I just came across your video! Thanks so much for the tips! I've had this camera for a long time, but recently I've noticed that every time I take out the battery to charge it and put it back in, the camera always asks me to set the date and time. Have you experienced this? And do you know how to fix it, please?
Absolutely! Thanks for the comment. Check out my quick reference card in my store that you can keep on your phone or print out, and use in the field. Cheers! tresmediaco.com/products/custom-white-balance-guide-5-5-x-4-25-in-postcard
Hey @pixelreflexmedia, I am using the Bright Tangerine Left Field ARRI-Style Dovetail Plate. I mount that to the BUD Bracket and then I can get the camera off even faster. Here is the link to that: www.bhphotovideo.com/c/product/1431279-REG/bright_tangerine_b4003_1008_left_field_arri_dovetail.html Thanks for the comment, Cheers!
@pixelreflexmedia oh gotcha, that is the FX6 riser kit that connects to the left field. www.bhphotovideo.com/c/product/1613387-REG/bright_tangerine_b4004_1004_sony_fx6_riser_for.html
@@KarlWeinreich That's the piece of the puzzle I was missing. I purchased the same shoulder rig and LF3 BUD, but I needed help figuring out how to mount it to a C400 because, as of this post, BT does not offer a riser. We think the way to make it work in the meantime is to order another BT universal BUD plate and mount it to the camera that way. Thank you for your reply.
I far as i have found on YT connecting to your A6000 phone is only possible with a hack with A6100 firmware, do you have another way to connect it to your phone?
Thanks for the comment! Unfortunately, the Sony A6000 doesn’t natively support the same phone connectivity features as the A6100 or newer models. While there are some hacks involving firmware, I wouldn’t recommend that route as it could risk damaging the camera. For basic file transfers, you can still use Sony’s PlayMemories app to transfer images via Wi-Fi, but for live view or more advanced remote control, upgrading to a newer model like the A6100 would be the better option. Thanks for the comment, cheers!
Great video! I was wondering, how do you offset your monitor so the cable isn’t in the way? I see you can bias it left or right. I’d like to use a nato clamp system if possible thanks!
Thanks for the comment, if you mount it on top of the camera then you can’t. But if you mount the monitor off to the side using the items from this video ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Y_V1pCGGoSU.htmlsi=1cxoxaNRqiRA5cwG The trade off is that you will need to counter balance it somehow, either by holding it up or with weights.
Finally someone answered my question about do you WB after the whole set is lit, or just WB off the key light. I’ve been looking for that answer for days! Thank you!
I record externally 99% of the time. But if/when I do use on camera mics, it is the Sennheiser MKH 416 or the Sony ECM-44. Thanks for the comment, Cheers!
Great build. Could you tell me where the EVF extension piece is from that goes between the top handle reinforcement bracket and the 15mm rod for the 7” monitor? It’s the first thing I’ve seen that rigidly extends the monitor forward of the stock touchscreen location.
Thanks! Glad you liked the build. The EVF extension setup you're asking about is made up of two parts from Wooden Camera: 15mm Bolt-On Rod with 3/8"-16 Mount (1.5") 1/4"-20 to 3/8"-16 ARRI-Style Accessory Adapter for SmallHD Monitors These pieces help secure the 7” monitor in a more forward position, giving it that rigidity you noticed compared to the stock touchscreen setup. Let me know if you need any more details!
@timdanyo898 Glad you think so! It's definitely a top-notch option for durability and usability. The investment pays off in the long run when you're using it on those tough shoots. Appreciate the feedback!
¡Gracias! Right now, I'm using the Sony FX6 for most of my videos. Don't worry if you don't have a camera yet-you can always start with what you have! 📱✨
@GlenReed I've been in the same boat-thought about buying SET A LIGHT but haven't pulled the trigger yet. Cine Tracer is also on my radar, though I haven't tried either of them yet. I'd love to hear how they compare if you end up giving one a shot!
@@KarlWeinreich I purchased Set A Light and it’s a good piece of software. I’ve only created one scene but was able to replicate it in real life very well. I will likely be using this from now on for previz stuff. It is a bit limited in some ways but has strong points in others. The lighting and shadows are pretty accurate which really is the most important part. However one thing that is lacking is that you can’t use HDRI’s like in Cine Tracer to simulate natural light say through a window or sky. Cine Tracer however doesn’t do things like negative fill and hasn’t been updated in quite some time 🤷♂️
Are they still showing difference in color rendering if you white balance camera with a gray card? On your example they looked like dzo were slightly on the green side, and sony slightly on magenta side
@igorzhidkov1957 Good observation! I did notice the slight color shift in my example as well. Even after white balancing with a gray card, the DZO lenses tend to lean a bit toward green, and Sony has that magenta tint. You can adjust in post, but it's something to keep in mind depending on the look you're going for.
@pdcorlis Great question! Just to clarify, Cinematic Mode on the iPhone doesn’t shoot in LOG directly. While it can shoot in ProRes, LOG isn’t an option for Cinematic Mode itself. It’s more about the depth-of-field control and aperture adjustments. You can still color grade the footage afterward, but it won’t give you the same flexibility as LOG footage. Hope that clears things up!
Thanks for the video. Interesting to watch, however some menu slides would have been useful. I don't find the sleep mode that you were talking about for example
Thanks for the feedback, Victoria! I appreciate you watching the video. You're right-adding menu slides could definitely help with clarity. If you're using the Sony A6000, you can find the sleep mode by navigating to Menu > Setup > Power Save. From there, you can adjust the auto-off timer settings. I'll make sure to include clearer menu slides in future videos to help with things like this. Let me know if you have any more questions!
@victoriamarkova2992 Awesome, glad you found it helpful! Setting it to 1 minute should definitely help conserve battery life. Thanks again for the suggestion about the menu slides-I'll make sure to include those in future videos. Let me know if anything else comes up!
that is not how you use the vello, it works, 100 percent of the time if utilized correctly, you must go to you subject and take the wb reading from the light source is lighting it. the camera do not need tu be focus but must be correctly exposed, I use full auto and manual focus . saludos
@pavelavietor1 Thanks for sharing that! I didn't realize the importance of taking the white balance reading directly from the light source. I'll definitely keep that in mind next time. Appreciate the advice-it's always great to learn something new. Saludos!
I have a Sony a6400 with a 16-50 kit lens and I have a Lumix G90 with the 12-35 2.8. Surely different lenses in terms of cost, but the Sony is used on a 24Mpx apsc that should be better than an M43. Results? At 6400 ISO the noise generated by the sensor with the same exposure parameters is almost identical, but with a noise reduction SW like DxO the chrominance noise is much better with the Lumix. The Sony lens is embarrassing. I tried to focus on the 4 corners of the same subject with 4 shots. With the Sony the corners are all pasty and stretched, unwatchable. With the Lumix they have incredible sharpness. So my thought (experienced), even though I have both, is that the Sony is a glass bottom of very low quality
Thanks for sharing your detailed comparison! You've made some excellent points, especially regarding the lens quality and performance at higher ISOs. The kit lens on the Sony a6400 does have its limitations, particularly in corner sharpness, as you've observed. While the APS-C sensor should theoretically give the Sony an edge, lens quality plays a significant role in overall image quality. The Lumix G90 paired with a higher-end lens like the 12-35mm f/2.8 can definitely outperform the Sony in terms of sharpness and chrominance noise, especially when post-processing tools like DxO come into play. It's a reminder that the lens is just as important as the sensor when it comes to getting the best results. Your experience really highlights the importance of investing in good glass. Thanks for contributing to the discussion! Thanks for the comment, Cheers!
Thanks! And thanks for the comment. I have looked at the Tilta options in the past and have used a lot of their products over time. If you are looking for something in that price point then it may be a good option. Personally, after using Bright Tangerine products in various applications you just can't beat them. The quality you get will last you for the long haul. The adjustability to any camera you have when using the BT Universal Shoulder Rig is the real reason for me to invest in this over other cheaper options personally. Plus the grips and pad are super comfy compared to other rigs I have used in the past haha. Thanks for the comment and appreciate the support! cheers!
I have the tilta; it works, but it has play in the arms (at least mine does) + you can’t mount onto a tripod in the same way. I’d have to take the camera off the shoulder rig and attach separately. I recently got the bright tangerine missfit kick and the quality is just next level! A shoulder rig is on my “want list” now!
Thanks for the comment on the Tilta rig. Can't beat the Bright Tangerine products when it comes to quality and fit and finish. I also love my BT Matte Box. Cheers!
@@ElevateWelcomeReimaginesame here. Play in the 15mm rod at the front. Not as adjustable as the Atman. I added quick release rosettes and it just made it heavier. The shoulder pad was okay. I think I might give this Kasbah Atman a try
Yes, the Shimbol TP Mini-Wireless Transmission System can connect to multiple receivers. It features an HDMI loop-out design, which allows for easy connectivity and the ability to transmit to multiple receivers simultaneously. For more detailed information, you can check the product page here.
I have everything set to record in log. But when I got to turn jt on it says 4k can’t be filmed after 30fps but the odd thing is that I have it set to 4k 24fps in my camera setting. Any ideas?
You may have to tap the 24-30-60 in the top corner of the video settings app. Mine is set to 4K-30, but when I go to 60fps it gives me that warning. That is a strange one if you just open the app and it is telling you that after you press Prores Log.
Hi there, which LUT would you recommend for Real Estate videos? I am new to Clog3 and am struggling to get vibrant colours. I'm not needing the dreamy low contrast look for my endo product ( like alot of realestate videos have)....I'm needing it for construction/design videos that need to show the colours of the homes in a vibrant/true-to-reality colour.... almost like straight-out-of-camera type contrast.
Thanks for your question! For Real Estate videos where you want vibrant and true-to-life colors, I’d recommend starting with a LUT that’s more neutral and then adjusting your grade from there. A good option for Clog3 might be the Canon Official Clog3-to-Rec709 LUT, which gives a natural look while maintaining flexibility for further tweaking. Since you’re aiming for something closer to straight-out-of-camera contrast, try boosting your saturation slightly and adding a bit of contrast to get that punchy look. You can also adjust the white balance to ensure that the colors are accurate to what you see in real life. Experiment with these adjustments, and you should be able to achieve the vibrant, realistic look you’re going for. Let me know if you have any more questions! Thanks for the comment, Cheers!
@@KarlWeinreich thank you soooo much for your reply that's awesome!! I just realised I said Clog..instead of Slog3...for Sony....OMG i'm sooo s sorry!!! Will your suggestion be the same for Slog3?
Don’t be sorry! I would suggest starting with a lut from Sony. The standard rec 709 conversion lut works great and adjust from there. If you wanted to buy a set, the phantom luts are awesome and you can adjust quite a bit to get a saturated look you are going for. You can’t beat the luts from DSLR video shooter either. That fake color lut that the kit comes with can be a game changer.
I cannot agree more. After not using my vintage Pentax’s for some 25 years I just bought a Nikon Zf and whilst I also have one of their native lenses I am much happier with my old Pentax’s on it ☺️
Glad to hear you’re enjoying the Nikon Zf! There’s something special about using vintage lenses-they bring a unique character to the images that modern lenses can’t quite replicate. It’s awesome that your old Pentax lenses have found a new life on the Zf. That mix of classic glass with modern tech can really inspire creativity. Thanks for the comment, Cheers!
The Sony A6000 doesn’t have a built-in time-lapse feature out of the box, but you can still do time-lapse photography with it! There are a couple of ways to achieve this: Intervalometer: You can use an external intervalometer, which is a remote that allows you to take a series of photos at set intervals. This is the easiest and most straightforward method. Sony PlayMemories App: If you can find it, the PlayMemories Camera App used to offer a time-lapse app that you could install on the A6000, but it’s no longer officially supported. However, if you already have it installed or can find a workaround, this can be an option. Manual Method: You can manually shoot a sequence of photos at regular intervals, then compile them into a time-lapse using video editing software. Once you have your shots, you can easily compile them into a time-lapse in post-production. Thanks for the comment, Cheers!
Have you seen the Kelvin Shift, when lowering the intensity from 100% to 10%? Wes Perry measured it to lika 900K in his video "I Retested EVERYTHING - A Close Look at Video Light Color Accuracy". Take a look at 7:50 ....
Yes, I’ve seen that Kelvin shift when lowering the intensity from 100% to 10%. It’s definitely something to be aware of, especially when you need consistent color accuracy in your lighting setup. Wes Perry’s video does a great job highlighting how much the color temperature can shift-900K is significant! It’s always a good idea to double-check your lights at different intensities if color fidelity is crucial to your project. Thanks for pointing out that video; it's a solid resource!
@@KarlWeinreichwell many use the light with a softbox as a key light and then don't go higher than 10%. I wonder how many of those are aware of that they are actually exposed with 6400K and not 5600K 😮
@wpse for sure, I would hope you are white balancing your shot every time you put a light up as so many things can affect color output. That should fix the hue difference.
@@KarlWeinreichYes it should, and I do, but I'm not really fund of redo the white balance everytime I change the intensity, which can be a few times over a photo session. Most of the lights in the 300W class, don't have that huge shift....
Agreed! I think this light is geared towards people who don't have the budget for more expensive and color accurate lights. This light will get the job done for 60-70% of people. But for professionals and people who need more from their lights, I would say that these may not be the ones to go with. I appreciate the perspective you have brought to the chat!
Hello sir, Your video is very impressive, well done. I am wondering something however. I recently bought an Iphone 15 Pro max that I want to use to make short films. I always hesitate between the cinematic mode and the prores log. The cinematic mode allows to have background blurring automatically, which creates a depth of field sensation; making the whole thing more cinematic. For this video; you shot in prores log, but it seems to me that you managed to have your subject in focus, blurring the background a bit. from 0:28 to 0:31 for example. How did you manage to have nice focus like this, in prores log format ? Thanks a lot and good luck !
Thank you for your kind words! I'm glad you enjoyed the video. Regarding your question, shooting in ProRes Log on the iPhone 15 Pro Max gives you much more control over the final image, especially in post-production, compared to Cinematic Mode. While Cinematic Mode automatically adds background blur, in ProRes Log, you’re working with the full capabilities of the camera sensor and have greater dynamic range and color grading flexibility. To achieve that subtle background blur and keep the subject in focus, I carefully set up the shot with a few techniques: Distance and Framing: Positioning the subject at a good distance from the background and using a closer framing can naturally create some depth of field, even on a smartphone. Focus Control: While shooting in ProRes Log, I manually adjusted the focus to ensure that the subject was sharp while the background stayed slightly out of focus. This can be done by tapping on the screen to lock focus or using third-party apps that offer manual focus control. Post-Production: In post, I fine-tuned the footage to enhance the depth of field effect by slightly blurring the background while keeping the subject sharp. By combining these techniques, you can achieve a cinematic look even in ProRes Log. It’s definitely more work than using Cinematic Mode, but the results can be more controlled and professional. Keep experimenting, and you’ll find the approach that works best for your style of filmmaking! Good luck with your projects!
You will have to copy and paste it into the same time line then pre compose it to keep it clean. Access the Pre comp and everything will be in there and adjustable. Hope that helps! Thanks for the comment, cheers!
The smallerhd band is severely overpriced for what you get compared to the ATOMOS brand! I’ve used smallerhd monitors and they are great at what they do but in my opinion they are ripping people off!😅
I get where you’re coming from. SmallHD monitors do come at a premium price, and it can feel steep compared to other brands like ATOMOS. That said, SmallHD has built a reputation for their build quality, durability, and user-friendly interface, which is why they’re a go-to for many professionals. But it's true-everyone has different priorities and budgets, so if ATOMOS works better for you, that’s what matters. It’s all about finding the gear that fits your needs and workflow best. Thanks for sharing your thoughts! 😅
I have a job coming up where the primary shot in multiple locations is going to be two people walking inside of, and showing off the interior of offices. In this instance, showing off the space is totally okay, but I know that where the talent will be standing and where the camera will be won't give me much separation. I have the 16-35PZ, the 24-105, and even a 70-200 GM II that have covered my general use videography over the years, but this one is more of a "commercial" than anything I've been shooting. I'm certain the lenses I have could get the job done, but I'm also itching to use this as an excuse to buy a fast prime. 24 or 35 is where I'm landing, but can't make a decision yet. Lots of experimenting in the living room going on with my big key light and the lenses I have in order to try to convince myself to not do it... but I want to! Of course the frugal guy in me is also thinking I can get two Sigmas for the price of one Sony GM, but also the realist in me knows that the Sony is the "better investment" and "more reliable"... I'll likely end up with the set eventually anyway... 24, 35, 50, 85, and even the 20mm 1.8, but where to start?! Rent? No... GAS is a funny thing to have!
Okay, I found some older footage of the room, lit with natural light and with the F4 lenses. I'm saving my $1500+ today and just going to go get the job done with what I have, need to get better at utilizing my lighting a bit more anyway. Stop down to F4.5 or even a 5.6 to get some sharpness, or shoot longer if I need more DOF. Good talk!
It looks like you figured it out haha! This has been me so many times. I have even pulled the trigger on buying something and haven't been happy. The best lens is the one you know in and out and can use in a second. I use primes now for 90% of my work but I love a good zoom and the 24-105 is the best in my eyes for price to performance. You have it right on lighting, spend the money on lights, soft boxes, and modifiers! Your images will jump by 1000 percent. Thanks for the comment, Cheers!
@@KarlWeinreich Irony is the client just said that they are imagining the whole thing being a moving shot that pans in all directions, and straight up said he doesn't think we need lighting - so a fast prime would be handy for this. Of course that would then mean we blow out the windows entirely and ultimately probably not be good. I'm going to have a call with them on Wednesday and let it be known that at least one light bounced in the corner is going to be needed to bring the ambient up in the room, whether we do tripod or gimbal, and that there is no way we would ever do a full 360 shot anyway... If he wants that, his budget needs to double! Just funny how I got over my idea/excuse to buy lenses - figured the shots in my head with lighting, and the client is like "Naaaah...." I could just shoot high iso and ignore the windows entirely, but that's not the "right" way to do it. Did some camera tests yesterday and low base with the 600d bouncing in a corner to fill the room is way better than high base with no fill, or even some fill.
Thanks for reaching out! I have not to this date. I set it on something to take the pressure off of the quick release and it usually pops off pretty easy. When I am doing it with nothing under it, I will struggle a little bit. Hope that helps, cheers!
