Thanks for sharing your BTS. Find your vlogs really relaxing to watch. I’m UK based - similar age but only been full time freelance for about 15 years. Smaller setups and crews in general for me here (I like it lean) but still interesting to see how other people work their days. Thanks for sharing your knowledge 👍
I don’t even scout the shot with the camera anymore. I use LensAgent Pro on iPhone and take a still of the frame to show client. It doesn’t emulate DOF, but its a much faster way to find the shot, than grabbing the big camera rig, then I just show the client a screenshot with the lens data on it from the app. I do like this pack up strategy and I will try it on my next shoot.
Not gonna lie... After having just purchased a brand new teleprompter and monitor, I got super anxious with the gentleman semi - leaning on the monitor mounted on the lightstand, while making adjustments to the teleprompter. 😅
Been following you for a while. Big fan! I have FX6's and I actually use 1920x1080 35mb/s for a lot of jobs because me or the DIT need ti upload right away. Sony's making great cameras now.
My world has flipped to all Sony. I'm now getting calls for Fx6. The product lineup is excellent FX3 > 6 > 9 > Venice. All models mixed together little corporate jobs and big productions.
@@CrankyCameraman If you ever need FX6's in LA, I have 2 I keep on me and a third one lives at a rental house. And same, I was all in on Canon and in the last year, converted to all Sony.
Industry wide, hard to say. My world of clients, the shift has happened. My C300 clients are now Sony. The Alexa / Amira clients are Venice. I got out of the Red world in 2014 so not sure there as Red is it's own ecosystem. Had I stayed in California I would have upgraded to Alexa LF or 35 for commercial work and maintained the FX9 for the mid range projects.
@@CrankyCameraman Not going to fuss too much here now, but what is the real reason they go from Amira to Venice, do you know? Does resolution have anything to do with the matter? Are people looking for a different look? Am myself in RED's ecosystem, but have looked at Arri. Live in Norway, so the changes that happen with you now will reach us in a little while
I think the move to Venice started when Netflix and other streamers were not permitting content production on Alexa and Amira due to not outputting true UHD. Today I think it's because of similar image quality from mirrorless to Venice, so bigger productions have more camera options. But Arri is alive and well, personally, due to my move from California to Texas I'm working on less advertising (Arri) and more documentary format (corporate and broadcast).
@@CrankyCameraman I see. Keep up the good work on RUclips. A lot of good information that many people can take with them. (me included) I also really like when you create behind the scenes and when you include a lot of different things in your videos!
It's amazing the amount of gear that goes into it. I am just a content creator with a RUclips channel and a few websites. My gear kit is Sony A7IV, FX30, ZV1 and most recently a Panasonic S5ii for open gate 6k... question. practically speaking, Sony FX3 with some cinema glass versus a whole big Amira, FX6/9, Red.... what do those do better? Would love to see a video explaining it from your experience and perspective.
The primary issue with DSLR, mirrorless, Alexa Mini, and all cube shaped cameras is each requires a "rig" to accommodate the typical variable workload of a freelancer. On the high end, I worked on multi camera productions with Alexa EV, Mini and I was a walk on with my Amira. The Mini, once built up for handheld and dolly it is longer, fatter, heavier with awkward poking points and poor center of gravity. Vs Amira which is purpose built to run on the shoulder to tripod, with sliding top handle, internal audio, and BNC connectors for IO, convenient points for grips and a natural CG with a lens and battery. In the "mid range" I moved from C300 to FX9. A cube cam which required a "rig" vs FX9 ready to shoot out of the box. Less crap to get lost lost in the field, no hand tools to make adjustments and it sits naturally on my shoulder, on the ground and clicks onto a fluid head in seconds.
@@CrankyCameraman Got it... so it's not so much the image quality itself, but rather how much extra gear and i/o you will need out of that rig for that specific job. And for sure will let you know about Texas. I am in PA, however outside of San Antonio there is an awesome ranch where they do long range shooting and classes, along with private events for new product launches. Will absolutely be getting in touch the next time I am invited to one of them. =) And keep up the work. Your videos are both entertaining and quite helpful to see how the real pros do it. =)
The Vlogfather 🙏🏻 Do you run into issues having the client sign off on the shot before you add lighting? I have to keep reassuring them it’s just composition and not final image. Also I’d like to send picture over zoom via an iPad with an fx6. Any tips for workflow?
Haha.... Yes, some clients more so than others. I try to avoid people using phone cameras to find the frame. If it's dark I set the camera to a high ISO, desired stop and lens, so the exposure is similar even though no lighting. Zoom feeds haven't found a way to feed an ipad but I use my macbook and also have a $150 chromebook which I prefer to use so I'm not tying up my personal computer. But I have yet to test the chromebook with my new AJA UTAP webcam box.
@@CrankyCameraman I used my iPad on a recent shoot and loved the space savings versus my MacBook. Was just a nice bright screen for the interviewee. I sent a photo of my monitor for them to approve picture and then they conducted the interview through the iPad camera. Pretty barbaric but that’s actually their workflow. So I’d like to step it up for them on the next one. Just need to research some more devices and techniques.
Strive to get yourself on as many shoots in support crew roles as possible. Lighting, grip, audio, art, production support. Then do not share with anyone "I really want to shoot or direct". Keep your head down and kick ass at the assigned role. From there observe how other DPs approach coverage and politics. Over time it will make you a rounded shooter vs only playing your desired role.
Oooooffff. I'm sure it all has paid for itself many times over but that's a bunch of high dollar gear. Arguably replaceable by 25k of todays gear. Cool channel.
💯% agree with your approach to setting up for corporate interviews! Frame, sign off and rig! Makes life so much easier!
I like that blue stand bag
Great stuff - definitely struggle with should I be a cinematographer or Speed Queen Mogul.
Love your take on the 'influencers' ! For them it's all Log, and LUTS.
Haha, thanks.
Thanks for sharing your BTS. Find your vlogs really relaxing to watch. I’m UK based - similar age but only been full time freelance for about 15 years. Smaller setups and crews in general for me here (I like it lean) but still interesting to see how other people work their days. Thanks for sharing your knowledge 👍
Thanks for checking in. I'm with you on the small setups, the more time I put in the less kit I want to wrestle to get the shot.
No nonsense bread and butter work. Love it!
Paying the bills with long term repeat clients. Life is great.
I don’t even scout the shot with the camera anymore. I use LensAgent Pro on iPhone and take a still of the frame to show client. It doesn’t emulate DOF, but its a much faster way to find the shot, than grabbing the big camera rig, then I just show the client a screenshot with the lens data on it from the app. I do like this pack up strategy and I will try it on my next shoot.
Good job Sir, mad love from Kenya
Thank you.
Completely agree about baking in the color. If they haven't budgeted for a real colorist, I'd much rather bake it in.
I've had packages go to air in Log colorspace.
@@CrankyCameraman mmhmm. 🤦🏻♂️
Not gonna lie... After having just purchased a brand new teleprompter and monitor, I got super anxious with the gentleman semi - leaning on the monitor mounted on the lightstand, while making adjustments to the teleprompter. 😅
Steel American Grip stand, Flanders metal enclosure monitor, rental house build quality.
Never considered the ground level perk vs mid level, rethinking my next purchase now!
It is a minority opinion at this time.
Inspiring man!
So awesome that the channel is growing! 🤙❤️
Thanks, it is a challenge to stay consistent publishing new content.
Been following you for a while. Big fan! I have FX6's and I actually use 1920x1080 35mb/s for a lot of jobs because me or the DIT need ti upload right away. Sony's making great cameras now.
My world has flipped to all Sony. I'm now getting calls for Fx6. The product lineup is excellent FX3 > 6 > 9 > Venice. All models mixed together little corporate jobs and big productions.
@@CrankyCameraman If you ever need FX6's in LA, I have 2 I keep on me and a third one lives at a rental house. And same, I was all in on Canon and in the last year, converted to all Sony.
Heard you say that more people are switching to Sony? is the industry starting to move away from Arri? You mention it when you pick up the camera
Industry wide, hard to say. My world of clients, the shift has happened. My C300 clients are now Sony. The Alexa / Amira clients are Venice. I got out of the Red world in 2014 so not sure there as Red is it's own ecosystem. Had I stayed in California I would have upgraded to Alexa LF or 35 for commercial work and maintained the FX9 for the mid range projects.
Specifically, had I stayed in California, I would have invested in the LF mid 2020 and added the A35 in 2022/23.
@@CrankyCameraman Not going to fuss too much here now, but what is the real reason they go from Amira to Venice, do you know? Does resolution have anything to do with the matter? Are people looking for a different look? Am myself in RED's ecosystem, but have looked at Arri. Live in Norway, so the changes that happen with you now will reach us in a little while
I think the move to Venice started when Netflix and other streamers were not permitting content production on Alexa and Amira due to not outputting true UHD. Today I think it's because of similar image quality from mirrorless to Venice, so bigger productions have more camera options. But Arri is alive and well, personally, due to my move from California to Texas I'm working on less advertising (Arri) and more documentary format (corporate and broadcast).
@@CrankyCameraman I see. Keep up the good work on RUclips. A lot of good information that many people can take with them. (me included) I also really like when you create behind the scenes and when you include a lot of different things in your videos!
It's amazing the amount of gear that goes into it. I am just a content creator with a RUclips channel and a few websites. My gear kit is Sony A7IV, FX30, ZV1 and most recently a Panasonic S5ii for open gate 6k... question. practically speaking, Sony FX3 with some cinema glass versus a whole big Amira, FX6/9, Red.... what do those do better? Would love to see a video explaining it from your experience and perspective.
The primary issue with DSLR, mirrorless, Alexa Mini, and all cube shaped cameras is each requires a "rig" to accommodate the typical variable workload of a freelancer.
On the high end, I worked on multi camera productions with Alexa EV, Mini and I was a walk on with my Amira. The Mini, once built up for handheld and dolly it is longer, fatter, heavier with awkward poking points and poor center of gravity. Vs Amira which is purpose built to run on the shoulder to tripod, with sliding top handle, internal audio, and BNC connectors for IO, convenient points for grips and a natural CG with a lens and battery.
In the "mid range" I moved from C300 to FX9. A cube cam which required a "rig" vs FX9 ready to shoot out of the box. Less crap to get lost lost in the field, no hand tools to make adjustments and it sits naturally on my shoulder, on the ground and clicks onto a fluid head in seconds.
@@CrankyCameraman Got it... so it's not so much the image quality itself, but rather how much extra gear and i/o you will need out of that rig for that specific job. And for sure will let you know about Texas. I am in PA, however outside of San Antonio there is an awesome ranch where they do long range shooting and classes, along with private events for new product launches. Will absolutely be getting in touch the next time I am invited to one of them. =) And keep up the work. Your videos are both entertaining and quite helpful to see how the real pros do it. =)
Correct.
@@CrankyCameramanjust wanted to say Hello. Am in Dallas for NRA!
@@SlavGuns nice! I’m at AT&T stadium through Sunday night.
The Vlogfather 🙏🏻
Do you run into issues having the client sign off on the shot before you add lighting? I have to keep reassuring them it’s just composition and not final image.
Also I’d like to send picture over zoom via an iPad with an fx6. Any tips for workflow?
Haha.... Yes, some clients more so than others. I try to avoid people using phone cameras to find the frame. If it's dark I set the camera to a high ISO, desired stop and lens, so the exposure is similar even though no lighting. Zoom feeds haven't found a way to feed an ipad but I use my macbook and also have a $150 chromebook which I prefer to use so I'm not tying up my personal computer. But I have yet to test the chromebook with my new AJA UTAP webcam box.
@@CrankyCameraman I used my iPad on a recent shoot and loved the space savings versus my MacBook. Was just a nice bright screen for the interviewee. I sent a photo of my monitor for them to approve picture and then they conducted the interview through the iPad camera. Pretty barbaric but that’s actually their workflow.
So I’d like to step it up for them on the next one. Just need to research some more devices and techniques.
@@davidmorefield Makes sense... All of the zoom feeds I've sent are for a large group that need to see live picture from camera.
Hey there ! Do you have any tipps or advise for jung DoP who want to get there feet into the industrie ?
Strive to get yourself on as many shoots in support crew roles as possible. Lighting, grip, audio, art, production support. Then do not share with anyone "I really want to shoot or direct". Keep your head down and kick ass at the assigned role. From there observe how other DPs approach coverage and politics. Over time it will make you a rounded shooter vs only playing your desired role.
Thank you !
can i work for yall?
im in corpus
Email me your info. I work in the Corpus area several times per year.
I think your DP means something different
Have to start somewhere... There is a lot of work in the San Fernando Valley.
Oooooffff. I'm sure it all has paid for itself many times over but that's a bunch of high dollar gear. Arguably replaceable by 25k of todays gear. Cool channel.
Yes to all. That Amira kit on the sidewalk was approx $110,000 USD of capital to acquire in 2014-2015.