Interesting about the client wanting sound that way. I would not agree to do it that way because I would not be able to deliver quality work. Sometimes you have the obligation to educate your client for their own benefit.
@@vidfolio They are not my client. I work for the agency. There is a time and place to interject. I offered my thoughts and they wanted a different. At the end of that gig, you will hear my VO say that the client loved the audio. I’m not going to fight their satisfaction.
@@davidmorefieldthe days of saying a bit too much helpful and better advice are long gone. Not worth the agro. Give them what they want even if its basically crappy and just use the better stuff in the reel lol
TBH as long as you are close enough , hand held you usually are , and it's truly amazing what AI noise reduction , voice Iso , you name it ,can be done in seconds in post . Not saying don't go for the best but really if they want that super quick grab style , audio wise these days , its totally fine if your close up like that with a decent on board shotgun mic.
@@robinprobyn1971 Yeap - the closer the gunshot mic the better - but if there's too much background/surrounding noise then we're relying heavily on post cleanup:S
I use version 1 70-200 F4 for hand held and shoulder rig shots, it's superior in most every way to it's f2.8 counterpart. The 2.8 produces a more lovely image over the clean crispness of the f4. Nine years in on it and still going strong, best lens investment for me.
If I can ever convince a producer to just hold a small boom it can make just a big difference. I also liked the zacuto microboom product, but you need to be on a mono pod or sticks. That being said the voice isolation tools built into resolve and premiere are very powerful, it’s sometimes worth leaning on them a bit. F4 lenses can be worth the weight savings :). Canon made these compact EF zooms for cinema that had AF and are parfocal but they were super35 only, cool concept though for more Eng style.
Got the 70-200 f4 II like 6 months ago an got nothing but good words to say about this lense. The macro mode is not like proper macro but works in a pinch. Some people stress about the f4, but at that mm length you got bokeh for days and with the sony second base iso shooting in darker scenarios also works like a charm.
It’s always an internal battle of working on other peoples sets. Sometimes I disagree with a decision. I try to make suggestions when I can without over stepping boundaries
Keep up the good work, David! Glad to see you back out in the field. My mate had the 70-200mm f/4 Mark 1 version, and it was a really well-built lens. Plus, the Mark 2 version has a macro mode too. Thanks, from Stewart.
@@stewartmunrovideo Thanks man. I’m glad to be working again too. Yeah the mark 1 looks great but I’m bummed to find out the mark 2 doesn’t have internal zoom?! Why would they remove that feature in a mark 2.
@@davidmorefield Apparently to make it smaller in the bag , from what I read when it was released , but yeah could be seen as a step backwards . I have the f4 M1 , it's pretty good , manual focus is pretty much a non starter though , the Mk2 might be better in that area. I bought it over the f2.8 , partly on cost , but also that is was so much smaller than the Mk1 f2.8 , which was a bit of a beast and often get left behind .
70-200 F4 works really great for me, I also love the fact that zooming in and out doesn't change the length of the lens, very important for me. I'm not sure about how the mark 2 is but it's likely just a better version of the current one!
70-200 f4 is great for keynotes in my opinion. If a client wants roving interviews but won’t allow a lav I sometimes mount a longer shotgun mic to the body of the gimbal where it won’t affect balance or I’ll use a mke-440 if they want naturalistic ambiance. I usually edit all of my projects so I know that I will be using adobe speech enhance for final cleanup.
I've had the 70-200 f4 for years now. In the times I need a 70-200, it's mostly been great. The weight savings is the biggest plus. I still prefer 2.8 of course, but thankfully today's camera sensors are so good that bumping the iso a bit more isn't a big deal.
I'll echo the others have said about the f/4 version of the 70-200. I have the mark i and it's a great lens to have in my kit, especially for events. The smaller form factor of the newer one would be nice!
@@davidmorefield the 70-200 f4 v1 and the a6000 actually got me to switch to Sony from Canon in 2014! The old lens is small and light and the new one is better with better AF, and lighter and has the macro function (though not 1:1). It does zoom in and out physically when you zoom so it's a bit different in that way from the v1....
That Sony f4 G OSS 70-200mm is fantastic with either an a7iv/a7siii for Corporate gigs. Loved using it even for low light outdoor docustyle (without added lighting). I’d say from the last 4yrs the above 70-200 and Tamron’s f2.8 20-40mm are the best pair of lenses as a corporate videographer who, may dabble in other stuff too. However, Tamron’s 35-150mm f2-2.8 is probably the better alternative for the 70-200 imho but not used it yet but would probably buy it as keen to return to sports again too. NB anyone on a budget doing corporate get the Tamron 20-40 as that alone will cover you and switch to 10-bit HD crop mode for the extra reach. That one lens will cover most shoots as I’m finding even just FF 4K:)
@@davidmorefield Yes! And decent weather year round. Not too high cost of living. The market for video here is good. Plus you can tap into other areas not far like NYC + Baltimore. Production people are nice and easy to meet around the city. There are local meetups like "Rough Cuts" and rental houses.
Hello David, I have a quick question regarding the FX6 and its questionable quality control. I recently purchased an FX6, and although it has less than 24 hours of usage, I’ve noticed dust stuck on the ND filter, located behind the protective glass. The dust is clearly visible in the image when shooting at f11, and I can even see it with the naked eye. Since it's behind the glass, it is impossible to remove unless repair I guess. Have you or anyone you know experienced a similar issue? As far as I understand, this shouldn’t happen with such a new camera. Best regards
Pat's and Gino's are actually NOT the best cheesesteaks around. They are very much tourist attractions. Don't get me wrong, I like them but I'd rather go to Curly's and get a premium cheese steak! Anyway, glad to see you were up in my area!
Hey, I was recording today with the fx6, suddenly the camera stop working, turn off by itself then turn on, the camera told to recover the files (super scare at this moment). set up: fx6 with tilta plate, ninja Atomos v and xflion 150w battery. ninja is power by tilta mount. after that I stop using the ninja v and just go with camera monitor. so far all good.
Interesting about the client wanting sound that way. I would not agree to do it that way because I would not be able to deliver quality work. Sometimes you have the obligation to educate your client for their own benefit.
@@vidfolio They are not my client. I work for the agency. There is a time and place to interject. I offered my thoughts and they wanted a different. At the end of that gig, you will hear my VO say that the client loved the audio. I’m not going to fight their satisfaction.
@@davidmorefieldthe days of saying a bit too much helpful and better advice are long gone. Not worth the agro. Give them what they want even if its basically crappy and just use the better stuff in the reel lol
TBH as long as you are close enough , hand held you usually are , and it's truly amazing what AI noise reduction , voice Iso , you name it ,can be done in seconds in post . Not saying don't go for the best but really if they want that super quick grab style , audio wise these days , its totally fine if your close up like that with a decent on board shotgun mic.
@@robinprobyn1971 Yeap - the closer the gunshot mic the better - but if there's too much background/surrounding noise then we're relying heavily on post cleanup:S
I use version 1 70-200 F4 for hand held and shoulder rig shots, it's superior in most every way to it's f2.8 counterpart. The 2.8 produces a more lovely image over the clean crispness of the f4. Nine years in on it and still going strong, best lens investment for me.
If I can ever convince a producer to just hold a small boom it can make just a big difference. I also liked the zacuto microboom product, but you need to be on a mono pod or sticks.
That being said the voice isolation tools built into resolve and premiere are very powerful, it’s sometimes worth leaning on them a bit.
F4 lenses can be worth the weight savings :). Canon made these compact EF zooms for cinema that had AF and are parfocal but they were super35 only, cool concept though for more Eng style.
@@avdpost yeah I wish they updated those!
Got the 70-200 f4 II like 6 months ago an got nothing but good words to say about this lense. The macro mode is not like proper macro but works in a pinch. Some people stress about the f4, but at that mm length you got bokeh for days and with the sony second base iso shooting in darker scenarios also works like a charm.
@@kasparello Thanks for sharing. It sounds like an awesome option.
I do a lot of automotive advertising work for some big manufactueres and I religiously use my Fx3. everyone loves it.
@@williamsitton very light and compact!
You ever come across blown out backgrounds much and if so fx3 coping very well in-camera or slog3 in post saving the day? @williamsitton
It’s always an internal battle of working on other peoples sets. Sometimes I disagree with a decision. I try to make suggestions when I can without over stepping boundaries
@@jonwaldman94 There’s definitely a healthy boundary. I won’t suggest something more than twice.
Keep up the good work, David! Glad to see you back out in the field. My mate had the 70-200mm f/4 Mark 1 version, and it was a really well-built lens. Plus, the Mark 2 version has a macro mode too. Thanks, from Stewart.
@@stewartmunrovideo Thanks man. I’m glad to be working again too. Yeah the mark 1 looks great but I’m bummed to find out the mark 2 doesn’t have internal zoom?! Why would they remove that feature in a mark 2.
@@davidmorefield Apparently to make it smaller in the bag , from what I read when it was released , but yeah could be seen as a step backwards . I have the f4 M1 , it's pretty good , manual focus is pretty much a non starter though , the Mk2 might be better in that area. I bought it over the f2.8 , partly on cost , but also that is was so much smaller than the Mk1 f2.8 , which was a bit of a beast and often get left behind .
Ahh bro I wish I knew you were here!!!! #PhillyStandUp!!
@@abeander2 in and out! Already back in Orlando.
70-200 F4 works really great for me, I also love the fact that zooming in and out doesn't change the length of the lens, very important for me. I'm not sure about how the mark 2 is but it's likely just a better version of the current one!
@@TORBO Mark 2 doesn’t have internal zoom and it makes no sense!!
@@davidmorefield Weird, if it's important to you then I'd just get the older one, the quality is still great. You'll be saving too which is a bonus.
I own the 70-200 f4 and works perfectly for my event gigs especially with dual native iso.
@@AlbertoMendoza Wow more and not people are saying they have it as a workhorse lens. Would you use it for the B Cam of your 2 cam interviews?
70-200 f4 is great for keynotes in my opinion. If a client wants roving interviews but won’t allow a lav I sometimes mount a longer shotgun mic to the body of the gimbal where it won’t affect balance or I’ll use a mke-440 if they want naturalistic ambiance. I usually edit all of my projects so I know that I will be using adobe speech enhance for final cleanup.
@@TradeshowThomas Those Adobe programs really work wonders.
@@davidmorefield yes I was thinking that was how they were going to clean up that audio...
Awesome vlog. Glad your workflow hasn’t been completely destroyed without the FX6
@@luker1ng me too! 😁
I've had the 70-200 f4 for years now. In the times I need a 70-200, it's mostly been great. The weight savings is the biggest plus. I still prefer 2.8 of course, but thankfully today's camera sensors are so good that bumping the iso a bit more isn't a big deal.
@@DavisInDuval Yeah I think it could be a great option for me.
It’s weight is another BIG reason for using it😎💯💪🏽
I'll echo the others have said about the f/4 version of the 70-200. I have the mark i and it's a great lens to have in my kit, especially for events. The smaller form factor of the newer one would be nice!
@@scottsmokerx would love to have a small lens with that much reach. I’m considering it!
i'm still running the 70-200 f/4 mark 1. It has seen better days but definitely got my money's worth out of it haha
@@TolarRay I bet!!
@@davidmorefield the 70-200 f4 v1 and the a6000 actually got me to switch to Sony from Canon in 2014! The old lens is small and light and the new one is better with better AF, and lighter and has the macro function (though not 1:1). It does zoom in and out physically when you zoom so it's a bit different in that way from the v1....
That Sony f4 G OSS 70-200mm is fantastic with either an a7iv/a7siii for Corporate gigs.
Loved using it even for low light outdoor docustyle (without added lighting).
I’d say from the last 4yrs the above 70-200 and Tamron’s f2.8 20-40mm are the best pair of lenses as a corporate videographer who, may dabble in other stuff too.
However, Tamron’s 35-150mm f2-2.8 is probably the better alternative for the 70-200 imho but not used it yet but would probably buy it as keen to return to sports again too.
NB anyone on a budget doing corporate get the Tamron 20-40 as that alone will cover you and switch to 10-bit HD crop mode for the extra reach. That one lens will cover most shoots as I’m finding even just FF 4K:)
@@anoophothi Are you talking about the mark 1 or 2 of the 70-200 f4?
@ the older/initial version
That fx3 with the f/4 G lens might be a real sleeper!
@@ty-k6708 I think so!
Already got the Christmas tree up eh! 🎄
@@ShotBySolo Trying to actually enjoy it this year
aye nj vibes🙏
8:14 think i’m in love with this truck 😆
@@Pachiscruz2 it’s a big boy!
Born and raised in Philly. Cool to see you in the area. Are you thinking about moving here?
This time of year is really nice! I visited last year as well. It could be possible. How do you find the market is here for video work?
@@davidmorefield Yes! And decent weather year round. Not too high cost of living. The market for video here is good. Plus you can tap into other areas not far like NYC + Baltimore. Production people are nice and easy to meet around the city. There are local meetups like "Rough Cuts" and rental houses.
@ Wow that’s good to hear
Next time your in Philly hit me up! Would love to talk shop.
@@danabeldp I might do a meetup next time!
Hello David,
I have a quick question regarding the FX6 and its questionable quality control. I recently purchased an FX6, and although it has less than 24 hours of usage, I’ve noticed dust stuck on the ND filter, located behind the protective glass. The dust is clearly visible in the image when shooting at f11, and I can even see it with the naked eye. Since it's behind the glass, it is impossible to remove unless repair I guess. Have you or anyone you know experienced a similar issue? As far as I understand, this shouldn’t happen with such a new camera.
Best regards
@@zdd7212 I would return it. That would be covered under warranty if you just purchased it.
What are you using to hold the mic on that top left side of the FX3 camera?
@@saulmartinez7179 mounted via cold shoe to Tilta half cage.
Pat's and Gino's are actually NOT the best cheesesteaks around. They are very much tourist attractions. Don't get me wrong, I like them but I'd rather go to Curly's and get a premium cheese steak! Anyway, glad to see you were up in my area!
I ate from both once to compare and I ended up shitting my pants near a hospital
@@DACProVid It was good enough for a couple of Florida guys 😁
Adobe podcast to the rescue 😅
At the conference what was the lightings setup to light the stage
@@jayscottvisuals just one hard tungsten spotlight
@ thanks bro!
Hey, I was recording today with the fx6, suddenly the camera stop working, turn off by itself then turn on, the camera told to recover the files (super scare at this moment). set up: fx6 with tilta plate, ninja Atomos v and xflion 150w battery. ninja is power by tilta mount. after that I stop using the ninja v and just go with camera monitor. so far all good.
Bloody hell. Contacted Sony yet? and good luck, fingers crossed it’s going to be okay either way.
@@angelgomezmedina6117 Man that sucks. Sorry to hear that. I don’t know what to say. Maybe it is the Tilta plate.
@@anoophothi everything good, no files damage
@@davidmorefield what if think is when the battery moves a little bit from the plate, ninja stop working. it's the v mount plate
what v mount plate did you end up going with?
@@mateenmissaghi Anton Bauer
Bro, holding a gimbal during static interviews is gonna cost your years of your life! 😅
@@Bruno_fyi Monopod would’ve been helpful haha
Funniest title ever
@@GriffinDavis. Some people believe it’s an impossible task 🙃
It’s nice to be able to show a few of the ways you can get hired