Відео

Hey, thank you! So glad you like the content. I've been behind as of late, but have more coming soon. Are you a filmmaker?

Hey, I'm sorry. Only use Blackmagic cameras. I think some cameras require certain menu settings for the gimbal communication to work.

Forgot to mention I am using a Datacolor Spyder X Pro and due to this I did not use any correction profiles under "Display and Instrument" - it just shows me "None" and "Auto (None)" as options.

Hey, I'd try increasing the delay setting on the first tab. Increase by 100ms until fixed. Run short tests so you don't waste time. I haven't used the Spyder X. You might try browsing the DisplayCal forum to see if anyone else has tips on that colorimeter.

@@writedirect Just go this answer from the Displaycal forum: "Unfortunately, Spyders are infamous for being inaccurate. It would be best to get an X-Rite i1 Display Pro/Pro Plus or a Calibrtite ColorChecker Display Pro/Plus/HL." Bought the Calibrite Display Pro HL and now my results are perfect : ) Thank you again for creating this guide!

Right on! Thanks for watching.

Hey Tasha, thanks! So the videos changing color: Where are you uploading them to? Also, how are you exporting them? Are they H.265 or H.264? You need to grade with a calibrated monitor hooked up to Blackmagic Design hardware so you're bypassing the GPU entirely. I grade in a color managed project using a DWG timeline, but monitor as Rec.709 Gamma 2.4. I get into grading in the actual school. Don't have that stuff on the channel at this time.

​@@writedirect Thanks so much for the response! It's looking more like the issue is starting in the edge browser. When I download onto my computer it's consistent, but then when I export (H265) and watch on my phone it does the quick change again in the beginning, (and only on the first run-through. Not if I rewind...) I'm doing more research into it as it seems like a GPU video enhancement feature helps with consistency when downloaded, but for now I think you're right about how to color grade so I'm looking to invest in that. (And finally calibrate.. It's scary changing factory settings! ☺️) Your course sounds awesome, so looking into that, as well. Thanks, again! 💫

Hey, you're very kind! Glad the Fairlight videos are helping. Nobody knows what goes into dialogue editing until you have to do it. Lol. Foley is the most tedious to me. Foot steps...argh.

@@writedirect Argh... I was listening to a major sound mixer say that he can spend 3 hours on just the sound of a door knob turning... And don't get him started on door openings! 😄... Fun stuff 😅

Right on man! Thank you. Hope it helps.

Hey man! Thank you. I never use selfie mode and have it disabled. But hitting the main trigger three times puts you in selfie mode so I'm guessing that will take you out. If it doesn't, hit the trigger twice as that tells the gimbal to recenter.

@@writedirect Thank you I Will Try That 🙏

Good point. I’ll make that clarification and re-upload.

I’m not in my office and can’t check. But truth be told? I never shoot vertical. So I haven’t even messed with that feature.

Mucho gracias amigo.

Yes. In advanced mode only.

@@writedirect oh cool… thanks for the answer. I tried this recently and it was only writing one track even though I had 1&2 armed… I’ll have to look into it again

@@jackfisher7274 it will definitely do it. But again, not in basic mode. And the gain by default is set really low so even if you arm it, you won’t get any sound. Kind of confusing at first. If you watch my video through the settings, you’ll see how to do it.

@@writedirect I was definitely in advanced mode. Settings were high enough for both mics… do u mean this video?

@@jackfisher7274 yeah this video. I’m not in office so can’t check for you.

Long story short, a 25mm lens on a MFT camera will give you more background in the frame and make your subject look smaller, than a 50mm lens on a FF camera. A physically longer lens gives the effect of "making your background and subject" look bigger, even if it's the same FOV you had with a 25 on a MFT. Try it out for yourself

Thanks for your knowledge and input! I absolutely agree, sensor size matters. That’s why I got the CC6K. Larger photosites theoretically will deliver a better image. All things being equal. And you’re right-a 50 mm lens on a full frame sensor is going to give you a much larger field of view than on a micro 4/3. It allows you to get wider shots without the distortion. On a Pocket 4K sometimes I have to be on a 24 when I’d rather be on a 50.

I totally understand your situation. But what you’re trying to do is like pulling part of a required component out. Like removing shutter speed from the equation, but trying to get a cinematic look. You can only go so far. My recommendation would be to grade in the different modes, And have different versions of timelines for each grade. And then export all of those out and look at the quick times on other devices like an iPad Pro, etc. And from there see which one looks the most accurate.

@@writedirect Hey thank you for the tip!! I totally understand what you mean! I will see what I can do :)

If you get an external decklink in an enclosure, that is a way to go 4K for a little less. I’m still using an ultra studio monitor 3G. Haven’t shelled out the money for a 4K workflow. But if I had the cash just laying around with no purpose tied to it, I do it! But either way can get you accurate colors. Now if you’re grading monitor is 4K, I would just go for it. But if you’re grading monitor is HD, the ultra studio is fine.

@@writedirect thanks for your kind answer 🤝🏼

Dang man! Very kind. Happy to help.

You’re absolutely right. I had always shot on pocket 4Ks and never did any sensor windowing. Thought I could do that on this one, but learned very fast that this was not the way to go. I was hoping the larger sensors would give me a more pristine 4K image. But that’s far from true with a windowed sensor. But yeah, the image downsized on the timeline is gorgeous.

Hey, thanks for your kinds words. Much appreciated! Hope this helps you make movies.

Thanks for your support! If you watched both videos, you know what to do. So two things: 1) You might want to counter balance the back. Or position anything on your camera cage to push weight to the back. And worst case scenario, you can shoot and get decent shots without a perfect balance. I did that plenty of times on my last film. it won’t work for fancy gimbal moves. But for simple tracking, dolly in and out, stuff like that, it’ll do it.

@@writedirect Thanks for your response. So you're saying, just with "simple tracking" moves, it will balance? I just had counterweights delivered to my place. I still can't do it. But if you're saying it will work with simple tracking, then you're saying it will give me stabilization? Because I don't need to so anything fancy with my gimbal. I just need stabilization. We both know how stable these blackmagic cameras can be without a gimbal, ha ha ha.

@@tedarthur9233 I wish I was there in person to check it out for you. It should balance. But yes, even if it doesn’t have perfect balance it will still pull off basic stuff. It’s gonna work the motors more during the battery faster. But you can do it.

@@writedirect I'm about 30 minutes west of Chicago. Are you anywhere near that? ha ha ha. Anyway, thank you for the encouragement. And thank you for the responses. It means a lot. I finished shooting mostly with tripod shots. If I can balance the gimbal, I'm going to go back and do some reshoots. My tripod shots look pretty good, though. So if there is no reason to shoehorn a gimbal shot, I won't do it. I'm not giving up. I'm just starting out and trying to live my dream here. Hope to shake hands with you some day.

@@tedarthur9233 cool man. Don’t stop! I grew up south of Chicago. Haven’t lived there in a long time though. So are you shooting narrative film? Is that the goal?

Thanks! Check Tilta too. Another good option. I’ve begun moving to them only because they don’t support CC6K.

I haven’t run into this. But I’m out of town right now and I can’t test. I would go into settings and do the more advanced calibration test. Make sure everything is squared away in that respect and see if it helps.

Nice! Cool setup. Love having the backup too.

Hey! Are you talking about the delivery page specifically? That’s for a separate lesson. This was specific to the project settings page.

Right on! Glad it was helpful. You’ll love the Pocket Cinema Cameras.

You’re welcome! Thx for watching.

The SDI out is 10 bit. But I don’t know about the HDMI port.

Much appreciated!

Thank you. Not that I know of, but I use manual focus lenses so I haven’t even messed with that. But I don’t think it will do that.

That’s very kind. I love it when I hear my videos have helped anyone in their filmmaking process. Thanks for your comment and for watching!

It depends on the phone and how you record. For example: the iPhone 15 Pro can actually record in a log format. But for most you’d do Rec.709 as it’s already in that color space.

I would update the firmware and try it again. It should just work. Assuming you’re enabling it from the menu.

@@writedirect Thanks! I'll update the firmware. Is it bad to leave it enabled if I not using it?

@@RSM2042 no it’s not bad to leave it enabled. But if you update the firmware and it doesn’t work, you need to contact DGI and get it fixed.

Thanks!!!!!!!

Much appreciated! Thanks for watching.

No-Whichever route you choose at the beginning, leave it that way. There’s nothing wrong with video level. If you think you get a better result that way. But Resolve and your display have to match on that setting. And you need them set that way before you create the 3D LUT. For me, data seemed better.

@@writedirect ok thanks, I tried it on full and it was all washed out no matter what I did. I'm on an OLED proart and had to tinker a bit, but I think I have a good calibration lut now with it all set to limited. It is quite a process for sure. Sadly the display I'm using is not as common I guess among the communities. Its this one, ASUS ProArt Display OLED PA27DCE-K 26.9 I wish there was more info on it, as it was almost 2 grand, but I guess its up to me to take a scientific approach...

@@RememberThisShow how are you connected to computer? Using BMD hardware?

@@writedirect yes the ultra studio monitor 3g

@@RememberThisShow if I used a 4K display for monitoring I’d prob do a decklink so you could send 4K out. Not that this is your prob. Just side comment. Is the manual part of the monitor calibration working ok and getting in good range? With that display you might want to do change to BT 1886 and experiment with black setting, if the display has 2000:1 contrast.

You might have to buy a multi camera control cable separately. I don’t use one of those as I’m not messing with camera control. I’m just using a focus motor and that’s it. DGI sells them for like 20 bucks.

Hopefully it was helpful!

Nice! Thanks for your comment. It's crazy how many details are tucked away in this application. I still don't know half of them.

Right on! Happy they’re helping. I really like FL so far. Had mainly used Avid/ProTools prior.

Thanks man! So I primarily use a Senn MKH 416. Love the microphone. But I do notice at louder levels even if the field recorder doesn’t peak, I get bad audio that I have to do damage control with an EQ in post. Have you seen this with mic? What’s your preferred dialogue mic?

@@writedirect 416 has a relatively high SPL rating but the design doesn’t handle room reflections very well and can lead to phasey sounding recordings. It’s generally better suited for outdoor work. I have a few MKH50 I like a lot for sit down interviews. DPA4017c is my favourite all around shotgun mic.

@@nicolasfieldsoundservices thanks man! I've read that a supercardioid is a better dialogue mic at times. Will keep a note on your recommendation.

Whoa! I don’t think I’ve received stats like that. Thank you! And by the way, the RS4 and RS3 Pro are pretty similar. I just got the four and with initial review, sure there are some things that are nice, but the 3 is a solid setup.

Typically you’re using a mic & field recorder to get your production sound. Or running a mic to the camera. If you’re using this for run and gun documentary type stuff, I would mount an external shotgun to the camera cage and position as far forward as you can. But most follow focus systems that are motorized are going to make some type of noise. The assumption for filmmaking is that you’re not positioning the mic by camera.

No prob! Happy filmmaking.

I guess you could use this for photographs. But this assumes a 180° shutter. That is double the frame rate. So 24 frames would be a 1/48 shutter speed. So you can just do the math and set your frame rate to get the shutter speed you’re after and then you’ll get the correct setting. Hope that makes sense.

Thank you!

Green screen is about lighting, things like that. There’s nothing you’ll do differently in camera. You’ll be shooting and exposing like normal. Shoot the highest resolution you can in BRAW.

Thanks man!

Not at all. The primary reason I use a cage is to attach an external battery. I don’t use V-mount, I use NP-F.

Cool-Your welcome. Make movies! 🍿

@@writedirect absolutely!!

This varies from camera to camera. But they all typically have a play button where you can look at your footage. You won’t be able to control that from the gimbal typically. At least I don’t think so.

It’s because your BRAW filed are in film mode, which is essentially log mode. They contain all the data on the color science used to capture the footage. And this is what you want. You need to put Resolve into color managed mode. Check this video as it will have some info on that: ua-cam.com/video/9rpAgd8KgCM/v-deo.htmlsi=RieS2nmIRVHi8Psh