Відео

hello, may i ask which way you plug your mke 600 on the a7siii? do you have the k3M xlr adaptor? or do you plug it in the mini jack input via a xlr-mini jack adapter?

I do it 2 different ways. One is with an XLR to mini adapter straight into my camera. The other method is when I use my Tascam audio recorder which I then go XLR on mic to XLR into the Tascam. I do my mix there and output it back to my camera so that audio and video are synced back up.

@@Pfagnan thanks for your answer :) i was wondering if there is a huge quality loss to use directly the camera preamps with xlr to mini adapter. or if it's nitpicking. i do mostly documentaries

@@ploufbadaboum2221 You know I have not noticed any difference. I have wondered myself though but have not seen any data on this

@@Pfagnan thanks :) i will try and see how well this can work !

Hell yeah!

My guy! What the heck are you even doing here?!?! Shouldn't you be recovering from NAB?!? Can't believe you took the time to watch this through. This means the world to me. You have no idea. ❤

Hey Ariel, Yeah, a huge part of the fun of filmmaking is building out your own style using the pieces you gather from other filmmakers. Timecode is definitely the most impactful hardware thing I've adopted from JPM's style, but I did also pick up an Easyrig (actually I got the $400 Flycam ripoff (don't tell Flycam I said that😝)). At first, I wore it throughout the whole day, but I've since transitioned to going handheld for the prep and then putting on the Easyrig for the ceremony and everything after. And then taking it off to get some handheld dance footage at the reception. That thing saves my back, though, even if I'm second-shooting a wedding for a more standard, montage-style video. A company I was working for once reprimanded me for wearing the Easyrig because they thought it me look too hardcore, but that's been the only backlash I've gotten for wearing it. I've only ever gotten compliments from couples, guests, and other vendors. For lighting, I actually based my style off of Eric Floberg's setup, using two fresnel spotlights at the reception. I started with some old Lowell tungsten lights and then swapped over to the Aputure LS60x's when I got tired of running cables. But I still have the old lights in my car just in case. I like having a narrower beam, especially for the speeches (with one light behind the speaker and the other behind the couple so that one serves as the key light for the couple and backlight for the speaker and the other serves as backlight for the couple and key light for the speaker). Everything has been great with them so far, but my Android phone does sometimes disconnect from the lights if I lock my phone and it takes almost a full minute to reconnect, which is annoying. Other than that, no complaints. Outside of hardware, the biggest game changer has definitely been interviews. I didn't realize how impactful those can be, but I tried them out in my most recent wedding film (ua-cam.com/video/bIq8H2Y7NCE/v-deo.html) and it was incredible the soundbites that I was able to get. Those interviews absolutely elevated an otherwise pretty average wedding to one of the most powerful stories I've ever had the privilege of telling. It's definitely a lot of work and it might take an extra day of filming (two days for that film), but it's absolutely worth it! Oh, and I did also pick up the Hollyland Solidcoms, which are invaluable if you're working with a second shooter, especially when doing things like setting up the first look. But yeah, all of that gear costs money, so I would absolutely recommend renting gear until you have enough business to justify a purchase. That's where I'm at right now. I only own 5 Track E's personally and I had to rent another 7 for this wedding along with a C70 and an Easyrig for my second shooter. And in the meantime, I just wait for an open box deal to cut the price in half. If you only add one thing from Justin's style, I think that interviews are definitely the way to go. The hardware is a ton of fun and has for sure made my life easier, but the soundbites from those interviews will give you all the building blocks you need to tell an incredible story in a way that most other wedding filmmakers can't. Hope all of this helps! And please feel free to ask any follow-up questions. Joe

@@joe_white lol it’s so funny because I feel like I’m on a parallel path to yours 😅. I also currently only own 5 track e’s which I plan to use this season. I invested in wireless headsets although not solidcom because of how expensive. I have 1 aputure ls 60, and amaran 60’s. All of which I got for this season. I watched your newest film and it was a HUGE difference compared to your previous ones, I loved it! Not because the others were bad but because we were all making the same type of film and I think this style is much more meaningful, memorable, and effective. JPM is rocking the industry lol for the good. I did use interviews in my last two although not to this extent, so I believe you’re right, this is the way to go. Yours were 🔥🔥🔥!! Btw, thanks for this awesome tutorial. It’s a little different workflow from Justin’s and I think this is better. Just awesome 👏 going to find your IG and follow your journey! 😀

@@arielreyes001 Hey man, thanks! Oh my gosh, that's wiiiild that things are lining up like that! Yeah, the Solidcom price tag is ROUGH. I was lucky to find some open box deals on B&H and Adorama and get 'em for ~170 each, but yeah, even with that, I still felt my wallet hurting 😛 Batteries last all day, though, which is nice. Let me know how yours perform cuz if they're awesome, I'd love to be able to recommend them. And on that same note, I think you made the right call with the Amarans. I love my Lightstorms, but I probably could have done with a lighter light and more money in my pocket (that I'd most likely use to buy another Tentacle 😝) And having both kinds I'm sure gives you a kind of flexibility that I don't have right now. And by the way, for the Track E's are you using the tentacle lav? I used the PurplePandas and then swapped to Saramonics and finally landed on the Tentacle Lavs, but I'm always looking for an upgrade (but probably not to the $200+ mics that JP uses, at least for now) Random tip: If you are using the Tentacle Lavs, they fit perfectly into URSA's Sennheiser ME2 minimounts www.bhphotovideo.com/c/product/1607064-REG/remote_audio_urs_mmme2wht_ursa_minimount_for_the.html And thanks, dude! Yeah, I absolutely feel the difference with interviews vs without. And looking at your work, oh my gosh, those newer vids on Insta are RAD! Your in-person interviews are SO GOOD. I feel like traditional wedding films can sometimes be overly serious, but those in-the-moment soundbytes really help to break the tension and then make the heartfelt parts hit even harder. Honestly, I'm taking notes over here cuz I personally need to step up my day-of interviews. I'm over here watching your Leslie+Jamin video and laughing and crying my ass off. The little breaks in the songs for jokes, the interview with him as he's putting on his tie, I mean, the intro scene is immaculate, and his little song he sings to himself before the first looks. And I'm only halfway through. You have leveled up FOR SURE!!! (oh and the walk-and-talk at the beginning of Ali & Kaleb, SO MUCH FUN! Also, color grading on the wood tones in that shot *chef's kiss*) Yeah, I personally like tutorials where the person is just slowly walking through the whole process with minimal editing so I can pause and make sure I got each step right, so as soon as I had the footage to do it, I thought I'd throw one of those together and I'm glad it could be a help! 😁 I'm absolutely following you back on IG You are rocking it in ways that I'm really excited to see. If you're ever in Connecticut, hit me up and I'll buy you a drink. And we can make a toast to the films we've filmed and the dozens more to come!

All of my work so far has just been published online, so I haven't had to worry about AAF in that regard. With rushes and subclips, I'm pretty sure you're referring to the tools in the Adobe Suite, which I haven't used for a few years now, so I'm unfortunately not a wealth of tips and tricks for that world. In Davinci Resolve you can set up the audio and video as a compound clip and then import that into your timeline and slice and splice it like a normal clip, but when I do that I get serious audio and video lagging issues both during editing and during export, so now I rarely use compound clips for anything more than 4 tracks or longer than a minute or so. Sorry I don't have the exact answers to your questions, but I do know that timecode is used universally throughout the video industry whether the editing is being done in Premiere, Resolve, Final Cut, so there definitely should be a solution. Here's a tutorial I found on using timecode in Premiere Pro. Hopefully, it can be a good launch point for you. ua-cam.com/video/lvqWS_lE7ac/v-deo.html&ab_channel=JavierMercedes

Yes, it outputs a strong signal that could work into an iPhone and filmic pro etc. it also could work into an external sound recorder. The 400 sounds almost as good as the 600