Just wondering, the Z280 has a smaller sensor (1/2"), but there are 3 of those (RGB). Would three 1/2" sensors handling each of the primary colors be the equivalent quality as a single larger sensor?
Handheld camcorders are okay, but I really wish JVC's idea of what I call the "mini ENG shoulder mount" form factor would have really taken off. Most of these pro handheld camcorders are "only" about 5 pounds, but when shooting handheld for extended periods of time, it can take a toll on the wrist. The shoulder mount form factor with the side EVF was always a good form factor, but traditionally too bulky. But even JVC's smaller offerings have the good ol' true interchangeable broadcast lenses with tactile ring stops and markings, something I miss. I would love to see something like this with a 1" or Super 35 single sensor (no need for 3CMOS with bulky optical prism block).
Thanks for sharing! I’m actually flying into Orlando in 20, 😅. Just watching your video now on the plane. 🤙 I typically travel as a full single OP production and roll with 2 cameras, 4 light kit, 2 Tripods, Automated Slider, 4 stands, Production monitor, 3 cases, and a multi-cart. Always looking to get a “media baggage” rate when possible too. My luck has been with Nanuk hard cases, backpack (camera gear), OSEE monitor which also holds all my batteries, and a cheap Neewer rolling bag for all the sticks.
EDIT: Plus, when you are not using the cases for flights, they make for great gear storage at home/warehouse or wherever. They don't look ugly in a living room. I love Pelican but Nanuk has really stepped up. If it helps, I was able to take a few Avenger's smaller stands in these same 975 cases. I would also invest in a baggage scale. I bought one from amazon for like $15. Annnd if you use an Amex Platinum, you could credit for these types of checked baggage fees;). END OF EDIT: This is my second post to my main post. I got an error message after posting. The Nanuk 975s is the best case. Just order without padding. Use your clothes and shoes to create cushioning. As long as there under 99 pounds you'll be fine. The 975s is 2 inches below the max "oversized" check in. With press/media pricing you'll only have to pay $50 (Jetblue) each way. I was able to fit a few lightweight avenger and matthews stands along with 240C pavoslim and CRLS 50cm panels. And they look pretty cool in a living room when not in travel. It's the largest case that fits under the airlines max limits for size and weifht. Goodluck David!
Here’s a full breakdown of this reel. How I shot each clip, why I chose these frames and my goals with this type of marketing piece: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-EU6SUm4lVzw.htmlsi=Q0nLLriPgkozIMDe
@davidmorefield yea this is the video I saw, and it made me reconsider mine. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-KRUZMVrocus.htmlsi=096rd-dKlFv8tM1- This is the old reel, I'll have the new one with the suggestions from your video uploaded later this week.
The shots are great - But honestly? The mix of strong quotes alongside powerful shots are what put this over the edge. Great work on the edit, and good luck with the work this will inevitably get you.
@@brandonmrsh Yeah I felt like it would be nice to take a different approach. Part of being a doc dp is creating the scenarios that the character feels comfortable to be vulnerable. Thanks for the kind words.
Can you make a video where you walk through asking clients permission to film Content for your RU-vid channel on their shoot. So many of my clients want me to be under NDA and I feel awkward asking them. It's really holding me back. Like are you asking random email or is that in your proposal or do you offer a discount if they allow you to create RU-vid content on set? I feel like clients would get mad that I'm not doing my job if I'm now taking a break to film RU-vid content while I'm there.
@@travisminneapolis It’s very different when I’m a single member on someone else’s crew. Much easier to do that and I don’t show anything sensitive. But if I’m running the ship, it’s much harder as I need to be at attention the whole time. In those cases, I grab a couple shots throughout the day. Maybe even just photos since that’s faster. And that allows me to stay concentrated. But that’s a great discussion idea for the next one.
For some reason this is one of my favorite episodes in a long time really diving into questions that I would have In 2020 I started teleprompting And had zero idea of what people were charging. So I just reached out to competitors in my space and told them I don't want to be the undercharger, what are they charging? And that gave me an idea for day rates and rental fees and how they break down their pricing for clients. It was super helpful And everyone I called was surprisingly helpful and even started sending me referrals since we had hit it off pseudo networking.
My business is a bit of me as a director of photography and also agency where I'm hiring out other people to go fulfill jobs for my clients. It's definitely eye-opening when you put a job out there and you start getting inundated with 10 or 20 responses, even up to 40 responses for a specific gig. Often I will put the price or budget I have for a specific role in the post, but in times that I haven't, that's been the most eye-opening seeing people's quotes coming back. I'm seeing an average of around 800 to 850 per day as a camera operator and then 300 to 500 For a kit fee The other super common method I'm seeing people price them is just at $1,500 per day, including their kit feet as a solo person crew. I will never secret shop people so I only know prices from actual gigs that I had and needed to hire somebody but even that has been super informative I have a shoot tomorrow for a TV show that I needed to source a second camera operator and used it. And it worked great. There's a lot to be said about value being found in the disparity of knowledge for information. When only our clients know what other people are charging in our market, that gives our clients all the power in terms of pricing.
@@christopn Handheld A7S3 on a 16-35. It’s actually two shots. One for the car and one for the lighting. I masked in the lightning and hid the seam through the forest line. You can see a breakdown of it here. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-4XRZfS8tmJ8.html
Great stuff David! I like that you added some of the logos on there. A subtle touch that lets potential clients know that you’re experienced and have worked with larger brands.
@@scottsmokerx That was my mentality. Originally I had text. You can see it in the reel breakdown video I made. Then I realized the logos are even faster to comprehend.
@@davidmorefield Nobody is but don't worry I'm not saying that what you have in your reel is bad. That's actually quite the opposite of bad. I'd love to get a reel that good! Keep it up
Pelican air 1615 is your friend. Maybe even 2. I fit a Sachtler fsb6 head, legs, amaran f22c, amaran T2c, 3 x nano stands, mini boom pole, boom adapter, cables, clamps, reflector etc all in the 1 case. Then camera things come onboard with me
Godox travel series domes are shorter , My 90cm , basically minimum size for an interview key , is about 63cm in the bag , G300 by far the smallest / powerful light around , doesn't need a big stand even with 90cm dome, and an X60 just incase, pop out neg fill / white bounce. Hair light , nah , very out of fashion now, only need one decent size key light for interviews , couple of Sigma f1.4 primes and your zoom of choice. Ive done interviews for Netflix/ Apple TV / Hulu / BBC , 60 minutes , and many corporate video,s , all with one large key light, and neg or bounce.
Pelican 1650nf for checked gear. Matthew’s reverse stands for light stands. I’ll often take a grip head and a boom arm. For modifiers I bring cinefoil, and some unbleached muslin. For lights I’ve taken all kinds of stuff. I kind of like the amaran p60c three light kit. You can throw the whole bag in the pelican case.
Jon Waldman has some cool BTS videos where he shoots a softbox through muslin. Perhaps a small softbox and muslin would be sufficiently soft *and* easy to pack for airline travel.
@@davidmorefield If you're going to include a window in your shot, yes, you will. But the 600d is not terribly expensive these days. I got mine for around $1K. Build quality is amazing.
Go lower power for lights, because you also have limited batteries you can reasonably carry as a solo person. I have shot thousands of prime time interviews with only a 42w key and 20w pocket light for back light. It's easy enough. I often use an ancient 1x1 panel with a medium 5in1 flecky as diffusion or bounce. Doesn't have to be anything new or fancy if what's in shot looks good. Some sort of stand case is important. I hate faffing around with compact light stands, they are so flimsy and not capable of holding a light boom/rod for a mic or backlight. Good luck, it takes a bit to find a travel setup that works for you 😊🤙
@@jamesandcamera We are on a similar train of thought. I was thinking of a pocket light as well for hair light. I could then use a lighter boom setup. And instead of finding a case large enough to fit my lantern, using my 5 in 1 diffusion. Possibly two or them. One for diffusion, one as neg or flag. Honestly a 1x1 is so simple. Love it.
@@davidmorefield yeah pocket light is the way to go for a backlight, but get one that runs off NPF batteries so you can use an NPF-Vlock dummy battery. Don't use an internal battery one, its a pain in the butt to not have user changable batteries. I find 20w of old basic bi-colour pocket light is more than enough. If you can find them, those Neewer goose neck panel lights the Cranky Cameraman uses for travel jobs are super slim and bi colour with 60w power. They are great for travel being so slim 😊🤙
@@jamesandcamera I would like to use an Aputure MC since I can operate off Sidus Link. As a one man band, having all remote control of all my fixtures is a huge help. However, it doesn’t have an external battery solution. I could power it via a long usbc cord. Not ideal but it would work. I really like the idea of those neewer panels. Very slim and compact. They have mixed reviews though. Dracast has similar options but unnecessarily more expensive. And of course, still not on Sidus. Plenty of great options though.
I mean if you have an MC then for sure, use what you have at hand. Just be conscious that it doesn't run out of juice mid interview. If you don't have an MC, I would advise not buying a device that doesn't have user changable batteries as they are not useful after 2-3 years of hard use. Where the pocket light and 1x1 panel I use I have had for atleast 7years of complete abuse 5 days a week with no problems besides a single dead led diode. Would a Aputure P60 fit in your budget? Get Sidus link and interchangeable batteries? Bit bigger than what's needed, but should last ages longer in your career than a disposable MC
@@jamesandcamera It’s not a budget issue per se but if I go with a p60 and dual npf’s off the back then I have to have a much sturdier boom setup than with an mc. I don’t own one but I do hear what you’re saying about a product with a definitive life cycle. Hmm not sure. Could go the tube route but idk.
Hey mate. I’m working as a news cam op in a bureau in Europe. We’re travelling quite regularly all over the place. Here’s a list of cases I travel with to give you some ideas -Orca medium Tripod bag (fits lightstands, tripod, orca water bag weights for stands plus umbrellas) -pelican storm IM12750 case Accesories ,chargers, main audio backpack - think tank logistics manager 30 2 kinoteknik light panels + softboxes Dejero, spare stands and more (love this bag) -Think tank airport navigator Carry on for all V lock batteries and others. Fits laptop and isn’t so big to raise suspicion about weight. We will then also carry our Eng cameras on board. They look official and no one seems to say anything. I’ve also done this with fx6’s and they don’t seem to mind. Hope this helps in some way
@@matthewkent4883 That’s an info filled list. Thanks, I’m researching them now. When you say you carry your cameras on board, are they not in a case… keep them in your lap, in the foot stowage area
@@davidmorefield I’ll usually take a jumper and wrap it around and put in the overhead compartment. Saying this im working with a pmw-x400 which is built like a tank. Have done this for years and never had any issue from airlines with it or damaged a camera.
I use a SKB roto-molded tripod case with wheels and pelican 1615 cases for airline travel and it’s been fantastic. I’ve fit tripod, stands, and a softbox in the SKB. Also the top loading design gives you a little bit of wiggle room if you need to put something a little too long in the case. And the pelican 1615 is just so versatile. Ive used it for lighting, camera, rigging, even just a regular large suitcase for when I’ve needed to bring a ton of clothes. Invest in the larger cases and you’ll have them for the rest of your career. It’s also easier to get media rates with these types of cases.
@@davidmorefield Two Pelican 1615s here. Probably the most versatile, airline-friendly travel case. Obviously durable. Not cheap, but worth the investment. I've learned my lesson. I'm now investing in the best gear I can afford, even when the $$ are painful ("best" meaning lightest, smallest, most durable, and fastest to deploy). If you know you're eventually going to buy pro gear, go ahead and buy it now. You'll save more over the long run and you'll get the benefit earlier.
We use mostly all SKB cases. I would highly recommend them. Look into some of their options that they market to drummers for their stands. Their customer support is great and they will replace your wheels and handles for free for life. We use some of the large coffin style cases and they can fit A LOT of gear in them but they will get heavy when you max them out. I'm on a plane right now and our largest case weighed in at 99 lbs.
The problem with using luggage is an airline employee might consider it personal and try to deny the media rate. Last Oct. when I returning out of Reagan in D.C. I had to go through 3 layers of supervisors before one agreed. I had a letter from my boss on company letterhead, business cards, media ID and the camera hanging off my shoulder before a supervisor of the supervisor approved it... I now have a Pelican 1650 that I got off FB Marketplace for $150.
We flew up there and scored the first one on one with Speaker Johnson. Beat Hannity! Of course Mike is from our district. Even dropping hints of why we were there didn’t help much.
I don't have experience with airline travel with gear, but a RU-vidr I follow named Justin Porter Media has some info on this: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-C6EcgL1YMJg.html He's a wedding filmmaker with tons more gear he travels with, but maybe you can get some ideas.
David, I was going to get the 35-150 but I have wavered now with the Sigma 28-105 available. I like that it is smaller, lighter and has the aperture ring....I will rent it to see if I like it better before pulling the trigger....I use the a1 for a lot of my work so I will often use aps-c to give me some additional magnification so that helps...I do like the 35-150 but it's just a beast of a lens in weight, so the 200 g or so saved by the Sigma could be worth it...we shall see....
Regarding the Freewell filter, They aren't designed to be used underwater or during water activities It's stated so in the FAQ's on their website and the amazon page (it's actually the only thing mentioned in the FAQ)
@@Fstahp if only I had taken the time to read. Seems like a poor design since it’s built for an action cam. They could creat a nice seal with just a rubber gasket.
@@davidmorefield Yeah it's certainly a poor design choice on their part given its made for an action cam. I would suggest the K&F Concept line of filters for Gopro, That line of filters are marketed waterproof 👍
i just came back from an overseas job and i definitely needed and wanted and strong keylight, i bought myself the Zhiyun Molus g300. Did not want to comprimise on power! Its and excellent light for travel! very very compact and super powerful!
After a no notice, late afternoon decision to fly to D.C. the next day, last Oct. I only took a camera light. Fortunately I had support from our D.C. bureau. I decided to build a travel kit. Amarams and Matthews Reverse Stands. Use them weekly and of course... no travel since!
@@davidmorefield I'm using the Matthews reverse stands as well. They can handle a good-sized light. I've flown a 200x and a 600d on mine. That's not really the issue. It's the size and weight of the softbox that matters more. A Light Dome II will create some bowing in the main shaft, but a good counterweight (e.g., a power brick or a water bag) will offset that well enough. For as light and small as the Matthews stands are, the construction is really impressive. Anyway, I just flew to Alaska with four of these stands and they delivered as always.
The HPRC case is great too, I typically just throw my nicer stix in that case for certain travel jobs. I know they come in different sizes, mine only fits my Sachtler 100mm. Sorry for extended replies lol, chipping in as the video continues
@@davidmorefield we as filmmakers need to balance everything. If you want soft buy a 6x6 bleached Muslin and definitely packs way better than the softbox but won’t be a portable on set you just need a t bar and another stand.
Seems so tricky. Sizing up and sizing down both have their pros and cons. I feel like it would just come down to price for me. And I feel like if you buy bigger traveling gear, you aren’t going to be adding more gear which could get pricey and annoying.
@@luker1ng I don’t want more gear honestly 😅 I wouldn’t even be doing this if my stands already fit. But this is necessary since I do want to be flown around for interview/doc gigs. Need to find the right formula.
Hey David, I just posted my first vlog, and my god, doing the voice-over while reading a script was one of the worst experiences ever. So then I tried voice-over AI, which is on par with being kicked in the testicles. After that, I decided to just watch the video and make it up as I went along, recording it on my phone. Overall, I'm happy with how it came out, and I’m sure it’ll get better over time. I just wanted to say thanks for motivating me to do this kind of stuff because if I hadn’t seen your videos, I wouldn’t have done it. Keep up the good work, mate!
@@stewartmunrovideo Thanks man, I highly recommend just letting it flow off the top of your head. You’ll get the most authentic thoughts that way. Some times it can be a grind. I’ll be happy to check out the video!
If you're an absolute professional you probably need the best equipment available But if you're a hobbyist do not buy expensive stuff unless you have money 😂
@@bluenick4577 Agree. And there are quite a few levels to the professional realm. But even if you are a pro, some purchases make more sense than others.
