I am going to agree with @kuroexmachina, this video is eight years old and only has 72,000 views I think 50,000 of those views are from me and here I am on a Sunday, June 16, 2024 and I just watched this video three times today I actually have a copy on my hard drive just in case you guys pull this video out of your page.
Im mind blown over this simple yet epic technique!! I've watched all your old videos, the more i watch the more my head explodes with simple compact knowledge. Please share with us your techniques, your simple, cheap and practical ways needs to be pass down to the future videographers!
Unfortunately, the price of the workshop is controlled by Udemy. It is valued at around 50 US$ but the price regularly changes as it is governed by an algorithm. There are short periods where it is available on special offer where the price can get quite low but you will have to keep checking every now and then.
@@kinetek2881 Mr. Rosen thanks a lot for feedback🙌 The value of your tutorial is the way higher than the price. I do believe price up to 250USD is pretty fair and affordable
If I may ask a question about scene dynamic range: do we measure the stop difference the same way we do through a camera's dynamic range? I mean 6 stops of scene contrast is way less than the potential 13+ stops of our modern cameras. Should we not be able to capture such scenes without difficulty?
It depends what you are referring to when you say scene dynamic range. The Pro understanding of this is measured by the waveform monitor. Some stations and streaming platforms prefer a narrow scene dynamic range. I have come across this with a few of my deliverables. I like to grade my work from 100ire white - 0ire black. Some networks ask for 90%IRE range some even 80% ire. range. This can be achieved whilst grading. They do this only to stop consumers having to readjust their sets every time the whites clip. Particularly when consumer TVs are set to vivid. So I believe the answer to your question is: No it refers to the dynamic range of the waveform monitor. Personally I like to use as much dynamic range as the shot dictates when I shoot. Then reduce the range if the network deliverables require it. If you are referring to multiple range exposures, like the RED then this can be very useful but I find the dynamic range of most modern cameras to be so good that I hardly ever use this function anymore. If you are referring to HDR versus SDR this is a consumer TV term and I find it actually has little effect on the scenes’ dynamic range and more on its clarity. Hope I understood the question correctly and this answered it adequately.
Just found this video. IMHO, this really demonstrates that some more cost effective action cams can be semi equivalent to the more popular and more marketed action cams. I love the AEEs multiple user selectable FOV/telephoto (in camera cropped of course). At one time AEE was a real but lesser known competitor to DJI drones and dedicated gimbal cams as well as Go Pro action cams. I have several AEE S60-S71action cams for B roll indie film work; mainly for car/motorcycle action work. I believe the sensors in all the AEE cams are the Sony Exmor R.
I'm curious where you set the white balance in the camera in these scenes. Do you set it to match the filter or leave it at 5600k and tweak it all in post?
Here is a desperate idea for survival: is it possible to incorporate this into my home? I live in an area that has endless gray days during the winter which causes anxiety waking up to another grey day after gray day without seeing blue skies for weeks at a time. Could I create a room in the house with lighting that mimics the sun and natural sunlight? I love the rest of the year where I live but the long winter season is so hard to get through. Any suggestions would be greatly welcomed.
Jaw literally dropped at the gravity-based dolly control. Can’t believe that works. Absolutely amazing! Thank you so much for giving this knowledge to indie filmmakers.
