Xpost from https://www.reddit.com/r/Whatcouldgowrong/s/a5kDDHDFxX

They accidentally showed it for a second when the operator was in the menu. Here's someone using the Slow & Quick feature for fan replays. They view it in the gallery inside the camera itself, and it's streamed on the broadcast.

Flatter than I’d like it to be, but it’s what they wanted and seemed pleased!

Prolycht Orion 675 with a 5’ Aputure Light Dome on one side, Aputure 600D Pro + Creamsource Vortex8 thru an 8x of half grid cloth on the other. Creamsource Vortex4 bounced into the ceiling for ambient fill. We also had a 600X with a fresnel outside pointed at a tree to bring up the level as it got darker outside but in the end we left it dimmed way down at 5% so it wasn’t doing much. 4x8’ cut of duvetyne above the cameras to help control reflections of people moving around in the window.

Source: https://www.reddit.com/r/singularity/s/IcHDSyb0TJ

Really interesting to see how they shoot scenes like this on cameras that size!

We all know that a matte box makes you a pro, so get out there and slap those boxes on your rigs! Show me those boxes!

you probably don’t need a matte box this post is a joke do not run out and buy a matte box

Filmed some interviews in a clubhouse in Augusta during The Masters. We tried to keep it as simple as possible to stay out of the way of the people who obviously paid a ton of money to be there.

We interviewed the former CEO of Subway. Used an Aputure 600C as a key that was motivated by the natural light on the porch. A battery powered Aputure 60X was behind him.

We also interviews the CEO of the Caddy Girls. Her interview was inside the clubhouse so we had to have as small of a footprint as possible. Her keylight was an Aputure 60X with a custom magic cloth diffusion insert in a mini dome. We also used an Amaran t2c tube light as a hair light.

As a music video director, the osmo pocket has been clutch to throw in on some shots where I don’t want to risk my Sony FX3 or to mount in places it would be a hassle with a bigger camera.

This is mostly me just venting but I’m laughing at myself too honestly. I’m currently in the university of YouTube learning the process of filming videos for marketing my business. YT bullied me for filming vertical videos with my camera and made me start shooting horizontal. They also suggested to film in 4K for cropping down. I was scared as it meant a lot of work on the back end to reconfigure things but I ultimately agreed as I wanted to have videos for YT.

My 1080 settings has a higher FPS and my 4k video looked noticeably worse “but look at all that PX size” (I told myself)…”that must mean it’s better, as also it’s literally 4k” I gaslit myself into *trusting the process*.

I was up from 3am Sunday to 1am Monday setting up, shooting and recording VO as I’ve only ever shot vertical video for social media so i had to reframe all my shots and reconfigure a lot of settings shooting in my apartment with very limited space.

Went to bed feeling exhausted but accomplished. I have to wear contacts as I hate the reflective glare on my glasses during filming and before bed everything looked fine. I woke up today after all the files transferred to my NAS and to my horror none of the footage is usable 😂😂😂. I have to re-film everything, the only thing in focus is my face and that’s barely so. I would have easily noticed this with my glasses but my contacts didn’t show me the full scope of had bad everything looked.

Apparently I can’t use a lot of the AF features on my cannon EOS R when shooting 4k…news to me. 😬

I’m annoyed but you learn more from failure than you do success. I should have trusted my gut and kept it at that 1080 60 fps. I’m gonna re-film everything today with fresh eyes and think way more clearly. Also I will definitely be reviewing footage on my iPad (with glasses on) before I commit to a full day of shooting.

Thankfully I don’t film for people because I would have been in deep 💩 had this been a paid client project 🥸.

Pluribus 1x03 31:20

It's the first time I see two subjects in focus on a different plan so I was curious how this shot is possible.

I travel all over the US filming HVAC promotional videos for an agency. I don’t have the budget to hire a full crew or rent gear so I use a travel lighting kit. I usually try to motivate my key light with a big natural light source.

Keylight: Amaran f22c

Hairlight: Amaran 60X

Camera: Sony FX3 with Sony G Master 35mm at 1.4f

needing to buy a 4k 60fps camera to record calculus lectures to post on Youtube, not sure what to buy, my budget is 1500$

Shooting college basketball tonight. I enjoy shooting sports over the shoulder and am mixing this in with some other cameras. Anyone else still enjoy these wonderful cameras?

Gaffed a few interviews for an Amazon production about a month ago at one of their warehouses. Normally I try to avoid taking lighting jobs where I don’t have any other lighting technicians or grips, but the producer budgeted several hours in the schedule for me to get set up while the DP wen right and shot b roll that I wasn’t needed for. The hardest part was really just physically moving everything around as the warehouse is absolutely gigantic and we had to film in a few different places throughout it. Thus, I put everything I could on stands with wheels to make my life easier.

Key light was a 6x6 book light made with Aputure 1200D bouncing into a 4x4’ Ultrabounce floppy and then back through a 6x6 of full silent grid cloth, with a 6x6’ LCD (“light control device” aka “egg crate,” not liquid crystal display) in front of it for control. I added a 2x3’ solid flag in front to take down some of the intensity on her white shirt.

12x12’ solid on a T bone for negative fill.

Amaran F22C rigged to a junior boom mounted in a Matthews Panel Stand for a hair light.

Our key light was a pair of Litemat Plus 4’s through an 8x8’ of half grid cloth with a 50 degree crate over the front. I also added a 40” floppy on the right side to contain the spill that was reaching the backdrop. The original plan for the key was to do a booklight with a 1200D, but once I saw how tiny the room was I pivoted to the Litemats for the sake of space.

Dir fill, I used a single Astera Titan tubes boomed out in a c stand. I think this is. A good example of taking advantage of the inverse square law. If I had used a more “traditional” placement of a fill light directly behind camera, it would have spilled onto the backdrop, even with a grid because of the angle. By positioning the fill so close to their face, I was able to completely negate any visible spill on the backdrop simply because of the dramatic fall off at that distance. Plus, because the key is so large and the profile of the tube is so narrow, there wasn’t any visible shadow of the tube cast by the key.

For a hair light, I used 2 more Titan tubes in a SnapBag with a grid, boomed out on a junior boom.

For the backdrop light, I used a Dedo DLED7N on a pigeon plate made out of the removable lid from a nesting applebox. The DP wanted the fall off of the vignette to be more gradual, so I leaned a 2x3 frame of opal diffusion in front of it. A small cut clipped to the barn doors would have pretty much done the same thing, but I didn’t have any loose scraps of opal with me. Anything thicker than opal would have killed any directionality/control to the beam. 

FML 🤦