As sure as the sun will rise, web forum folk will reach for the Canon-bashing cliches.
So many new shooters who agonise over mirrorless specs would be better served by picking up a used C100 Mkii and commiting to understanding exposure, framing, good audio and interesting people/stories. I picked the camera up for £3k and no longer needed ND, external audio recorders and external power. It’s a downsampled 4k image at 60fps. As a reformed bit-depth snob, good 8-bit is actually fine. And my media and storage costs reduced by about five times.
I think it’s a shame that so many shooters have become disconnected from what clients look for and, in some cases, get lost in the maze of tech marketing.
For longer moves, why not try using the pizza itself? A crisp base and plenty of flour is recommended. If you choose a Quattro Formaggio, you could perform some impressive parallax pans in the middle of the pizza - Gouda gives the best resistance.
I’d add that you need to carefully manage the expectations of the band/client. They’ve seen a thousand expensive music videos and often propose a complex narrative, involving multiple locations and characters cast from amongst their friends, who will be volunteers with varying degrees of commitment/skill.
You might be early on in your career and keen for the opportunity, quite possibly even working for free.
The expectation of pace and fast cuts can require much more useable footage than a typical 3 minute ‘interviews + cut-away shots’ video. Maybe a few days of shooting. And the singer might expect to sit on your shoulder for the edit.
You’ll be working very hard for your beer!
Sometimes, insisting on a well-shot performance video of the musician in one location is the only way to stay sane. Or, be very clear with the band that you’re experimenting and they will get whatever they get and must trust you.
By all means use it as a chance to explore, but have some very clear discussions with everyone beforehand.
Hi Candice. You'll struggle to find a pro or semi-pro who will work for free in this way. Have you committed some time to watching Resolve tutorials on YouTube? There are plenty of useful videos there. B
I was in a similar position, trying to manage a clunky BMPCC rig for jobs that, really, just needed a traditional video camera. I got a C100 mk2 and life became so much easier, for the reasons Matthias mentions. Imagine, as a BMPCC user, being able to 'forget' about power, card space, monitoring, ND filters, audio... everything is right there. You'll miss the BMPCC image, but you can hang on to that camera for special projects with more time.
With respect, the lazy thinking happens when we assume that male-dominated industries simply show that men have taken an opportunity and women have not. I'm afraid University graduation just doesn't show what working life is like for men and women. Everyone can see that top jobs are usually awarded by men, to men - which is the point being made here.
I don't think it discredits the achievements of white men in the slightest to acknowledge that the film industry is much harder for other groups. And women-focussed awards/festivals aren't referred to (by most) as sexist because they are a drop in the ocean.