I haven't tried that, but bear in mind that it is a fairly directional mic (sh*tgun style). I'd say a stereo mic would work better, in the case of this video, the H1n itself with the integrated XY would likely be a better option.
I made this video quite long time ago, but I believe the instructions were in the video. Otherwise look for Thatcher Freeman's original video on the DCTL for ACES. If you were talking about normal color space transforms, Zlog isn't there.
Do you still have the S6? Would you recommend it for 1k used with the Smallrig cage? I have a couple of good photo cameras but only Osmo Pocket 3 for filmmaking and I’m really tempted by the S6.
1K with the cage is a very good price! I no longer have it, but it is a great camera. Have you ever owned or used cinema cameras? It's a very different experience. Forget about autofocus or auto anything, be ready to have a big heavy rig and spend money on media, batteries, accessories etc. I loved using it, but I have so little time nowadays that I prefer the faster workflow, turnaround and features of mirror less cameras (especially autofocus and ibis). And with that said, if you want to test it out and see if cinema cameras are your thing 1k is absolutely a great price. Almost too good to be true 😅
I realize this is old, but the question now is the F3 vs the H1 XLR. Given that H1 XLR is literally half the price of the F3, and is almost half and inch thinner in two dimension while being a bout an inch longer in the last dimension means it would likely fit in many pockets more comfortably while still offering identical XLR inputs, plus the H1 XLR has a non locking 3.5mm as well, I'm sure the plastic of the H1 xlr is cheap feeling, but I think the big question on most peoples minds should be if the F3 offers something worth almost double the price in 2024.
The best part of this camera is the expansion port. With it one can literally control almost all important aspects of the camera very easily without relying on those front buttons. To me it's THE reason that this camera is better than all other Blackmagic cameras of this era, because one can still add wireless start and stop for around $60+ and a full wired settings controller to replace almost all important features of the camera for $150+. There are even ways to add bluetooth to the camera so one could use a phone to control it. Sure the octopus is ugly, but one isn't stuck with it. The octopus is just the simplest way to give a user access to almost everything the port can do in one cable without either building or buying a better option.
No verb in sentence 🤷🏻 There's sample video and the thumbnail, but the video aimed for the theoretical explanation and then everyone can experiment if so they wish 👏🏼
I don't remember the details, but use the "V" rating to decide. v30 means "max sustained write speed of 30MB/s" which is 240Mbps. So it depends on the video bitrate.
Thank you. You need also need to be pushing the button on the rear side (the button that you would press to open the door when it's on the camera) otherwise it will not slide.
Thanks for all the info! I was having a hard time trying to find details about the HDMI 4K output signal of the A6400 and you nailed it all in one video. I'm gonna pair it with Elgato Facecam 4K to upgrade our school YT Lives to 4K/UHD (currently at QuadHD using a Samsung S8+ with ivCam software). You're a life-saver! And nice to know you're a fellow Mary Spender fan! 🎸
Hello, thankyou for your video, this video you say is recorded with the f3 I can notice the pre amp noise on this video can it be removed ? Also more important is the f2 as good as the f3 for pre amp Sound the background hiss ? Thankyou
Fairlight in Davinci Resolve is pretty good at that, but when I made this video I wasn't using it much. And probably the F2 (I no longer have it) is not as good as the F3. Honestly, with the flimsy built and lack of on board controls, unless it does exactly what you need, I'd skip the F2 and get something else.
@RogerinFinland Thankyou very much for your help, I really have been struggling to remove this sound. I have had a quick look I see it's free or you can pay, is this an automated process or do you need to be an expert to conquer this task ? Also is this function part of the free version. Thanks for any more help you can give with this.
Well, the easy route is just to activate voice isolation for the audio track and there's just a knob that goes from 0% to 100%. I only have the Studio version, so no idea if the free version has everything.
@RogerinFinland Thankyou very much for your help. Sorry I haven't replied I didn't notice you had messaged back. .. only just found how to look at comments, I thought you had to go back and find the video then look for your initial comment !! I'm learning ... slowly
Great video. Is that adaptor the 0.7 focal reducer version? As that one is limited to how much PL mount protrusion is allowed inside the lock. Curious as I’m keen on using the Remus with a focal reducer on the BMPCC OG to gain some extra focal length
A really interesting talk, with examples. Thank you for this. I'm still getting to grips with the fact that even aps-c specific lens have 2 sets of numbers. The one that's science and the one we understand relative to 35mm. And then some people talk or write without being clear which numbers they mean. Actual FL or effective/equivalent FL.
I love your shirt man! I had one growing up in elementary! It my favorite so much that when the shirt wore down and faded I got a new one lol much love brother and I’m proud of you! 🤘🏽😌
Roger, does the metering modes on G9 work in video mode? I must be missing something, when I switch metering modes in picture settings Im able to see that on camera screen, not in video mode though. Cant see any difference when I playback footage too.
They should work and the differences visible, given that there is some automatic setting. If you shoot full manual, including ISO then the metering won't make any changes to your image.
I use it with film on an f100, f5, f6, fm2n and fe. With black and white the 7 element low count produces stunning micro contrast and 3D rendering... aka zeiss pop or leica look. 9 blades produce buttery bokeh. It is one of my sharpest lenses. It dusts my 50 1.8D that is sharp but lacks the bokeh. It is sharper than my 20 year old sigma 50 1.4. It is all around better rendering than my 50 pancake. Now the 50 D with auto focus works for street or run and gun. The zeiss 35 distagon and 85 planar round out a walk around kit.
The H1n needs a TRS input. I can't remember what cable does the D3 Pro come with, and I can't remember either if the output is TRRS or TRS 😅 In summary, nothing too special.
I'm sure other pieces of software (especially industry standard professional suites like Avid) are better at some things. The goal of the on video was to give some hints and tips specifically on resolve snapping, not comparing it to other pieces of software.
THANKS FOR THE AMAZING EXPLANATION ON INTERPRETATION OF FOOTAGE , SO SHOULD WE NOT USE THE COLOR MANAGEMENT TAB IN THE PROJECT SETTINGS? IF WE KNOW WHAT WE SHOT IN ?
The all-caps feels pretty aggressive 😅 I'm not a professional colourist, so take my input with a pinch of salt. Of course you can use the colour management tab and use automatic interpretation of the footage as well. I often use different cameras, or same camera with different colour profiles for tutorials etc, so I tend to handle everything in the node tree. But that's just me 🤷🏻
hey there, I know that this is an old video and you are not shooting on G9 anymore. anyway, where do you suggest to put color grading nodes - before color transform to arri log or after? I know that we gotta grade all log footage BEFORE we transform it to rec.709 because otherwise we're losing all benefits of 10-bit grading. but should we grade it as HLG (with our Color Transform applied to see the changes adequately) or as LOG? thank you in advance
Let me start by saying that I'm not a professional colorist, so take my answer with a pinch of salt. Also, whatever works for you is the correct approach! My suggestion would be: White balance -> CST to ArriLog -> your color corrections and grade -> CST to Rec709 -> Sharpening (if needed) Or... White balance -> CST to ArriLog -> your color corrections and grade -> CST to Rec709+Cineon -> Resolve Kodak/Fuji film look -> Sharpening (if needed)
Thank you so soo much for this helpful video! Do you still set it to stereo if you want to connect another microphone? I need some help and your guidance please 🙏🏽 I give online sound healing and meditation classes through zoom application. I am trying to set up the zoom H5 to get the audio from the sound bowls I will play as well as a rode wireless go lavalier microphone for when I speak. I hope they can hear both clearly. Do you have any recommendations or videos to explain how to set this up? I will also have to listen to the students without headphones. Can I still do this with the output set to H5? Thank you for taking the time! Truly appreciate you and your work!
That depends on how the H5 works as an audio interface. I can't remember if it allows for stereo or more channels as interface. Not sure how are you planning to plug the wireless go, as that has a 3.5mm output, not an XLR, so that's something to think about. Unfortunately I no longer own an H5, do I can't test this further
I love hearing one of my favorite creators talking about one of my favorite podcasts! Team Deakins is an incredible resource. Also, can I ask what you shot this on? Looks even more immaculate than usual.
Thanks so much for your kind comment!! So this was shot on the Sony ZV-E1 with the Sony 35mm f/1.8 at 1.8 and with Slog3 and Gamut3.Cine. The reason it looks different is that I'm experimenting with Film LUTs. It was graded with color space transforms to ArriLog3 and the last transform to Cineon so the second to last node is a Film LUT from Davinci, I think it's one of the Kodak ones (or was it Fujifilm 🤔). Cheers!
Very nice. I like your style. I just bought this lens used from Japan. It will be going on my little Olympus E-PM2. Thank you for sharing your thoughts. 💁🏻♀️
I was shooting here with the OM1 mk II and the 12mm, so equivalent to 24mm (FOV), the ZV-1 is either that or a bit tighter so should be OK but it might show. However, this would be a massive overkill for the ZV-1 I think. I'd much rather recommend the VideoMicro from Rode or the Deity D3 Pro if you want something bigger. This video was more of a "silly proof that it can be done" rather than a recommendation.
Can't this whole process be done with 2 nodes instead of 3? The first node is for adjusting the exposure. The second node for the ACES transform: Input transform Slog3 SGamut3Cine, Output Transform Rec709. I don't understand why you go from SLog3 to Aces and then from Aces to Rec709. Am I missing something or is that just an unnecessary added step?
I can't remember how I did it in the video, but the point is to adjust exposure and other stuff in the ACES color space, and not Slog (a matter of preference maybe, but I'm not alone with that). So, one node to ACES, then whatever grade, and the one node out of ACES.
@@RogerinFinland Appreciate the quick reply. Mind if I ask why you prefer to make your adjustments in the ACES color space as opposed to SLog? I assume there's some benefit(s)
No worries 🙂 The controls respond differently depending on the colour space you are in. Things like adjusting the offset, lift-gamma-gain, curves, etc do different things to the image depending on what colour space you are in. I feel that it's easier to use the controls in ACES or ArriLog than Slog. Another reason would be different cameras. If the first node is whatever-log-to-ACES, them all the work is done in ACES and should behave and feel similarly with more independence from the actual camera. I hope this explains it a bit. And I also always say that this isn't the correct way to do it, just my preferred. And whatever method gives you the results you want is the correct one for you 👍🏼
@@RogerinFinland that makes perfect sense! So it's almost like a best practice to make your life easier down the road. Thanks for taking the time to explain it to a newbie haha. Cheers
Well, only you can answer that question. Is the Sigma the 2.8? Do you want or need the constant 2.8? Would you rather get the reach to 135mm? Why not the Tamron 17-70 2.8? It depends on what you want and what you need.
