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    • Atomos Ninja V

      That's fascinating, Dave. I bought a 256GB CF Express card for $400 (ouch) just to make sure I have one when the R5 arrives, but the 512GB versions are $600 and I haven't seen them larger. Looks like I could get the Ninja V configured with a 1TB SSD for about the same price as a 1TB CF Express card, except you get the display this way. I'm in.

      I haven't invested in a new gimbal because I wanted to see how still I could be with the R5's supposed 5-stop internal image stabilization. You said the Ronin was a little fiddly to balance in the beginning, if I remember right. You've got the hang of it now?

      Sounds like you're happy with the Rode Go's. Been looking at them.

    • Yah - the trick to balancing the Gimbal quickly is to have only have the camera mounted on the motors. Even the Rode Go in the hot shoe or leaving the lens cap on messes with the dynamic. As for trying to balance a phone on top for the live tracking feature etc - allow half an hour and plenty of cuss words. Still a biatch.

      I mount everything on the chassis or arm now.

      Like I always say - experience is a good school, but the fees are high!

      The limitation of the Ninja V is it's only as good as the HDMI out from the camera. I'm only aiming for 1080/60 or very rarely 4k/30 so it gives me hours. I have a 1TB SSD and a 250gb and they take less time to swap than a CF card - no door. But 10bit is way cool if you have a worthwhile subject.

      Just check the HDMI outputs of the R5 are within your production target range.

      You can get much better lav mics than the GO system. But again for my values they are perfect - and so incredibly easy to use - and wear. I've now got two sets for recording 2-subject interviews.

    • BTW - I'm using these WD SSDs - they are a fraction of the cost of the Angelfire's or Sony. And work well. You need to buy a few caddy enclosures too, (you get one with the recorder) but no issues at all with the cheaper drives.

      The genuine USB-C caddy dock is very good too. I work post straight from the SSD mounted in the dock without having to copy source fies to hard disc. Then just back 'em up later.

    • So I looked at the output for the R5 and found this article:

      The quotes that stood out at me are:

      If there is one compelling reason to look at the EOS R5 it is that it can record fully oversampled 4K footage taken from an 8K source. This alone means that 4K recorded with it gives a multitude of benefits over native 4K recordings taken from lower resolution sensors.

      And:

      There's no ProRes RAW output from the new EOS cameras. It's conjecture as to whether this is even possible. However the EOS R5 and R6 are unique in Canon's lineup in that they are the first mirrorless cameras that the company has produced that will output a clean full-frame, full sensor width readout 4K 10-bit 4:2:2 video signal at up to 59.94p over HDMI.

      Someone said in the comments that the Atomos helps with the potential cooling problem on the R5 too. Now the question is should I be recording 10-bit 4:2:2 RAW at (usually) 24 fps? That's a lot of storage and processing for my laptop.

    • Yeah - it all depends on what your target res is going to be.

      I'm making Social Media content that will probably be deployed and viewed at 720 at best. So even 4K is mostly overkill, but my iMac deals with crunching Prores files just fine.

      Storage is a bit more problematic, but didn't you just buy a gazillion terabytes?

      The other thing is that recording ProRes requires a bit more work colour grading in post. But you do have more depth to work with obviously.

      You need to apply a LUT - there's another research topic for you.

    • I've posted a few times in this thread and then deleted - because I learned some more things about ProRes recording over the course of the day.

      Here's some footage in my courtyard recorded in 10 Bit 4K ProRes 422 and rendered with that same Codec.

      On the left is the ProRes footage as it comes out of the Atomos. The right is with the LUT applied in Premiere - or FCP. Similar result. Premiere is generally better for colour grading, but the Colour wheels in FCP are more intuitive.

      The thing is ... all this HQ is 'somewhat' moot because as soon as you upload it to You Tube it gets crunched to AVC or VP9 anyway.

      You could put it on Vimeo maybe - but you have to pay for more than 500mb files there.

      The source file is 42 seconds long and is a 3.14Gb file in ProRes 422.

    • If you right click on the YT video and select 'Stats for Nerds' it shows what Codec it's being deployed with.

      At 1080 it uses AVC1

    • Beautiful once graded. 👏 I have a big dilemma wrt LUTs: when I edit in Premiere on my Mac, it can look washed after exporting. I took a deep dive on that and found a LUT Adobe created to solve the problem which you can apply on export after color grading. Wonderful.

      Except sometimes. Then it looks too over-saturated, especially skin tones for people who already have a lot of color in their faces. Argh. So I find myself sometimes applying it and sometimes not. Wtf?

      Trying this next:

    • Cool - I should have known you'd be across LUTs.
      The trick I learned the hard way is to install the .cube file on the Ninja V - apply it and view and adjust camera settings for/by the LUT - not the camera display.

    • Good tip, thanks. The best piece of kit for me lately is this audio interface that lets me get studio-quality sound by linking my analogue sound processor to my digital camera. Up to now, I recorded sound on a sound recorder and had to sync. Painful.

    • I just bought Transcriptive for Premiere. Oh my God, life saver. It indexes the words in your videos and lets you search. Perfect for me because I have so much dialog, like with the Charley Boorman interview.

    • Nice. Different functionality, but I use 'Simon Says' plug-in for transcribing sub-titles - Premiere or FCP. Upload - cut - paste - format - edit.

      Most of my clients want subs for playing on Farcebook. Saves so much fiddle.

    • Hellrig II

      I bought a Smallrig cage for the Z6. Shooting some real estate on Sunday. This will work.

      I wish the damn 70-200 f/2.8 would &#$&^*$#%ing get here though. Grrrrr.

    • Yeah - I like the Lume cubes. Best use for them is as additional fill-flash units - they will work off an optical trigger. Although can be a bit flakey.

      You couldn't use them on people the way I have them mounted on the cage here - squint city - but they are good for rooms and objects to give more bam.

      They work pretty good as back and fill lighting for interviews too. SO easy to deploy.

    • They give around 25 minutes of battery life at 100% Brightness - which is surprisingly bright, but isn't much time on a video shoot.

      So typically I rig them with a power bank and haven't run out of juice yet. You can always USB power them of mains as well, but ... like I need more power cords running around a location.

      This works - plonk 'em anywhere: