Want to know what it takes to film a typical DPReview TV episode? Jordan walks through his complete kit – at least until the camera they're shooting this week's episode with overheats.
I like the techtalk, sharing about the gear and such, but you guys could also make a (true) behind the scenes where the actual filming (or 'set') gets to be shown, would love to have a peek at it.
Thanks for the video, it was interesting. I wonder how often external monitors are useful in the field?
I got an external monitor recently, but I haven't used it yet for real shooting. My feeling is, the external monitor is probably more useful in more controlled settings like studio, since it adds bulk, and it is another set of batteries to provide.
The external monitor has a larger screen, which can help with manual focusing. And if you are doing vlogging alone (which you guys don't do), it gives a better screen to see yourself. It also adds things most camera makers (other than Panasonic in GH/S bodies) provides like wave forms, etc. At the higher end, the monitor can also act as a higher definition recorder.
Now, my main reason for getting the monitor was to provide a headphone jack since my current cameras don't have one. I lost 13 minutes of sound when the microphone wasn't plugged in correctly.
Why did you go for a field monitor instead of a recorder. It would have give you a little more versatility in recording options.
A field monitor can still be helpful as it allows you to set the desired LUT as preview to the final output. Or you can use it to get better balance of light as it gives you a set of tools to look at exposure, much better than a regular camera provides.
Basically I went with the field monitor as a cost issue. I'm only doing video recording as a hobby, doing it for friends to record the shows they put on.
In my last session, I lost about 13 minutes of sound because the microphone wasn't plugged in correctly. Unfortunately, the camera I use for recording video (Panasonic G85) does not have a headphone jack. So I thought about getting a headphone jack via a field monitor.
I first bought one monitor off of an ebay seller, and it seemed to work great. Unfortunately, one month in, it stopped working, and I bought another monitor from B&H, including warranty.
I agree that a simple HDMI to headphone setup would be nice.
Having the larger screen for video recording is really nice. The mount these monitors come with it not stable (IMHO), but those are easily changed.
On one hand, the R5 gets so much shade thrown at it regarding chip overheating it's getting a bit monotonous. Nevertheless, I laughed out loud at the closing frames. It really made my day. Ok Chris, given you're such a toady for that Pansonic, can't you squeeze another body from them? Virtually, every one of your videos is a huge advert for them. :)
More of a public service announcement, but this guy found if you use remote mics and put a quiet fan next to the R5, say for interviews and indoor recordings on tripod, you can shoot almost 2 straight hours of 8K IPB lite to an SD card with any modifications whatsoever. I don't know if it was 10 bit 4:2:2, but down sample 8K IPB lite to 4K and you'll get some of the best 4K around easily. https://youtu.be/kze0IwGEdKg
OR just slap on a Ninja V or Ninja V+ and don't worry about it. :)
I checked and Jordan did say last August he was getting 39 minutes of 4K HQ IPB before the R5 overheated. But I thought he also said he was getting over 40 minutes or an hour of continuous recording with the Ninja V. Maybe that was someone else? It's fun to pick on the R5, but with the Ninja V and V+, you can shoot near unlimited video, and its the only camera under $9000 that I know of that shoots 8K RAW for an hour straight (with Ninja V+).
I've always been fascinated at how many video are shot with the EM-1 Mark III. I remember Jordan complaining DR is limiting, but I guess its IS makes it a better choice under some circumstances. I don't remember seeing the GH5S getting any love recently, but between the GH5II and S1H, it has too much competition for top dog.
Overheating can easily occur within a few minutes if you record several takes after each other without a cooldown period of the camera.
So let's say you do a 7 minute recording then another with 6, take another with 4 and then two with a 2 minute recording and yet another with 10 directly after each other. Then there is a big chance of seeing the overheat light come on with the last few takes.
I once shot something that was one continuous shot but it took 28 takes (due to children running around, people saying rude words in the background, clouds going over the Sun and people standing in front of stuff... oh and me cocking up the dialogue sometimes too...)
All in all - it doesn't matter. I watch Youtube videos every day. Cannot remember a single one I watched because of the amazing image quality. Content is king, was and will ever be.
I think audio is more important than video, but the video needs to be watchable. Some things really do benefit from hi-res video though, especially after YouTube has compressed it, as there's more detail to start with.
This was excellent. Would love to see a part 2 with the "post" tips. Using Davinci, editing tips, sound track, b roll stuff, etc. Jordan is great at the post processing part of this workflow.
LOL! Jordan himself got a bit overheated trying to wrap up before the camera cut him off, poor guy! Be kind, Chris ;-)
Great vid, I was surprised at the accessories being so affordable. And with the G9 / S1H offering a nice price/utility range, this makes for a really approachable gear set!
For me, the G9 limiting its videos to 30 minutes meant that it was not a contender when I was thinking about upgrading my G85. I record performers and amateur theatrical shows. The performers are given 30 minute blocks, but some go over and do not have an obvious stopping point in the middle of the act. The theatrical shows are typically 1.5 hours long, and it is a lot easier to just record the whole thing and break it up into usable chunks later. I also recorded my niece's wedding, and the main service ran to 35 minutes.
Now, I am no great shakes as a videographer, but for recording real events where there is no do over, I find I need cameras that don't have silly limits.
From what I understand, many cameras are limited to 30 minutes due to old European tariffs (that have since expired) that added extra import taxes on video cameras that can record more than 30 minutes. But some claim the G9 limits are due to heat build up.
I have dummy batteries plus A/C adapters and larger external batteries for all of my micro 4/3rds cameras. While it helps with the power, it doesn't solve the problem of the camera stopping to record after 29 minutes and 59 seconds. Sure, you can restart it again, but you do have a few second gap in the recording.
I recorded my niece's wedding. The main ceremony went to 35 minutes. I think at the 30 minute mark was the exchanging of vows or first kiss (i.e. the part you want to record).
My memory is the G85 can do roughly 1.5-2 hours on a single battery. The show that I record tends to be 1.5 hours long, and I can do it on a single freshly charged battery.
On the G85, I do have the battery grip, and I've switched batteries in the grip while recording with the battery in the camera.
Product differentiation doesn't matter for Olympus, since none of the Olympus models support more than 30 minutes of recording without using an external recorder.
Yes, you can only turn the amp on the Rode Wireless Go II down so low, and it's still not low enough for the Sanken COS-11. It will still peak with Chris' normal speaking voice. We could use an attenuator cable to bring the sensitivity down, but I've had very mixed results with them in the past.
If you insist on using idiot-proof consumer equipment these are the types of limitations you have to expect. It’s not the fault of the mic. Professionals in the audio department who care enough to choose a Sanken mic are not going to be using Rode Wireless Go transmitters….
I am using the Manfrotto MVH500AH right now, but I'm not terribly happy with it. The pan is sticky in very cold weather and I don't love the plate release system (I've accidentally released it before, but fortunately managed to grab the camera before it fell).
I'll be testing a few small video heads in the next while, and I'll definitely let viewers know what I settle on.
Thanks Jordan, definitely looking forward to it. My current video head is really getting on my nerves and the monopod (just noticed I said tripod earlier) review + this video convinced me to order one basically instantly. Don't think I've ever ordered something after just 2 videos about it but it seems to be exactly what I'm looking for.
True fluid heads have a much wider temperature range, but tend to be expensive, $1500 an up. These use oil dampening between variable area plates. They also have ball bearing pivots, which stay tight and don't stick. Lesser heads use Teflon plates with variable spring tension for dampening.
Of the less expensive heads, the Manfrotto Nitro series have excellent balancing features and operate smoothly, for a while. The pivots have plain bearings and tend to loosen up after a year or two.
Let's try the Rycote stickies next. I've tried so many different type of doublesided tape on the Røde invisilavs. But most of them seem to suck if you want them to stick for a long(er) time or they hurt when you want to undo them and pull them of your chest. Hope this will give the results I am looking for.
Actually it's great for serious work using an external recorder, or less serious work if you shoot in the normal 4k mode, but that's not the point, it's done for a laugh...
It absolutely blows my mind that Sony, Canon, and Nikon don't have any shutter angle priority modes as of yet. Yeah yeah, that's why Sony and Canon have their cinema lines, but seriously, it's one of those things that would be super easy to add and have major benefit to many users.
Sony does allow shutter fine tuning with the A1 as well, but we're talking about working with the camera doing the math regardless of frame rate. Would be so simple to add.
Olympus also allows 1/48 s shutter speed for 24p video, at least on my recently acquired E-M5 Mark III. No shutter angles though.
It’s especially mysterious that Olympus and Nikon don’t offer shutter angle support, since they have no ‘cine’ lines to protect. More evidence to support my suspicion that these stodgy old companies are actually deeply incompetent. It’s hard to think of a feature that costs less to add than shutter angle.
I don't really see the need for it, usually you shoot at one or couple framerates and you'll get to know what shutter speeds are appropriate, similar to setting shutter speed to freeze different kinds of motion for stills photography. I do agree that it's very easy and cheap to add it to the menus for anyone that needs it. The sensor and firmware already has full control of speeds in fine resolution, it's just different visual representation and perhaps different scale to be used. Camera makers are really stubborn bunch, just remember how long it took Canon and other to have built in intervalometer and bulb timer in the menus when timing is inherently part of the camera hardware and software.
Topaz Labs' flagship app uses AI algorithms to make some complex image corrections really, really easy. But is there enough here to justify its rather steep price?
Panasonic has announced the Lumix DC-S5 II and DC-S5 IIX, a pair of 24MP full-frame mirrorless cameras with phase-detection autofocus. We've taken a close look at the S5 II and discuss what the more video-focused S5 IIX will bring.
Above $2500 cameras tend to become increasingly specialized, making it difficult to select a 'best' option. We case our eye over the options costing more than $2500 but less than $4000, to find the best all-rounder.
There are a lot of photo/video cameras that have found a role as B-cameras on professional film productions or even A-cameras for amateur and independent productions. We've combed through the options and selected our two favorite cameras in this class.
What’s the best camera for around $2000? These capable cameras should be solid and well-built, have both the speed and focus to capture fast action and offer professional-level image quality. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing around $2000 and recommended the best.
Family moments are precious and sometimes you want to capture that time spent with loved ones or friends in better quality than your phone can manage. We've selected a group of cameras that are easy to keep with you, and that can adapt to take photos wherever and whenever something memorable happens.
What's the best camera for shooting sports and action? Fast continuous shooting, reliable autofocus and great battery life are just three of the most important factors. In this buying guide we've rounded-up several great cameras for shooting sports and action, and recommended the best.
A pro chimes in with his long-term impressions of DJI's Mavic 3. While there were ups and downs, filmmaker José Fransisco Salgado found that in his use of the drone, firmware updates have made it better with every passing month.
Landscape photography has a very different set of requirements from other types of photography. We pick the best options at three different price ranges.
AI is here to stay, so we must prepare ourselves for its many consequences. We can use AI to make our lives easier, but it's also possible to use AI technology for more nefarious purposes, such as making stealing photos a simple one-click endeavor.
This DIY project uses an Adafruit board and $40 worth of other components to create a light meter and metadata capture device for any film photography camera.
Scientists at the Green Bank Observatory in West Virginia have used a transmitter with 'less power than a microwave' to produce the highest resolution images of the moon ever captured from Earth.
The tiny cameras, which weigh just 1.4g, fit inside the padding of a driver's helmet, offering viewers at home an eye-level perspective as F1 cars race through the corners of the world's most exciting race tracks. In 2023, all drivers will be required to wear the cameras.
The new ultrafast prime for Nikon Z-mount cameras is a re-worked version of Cosina's existing Voigtländer 50mm F1 Aspherical lens for Leica M-mount cameras.
There are plenty of hybrid cameras on the market, but often a user needs to choose between photo- or video-centric models in terms of features. Jason Hendardy explains why he would want to see shutter angle and 32-bit float audio as added features in cameras that highlight both photo and video functionalities.
SkyFi's new Earth Observation service is now fully operational, allowing users to order custom high-resolution satellite imagery of any location on Earth using a network of more than 80 satellites.
In some parts of the world, winter brings picturesque icy and snowy scenes. However, your drone's performance will be compromised in cold weather. Here are some tips for performing safe flights during the chilliest time of the year.
The winners of the Ocean Art Photo Competition 2022 have been announced, showcasing incredible sea-neries (see what we did there?) from around the globe.
Venus Optics has announced a quartet of new anamorphic cine lenses for Super35 cameras, the Proteus 2x series. The 2x anamorphic lenses promise ease of use, accessibility and high-end performance for enthusiast and professional video applications.
We've shot the new Fujinon XF 56mm F1.2R WR lens against the original 56mm F1.2R, to check whether we should switch the lens we use for our studio test scene or maintain consistency.
Nature photographer Erez Marom continues his series about landscape composition by discussing the multifaceted role played by the sky in a landscape image.
The NONS SL660 is an Instax Square instant camera with an interchangeable lens design. It's made of CNC-milled aluminum alloy, has an SLR-style viewfinder, and retails for a $600. We've gone hands-on to see what it's like to shoot with.
Recently, DJI made Waypoints available for their Mavic 3 series of drones, bringing a formerly high-end feature to the masses. We'll look at what this flight mode is and why you should use it.
Astrophotographer Bray Falls was asked to help verify the discovery of the Andromeda Oxygen arc. He describes his process for verification, the equipment he used and where astronomers should point their telescopes next.
OM Digital Solutions has released firmware updates for the following cameras to add compatibility support for its new M.Zuiko Digital ED 90mm F3.5 Macro IS PRO lens: OM-D E-M1 Mark II, E-M1 Mark III, E-M5 Mark III, E-M1X, and OM-5.
Micro Four Thirds has 'size benefits, and a shooting experience that can’t be matched by a smartphone,' says the director of Panasonic's camera business, as we talked about the system's future, the role of video, the adoption of phase detection and the role his dog played in the development of the S5 II.
Today's modern cameras are armed with sophisticated autofocusing systems. They can focus anywhere in the frame, track multiple subjects, and switch on the fly. But what good are these advanced tools if you can't see where the camera is even focusing? It's time for the autofocus box to upgrade from its single-color status.
Topaz Labs' flagship app uses AI algorithms to make some complex image corrections really, really easy. But is there enough here to justify its rather steep price?
The Panasonic Lumix DC-S5 II is a powerful mid-range full-frame stills and video mirrorless camera that introduces on-sensor phase detection, 6K 'open gate' video, LUTs for still mode and more. We put the camera through its paces during a hands-on trial run in the real world.
The new FE Sony 20-70mm F4 G has an extremely versatile zoom range, but how do the pictures look? Check out these full resolution 60 megapixel captures!
Sony has confirmed it’s developing a high-end 300mm F2.8 telephoto lens for its E-mount camera systems. The lens will be a part of the company’s high-end G Master lens lineup.
Apple's new high-end M2 Pro and M2 Max chipsets are here and being debuted in the company's 14” and 16” MacBook Pro models. Meanwhile, its Mac Mini is now available with the company's M2 and M2 Pro chipsets.
Comments