I love that you reference anime it's a exciting place to reference shots from. Newer anime has beautiful color pallets and unique composition. Great video! Keep it up
No lies detected. I'm late to the game but I just heard your interview on the Wandering DP podcast. It seems like you are trying to be authentically you as possible and I believe that's paying off. Keep up the great work man. And the anime tip is awesome lol
The Kruger effect is real watched so many beat making and cinematography tutorials till my face was blue and finally one day I got that moment where I kinda get it. Still learning always but now I have a better idea on what to do till my next set of challenges come up.
If you haven't heard my podcast I'm just gonna say I probably mention, verbatim, the value of "Technically Correct vs Emotionally Correct" once an episode lmao
I'm gonna put a caveat on the entire gear, doesn't matter. As much as creativity thing, because yes, no, and maybe so, depending on what you're doing, if your only making films for yourself, then yes, gear does not matter nearly as much as creativity. However, the second you start getting into professional work. It starts mattering a lot more. For example, nobody and I mean, nobody in 2024 is going to hire you If your camera cannot at least deliver. 4k At this point that is pretty much the minimum. And it's probably going to stay that way for a while Second thing, if you want Gimble shots, you have to just have a Gimble. There's no other way to put it. You can't really replicate the moves. And the smoothness of a gimble without one When it comes to working for broadcasting, you need a camera that can Push out HDMI SDI So gear does matter if you're looking at doing it professionally. It matters if you're looking at just doing it and getting started in doing it. Then no, it doesn't matter nearly as much. I do agree that spending more on lights than your camera is a smart decision. If you are going to be the production agency. For yourself, however, if you are going to be constantly working with people who already own a s*** ton of lighting equipment, then maybe spending more on your camera than lighting equipment that you're rarely ever going to use. Because you're always using other people's is a better option for you. Of course, if you can get your own equipment, you can work that into your own day Rate, but the problem with doing that is, if you are working with other people, those other people usually have connections that you might not. So is the extra like $50 an hour worth more than the extra connections. You're gonna be getting by working with different grips and audio Guys, it really depends on where you live and what the market is. But maybe maybe not it's up to you to decide. It's also highly dependent on what you see yourself doing And what your opinion on purchasing gear is. For example, mine is simple by nice. Or by twice and I very much hate buying twice because it's annoying. So I buy nice and then when I have to upgrade nice. I make sure that my nice is modular enough to upgrade. However, if you buy a shitty Camera with A2K sensor and you're expecting to get 4K. Results or work your way up to something with 4K. Results, you're not going to be able to do that. However, if you buy a camera system that for whatever reason. Allows you to change the main camera without having the change the entire brains of the camera. Something like a ronin 4d From DJI or a couple other cameras. That can let you change from 6K to eighth K or from 4K. To 6K. You'll be able to grow with that camera system a lot longer. So don't expect to get in with a s***** or camera and just keep that camera. Because it's not gonna work at least not in the modern day. If you get a relatively cheap 4K camera like the f. X30, for example, you'll be able to keep that for years even though it's only 1.3k. Because it's a four k sensor however, if you ke Because it's a 4K sensor however, If you buy AC 100. I'm sorry, but clients are expecting for k. Delivery and yes, you can upscale it, but at the same time, you run the risk of coming across a client who knows about cameras and who isn't comfortable with having to upscale the footage to get it to 4K, even though in the example of the C 100, it's a 4K sensor but it can only record internally the 1080. So there are a lot of variables when it comes to the saying gear doesn't matter. Because to some, it really won't to others. It really will in fact, I'd say that. Gear is the most important part of filmmaking because anybody can be creative. But if you don't have lights, if you don't have at least some way to diffuse your light, whether that's through a bed sheet or a shower curtain, if you don't have any of that, you cannot make a film, if you don't have a phone which is gear you Don't have a film So gear does matter. It just might not matter as much as some of these RU-vid channels who are incassly pushing certain products that they have received sponsorships for or that they have Received for free. Might make it seem like it matters. Pretty much long story. Short gear matters depending on your situation. It might matter more or less. Lighting gear is always a good investment camera. Gear can sometimes be a better investment than lighting gear. Don't listen to RU-vid channels. Who you know are biased and expect unbiased. Results and last but not least, buy a camera that you can grow with whether that's ringing. It out more or literally being able to change the sensor. But give yourself an opportunity to grow if you see yourself doing this seriously. Thank you for reading. This has been my Ted talk.
Yea I definitely get where you’re coming from. That part was more at the creative side of things, doing things professionally you definitely need certain deliverables. However though, I’ve shot for Vice, Oprah Winfrey Network, Walmart, and many more on my A7s3 cuz they didn’t ask so I didn’t tell them.. From my experience if your work is solid enough I think people care less about technical and more just “can you make this look halfway decent and not screw us over”. Obviously 4K deliverables is pretty standard nowadays, but my point is the camera you have prolly shoots 4K and is solid enough to get you jobs. Lighting WILL have a greater impact on the quality of your work than any camera will, however, lights might not get you certain jobs that cameras will. For me personally while I do do this professionally and it’s my sole source of income; I’m definitely worried more about making art than making money and I’d much rather get hired cuz somebody likes my work vs getting hired cuz I own a Alexa mini. Now that I’ve played devils advocate, I will say 2 days ago I bought a fx6 to replace my a7s3😂 Reason being is exactly what you stated.. You need certain things professionally. For me I couldn’t work around not having SDI, timecode, XLR, and tally lights as I would always double punch with my a7s. That plus perception of saying you have a mirrorless camera vs a cinema camera (even tho it’s the same sensor). So yea, I’m not claiming that it’s not a real thing. My point is just to make due with what you have until you outgrow it. Nothing wrong with using nice gear, it’s a reason all the people at the top use the sand 3 or 4 cameras. But, do NOT think that the thing you’re missing and that’s holding you back from being a great cinematographer is a new camera.
7:05 TFW you're 34 watching this and trying to find money to not have to sell your camera so you have time to get your first job as a PA and build up to changing careers. 😭😭😭
