Honestly my best editors have been fellow videographers! Start by learning who's shooting in your area. Reach out to them to see if they're interested in any "filler" editing work. You'll get mixed results, but in my experience it beats the heck out of the fiverr approach. Better to start working with someone who is available to learn your style and grow with you locally IMO.
Failing cards, i always hear people talk about this failing cards fear, and to be honest i just don't get the fear, i shoot concerts which go for hours sometimes 5-6 hours, the only cards which ever failed on me were those which i've had in just one brand camera model Panasonic GH2, i have other Cameras AC-AG 130, AC-AG 90,HMC151, GH4s GH5, Sony AIII, Canon 70D, Canon 6D and to tell you the truth none of the other Cameras have i ever had a card fail, 10years old cards and still going strong, i have bought zero card in the last 4years and bellow and i cant say i don't use my cards extensively, so this fear of card failing i don't know where you people are getting it from. But harddrives fail alot and thats where my fear is, but not on the cards. All my cards are Sandisks. To say the truth i don't even bother about the double slot in some of the cameras, to me that is a promotion gimick many vloggers will mention, but ask 50 of them, how many have ever been saved by that redundancy???could be even zero of all the vloggers. When is a card failure a camera caused or card caused?
Hi Dustin, Excellent video! 1) What cables do you use to connect the Aputure 60d light to the V-mount battery? It looks like 2 cables put together. 2) What frenel do you use over the light?
Hey Dustin! Love watching these types of vids to see how others are navigating industry needs. You did a phenomenal job here just getting to the point and clearly explaining the ‘why’ of your setup. Nicely done!
I've watched more than 15 videos about video gear and yours is the most thorough on RU-vid. The section where you demonstrate how to use Ifootage monopod to shoot high & low shots at a wedding is illustrative. The unique thing about your video is the section about G.U.M. for ring shots. I have never seen it anywhere before. Even though I won't use all of the gear you mention here, it's good to know. Thanks for an excellent job.
Thanks! I depends on the dance floor - a lot of times I'll put my 14-24 on sticks as a B-Cam for dances, although we barely use any of that footage since the closeup stuff is usually more interesting.
@@ignitedvisuals I get it! Here is a link to the monopod I use just in case you're interested (Not sponsored but wish I was!) : www.bhphotovideo.com/c/product/1770041-REG/ifootage_cb3_a180f_k5_cobra_3_a180f_monopod.html/?ap=y&ap=y&smp=y&smp=y&smpm=ba_f2_lar&lsft=BI%3A6879&gad_source=1&gclid=Cj0KCQiAw6yuBhDrARIsACf94RX5Ur2KDzGGBdxC3i6LdUDxlbGmC_GmvtPkW70P-R2bQ_l02wokiHUaAiYmEALw_wcB And the new feet for the base: www.bhphotovideo.com/c/product/1754507-REG/ifootage_ifootage_cobra_3_low.html
Just subscribed! So left side is R3D ? (Please say I'm right (or I'm unsubbing! 😛) - Just kiddin! So great job on your presentation and style - thinking about the Komodo (x?) - and so that's how I found ya!
@@DustinSheffield At some point, the reach for the perfect image quality has to be tempered with practical resource capacity (read money), and a compromise has to be made? Otherwise, yes, I would love to do that ! :-)
Can I use the Blackmagic 12G monitor and operate it directly through the on-screen display menus without the need of an additional control kit unlike the SmallHD? Thanks for the fantastic upload!
Love the video and the detail into everything you have. I'd like to get your take on using UV filters. Do you always keep them on your camera? What kind do you use?
Thanks for watching! I do not personally use UV filters as I haven’t found a need for them. In general I try to avoid putting extra glass in front of my lens unless absolutely necessary. So I usually just use the ND filters from Freewell. Shot a wedding yesterday where the weather was constantly changing so the light was as well. It was great to be able to pop the filter on and off quickly throughout the day 👍🏻
Great idea - I always shoot simultaneous. I’m also running up to 3 cameras so that would be a lot of new 256Gb cards I’d need to purchase! Which brand of card do you use?
@@DustinSheffield yeah it is expensive. I go for the Lexar v60 256gb cards. V60 allows for 4k50 shooting on most cameras. Sony at least. You can get them between $100-150aud each. Depending if there's specials on
Amazing video, man! There are a few things I'd like to point out. I really like the idea of keeping an iPhone ready for any shot you might miss due to any camera issues. As an additional suggestion, we can install the Filmic Pro app to capture clean and flat images. I think Sony cameras are nice, but they might be a bit overrated. If you've ever used a cinema camera like the BlackMagic Ursa Mini Pro or Red Komodo and intercut the footage, you'll understand what I mean. You need to perfectly expose Sony image; otherwise, it breaks during color grading. I also liked the suggestion of having a Sony digital recorder ready in your pocket. I will definitely look into it. At 22:50, you talk about using a cable for the Gimbal to sync the record button from the camera. if you have the Rs2 or Rs3, you can sync via Bluetooth with your camera, and you won't need any cables. Lastly, the point about shining light at people dancing after they've had a couple of drinks was hilarious! Great work!
Thank you for watching! I understand your points about the Sony cams... they definitely look different than BM and RED. I haven't run across the issue with having to expose perfectly with 10-bit S-Log 3 out of the A7s3. I've found that I can sometimes even overexpose up to 2 full stops and still have a beautiful image to work with in post. Cinema cams are awesome, but for run-n-gun event videography - Sony is hard to beat! We're definitely in the golden age of cameras at this point and all the big manufacturers have great options - Sony still works great for me :)
I agree with you, especially with Eye auto focus its a beast of a camera for a solo shooter, by 2024-2025 Sony cameras will be recording 12/14 bit 4k internally which will be crazy@@DustinSheffield
Well... I go back and forth. Since I shoot at 60fps a lot for b-roll I'm at 1/125 shutter and usually about f4.0. If it's super bright and I want to shoot really shallow I'll pop on the ND but most of the time I can get away without it. Especially shooting S-Log 3.
Me again haha. Sometimes I like to rewatch the videos 🤣. When you talk about LIFO can I ask you a few questions? 1. Once everything is powered on, which SDI do you connect first? Does it matter? 2. If you wanna eat something (and everything is charged) can you turn off and on the camera and monitor without removing the SDI? Thanks again haha
Hey I'm glad to hear it! 1. I connect the SDI to the monitor first, RED second. 2. Before turning off the camera, I remove the SDI from the RED. Hope that helps!
Hi! Been shooting weddings for 14 years, and learned a lot from your video. Some random comments: -- "RCAs. Some DJs are still using these." Round my parts, they're the most common connection! -- One cable that might be useful: a 3.5mm headphone-type jack to XLR (for cases where the headphone monitor is the only out they can give you!). -- A vote here for Zoom F6 over F3. What you lose in compactness you gain in battery life -- F6 can run all day on one Sony battery, while the F3 goes for up to 8 hours on three AAs. (I might be wrong about this, but that's my thinking anyway.) -- Spare pants. Have only run into the dreaded pants rip situation once. But I had a spare pair in my car -- a videographer from the DVInfo forum wedding section had recommended it to me years ago. But was there any possibility of using some sort of clip or pin to hold your pants together? (I guess you wouldn't want to gaffer tape your butt; might be worse than letting the breeze in.) I've never needed a spare shirt, but maybe spare socks might be useful -- basically, for those times when you ask the bride and groom to walk in the water, and then wade in after them. -- I think there was a picture of an Instamic mounted magnetically to a speaker? I find that really interesting; I've been looking for a good 32-bit float recorder to get audio from in front of a soundspeaker as a backup. Only thing I'm unsure of is, if it's magnetically attached, does that influence the sound? I mean, will it be influenced by vibrations from the soundspeaker? -- Dental gum. Wow! Neat suggestion! I've been using something called "photographer's black tac", which is like blutac, but black. But hard to use just enough black tac that it's not obvious. -- I'm not sure you discussed why you'd use lights instead of ISO/aperture, though you teased a discussion. For me personally, there's two main reasons, and two minor reasons; I'd be curious to know what your reasons are! My minor reasons are the film set ones: lighting gives you more control over aperture and ISO (so you can adjust aperture to taste, and keep ISO low). The two major reasons for me are: creating an effect (= mainly backlighting and colour contrast, like cold backlight and warm key light), and helping to deal with exposure contrast issues. To explain that last one... if you have weddings where there are speeches at daytime, or you're hanging a dress against a window in the morning, you can't solve this with aperture/ISO, because the more you brighten skintones/bride's dress, the more you blow the background. So, any light you can get makes things a little better. Similar situations also arise with receptions at night -- sometimes there is a big lit wall behind wherever they're speaking from; and sometimes they're speaking from behind a front table, and all the decorations on that table are white. -- It scares me that you leave monopod there and walk away from it. -- Monopod + gimbal combo was pretty new to me. Really interesting stuff. -- Getting reactions from people because of light + alcohol -- I'm iffy on that suggestion. I mean, sure, some people react positively. But I've filmed a lot of night clubs (with a lot of alcohol), and it can easily go the other way -- people hiding from the light, turning away when you approach them, etc. Plus, in terms of image, no one likes the look of front lights anyway, right? Two tips as an alternative to front light to get reactions (and I reckon you'll probably know these already): (1) the more energy you give out, the more energy you get back. Like, openly sing along to the music, smile at people, wave at them, and dance (as much as you can, stability permitting). Funny-dancing, making a fool of yourself can work really well. If you do all this, people are more receptive to being filmed. (2) if you get to know all the guests and interract with them beforehand, they're more receptive to being filmed -- for instance, if you've made friends with and remember the names of the bridal party during prep and photoshoot, if you've spoken to all the guests by going around to them during mains/entrees and asked for messages for the bride and groom, or if you've cracked a joke during the big group photo after the ceremony or whatever. But, disclaimer: for weddings, personally, I don't like people looking straight into the lens or playing up for the camera. I like natural and observational. But that's just personal taste.
Wow I appreciate the time you took for this comment! You've got some great points here: - The 3.5 to XLR is a great idea and I'm all about having options for every situation when it comes to cables. I'll add it to the kit! - Love the F6. I use it on all my other productions. I just like the F3 for weddings because of size. But yes, battery life is much better with F6. - The ONE day I don't have my little spare thread sewing kit in the bag. Though I would've definitely gaffed my rear if I could have! - I've never heard any vibrational noise from the Instamic clipped to the speaker. The mic has a rubberized, waterproof shell so maybe that dampens it enough that vibrations aren't noticeable? Anyways, it's worked really well in a pinch! - I have seen that black tac before and it works basically the same, I just prefer the transparent dental gum. - Great points on lighting, agreed all around - Haha maybe my monopod is sturdier than most because I've walked away from it countless times and it's solid. Maybe I should've had a disclaimer in there somewhere... - Capturing dance footage with the light on the camera. I should have mentioned that this always depends on the crowd. I feel it out - if they're responding well, I'll keep the light on for a few minutes then shut it off and shoot with available light. Never want to ruin the mood. I can imagine it's a definite no-no at nightclubs. I was just surprised that people like it at ALL at weddings, so I test it out at all of them now. All great points! This vid was meant to focus on the gear and I plan to make a few BTS vids of our team actually filming real weddings as well. That way we can show our technique a little better. Stay tuned! Thanks again for the great comment
@@DustinSheffield You made me ponder why I'm iffy with people looking straight into the lens for weddings, when one obviously gets great reactions this way. Well, I think it's two things. Firstly, I think it's less real. It's played up for the camera. They're aware they're being filmed. But, secondly... and I think this is kind of interesting... Wedding guys are usually trying to make their videos more "cinematic", right? Copying techniques from film. Using prime lenses, trying to get good audio, using sliders and gimbals, shooting in such a way that it looks like there's multiple cameras. Well, I think part of the language of films... most films anyway.... is that they don't break the fourth wall. You know, unless it's a Woody Allen film. So, people rarely look directly into the lens; and when they do, it's often a POV shot. So, I think my gut feeling is that mugging to the camera is more "documentary" and less "filmic". But, yeah, horses for courses. I'm pretty sure I'm very much in the minority here.
I laughed so hard with the SDI topic. "Shocking right?" hahaha. I don't why it was funny :)) amazing video! It would be really nice to see your opinion on the new Komodo-X!
Definitely! The X looks like it cleans up pretty much any complaints I had with the Komodo. Wonder what I can get for the trade… Thanks for watching 🙏🏼
Ah what a bummer Instamics are sold out! I’m glad they’re getting business though, I want to see that company stick around for a long time. Thanks for watching!
Great video. I’m looking to upgrade from a BMPCC 6k and I was looking at the Z Came E2 F6. You mention you bought the Komodo from the f6. Would you say the quality jump is worth skipping the F6 and going straight to Komodo?
Realised that an Atmos Shinobi I own (for a previous camera) doesn’t have SDI connectivity - that’s not a criticism of the Shinobi - it’s in the lower price range - so - with the Red Komodo I’ve acquired - I’ll try monitoring through my smartphone with the Red App. Thanks for the video !
I told my wife that every year I will be upgrading to a new camera. As a professional photographer these are my tools and when the tool makes my life and job easier they pay them self off. She kind of freaks out when I drop four to $5000 on a camera body and the lens. But she understands this is my livelihood and this makes us money. Sometimes it’s hard for her to grasp but in the end she understands. So it’s nice every year I get to buy a new camera. And I always have at least three. great video thanks for sharing
Hi there, do you really match Sony footage to it easily? I have the red komodo and was gonna get the FX3 as a B-cam. Do you think this is a good move? THankyou!
Hi! Yeah with the RAW codec on the Komodo it’s pretty easy to match footage to most cameras. The Sony will always have more of a “video” look than Komodo but I think the advantages far outweigh the downsides. Plus lens choice, lighting and composition will all have a huge impact as well (obviously). So yes, I think the fx3 is a great choice 👍🏻Thanks for watching!
