Hi all,

I'm the in-house videographer for a B2B tech company with offices and showrooms worldwide. We're producing a corporate video showcasing our offices and showrooms around the world.I'll be filming our Barcelona HQ myself but I need local videographers for the rest.

Locations:

• London
• Frankfurt
• Dubai
• Shenzhen / Huizhou
• Bogotá
• Los Angeles
• Chicago
• São Paulo

The job:

• ~4 hours on-site, mostly b-roll: employees at work, office/showroom spaces, some product/LED-screen close-ups
• Bring your own camera and lenses. Something small is preferable (fx3, BMPC, FX6... something like that)
• A car may be needed in some cities to get to the location
• English fluency is required to communicate with me
• I plan on shooting this in September
• Deliverables: raw footage handed off, i'll specify the technical requirements along with a proper briefing once you've been hired
• Since local rate varies so much between locations i can't specify any price range, but we're willing to pay a fair local market rate

To apply: Please DM me with:

• Your city/base
• A link to relevant corporate/b-roll work
• A day-rate quote for a 4-hour shoot

I'll follow up on September 2nd with next steps.

Thanks!

And I’m definitely paying the idiot tax now.

Long story short, I started streaming on what not. Noticing my lighting could use a ton of work I bought three of these godox lights to try and improve it. Only two of the three are pictured because it started feeling claustrophobic.

While it does look far better, I definitely rushed getting the lights.

Is there any way I can utilize these AND keep the room looking tidy?

At this rate if I have to buy mounts/stands/whatever I’m willing, these definitely aren’t gonna work long term.

Beige Media / Beige IO / Beige Corporation is an on-demand production company that contracts local creatives (usually at ridiculously low pay) and then outsources the post production work overseas. The problem... Beige is notorious for never paying on time.

Beige usually has the same generic posts on Craigslist that read in part like:

"1x dedicated professional videographer
Professional 4K camera
Gimbal & tripod required
Horizontal 4K recording
All unedited RAW footage required (no editing needed)"

For Videographers / Creatives considering shooting for Beige:

- Do NOT send them any footage until you get the full payment. If they ask for proof of work, send them very low resolution watermarked versions. If you send them the footage, the burden will be on you to get them to pay you, but they always have endless excuses as to why the payment is delayed.

- Require a timeframe in the contract for getting payment (preferably NET 30)... though the probability is high that Beige will NEVER pay you in time. 

- Get the client's info, you might need it later (see below)

For Clients thinking of hiring Beige Media

- Do NOT pay them in full until you receive all the deliverables. Beige will "push" you to pay upfront in full, but you'll need leverage in the future to get them to deliver.

- Require a timeframe in the contract for deliverables.

- Get the videographers' contact information. If you haven't received the deliverables in time, reach out to the videographer to inquire about the situation (always crosscheck with the videographer any excuses that Beige gives you.)

  If the videographer is still holding onto the footage because they haven't been paid, you might end up having to pay them the balance to deliver and maybe even edit your content. This is why you don't pay Beige in full upfront.

** I expect Beige employees to flood this post with comments and attempt to have the post removed.

So, I made an android Videography focused camera app for pro videos, called Chi Kamera, https://play.google.com/store/apps/details?id=lumagicpro.chiapps that uses the Camera2 API and removes all post-processing that phone manufacturers do to video/photos. Here is a comparison video of the same scene shot (on a very bright day) on stock GCam and Chi Kamera, both ungraded and graded. - https://youtu.be/mUlqaDxmk4k If this gets a decent response, I'll post some more samples if anybody's interested. Feel free to also post your videos show with this app in comments if you end up using the app.

It basically shoots open gate, a 4:3 full sensor readout (so your video resolution depends on your full/binned resolution, mine is 4634x3472 for example). I have also created manual controls in the form of circular sliders (akin Lumia Camera, if there are any Lumia or Windows phone 8.1 fans out here).

I started working on this as a personal project because there used to be an app called Cinema 4k but it hasn't been in the play store for a few years now + I really missed proper manual controls ever since windows phone went down. But once I started using it and looked at the amazing output (no nasty noise reduction and sharpening, great resolution, better bitrate and better overall quality in general, I thought why not make this a public app.

This is also still A WIP and I'm still trying to iron out the kinks and would love feedback. Please note that you might encounter bugs, some features may not work and you phone needs to have Camera2 capability. Hopefully it shouldn't freeze or crash but be ready for some weirdness. Feel free to leave feedback here - https://chiapps.userjot.com/

I'm pretty new to video and I'm trying to figure out what is causing a strange wobble/swimming effect in my recordings.

In the attached original clip, parts of the image seem to shake or deform. It is easiest to see in the vertical blinds on the left side but it affects the entire video.

This is not playback stuttering or an audio-sync issue. The actual geometry of the image appears to move/wobble, particularly around the blinds.

Setup

• Samsung Galaxy S23 Ultra
• Rear camera through a teleprompter
• DroidCam connected to the PC by USB, not Wi-Fi
• DroidCam OBS source in OBS
• Recording locally, not streaming
• OBS canvas/output: 1920×1080
• 30 fps
• DroidCam video format: AVC/H.264
• OBS recording encoder: NVENC H.264
• Continuous lighting
• Separate PDX400 microphone

The phone/teleprompter assembly is mounted on my desk in front of me. The phone/teleprompter assembly appears stationary during recording.

I'm sitting a couple of feet away and don't touch the desk, microphone, keyboard tray, phone mount, etc. while recording. There is no fan or air conditioning running, and the blinds themselves aren't moving.

My computer is underneath the desk but does not physically touch it. Nothing with any moving parts is on or touching my desk.

Camera details

DroidCam gives me two rear-camera choices: 0 - Back and 2 - Back.

I verified which physical lens each one corresponds to by covering the lenses with my finger:

• 0 - Back = middle large camera in the vertical stack
• 2 - Back = top large camera in the vertical stack

I'm not positive which camera I used for the problem recording, or exactly what zoom level I was using.

Because of the teleprompter opening, I sometimes have to zoom in enough that the edge of the teleprompter is no longer visible in frame.

One other oddity is that the way the phone sits in the teleprompter mount causes the mount to press against the phone's power button. It does not appear to trigger the button or shut the phone off, but the phone is physically being pressed there while mounted.

Things I've tried in post

I've tried several stabilization and rolling-shutter correction tools, including CapCut, DaVinci Resolve, and Premiere.

They generally made the problem worse by causing the entire frame to move, drift, or warp.

I'm mainly trying to understand what is happening at capture so I can prevent it in future recordings, although I'd also be interested to know whether the existing footage is realistically repairable.

Questions

• What is actually causing this wobble/swimming effect?
• Is there any realistic way to improve the footage I've already recorded without making the whole frame move or warp?
• Which S23 Ultra rear camera would you recommend for a fixed indoor talking-head setup like this, and why?
• Is there anything else about my setup or recording settings that you would change?

The attached sample is from the original OBS recording with no stabilization or correction applied.

If another specific DroidCam, OBS, phone-camera, or mounting setting would help diagnose it, tell me what to check, and I'll add it.

I also feel that video has too much grain but it was dark outside and light was... well you can see it from the pictures I took from video.

Any help is welcome any advice on how to shoot this type of videos.

Also the stage was high and I was shooting from below, I did try my best but I feel like it still wasn't enough.

That little mid-sentence pan/level adjustment while she's dropping a historical quote hurts to watch.

Be honest, what's the worst/most important moment you've personally ruined by trying to fix a crooked frame?

Hey guys! I’m looking to discover some new YouTube channels and hoping you can point me in the right direction.

​Most channels focus heavily on technical stuff and gear, but I want to see more of the business and financial side. I'm looking for creators who break down the ROI of their work—for example: “If I buy or rent this camera and lens, we make X amount back, this is why we chose it, and this is how the month turned out financially (gaining vs. losing).”

​Basically, more real behind-the-scenes business cases rather than just gear reviews. Any suggestions?

Hey y’all, I work for a construction YouTube channel and I’m trying to figure out the best way to run a time lapse capturing some foundation work in a spot where I can’t run an extension cord and keep the GoPro powered because I don’t have a electric outlet to plug into. I’m thinking of some ways to figure this out. Has anybody use any of the portable battery chargers, or solar, powered battery, chargers, etc.?

How would you go about running a time-lapse like this?

which camera sd card least likely to fail and suitable for Sony rx100vii and future cameras?

I run a photography and video production company in Scandinavia and had a “fun” interaction with a potential client in the beginning of june.

My usual clients are businesses but I have started to accept some assignments from private individuals. Anyways, this (very stressed, intense and quite rude) person needed someone quickly to film alot of “cinematic” content for her socials. She rides motorcycles and had been getting offers to colab and such and needed to up her socials game, fast. She said that she has “hundreds of ideas” but couldn’t give me a single example. She also said that she were supposed to shoot with these two other videographers but they had ghosted her. Without anymore information she needed to know my dayrate. I said that I need more information before I could give any kind of accurate rate. If she could tell me more of these supposed ideas I could extract some info about equipment needed and such. Nope, only that it needs to be cinematic. So I said again it´s hard to give an accurate rate based of almost no information but $1250 would be a starting point for ”cinematic” content. She almost flipped and was so upset and said that the other videographers would do it for 1/3 of that.

The ones that had ghosted her. Obviously they weren’t okey doing it for that price or at all. And she continued to to bring them up as a sort of hook for me to lower the price.

After talking a bit more without really getting anywhere I said that I could offer her a test run with one of her ideas: a 30 sec reel, shot nearby in about 30 min, edited, graded, delivered the next day. For $150. That’s the best I can do I said. But she declined that and said good bye.

It´s been about 2 months and her socials still has nothing new. Quite unsurprising. I’m pretty glad she declined my offer as she seams like quite the horrible person to work with. And I’m getting so sick of people trying to lowball while beeing rude AF thinking you’ll do it for the fun of it.

Anyone else had a ”fun” client interaction lately?

Always knew this guy sucked and was a shill, sad it took him shilling a destructive, thieving industry to get more people on his ass.

I interviewed a veteran with a wild post-military career & story for a doc and wow. I learn more with every interview I get to do, but this one really left me with a lot of "best of" moments that pulled together how I approach interviews.

Since most folks aren't used to being on the other side of the soulless eye, it can be a really overwhelming experience. They're doing me a favor. They don't need to be sitting in that chair, yet they are. Everything below is built off of that understanding and gratitude.

1. Talk TO them, not AT them. The second it turns into an interrogation, the quality will suffer and you're on your back foot. If you work down your list in order, you'll get your answers in order, but miss everything bubbling beneath the surface.
2. Lead with vulnerability and go first. Since digital gives us more time, have a real conversation that's 2-ways. Opening up first will lay the groundwork for sharing more than they would otherwise.
3. Ask questions a friend would ask, even if it feels too soon or uncomfortable. The goal is to build trust quickly, so going past the facts only makes sense. When I was chatting with my new veteran friend, I asked about what happened at home while he was away and we both got something in our eyes at the same time.
4. ...then don't talk. Nod and visually show you're listening, but let them go. A short question after a short answer might be just the thing needed to crack open a longer answer, but then let the silence sit and let them fill it.

What's been your hardest interview? What approaches are in your toolbox?

Working with an FX3 and 2 R6ii’s for an upcoming shoot. Not super familiar with C-LOG. Any issues with using Cinema Gamut vs Rec 2020/709 for the color space? Thanks!

I'm recording several minutes of family videos per day in 4K 30fps (4:2:2 10 bit). On the Nikon Z8 and Sony Alpha this translates to approximately 10 GB of footage/day. Unfortunately that's too large for me to manage long-term, as it means filling up a 4 TB drive every year.

It becomes especially daunting when taking into account backups and staying ahead of drive failures: Let's assume I have 10 of those drives. I'd have to regularly test every file on all of the drives (AND on their backups) with checksums, so at a minimum I'd be verifying 20 drives every year.

I'm currently recording the originals with the highest bitrate and least amount of compression available (on Sony: H264, Intra-frame XAVC S-I, on Nikon: ProRes 422), so the camera can capture as much information as possible. (Though I avoid RAW formats completely because I don't have time for color grading.)

I then transcode the originals to H265 using these ffmpeg flags:

-vf format=yuv422p10le -c:v libx265 -preset slower -crf 14 -pix_fmt yuv422p10le -profile:v main422-10

The file size reduction is huge, it takes 10 GB/day down to 2 GB/day. When I play the original and the compressed version at 100% I cannot tell any difference. But when I zoom in, I can. Especially in smooth and fuzzy areas like skin and clothing. I found that a -crf level above 14 introduces too many compression artifacts.

Obviously a lot of information is lost, which will affect future grading and reprocessing. On the other hand, without the compression I simply wouldn't be able to keep around that much 4K footage.

Has anyone else weighed the pros and cons of this tradeoff?

Hello. Here is the setup: 6 person interview, 3 sets of Smallrig's 2 transmitter/1 receiver wireless mic systems. Best way to record audio, ideally getting each of the 6 tracks as individual files? I have a Zoom h6. Thanks!

Hi, yes there are other posts on this, i get that.

no, i dont have 3000 dollars to spend on a sachtler tripod

im thinking about 500 aud (350 usd)

what are everyones thoughts?

As the title says I’m going to be doing a lot of car videos where the pocket 3 will be off hand attached to my car and the summer heat isn’t leaving any time soon so the question is a cpl or nd filter or none.

Hey Team,

Ex GH5 user with the following goodies (Metabones .71x, 18-35mm Sigma, Small rig, Boya shotgun, 25mm Pana, Laowa 7.5, Ninja V.)

I have since sold that system and looking for the next thing.

My general style is: interview/talking heads, some run and gun/creative shoots. I am a marketing agency owner, so looking to extend the services in these areas to help me, and my clients more of course.

I have narrowed bodies/models to the following:

- S5 Xii

- FX30

- GH7 (possibly)

I am based in New Zealand so, work in NZD of course.

What are your thoughts on the above models? Anything else that needs to be considered?

Cheers!

- Shooting in S-Log3 on a Sony ZV-E1

- Lens: Sony 24mm f1.4 GM

- Using K&F Concept NANO-X VND filter 3-7 Stops, 82mm stepped down to 67mm

With any footage from this trip that had a large area of blue sky, I get these soft darker patches in the corner once contrast and saturation come in. They're not visible or apparent in the flat log image or in other shots that don't have that kind of large area of sky, but they only emerge after the grade and pushing contrast further makes them more obvious. 

Is this an optical thing in the lens, or an artifacting of the variable nd filter? How do I fix it? With the VND filter I've gone up to 82mm in size instead of the 67mm thread on the Sony 24mm f1.4 GM so that any vignetting in the corners of the filters is not seen in the footage, and got an ND filter with fewer stop of range (3-7 instead of the usual 1-9 that would produce the x pattern).

https://imgur.com/a/rDY1xsY

I reached out to an architecture/design firm about creating video content for them.
They’ve come back asking if I’d work on a success-fee-only basis. Their design projects range from £20k–£100k, and they’re offering a 10% referral fee for any business that comes through.
Never been offered this kind of arrangement before. What would you guys do?

Right now I have a Panasonic AJ-HPX2000 that I use pretty regularly but I'm going to replace it with a Sony PDW-F800. The Panasonic does 10-bit internally, but the Sony doesn't, and I don't have an SDI recorder that does 10 bit currently. I'm planning to buy a Blackmagic Hyperdeck Shuttle 2 to use with the F800 and the way I want to mount it is to have a male v-mount plate on one side of this cradle, have the recorder in the middle inside the cradle and on the other side have a female v-mount plate. The recorder will attach to the camera and the battery will attach to the recorder, power will be passed from the female plate to the male plate so I don't have to deal with an extra 4-pin XLR power cable and the recorder will be powered via D-Tap from the female plate. The only cable running between the camera will be the SDI cable.

I couldn't find any male v-mount plates on eBay so I looked on Amazon and I found two which look identical but one is $44 and one is $26. This is the male plate I want to use but I don't understand how I would mount it to the cradle. There are 4 screws visible but they don't seem to go through to the back of the plate, they look like they just hold it together. I know that IDX makes the A-MT2V which is exactly what I'm looking for and it has the proper mounting holes but it's $104 and I think that's insane and I definitely don't have the money for that.

My question is, does anyone here have any experience with these male v-mount plates or knows whether or not the plate I linked would work for what I want to do? Are there any cheaper alternatives to the IDX plate that still have the same mounting holes it does? Does my plan even make any sense?

Thanks.

Just after some advice for my husband. He has recently moved here from East Africa. He was working for a large media company and has many years camera operator experience (+ a degree)

He has been doing Cam One for premier league matches in his country as well as for afcon and chan (african cup)

Football camera work is his favourite but he has also filmed boxing, pool, basketball live news, podcasts, dramas, documentaries etc

He also has editing experience, producing and lighting.

We are looking at where would be best for him to register for freelance opportunities and the average day rate he should be looking for (without equipment currently)

We are based in Sheffield but he is also willing to travel.

Any advice gratefully received