I could have done it better' - we're never (or rarely) satisfied. Good to know that you're human David 🙂
Schoeps CMC 1 U with MK41 or MK4 capsule + Cut 60 and Cinela OSIX "Hard" mount - very nice package. Total length =3" or in the mount =4 1/4"
Yes!! Another Cranky Cameraman episode!!! My weekend is complete! Thank you for sharing as always!
@@12yfilms thanks, short on time this week, thus the delay.
70-200 and 16-35 g masters are fantastic lenses. Highly recommend
I appreciate the transparency in narrating your own work.
I didnt even spot the slither of mic until you pointed it out.
I think we're all very critical of our own work, the panic when we see things that were missed, or concern of things that slip through.
So its reassuring to see its not just me, and we're all just trying to improve and do the best we can.
Hey David! Absolutely love the vlog, been thinking about following suit in the near future.
When shooting an interview in these fast paced corporate or docustyle setups I’m wondering if shooting a clean plate for 30 seconds before/after your talent has sat in might help serve as a redundancy for the edit.
Could be useful to hide issues like the boom pole or anything unwanted in frame.
for these shots with the mics in frame you wouldn't even need a clean plate. IF the editor wanted (or had the time) he could just paint them out in PS or even the NLE they use.
The easiet way and what most editors do is crop it out. Frame the interview like you want.
Talking about the metabones, when you get it, can you report back if the autofocus works, im very curious about that aswell
your have been rocking with that Neewer panel for a while, if I'm not wrong
A long time… I have piles of them. Packs small and decent color and output.
That 2012 Xavi jersey at 11:35 so 🔥🔥🔥
I appreciate your videos and knowledge sharing. It’s inspiring. Learning more. Keep em coming!
Love seeing the footprint of the MOS’s with a handheld fx3/DJI mic. So much faster to reset for the next person. I’m guessing the ibis held its own. Now that I have an a7s3, I’m using it in so many less than ideal situations.
And that is fantastic to know the nominee interviews were shot with those older newer panels. The final look came out great and I bet they pack away and travel really nice.
I’m going to have to figure out my airline luggage situation soon for one man band interviews coming up. Biggest hurdle is finding cases that can fit decent stands.
Have you tried using the ECS frequency setting on the fx9? I use it frequently with volumes to reduce flickering
I’m not sure if Nick tried this. I will find out.
Yeah we need this in the fx3 too ! seems like it cant be done , if its not in the Mk2 something is very wrong .
Resolve has a built in deflicker that works really well!
Thanks for the heads up.
Can confirm. Can salvage thy a**.
Yeah even with a TV it has worked for me
I use reds. And for the led walls and flickers you have to adjust the camera angles. 172 degrees doesn’t always work, sometimes you have to for down to the 140s for it to work. But it’s a camera angle thing you have to play with.
We did that and didn’t fix the issue.
Like the cable management system, very sleek
Whats your subject shift set to , for interviews I always go 1 locked on , and 5 focus shift speed, face only. The only times Ive ever had AF face problems , is something bright in the BG , I wonder if those screens were throwing it off.? I use the Sanken CS -M1 , its tiny and good audio , then I just put it on the camera for B roll. Started using Molus G300 / Godox 90T travel series dome ,for travel work interviews . Think tank Airport International for the two cameras fx9/fx3 , Sigma Art 24-70 , 50/35 Art Primes. This a great bag and really no attention from airport security , unlike Pelican / Portabrace .
Always enjoy your video's . Why was there such an emphasis on shooting in slo-mo ? Was this agreed beforehand or edited that way ? It looks a bit strange to see it used on people talking .
@@bambam7515 our time is capped with the subjects to shoot broll. In 2023 we switched to slow motion for more screen time. I need to work with the producer to better direct the talent so I have less taking and more reactions.
@@CrankyCameraman Thanks
The editor should have noticed the mic, and could have easily either cropped it out or made a Photoshop clone overlay to hide it, don’t beat yourself up over that.
I noticed you had a DJI wireless receiver while doing MOS. What handheld were you using with it? If found a 3d printed dummy mic to use with mine. Is that what you are using?
Rode stick mic adapter
Could you talk about any tips or advice for filming b-roll for a film, when you have limited time in an unrelated (to interview content) location. I always run out of ideas very quickly, and feel awkward in front of client/ talent 😅
Pen Condensed Super-Cardioid mics are usually good for internal interview shots.
I got Rode NT5, designed for percussions but widely used for cheap internal interviews mic. Pencil mics are usually sell in matched pairs for stereo but there are single options as well
On the individual packages how many days did it take you to film everything interview included? Also did you have more people on your crew?
2.5 to 4 hours per package, complete, arrival to taillights. Myself and two producers.
@@CrankyCameraman Thank you.
Its crazy how much of a problem flicker was and to some part, still is. With how good the LED walls are becoming, I wonder when it will be eliminated.
I am always running around in a lot of odd mixed lighting, and still run into some places that have bad LED fixtures that just cause that rolling effect across a shot.
I've got an order out on a C400, and those are supposed to be coming with a clear scan feature that can detect flickers and then adjust the shutter speed to correct it. Not sure how often I will use it, but looking for the option.
I'm curious; what plugin did you use to remove the flicker? I shot a wedding not that long ago and the lights the band brought were making my camera do crazy things. Kept getting those nasty out of sync vertical lines and was unable to get rid of them even after adjusting the shutter. I'd love to know how to remove them in post! Shots look great! Picking up an FX3 later this year! :)
Deflicker in Davinci Resolve fixes it easily. Drop and done in the color page 👍
@@housepandacrew581 That's good to know actually. For the day job I have to use Premiere, but I've been thinking about using Resolve for personal projects for some time.
I was given a Panosonic aj-px2700 ENG camcorder from a retired KENS 5 cameraman during a yard sale. He told me that it will still be used for 1080P delivery shoots. I agree with him it still have a beautiful image.
That is an excellent camera, great for news and live shots.
Glad to see the 7D get some action! I use mine along with 6D2 for getting same time lapses and have zero complaints. Always love the output of them for things like this too.
Hate to admit it, but DJI Pocket 3 is a usable little device to have in the bag for things like this. At the very least, handy for easy and good quality time lapses, but in a pinch could do MOS. Only downside is you’d like a baffoon filming with a king size Snickers bar hahhaaa.
What light stands do you take that fit in the 1615?
The yellow and grey vintage Lowel uni to
Thank you for your videos Mr. Winters. I'm vlogging my city's downtown and would like to have the lowest possible profile so a gimbal is not an option. Should I get an FX30 with a stabilized lens and develop some very steady hands? is APSC a bad investment? Thanks again and wish you all the best.
@@VictorGuzmanIpina for filmmaking and advertising Super35 / APSC is a more popular format and more workable lens range and DOF. I’ve only owned the Burano for about 6 months and the majority of the projects haven been in Super35 scan.
For that sort of thing, something like the DJI Pocket 3 might be the perfect camera for you.
If not and you feel you need interchangeable lens options, an FX30 with the 10-20mm F4 or even the 18-105mm F4 PZlens might work just fine. There’s also the sigma 18-50 F2.8. If you’re working night time, one of the 11mm or 15mm F1.4 APS-C primes would be something to consider. In the modern Sony world, APS-C isn’t as big of a deal as it was back in the APS-C vs Full Frame - 5DII and 7D days. At the end of the day, it often comes down to fast glass and/or lighting. You can do a lot with a cheap light, as David demonstrates daily.
@@billmakesmovies thank you for your input, right now Im using a a6400 with the 18-135 but tend to use it for wide angles with the occasional tight shot but since I also take photos inbetween filming I need a hybrid body. You made me consider an fx30 with a 11mm prime and another stills body strapped around but that will draw atention. I think an a7iv with a cage and a single side handle might work for a hybrid high volume work. Thanks for your suggestions as I would re-read them/save them for my final considerarions.
Be careful. Long ago I got a Metabones EF to E adapter to use Canon EF mount lenses on a FS100. Worked fine….until it didn’t. Suddenly lost control of the iris and camera would randomly scroll the iris lighter or darker for no reason. It had a lot of ‘hinky’ behavior like that which wasn’t repeatable but would totally hose your shot. Also I was camera op on a TV series in 2020-21 and I tried using a Metabones and EF lenses on an FX9. Autofocus was total crap. The best one I could find was the Sigma MC-11 EF to E mount for autofocus but I think it only worked with specific lenses. While I am sure they have improved their adapter, definitely test it as they did not use to work in anything even close to a satisfactory manner.
My pair of Red Komodo’s would have been the move on this one. Global shutter rendered flicker a thing of the past.
I'm surprised the editor didn't crop in a bit to cut the mic out?
What handheld stabilizer do you use?
@@sidestreetvideoproduction7278 moved from a Movi Pro $10,000 kit with vest to a $500 Ronin S and have not had a need to upgrade.
Great presentation. I would like to know how you get these jobs. Where can I look to get clients in my area. (Northwest)
This client came from one of my mentors from 26 years ago when I was first starting out. The majority of my work is very long term repeats and referrals. I wish I had a fast solution, but it has been slow growth due to time in business.
@@CrankyCameraman Always large respect to the OG's that have graciously helped out paths.
I heard you say you didn't want to shoot with flat lighting on this project. With my corporate work, I like to keep everything highkey with minimal lighting ratios on the face. Like 1:2. I get too scared to push the ratio higher. If you don't mind me asking, what kind of lighting ratio (was it facial ratio?) were you looking for with this shoot? I think you wanted the men to have a bit darker side than the women.
Good question, I stopped carrying a meter years ago. Going forward I need to meter and document for consistency. And a defense reference if clients get nervous and want to just make it all flat and 2D.
@@CrankyCameraman Having a backup lighting plan approved by the client is a great idea! Thank you so much!
Its the curse of corporates , they don't come from a background to know about lighting often , its always, can you get rid of that shadow , like no one ever said to Rembrandt :) . But it's changing and sometimes if you show them that some shadow is needed to give a 3D look , they will actually agree , otherwise its a vicious circle , we give them flat lighting and nothing changes :)
I wish you had an education channel for us new freelancers.
I've been thinking about making one for about 2 years. Just don't have the free time.
8k? Jeez I think my clients computers and TV's would blow up trying to play that lol. Kidding aside that is a rare ask at least for me.
Readers…. So relatable.
Regarding the pencil condenser mics: have you thought about the sennheiser mkh8050. It is said to come close to the amazing mkh50 yet a lot smaller. Or the same size Rycote SC08 which has RF-shielding.
ruclips.net/video/TZ2j-9wRGq8/видео.htmlsi=ToArgbhbPrKX85Gw