1 00:00:00,000 --> 00:00:07,000 Hello everyone, this is, I don't know, by demand, I guess we're talking about the cameras that we use here at LMG. 2 00:00:07,000 --> 00:00:13,000 But who are you? Oh, sorry, I'm Andrew, so I'm one of the cam ops here. 3 00:00:13,000 --> 00:00:23,000 But anyway, so we're going to talk about the cameras that we use and the settings and I'll talk about the personal kind of way I have the camera that I always use set up and the others will talk about their way of doing it. 4 00:00:23,000 --> 00:00:30,000 So here we use Sony FX6's for our primary a-roll, slash b-roll shooting. 5 00:00:30,000 --> 00:00:35,000 We do have FX3's and FX30's as well, but someone else will explain them later. 6 00:00:35,000 --> 00:00:38,000 And we shoot everything 4K 30 frames a second. 7 00:00:38,000 --> 00:00:41,000 Yes, so I'll just talk about how I have my one set up. 8 00:00:41,000 --> 00:00:49,000 We all use FX6's and we all use pretty much for mainly the 24-105 Sony F4 lens. 9 00:00:49,000 --> 00:00:59,000 This is the lens I've been using recently the most because I like having to be able to zoom while shooting and this having the thicker ring makes it just that little touch easier. 10 00:00:59,000 --> 00:01:02,000 I'll just put it on my shoulder and do it real quick to show. 11 00:01:02,000 --> 00:01:09,000 So if, so sometimes we have an easy rig too, but you don't necessarily always need to have that. 12 00:01:09,000 --> 00:01:17,000 So I could be, I'm watching here and then lying this is about to segue or something like that into a sponsor and I can see it coming, so I just do this. 13 00:01:17,000 --> 00:01:20,000 For the most part, you shouldn't redo that too much. 14 00:01:20,000 --> 00:01:27,000 Sometimes you just feel, if we're doing a vlog or something like that, you feel like there's a, you can move the camera around or zoom in, zoom out. 15 00:01:27,000 --> 00:01:33,000 It just makes it a little bit easier to do that. And I always normally keep a light on here. 16 00:01:33,000 --> 00:01:36,000 It's mostly there, so I don't forget to put it on if we do need it somewhere. 17 00:01:36,000 --> 00:01:41,000 All of us will use the same kind of Sony mic pack or mic receiver. 18 00:01:42,000 --> 00:01:48,000 This is powered from the camera, so we actually don't even need these batteries in there. 19 00:01:48,000 --> 00:01:53,000 But most of the time we do, there's very rare that there's more than two hosts. 20 00:01:53,000 --> 00:01:56,000 This is probably where it's different between the shooters. 21 00:01:56,000 --> 00:01:59,000 Well, myself and Glenn like having a bigger battery. 22 00:01:59,000 --> 00:02:04,000 My preference is to have the biggest battery on the back as I can because I like the balance of it. 23 00:02:04,000 --> 00:02:08,000 I don't really mind the weight of it too much and it makes it easy. 24 00:02:08,000 --> 00:02:14,000 Whereas like, it's not the easiest to hold it here, but it's definitely easier to hold it on your shoulder. 25 00:02:14,000 --> 00:02:22,000 Because I basically just put it on top of my shoulder. You still have a decent amount of weight further back, but like, you know, you can hold it in front of you pretty steady as well. 26 00:02:22,000 --> 00:02:25,000 So I also have these hooked, this cable here. 27 00:02:25,000 --> 00:02:28,000 These are new cables and de-ordered these. What are the cables for? 28 00:02:28,000 --> 00:02:32,000 Well, we'll talk about this because this is new. As in a new thing that we're doing. 29 00:02:32,000 --> 00:02:35,000 We did a live stream a couple of, was it last week? I don't know. 30 00:02:35,000 --> 00:02:42,000 We used two cameras on that and then what we ended up doing was rigging iPhones onto our setups. 31 00:02:42,000 --> 00:02:50,000 So basically it's a tally light, effectively. And we needed these just to make sure that they didn't run out of battery because that would have been a real pain in the arse if that happened. 32 00:02:50,000 --> 00:02:58,000 Right now I've got my tentacle sink plugged in because every time we record audio, we record into camera through the Sony pack. 33 00:02:58,000 --> 00:03:03,000 But we also have external recorders, very similar to these Rhodes, but they're tentacle. 34 00:03:03,000 --> 00:03:07,000 They've got 32-bit float and they sync with this little box here. 35 00:03:07,000 --> 00:03:11,000 So this box has, with this cable, goes into the timecode. 36 00:03:11,000 --> 00:03:17,000 So it generates a timecode. Then we sync it through our phones and then everyone's audio should be in sync from that point on. 37 00:03:17,000 --> 00:03:21,000 So I just keep it plugged in. Like, there's a tiny battery in them. 38 00:03:21,000 --> 00:03:24,000 They don't run out very quick, but I just find it a lot easier. 39 00:03:24,000 --> 00:03:30,000 It's a lot worse than you show up on set and then you're like, oh, sh**, like, this isn't charged. 40 00:03:30,000 --> 00:03:33,000 I need to go get another one. So I just keep it plugged in. 41 00:03:33,000 --> 00:03:38,000 If I know, for example, this is fully charged and I know that I'm probably going to have to use the light a lot, 42 00:03:38,000 --> 00:03:43,000 what I'll do is I'll just take that USB-C off and I'll just move this further back here. 43 00:03:43,000 --> 00:03:48,000 And then I'll find a neat way. I haven't done this with this cord yet, so that's probably why it doesn't look great, 44 00:03:48,000 --> 00:03:51,000 but I'll find a neat way of doing this. So I'll plug that in there. 45 00:03:51,000 --> 00:03:55,000 Yeah, and that should work. That's another reason why these bigger batteries are good. 46 00:03:55,000 --> 00:03:58,000 I put this on in the morning a few minutes ago. 47 00:03:58,000 --> 00:04:04,000 I've got beer all to shoot today. It's probably going to last all day, so it's pretty good going. 48 00:04:04,000 --> 00:04:07,000 Very fuel efficient, very energy efficient. 49 00:04:07,000 --> 00:04:13,000 This is mostly for scratch audio. Sometimes Linus will say he's over it, right? 50 00:04:13,000 --> 00:04:20,000 And that's what he really means is he's over waiting for us for audio to be perfect, 51 00:04:20,000 --> 00:04:24,000 as in like there could be a triangle now going by outside or something like that, right? 52 00:04:24,000 --> 00:04:29,000 So that's sometimes what this comes in quite handy then because this is gathering ambient noise always. 53 00:04:29,000 --> 00:04:32,000 So I keep the rails on my camera set up. 54 00:04:32,000 --> 00:04:37,000 If we're not moving the camera, we'll put a big, big teleprompter on it, and that's what these are for. 55 00:04:37,000 --> 00:04:40,000 We don't really rig up any follow focuses or anything like that, 56 00:04:40,000 --> 00:04:43,000 but they're mostly just for the teleprompter on the front. 57 00:04:43,000 --> 00:04:46,000 This here is for the easy rig. 58 00:04:46,000 --> 00:04:51,000 This just goes down on here, like that, and then you pull it up or whatever. 59 00:04:51,000 --> 00:04:54,000 That's the ergonomics behind it. Yeah, it's just like quick, easy rig thing. 60 00:04:54,000 --> 00:04:57,000 It's kind of annoying, actually, when you don't have an easy rig on though, 61 00:04:57,000 --> 00:05:01,000 because it's right where your hand would hold it. 62 00:05:01,000 --> 00:05:04,000 So that's like, that's something that's not great, but I mean, it is what it is. 63 00:05:04,000 --> 00:05:07,000 What can you do? The thing that we're all doing differently is arms. 64 00:05:07,000 --> 00:05:14,000 I like having one because I like having my, my hand up around the lens area like this here. 65 00:05:14,000 --> 00:05:21,000 So it's kind of a little bit quicker. And I like the fact that I can have this one like it's not straining me too much. 66 00:05:21,000 --> 00:05:27,000 And because we're not like, I'm not tall and we don't have many tall people really here. 67 00:05:27,000 --> 00:05:32,000 When you shoot from the hip, it's a look thing. It was in like, you're not really getting people straight in the eye. 68 00:05:32,000 --> 00:05:37,000 So I kind of prefer shooting a little bit higher like this. So you're getting straight in there, straight in their eyes and stuff like that. 69 00:05:37,000 --> 00:05:41,000 And I just find like this makes it very easy. And this is like very ergonomic to it. 70 00:05:41,000 --> 00:05:47,000 You can move it around so easily. It doesn't take long. Hello Flo Plain, Andy from the production team. 71 00:05:47,000 --> 00:05:52,000 So this is my camera rig. Slightly different than the other two guys. 72 00:05:52,000 --> 00:06:00,000 So I'm going to talk about it. What's the difference is my rig is a lot more lighter. 73 00:06:00,000 --> 00:06:05,000 I have like the BPU batteries. I use the OEM like battery slot. 74 00:06:05,000 --> 00:06:12,000 So the reason for that is I prefer a very lightweight rig that I don't have to use an easy rig for example. 75 00:06:12,000 --> 00:06:19,000 Especially if we're traveling to somewhere, if we're just going to quickly grab the camera and for some shot, 76 00:06:19,000 --> 00:06:22,000 the easy rig is sometimes you know, slow me down. 77 00:06:22,000 --> 00:06:25,000 So I just like one hand, you know, wiggle this thing. 78 00:06:25,000 --> 00:06:32,000 I can do it four hours. So no problem. So how I hold it is usually I have this resting on my shoulder. 79 00:06:32,000 --> 00:06:35,000 It's sort of like digging in into my shoulder. 80 00:06:35,000 --> 00:06:38,000 It's not super comfortable, but I'm okay with it. 81 00:06:38,000 --> 00:06:42,000 So yeah. So audio goes into here. 82 00:06:42,000 --> 00:06:45,000 Same to like what Andrew said. 83 00:06:45,000 --> 00:06:48,000 The difference is like I prefer to have a hood. 84 00:06:48,000 --> 00:06:53,000 So first thing, that's a protection for the screen. 85 00:06:53,000 --> 00:06:58,000 And you know, if we're shooting outside, then you can have like a, you know, 86 00:06:58,000 --> 00:07:05,000 pretty good viewing experience compared to like the one without the screen. 87 00:07:05,000 --> 00:07:09,000 Other than that, I don't have a real 15 millimeter real system. 88 00:07:09,000 --> 00:07:15,000 I don't have that. If I'm like shooting aerial, I'll just grab like someone else's camera. 89 00:07:15,000 --> 00:07:19,000 For this specific setup is mostly for vlog and stuff. 90 00:07:19,000 --> 00:07:24,000 So we're moving away from the bigger prompter for like vlog and run gun type of shoe. 91 00:07:24,000 --> 00:07:28,000 We just put a ring here and I'll show later in the comfy tech setup. 92 00:07:28,000 --> 00:07:32,000 It's basically the same. Try to cut down the weight of my camera so I can one hand it. 93 00:07:32,000 --> 00:07:38,000 Other thing, I have a counter blue half cage, not half cage, but like half top plate. 94 00:07:38,000 --> 00:07:41,000 So what I really need is just the NATO rail here. 95 00:07:41,000 --> 00:07:44,000 Then I can quickly disassemble my setup. 96 00:07:44,000 --> 00:07:48,000 Oh, quick. You say quick. 97 00:07:48,000 --> 00:07:53,000 Okay. Well, that was human error. 98 00:07:53,000 --> 00:07:59,000 Yeah. So like I value a lot about like how quickly you can set up and disassemble your camera. 99 00:07:59,000 --> 00:08:02,000 So this is pretty much what I came up with. 100 00:08:02,000 --> 00:08:05,000 Yours looks a lot bigger. 101 00:08:05,000 --> 00:08:13,000 For me, I like to add an extra ARM and a shoulder rig just so it's a lot easier to maneuver around. 102 00:08:13,000 --> 00:08:16,000 Right. I also like to tuck in my elbows to my ribs. 103 00:08:16,000 --> 00:08:20,000 So it's three point of contact there. One, two, three. 104 00:08:20,000 --> 00:08:23,000 So it's a lot smoother when you move. 105 00:08:23,000 --> 00:08:26,000 Right. I don't know if you can see that. 106 00:08:26,000 --> 00:08:35,000 You can see that. So yeah, the reason why I chose an extra ARM and a shoulder rig is because I do like a heavier camera because I am a, I don't know, a shake dude. 107 00:08:35,000 --> 00:08:38,000 Yeah. I think that's about it. I think that's the only thing that's different. 108 00:08:38,000 --> 00:08:47,000 Bongo ties, cable ties, clips for audio over here, just in case someone's lab is a little too, you know, rustly. 109 00:08:47,000 --> 00:08:52,000 We use this. Oh, sorry. Oh, I don't know how to burp it. 110 00:08:52,000 --> 00:08:55,000 So now let's talk about like our Computex setup. 111 00:08:55,000 --> 00:09:04,000 So because we're going to shoot with Linus and usually a lot of LTT videos that has more than one house. 112 00:09:04,000 --> 00:09:08,000 So Linus with Jake, Linus with someone else. 113 00:09:08,000 --> 00:09:14,000 So you basically need two channels of like lab audio going into the camera. 114 00:09:14,000 --> 00:09:22,000 And then you also need a shotgun for, you know, scratch audio and in case someone jumping into the frame and say stuff. 115 00:09:22,000 --> 00:09:34,000 So the only way you can get four channel of audios into the FX3 is either the top handle or this XR unit that I'm currently using. 116 00:09:34,000 --> 00:09:40,000 So on this camera, I have four audio channels. One for lab one, maybe Linus will use that. 117 00:09:40,000 --> 00:09:45,000 And two for lab two, the other host will use that. 118 00:09:45,000 --> 00:09:49,000 And the other two channel is for the shotgun. 119 00:09:49,000 --> 00:10:01,000 Usually we have a audio module like the hot shoe adapter thingy that can have this packed directly into the camera. 120 00:10:01,000 --> 00:10:05,000 But if we're doing that way, then you only have two channel of audio. 121 00:10:05,000 --> 00:10:09,000 So but you need four because like you need your shotgun. 122 00:10:09,000 --> 00:10:17,000 So what I did is I have a rubber tape and then you just attach on it pretty sturdy and you're not going to worry about it falling off. 123 00:10:17,000 --> 00:10:25,000 Power option for the lab receiver because if you have the hot shoe adapter thingy, you don't necessarily need any battery in there. 124 00:10:25,000 --> 00:10:34,000 But I do have battery in there. So that can power the audio pack and I'm going to plug it in into my V mount. 125 00:10:34,000 --> 00:10:41,000 So then I can basically have like full day of battery life on the pack without worrying about anything. 126 00:10:41,000 --> 00:10:47,000 We are using a pretty much like jerry rig everything type of like solution. 127 00:10:47,000 --> 00:10:50,000 We have the lab going into our tentacle sink. 128 00:10:50,000 --> 00:10:55,000 And this is like audio recorder that can do 32 bit flow recording. 129 00:10:55,000 --> 00:10:59,000 It's dead, but trust me, they work. 130 00:10:59,000 --> 00:11:06,000 So audio going into here get recorded into the Macro SD card and loop out to the transmitter. 131 00:11:06,000 --> 00:11:12,000 And then you can monitor on your side and also record on your camera side. 132 00:11:13,000 --> 00:11:18,000 Then that way, you know, later on when you're trying to sync the audio, it's not going to be an issue. 133 00:11:18,000 --> 00:11:27,000 And if somehow this file is like missing or corrupted, then you still have like a backup in the camera in your SD card. 134 00:11:27,000 --> 00:11:30,000 We used to double lab Linus first. 135 00:11:30,000 --> 00:11:34,000 That thing is super annoying because you have like two Labs instead of just one. 136 00:11:34,000 --> 00:11:41,000 There was one time Linus was cutting maybe like he's like he was doing something in his like TV cabinet. 137 00:11:41,000 --> 00:11:45,000 And then somehow the cable got cut on the recorder. 138 00:11:45,000 --> 00:11:50,000 And I have a wireless transmitter system going into my camera. 139 00:11:50,000 --> 00:11:56,000 And then I hear like glitch. Then I was like, I have the audio like, you know, recorder thing. 140 00:11:56,000 --> 00:12:00,000 So that that's running. It should be fine. The cabling was cut. 141 00:12:00,000 --> 00:12:03,000 So we don't really have the backup ended up having bad audio. 142 00:12:03,000 --> 00:12:09,000 So the looping thing that we're currently doing is mainly to prevent that. 143 00:12:09,000 --> 00:12:14,000 You are basically monitoring what you are recording into the recorder. 144 00:12:14,000 --> 00:12:20,000 Since we switched to this system, like we rarely have like, you know, audio problem. 145 00:12:20,000 --> 00:12:23,000 Rarely. Knock on wood. 146 00:12:23,000 --> 00:12:30,000 The reason why I have a small setup like that is to save, you know, my backpack space. 147 00:12:30,000 --> 00:12:36,000 I can quickly very quickly disassemble this entire thing in probably like two minutes. 148 00:12:36,000 --> 00:12:41,000 And that can assemble it really quick within two minutes, let's say. 149 00:12:41,000 --> 00:12:45,000 Also, it's not going to catch a lot of attention because sometimes on the show floor, 150 00:12:45,000 --> 00:12:49,000 you don't want to have like a big shoulder rig of a professional. 151 00:12:49,000 --> 00:12:53,000 Yeah, people will just give you the look. I prefer like low key. 152 00:12:53,000 --> 00:12:59,000 You can see I have a type C port running into my camera here. 153 00:12:59,000 --> 00:13:03,000 So the tape, the cable is coil up underneath so you won't see it. 154 00:13:03,000 --> 00:13:07,000 The reason why I need a V-mount is we need to shoot a hour basically. 155 00:13:07,000 --> 00:13:12,000 And shooting with Linus for like LTE tissue is more intense. 156 00:13:12,000 --> 00:13:18,000 So you need a lot of power. You might question why I don't really use the dummy battery setup. 157 00:13:18,000 --> 00:13:21,000 Because we have lost so many footage with dummy battery. 158 00:13:21,000 --> 00:13:30,000 So if you shoot on FX3, A7S, FX30, that kind of camera, try to use just power delivery. 159 00:13:30,000 --> 00:13:34,000 Because power delivery, you still have a camera battery in your camera. 160 00:13:34,000 --> 00:13:41,000 So when your big V-mount battery run out of juice, you won't cut the camera. 161 00:13:41,000 --> 00:13:47,000 If your power accidentally drop on those tiny cameras, usually it's not a good time. 162 00:13:47,000 --> 00:13:51,000 The other thing weird about my setup is I have a phone here. 163 00:13:51,000 --> 00:13:56,000 So the reason why I'm using a phone, not a monitor, because the phone has built-in battery. 164 00:13:56,000 --> 00:13:59,000 It doesn't really drain anything from my V-mount battery. 165 00:13:59,000 --> 00:14:07,000 That way I can pretty much run full day without worrying, you know, charging my V-mount battery like multiple times. 166 00:14:07,000 --> 00:14:10,000 Or bring free V-mount battery. 167 00:14:10,000 --> 00:14:14,000 By the way, this battery charge at 100W like power delivery. 168 00:14:14,000 --> 00:14:17,000 So it's insane. It's good. It's good. 169 00:14:17,000 --> 00:14:23,000 You may have also noticed that I have a power bank in between my V-mount battery and my camera. 170 00:14:23,000 --> 00:14:27,000 You have two monitors. So this one you can touch focus. 171 00:14:27,000 --> 00:14:31,000 But this one is purely for monitoring purpose. 172 00:14:31,000 --> 00:14:36,000 I have a lot of battery in this setup. I just don't want to, you know, change battery or charge during the day. 173 00:14:36,000 --> 00:14:39,000 And it's compact. It's small. 174 00:14:39,000 --> 00:14:44,000 And then when lines need a prompter, we have the ring on the lens. 175 00:14:44,000 --> 00:14:48,000 We have a prompter. Okay, prompter with the phone. 176 00:14:48,000 --> 00:14:52,000 And pretty much you just slot it on. 177 00:14:52,000 --> 00:14:56,000 Trust me, normally it's a lot easier because I'm just nervous. 178 00:14:56,000 --> 00:14:59,000 Yeah, so it's basically going to be like that. 179 00:14:59,000 --> 00:15:05,000 Alright, here's the fun part. I'm going to demo my speed of disassembling this thing. 180 00:15:05,000 --> 00:15:07,000 Okay, I'm timer started. 181 00:15:11,000 --> 00:15:14,000 Unplug. Unplug. 182 00:15:17,000 --> 00:15:21,000 Okay, I said like two minutes. Yeah, you said two minutes. 183 00:15:21,000 --> 00:15:24,000 I should be able, I should be able to hit two minutes. 184 00:15:24,000 --> 00:15:27,000 I mean, you look like you're going to achieve it. 185 00:15:28,000 --> 00:15:34,000 Lens. And then this thing, slide off. 186 00:15:37,000 --> 00:15:42,000 Look at that. I completely disassemble my rig in one minute probably. 187 00:15:42,000 --> 00:15:47,000 One minute a few seconds I think. Yeah, so basically this is my Computex setup disassembled. 188 00:15:47,000 --> 00:15:51,000 We're at the top down set. This is where we do, I mean top down shots. 189 00:15:51,000 --> 00:15:54,000 I mean, it's pretty straight standard, straightforward. 190 00:15:54,000 --> 00:15:57,000 You turn on the light here, we've got a dummy battery here. 191 00:15:57,000 --> 00:16:00,000 So we don't have to keep swapping in and out batteries the whole time. 192 00:16:00,000 --> 00:16:05,000 Now this camera moves a lot though, like literally gets taken from here for other shoots and stuff. 193 00:16:05,000 --> 00:16:08,000 So there's a little bit of setup required in it. 194 00:16:08,000 --> 00:16:14,000 Sometimes we have a spirit level on here that will let us know exactly when we're seeing inline and everything is perfect. 195 00:16:14,000 --> 00:16:20,000 Obviously you just put your cards in here. So we just go HDMI into this lovely monitor here. 196 00:16:20,000 --> 00:16:26,000 This is the ballast for that light that's there. So if that light is actually, it's a kind of like clamshell looking kind of thing. 197 00:16:26,000 --> 00:16:29,000 So this is just diffusion. It's not a filmmaking monitor or anything like that. 198 00:16:29,000 --> 00:16:35,000 So it won't give you any kind of focus peaking or any kind of exposure tools or anything like that. 199 00:16:35,000 --> 00:16:41,000 But I mean, we have the camera plus, you know, you've done it enough kind of here 200 00:16:41,000 --> 00:16:44,000 where you know the settings should be relatively similar. 201 00:16:44,000 --> 00:16:48,000 I like to do manual focus on this because it won't drift. 202 00:16:48,000 --> 00:16:51,000 But I mean, right now it's on auto, so we'll just leave it on auto. 203 00:16:51,000 --> 00:16:54,000 But like, oh, like point out the pins. 204 00:16:54,000 --> 00:16:57,000 Okay, done. Wait, what's that controller for? 205 00:16:57,000 --> 00:17:00,000 So I was just going to check if it's working, but it's not working right now. 206 00:17:00,000 --> 00:17:03,000 But if it does work, what was it? When you pair it, it works great. 207 00:17:03,000 --> 00:17:12,000 It's because as you can see here, the way it's mounted, even though it's braced quite a bit, it still shakes. 208 00:17:12,000 --> 00:17:16,000 So let's see. Okay, we want a shot of the CPU. 209 00:17:16,000 --> 00:17:19,000 So you set it all up like you're like this. 210 00:17:19,000 --> 00:17:22,000 Okay, want a shot of it. So then use the weight. 211 00:17:22,000 --> 00:17:26,000 If this was just as it was, you push record, you don't have to push it that hard. 212 00:17:26,000 --> 00:17:29,000 I'm being dramatic, right? But you push it like that. 213 00:17:29,000 --> 00:17:34,000 You have to wait for it. So that means the editor is now looking at a shaky video. 214 00:17:34,000 --> 00:17:38,000 That's where this comes in. It's not synced right now, but it's very handy. 215 00:17:38,000 --> 00:17:42,000 Normally what you just do is like, you line it up, give it a second, bang. 216 00:17:42,000 --> 00:17:46,000 You are not touching it. You're not shaking it. And then, you know, bang. 217 00:17:46,000 --> 00:17:50,000 Hi, it's me again. And this is our green screen setup. 218 00:17:50,000 --> 00:17:53,000 Basically we use that for tech link, game link, and Techquickie. 219 00:17:53,000 --> 00:17:59,000 For the green screen keying thing, we use the ultimate from Biomagic and recording. 220 00:18:00,000 --> 00:18:05,000 Also, Blackmagic. We do assist 4K. So that records into a 4TB SSD. 221 00:18:05,000 --> 00:18:11,000 That basically lasts forever. We're not going to go too much detail into this because we made an LTT video. 222 00:18:11,000 --> 00:18:15,000 If you're into this, maybe check out that video after you finish watching this one. 223 00:18:15,000 --> 00:18:20,000 Talk about the camera. So the camera, that's slightly different, but basically the same. 224 00:18:20,000 --> 00:18:27,000 We use the FX6. The only thing different on this specific camera is we use shutter speed. 225 00:18:27,000 --> 00:18:33,000 Shutter speed, except for like, shadow angle. The other ones are more like, 180, you know, degree. 226 00:18:33,000 --> 00:18:38,000 But this is like, one over like, 120s. 227 00:18:38,000 --> 00:18:41,000 Because we shoot on 60fps on this. 228 00:18:41,000 --> 00:18:46,000 But, but, we put it on a 30 frame per second timeline. 229 00:18:46,000 --> 00:18:50,000 The reason why we're shooting like, you know, 60 is just because like, 230 00:18:50,000 --> 00:18:54,000 for keying less motion blur, the better. We're not going to do 60fps. 231 00:18:54,000 --> 00:18:57,000 No. No. Boom. 232 00:18:57,000 --> 00:19:00,000 You're on game link setting. 233 00:19:00,000 --> 00:19:05,000 Boom. You're back. So the setting is slightly different, you know, tuning wise. 234 00:19:05,000 --> 00:19:09,000 Just like, basically the game link, it's a lot darker. 235 00:19:09,000 --> 00:19:14,000 And tech link, it's more of like a high key type of like, show. 236 00:19:14,000 --> 00:19:17,000 For tech quick key, we don't really record on this system. 237 00:19:17,000 --> 00:19:20,000 Because we don't really need the keying in real time. 238 00:19:20,000 --> 00:19:25,000 So we just record into the camera. And then the editor will do the magic after. 239 00:19:25,000 --> 00:19:31,000 Specifically for game link, we have like the RGB type of looking light in the background. 240 00:19:31,000 --> 00:19:36,000 So it's really handy to have a color like, you know, one button. 241 00:19:36,000 --> 00:19:41,000 You can just switch from daylight temperature to RGB mode. 242 00:19:41,000 --> 00:19:48,000 And specifically this one is B. And so now we are in the new ShortCircuit set that we've had for maybe a year now. 243 00:19:48,000 --> 00:19:52,000 It's not really new then. It's kind of, it's still new. 244 00:19:52,000 --> 00:19:55,000 It's still new over, well, it's still a year. So that's kind of new. 245 00:19:55,000 --> 00:19:59,000 Everything else was the old apartment set where you see us talk about our cameras. 246 00:19:59,000 --> 00:20:04,000 So over in the large apartment, we do ShortCircuit, large item unboxing. 247 00:20:04,000 --> 00:20:08,000 Premium plus unboxing. So that's what we love to call it. 248 00:20:08,000 --> 00:20:11,000 Right, Belle? Belle usually sits here. 249 00:20:11,000 --> 00:20:15,000 So I'm kind of alone today. We are using FX30s. 250 00:20:15,000 --> 00:20:19,000 So this is our B cam. Over there is our A cam. 251 00:20:19,000 --> 00:20:22,000 So this is the C cam or top down camera. 252 00:20:22,000 --> 00:20:25,000 This is a little negative, so we don't see that light up there. 253 00:20:25,000 --> 00:20:31,000 And it doesn't, if we have a reflective item, you don't just see like a big glass 254 00:20:31,000 --> 00:20:36,000 and all the other wiring sets up here. So this is our B cam, as you can see me moving this camera here. 255 00:20:36,000 --> 00:20:42,000 So this is the one that moves a lot. Zoom in, zoom out, focus. 256 00:20:42,000 --> 00:20:48,000 All right, this is our most active camera. Our second most active would be our C cam right here, which we just showed you. 257 00:20:48,000 --> 00:20:51,000 Better just died. Better just died. 258 00:20:51,000 --> 00:20:55,000 So we can show you our backup batteries down here. 259 00:20:55,000 --> 00:20:59,000 So we are running the TILTA Nucleus M. 260 00:20:59,000 --> 00:21:04,000 So that is the Fizz. So Fizz stands for focus, iris, and zoom. 261 00:21:04,000 --> 00:21:09,000 So this is the focus. All right, this is our zoom. 262 00:21:09,000 --> 00:21:16,000 We don't have an iris style right now because we want to do a set iris just for coloring and editing. 263 00:21:17,000 --> 00:21:22,000 It'll be a lot easier for them to get the matching colors for all three cameras. 264 00:21:22,000 --> 00:21:25,000 So this is just called, I actually don't know how to properly call this. 265 00:21:25,000 --> 00:21:29,000 It's just like a handrail. So this is also for the B cam. 266 00:21:29,000 --> 00:21:36,000 If you look back here, this is for our focus. 267 00:21:36,000 --> 00:21:40,000 And then, oh my God, what a bad teeth. 268 00:21:40,000 --> 00:21:45,000 Don't ever do that. If you ever hear this, that's bad for the teeth here. 269 00:21:45,000 --> 00:21:50,000 So this little knob here is our zoom. Right, we go in close to the face or close to the products. 270 00:21:50,000 --> 00:21:58,000 Zoom. Temporarily, this is our battery option for this monitor because we don't have an AC outlet for it. 271 00:21:58,000 --> 00:22:03,000 Right now it's all battery powered at the back. 272 00:22:03,000 --> 00:22:09,000 So we had to do a dummy battery to a D tap to a V mount battery. 273 00:22:09,000 --> 00:22:16,000 Because before we did have one, but the monitor wasn't great and it had an AC power, which was awesome. 274 00:22:16,000 --> 00:22:20,000 But the color sucked so we stopped using it. 275 00:22:20,000 --> 00:22:28,000 This only powers this monitor and that is pretty much temporary, just like the set. 276 00:22:28,000 --> 00:22:32,000 That's what we've been here for a year. We're supposed to be getting something soon. 277 00:22:32,000 --> 00:22:41,000 Why the frick is Sammy here? We're doing a floaty exclusive on cameras. 278 00:22:41,000 --> 00:22:45,000 Cool. Okay, so back to these camera gear. 279 00:22:45,000 --> 00:22:49,000 We have the deity right here, the tentacles sync. 280 00:22:49,000 --> 00:22:58,000 So pretty much all three cameras we have is just to sync timecode into that deity slate that you see on that table right there. 281 00:22:58,000 --> 00:23:03,000 So it's a lot easier for editors to sync all three cams, multi cam sequence in their timeline. 282 00:23:03,000 --> 00:23:09,000 One thing I want to talk about is FTP in our cameras, which is file transfer protocol. 283 00:23:09,000 --> 00:23:15,000 Now I don't want to bore you guys about this because it does get lengthy and boring and I know a lot about it and I get into detail. 284 00:23:15,000 --> 00:23:22,000 So you know what, to make things easier, it's to transfer all the videos that we shot on the day to our ingestation. 285 00:23:22,000 --> 00:23:27,000 Wait, so why do you use FTP? Just so we don't take out our memory cards in this camera. 286 00:23:27,000 --> 00:23:30,000 Easy. Quality of life. Quality of life. 287 00:23:30,000 --> 00:23:33,000 Sammy knows. Full plan. I was editing this video. 288 00:23:33,000 --> 00:23:37,000 I forgot to show you guys what the social team uses for their shooting. 289 00:23:37,000 --> 00:23:40,000 And here it is. We actually have two cameras. 290 00:23:40,000 --> 00:23:44,000 Both Artie and I shoot things, but mainly it's me shooting. 291 00:23:44,000 --> 00:23:53,000 The only time we both shoot is during the April full set when Artie was filming the prank with Dennis while I was filming all the BTS stuff with Linus. 292 00:23:53,000 --> 00:23:57,000 This is the A7. So this lens is called 24105. 293 00:23:57,000 --> 00:24:03,000 Pretty good lens. When I came over to the social team, I found that we had a cage that we're not using. 294 00:24:03,000 --> 00:24:10,000 So I was like, why don't we add a cage? And then we added a scratch mic audio because a lot of people walk in when we're shooting full planes at times and just talk. 295 00:24:10,000 --> 00:24:18,000 And it's a big pain for me when I'm editing it to get what they're actually saying word for word so we can put it as our caption. 296 00:24:18,000 --> 00:24:22,000 And then what we took inspiration from the camera crew is the light. 297 00:24:22,000 --> 00:24:25,000 So when it's too dark, now it's light. 298 00:24:25,000 --> 00:24:28,000 I actually use this when we film Glenn's ShortCircuit section. 299 00:24:28,000 --> 00:24:34,000 It's a lot brighter than usual. And we have this monitor or anything which I took from Andy's Computex setup. 300 00:24:34,000 --> 00:24:37,000 But this one's a lot worse because it's a lot laggier. I can see. 301 00:24:37,000 --> 00:24:40,000 So look at this. I don't know how much you see this, but what kind of lagginess is this? 302 00:24:40,000 --> 00:24:44,000 My hands aren't even there yet. And my hands away. 303 00:24:44,000 --> 00:24:50,000 It's very laggy, but it's just to make sure that I just get a better image because this thing is really small. 304 00:24:50,000 --> 00:24:57,000 Another benefit of having this here is so if there's a moment where I need to take a picture for socials, I just go like that. 305 00:24:57,000 --> 00:25:03,000 Bam. Now I can take pictures. I rarely use that function, but it's better to have than not have it, you know? 306 00:25:03,000 --> 00:25:07,000 And for audio, we recorded with these wireless pros all recorded locally. 307 00:25:07,000 --> 00:25:12,000 As you can see, your mind's going here. This one is the one that broke during Eli's closer look. 308 00:25:12,000 --> 00:25:16,000 So we labeled it broken so we never use it. So this is the A6700. 309 00:25:16,000 --> 00:25:22,000 It's a camera that Sony sent to us. We use this mainly as our secondary camera, not because it's a bad camera or anything. 310 00:25:22,000 --> 00:25:27,000 It's a very good camera. We just like what already now are comfortable with, which is the primary camera. 311 00:25:27,000 --> 00:25:31,000 Finally, this is what I use to monitor audio. 312 00:25:31,000 --> 00:25:38,000 So make sure the audio works and is rolling because I've never shot something and not had the audio roll before. 313 00:25:38,000 --> 00:25:42,000 Glenn's smiling because we recorded something and I didn't have the audio going. 314 00:25:42,000 --> 00:25:49,000 Oh, I'm not recording. And now let's go to David or at WAN. 315 00:25:49,000 --> 00:25:54,000 And lastly, we're on the WAN Show set where we have three C200s. 316 00:25:54,000 --> 00:25:57,000 And you might be wondering, why do you have C200s? Everything else is Sony. 317 00:25:57,000 --> 00:26:01,000 And the answer is we were using these as main shooters for a while. 318 00:26:01,000 --> 00:26:08,000 Before we got the FX6s and FX3s, this was kind of the go-to for your all-round professional level, 319 00:26:08,000 --> 00:26:13,000 not narrative level camera. And these are great all-rounders. 320 00:26:13,000 --> 00:26:16,000 They're very similar to the C300 Mark II same sensor, 321 00:26:16,000 --> 00:26:21,000 but they're stripped down in a few key ways that made us not want to use them long-term. 322 00:26:21,000 --> 00:26:28,000 The lenses we're using, I believe these were the kit lenses. So we have the 24 to 105 f4s on the side cameras for the close-ups. 323 00:26:28,000 --> 00:26:34,000 And we have the 18 to 35 Sigma. I think it's a 1.8 for the main camera. 324 00:26:34,000 --> 00:26:39,000 This is a sick lens. And for a lot of people, this is the only lens they use on their smaller sensor cameras. 325 00:26:39,000 --> 00:26:43,000 The problem is, is that it's not a full-frame lens. 326 00:26:43,000 --> 00:26:48,000 On the wider focal ranges, you'll have vignetting around the edge of the frame on a larger sensor. 327 00:26:48,000 --> 00:26:51,000 If you have the kind of sensor that, you know, it's 8K, 12K, that's fine. 328 00:26:51,000 --> 00:26:55,000 You can crop in. But for what we're using, which is mostly 4K cameras, 329 00:26:55,000 --> 00:26:58,000 you would just lose so much detail that it's not a great option. 330 00:26:58,000 --> 00:27:03,000 One of the great features of the C200 is that it has very high bitrate raw 331 00:27:03,000 --> 00:27:08,000 that it goes into these C-fast cards. And you can shoot proxies to the SD cards. 332 00:27:08,000 --> 00:27:14,000 The other option, the closest to the raw, is a very low bitrate H.264, 333 00:27:14,000 --> 00:27:18,000 which is kind of a bummer. And it's the main reason why we're not using it. 334 00:27:18,000 --> 00:27:21,000 For our purposes, we don't want that raw. 335 00:27:21,000 --> 00:27:24,000 I think it's like 128 gigs last like 10 to 15 minutes. 336 00:27:24,000 --> 00:27:27,000 Something like that. My details might be a little bit off. I'm no longer a shooter. 337 00:27:27,000 --> 00:27:30,000 And if you go to the SD cards, you're getting such a low bitrate 338 00:27:30,000 --> 00:27:36,000 that you're losing detail, color depth. You're losing all kinds of ability to recover stuff in post, which isn't ideal. 339 00:27:36,000 --> 00:27:42,000 We're doing so much run and gun. We need to have that latitude to play with in order to make sure that 340 00:27:42,000 --> 00:27:46,000 the videos come out to you in the highest possible quality. These were great because it made it super easy. 341 00:27:46,000 --> 00:27:51,000 Everything's built into the camera, including audio and the screen. 342 00:27:51,000 --> 00:27:54,000 So it was really light, really compact, and they were really reliable cameras. 343 00:27:54,000 --> 00:27:59,000 I think that's the strength of Canon cameras is that they're just great workhorses. 344 00:27:59,000 --> 00:28:04,000 We've switched to Sony's. There is nothing wrong with Canon's as a go-to camera. 345 00:28:04,000 --> 00:28:10,000 If I was building my own set and I could find cheap C200s or C200Bs, 346 00:28:10,000 --> 00:28:15,000 I would probably be very interested except for one fatal flaw. 347 00:28:15,000 --> 00:28:21,000 These things can do high bitrate raw to the C-Fast card in here, 348 00:28:21,000 --> 00:28:28,000 and they can also do really low bitrate MP4, H.U.64 encoding to the SD cards. 349 00:28:28,000 --> 00:28:31,000 But there's no in-between, and that's kind of the fatal flaw of this. 350 00:28:31,000 --> 00:28:37,000 If you're shooting narrative stuff, you can get this great high-quality footage onto this, 351 00:28:37,000 --> 00:28:40,000 shoot proxies to your SD cards. 352 00:28:40,000 --> 00:28:44,000 But for what we do, we kind of want something in between. 353 00:28:44,000 --> 00:28:47,000 We shoot a lot of footage. The low bitrate was kind of a bummer. 354 00:28:47,000 --> 00:28:52,000 The FX6s and the FX3s are perfect for that in-between spot 400 megabits per second. 355 00:28:52,000 --> 00:28:55,000 I think these ones top out at 100 megabits, I might be wrong. 356 00:28:55,000 --> 00:28:58,000 And that's just not good enough when you need to recover details in post. 357 00:28:58,000 --> 00:29:03,000 And it also just like you lose some of the depth of the color, and it's fine. 358 00:29:03,000 --> 00:29:08,000 But that was really the thing that pushed us over the edge to switch back to Sony's, 359 00:29:08,000 --> 00:29:15,000 was just kind of the fact that Canon purposely designed this camera to not be the end-all be-all. 360 00:29:15,000 --> 00:29:21,000 If you could shoot high bitrate H.U.64, these things would be pretty unstoppable. 361 00:29:21,000 --> 00:29:25,000 They might not have the low light performance of the Sony cameras, 362 00:29:25,000 --> 00:29:29,000 they might not have quite as good autofocus, seeing as they're a few years older than those cameras. 363 00:29:29,000 --> 00:29:33,000 But they are still amazing cameras, and sensor technology hasn't gotten that much better. 364 00:29:33,000 --> 00:29:37,000 It's really the quality of life improvements that have improved in cameras, 365 00:29:37,000 --> 00:29:43,000 especially AI-powered autofocus and all these different autofocus modes across the entire sensor 366 00:29:43,000 --> 00:29:50,000 that are really impressive and really reliable. All three are the same, and as we use them now, we are using the HDMI output, 367 00:29:50,000 --> 00:29:54,000 because that's another kind of an issue with these cameras. 368 00:29:54,000 --> 00:29:58,000 They do have SDI output, but it caps out at 1080p, 369 00:29:58,000 --> 00:30:02,000 which is a bit of a bummer because we do streams and we stream at 4K. 370 00:30:02,000 --> 00:30:07,000 I think that if you get good 1080p, you can upscale it to 4K on a stream. 371 00:30:07,000 --> 00:30:13,000 People probably wouldn't be able to tell the difference, but we are always trying to give you the best product, the best video, 372 00:30:13,000 --> 00:30:20,000 and so 4K is better, but with an HDMI cable, it's not great if you're moving this camera. 373 00:30:20,000 --> 00:30:23,000 When it's stationary, it's fine, but it's not a locking connector, 374 00:30:23,000 --> 00:30:30,000 so you're moving around, you can easily unplug it, and all it takes is just a little tweak, and then all of a sudden your stream cuts out. 375 00:30:30,000 --> 00:30:33,000 And that's not good. As stationary cameras, the HDMI is fine. 376 00:30:33,000 --> 00:30:36,000 We use these AC power bricks, no batteries necessary. 377 00:30:36,000 --> 00:30:42,000 Really, what we could do, I was thinking about this the other day, if we didn't already have these, the C200Bs actually would be a great option, 378 00:30:42,000 --> 00:30:47,000 no LCD or viewfinder, but we don't really need those other than for framing, 379 00:30:47,000 --> 00:30:51,000 but you could do that on a computer, or one external monitor connected to all three. 380 00:30:51,000 --> 00:30:56,000 Great camera, a little bit out of date, but I would be glad to use one of these still. 381 00:30:56,000 --> 00:31:00,000 Thanks for watching this video. If you like content like this, why don't you check out our video 382 00:31:00,000 --> 00:31:04,000 where we talk about every PC we use on set. That's also a good one.