Love how you used a bounce light to brighten up the background a bit. Helps just bring up the ambient a bit so things don't fall into blackness. Great compositions and great video man!
As someone who also shoots with a similar setup using the R6m2 I really appreciate knowing that i still have a lot of potential to unlock with the gear that I have.
It’s a great camera! At some point I’d like to upgrade to some cinema bodies, but for now it makes more sense for my business to stick with what I have. I try to think about how the camera is just a sensor and there’s really a lot you can do with lighting and set design to influence your image for the better. Thanks for watching the video!
Thank you for watching! My goal with this channel is to answer a lot of the questions I had when I first started running my business. There are so many camera reviews or gear comparisons, but I want to show the process and perspective of how to actually do the work.
Mitch, I love the thought process and the explanations you go into on this! I try not to get complacent with interview setups or my ability to frame them, but every once in a while I find myself slipping. This is a nice reminder to slow down and be intentional. And yet another sign to get a 600D haha
One of the most challenging things I had to work on was being mindful of taking the time to get things right before hitting record. I assisted on some sets and found that even the most competent professionals would move something the background, check the frame, adjust the light check the frame, etc until they were happy with the image. I’ve learned to be open to second opinions too. My wife works on set with me as a producer and always has great insight about things I didn’t even consider.
@@lazorkophotography It's definitely easier when someone is on set with you, but I don't want to use that as an excuse. I just need to be a little more patient, and learn to calm my "go-go-go!" mentality when I'm on set.
Absolutely. Lately right before we start rolling I will remind everyone to put their phone on silent, then take that time to double check my settings etc
Hey Alex, the monitor I use is only for viewing and doesn’t record at all. For the footage you see at the end of the video, that is recorded to the SD cards in both of the cameras that I was using for the interview. Hope that answers your question!
Great video - I appreciate the attention to detail, the footage looks great. Question- Maybe I missed it, but what lenses are you using for your A and B cams? Thanks!
Thanks Mark! I think for this shoot I had the Canon RF 24-70 on the A Cam set around 50mm or 60mm. And on the B cam it was the Canon RF 50mm 1.8 on aps-c, so it was like an 80mm field of view.
Great content! I love watching all of the BTS creators for this type of work! I had a question about your key light. I have a couple of 200W lights, but I'm thinking about getting a 600W. I'm bouncing between the Aperture 600D or 600X. Do you find any situation where the 600D is limiting and you would rather have the bi-color 600X?
Thanks for watching! On the 600d vs 600x question, there are a few reasons. In situations where I am fighting a bright window, I am typically keying with a daylight balanced light anyway. And on those occasions I want as much power as possible. I found the only time I was really using the bi-color feature of my amaran 200x and setting it as my key light to around 3200k was in evening shoots where I’m trying to balance with interior fixtures or in corporate buildings with no windows and fluorescent light. For that application, the 200x is plenty. Right now my kit is a 600d, a 200x, and a couple of amaran t2c tubes. Also, I have the ‘non-pro’ version of the 600d, so it was quite a bit cheaper than the 600x.
The main reason I have been using the fresnel with the 600d is that I can focus the fresnel lens to fully and evenly cover my diffusion material without getting too much spill. When using just the silver reflector dish, there’s a hotspot in the center and I have to position the light an exact distance to fill the diffusion. The fresnel just gives me a softer light and more control.
It would be nice if they were more even. I think they give the reflectors a hot spot to artificially inflate their “lux” numbers. I do use the reflector dishes all the time for bouncing off ceilings though.
Love how you used a bounce light to brighten up the background a bit. Helps just bring up the ambient a bit so things don't fall into blackness. Great compositions and great video man!
Thank you! I’m all about bouncing when I can. Gotta make those people look good.
As someone who also shoots with a similar setup using the R6m2 I really appreciate knowing that i still have a lot of potential to unlock with the gear that I have.
It’s a great camera! At some point I’d like to upgrade to some cinema bodies, but for now it makes more sense for my business to stick with what I have. I try to think about how the camera is just a sensor and there’s really a lot you can do with lighting and set design to influence your image for the better. Thanks for watching the video!
this was really cool to see your thought process mitch. i want to get better at shooting interviews, so content like this is super helpful!! 🙏🏻🙏🏻
Thank you for watching! My goal with this channel is to answer a lot of the questions I had when I first started running my business. There are so many camera reviews or gear comparisons, but I want to show the process and perspective of how to actually do the work.
@@lazorkophotography I like that man!
hey what are you using to mount your t2c to the c-stand
Mitch, I love the thought process and the explanations you go into on this! I try not to get complacent with interview setups or my ability to frame them, but every once in a while I find myself slipping. This is a nice reminder to slow down and be intentional. And yet another sign to get a 600D haha
One of the most challenging things I had to work on was being mindful of taking the time to get things right before hitting record. I assisted on some sets and found that even the most competent professionals would move something the background, check the frame, adjust the light check the frame, etc until they were happy with the image. I’ve learned to be open to second opinions too. My wife works on set with me as a producer and always has great insight about things I didn’t even consider.
@@lazorkophotography It's definitely easier when someone is on set with you, but I don't want to use that as an excuse. I just need to be a little more patient, and learn to calm my "go-go-go!" mentality when I'm on set.
Absolutely. Lately right before we start rolling I will remind everyone to put their phone on silent, then take that time to double check my settings etc
Do you just hit the record button and records to the as card while the external monitor is plugged in?
Hey Alex, the monitor I use is only for viewing and doesn’t record at all. For the footage you see at the end of the video, that is recorded to the SD cards in both of the cameras that I was using for the interview. Hope that answers your question!
Great video - I appreciate the attention to detail, the footage looks great. Question- Maybe I missed it, but what lenses are you using for your A and B cams? Thanks!
Thanks Mark! I think for this shoot I had the Canon RF 24-70 on the A Cam set around 50mm or 60mm. And on the B cam it was the Canon RF 50mm 1.8 on aps-c, so it was like an 80mm field of view.
Great content! I love watching all of the BTS creators for this type of work!
I had a question about your key light. I have a couple of 200W lights, but I'm thinking about getting a 600W. I'm bouncing between the Aperture 600D or 600X. Do you find any situation where the 600D is limiting and you would rather have the bi-color 600X?
Thanks for watching! On the 600d vs 600x question, there are a few reasons. In situations where I am fighting a bright window, I am typically keying with a daylight balanced light anyway. And on those occasions I want as much power as possible. I found the only time I was really using the bi-color feature of my amaran 200x and setting it as my key light to around 3200k was in evening shoots where I’m trying to balance with interior fixtures or in corporate buildings with no windows and fluorescent light. For that application, the 200x is plenty. Right now my kit is a 600d, a 200x, and a couple of amaran t2c tubes. Also, I have the ‘non-pro’ version of the 600d, so it was quite a bit cheaper than the 600x.
@@lazorkophotographyAh, ok. Thanks that is good info!
Hey man are you in Dallas? Would love to work with you man! great stuff!
Yea I’m a Dallas guy. Glad to connect with you 👍🏻
@@lazorkophotography What's up man, I emailed you let me know if you got it, love to chat up!
Why 600d with fresnel? :o
The main reason I have been using the fresnel with the 600d is that I can focus the fresnel lens to fully and evenly cover my diffusion material without getting too much spill. When using just the silver reflector dish, there’s a hotspot in the center and I have to position the light an exact distance to fill the diffusion. The fresnel just gives me a softer light and more control.
@@lazorkophotography Thx. Good to know.
I know that aputure reflectors are kinda annoying in terms of this hotspot :(.
It would be nice if they were more even. I think they give the reflectors a hot spot to artificially inflate their “lux” numbers. I do use the reflector dishes all the time for bouncing off ceilings though.