Hello everyone, this is, I don't know, by demand, I guess we're talking about the cameras that we use here at LMG.
But who are you? Oh, sorry, I'm Andrew, so I'm one of the cam ops here.
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.
So here we use Sony FX6's for our primary a-roll, slash b-roll shooting.
We do have FX3's and FX30's as well, but someone else will explain them later.
And we shoot everything 4K 30 frames a second.
Yes, so I'll just talk about how I have my one set up.
We all use FX6's and we all use pretty much for mainly the 24-105 Sony F4 lens.
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.
I'll just put it on my shoulder and do it real quick to show.
So if, so sometimes we have an easy rig too, but you don't necessarily always need to have that.
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.
For the most part, you shouldn't redo that too much.
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.
It just makes it a little bit easier to do that. And I always normally keep a light on here.
It's mostly there, so I don't forget to put it on if we do need it somewhere.
All of us will use the same kind of Sony mic pack or mic receiver.
This is powered from the camera, so we actually don't even need these batteries in there.
But most of the time we do, there's very rare that there's more than two hosts.
This is probably where it's different between the shooters.
Well, myself and Glenn like having a bigger battery.
My preference is to have the biggest battery on the back as I can because I like the balance of it.
I don't really mind the weight of it too much and it makes it easy.
Whereas like, it's not the easiest to hold it here, but it's definitely easier to hold it on your shoulder.
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.
So I also have these hooked, this cable here.
These are new cables and de-ordered these. What are the cables for?
Well, we'll talk about this because this is new. As in a new thing that we're doing.
We did a live stream a couple of, was it last week? I don't know.
We used two cameras on that and then what we ended up doing was rigging iPhones onto our setups.
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.
Right now I've got my tentacle sink plugged in because every time we record audio, we record into camera through the Sony pack.
But we also have external recorders, very similar to these Rhodes, but they're tentacle.
They've got 32-bit float and they sync with this little box here.
So this box has, with this cable, goes into the timecode.
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.
So I just keep it plugged in. Like, there's a tiny battery in them.
They don't run out very quick, but I just find it a lot easier.
It's a lot worse than you show up on set and then you're like, oh, sh**, like, this isn't charged.
I need to go get another one. So I just keep it plugged in.
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,
what I'll do is I'll just take that USB-C off and I'll just move this further back here.
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,
but I'll find a neat way of doing this. So I'll plug that in there.
Yeah, and that should work. That's another reason why these bigger batteries are good.
I put this on in the morning a few minutes ago.
I've got beer all to shoot today. It's probably going to last all day, so it's pretty good going.
Very fuel efficient, very energy efficient.
This is mostly for scratch audio. Sometimes Linus will say he's over it, right?
And that's what he really means is he's over waiting for us for audio to be perfect,
as in like there could be a triangle now going by outside or something like that, right?
So that's sometimes what this comes in quite handy then because this is gathering ambient noise always.
So I keep the rails on my camera set up.
If we're not moving the camera, we'll put a big, big teleprompter on it, and that's what these are for.
We don't really rig up any follow focuses or anything like that,
but they're mostly just for the teleprompter on the front.
This here is for the easy rig.
This just goes down on here, like that, and then you pull it up or whatever.
That's the ergonomics behind it. Yeah, it's just like quick, easy rig thing.
It's kind of annoying, actually, when you don't have an easy rig on though,
because it's right where your hand would hold it.
So that's like, that's something that's not great, but I mean, it is what it is.
What can you do? The thing that we're all doing differently is arms.
I like having one because I like having my, my hand up around the lens area like this here.
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.
And because we're not like, I'm not tall and we don't have many tall people really here.
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.
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.
And I just find like this makes it very easy. And this is like very ergonomic to it.
You can move it around so easily. It doesn't take long. Hello Flo Plain, Andy from the production team.
So this is my camera rig. Slightly different than the other two guys.
So I'm going to talk about it. What's the difference is my rig is a lot more lighter.
I have like the BPU batteries. I use the OEM like battery slot.
So the reason for that is I prefer a very lightweight rig that I don't have to use an easy rig for example.
Especially if we're traveling to somewhere, if we're just going to quickly grab the camera and for some shot,
the easy rig is sometimes you know, slow me down.
So I just like one hand, you know, wiggle this thing.
I can do it four hours. So no problem. So how I hold it is usually I have this resting on my shoulder.
It's sort of like digging in into my shoulder.
It's not super comfortable, but I'm okay with it.
So yeah. So audio goes into here.
Same to like what Andrew said.
The difference is like I prefer to have a hood.
So first thing, that's a protection for the screen.
And you know, if we're shooting outside, then you can have like a, you know,
pretty good viewing experience compared to like the one without the screen.
Other than that, I don't have a real 15 millimeter real system.
I don't have that. If I'm like shooting aerial, I'll just grab like someone else's camera.
For this specific setup is mostly for vlog and stuff.
So we're moving away from the bigger prompter for like vlog and run gun type of shoe.
We just put a ring here and I'll show later in the comfy tech setup.
It's basically the same. Try to cut down the weight of my camera so I can one hand it.
Other thing, I have a counter blue half cage, not half cage, but like half top plate.
So what I really need is just the NATO rail here.
Then I can quickly disassemble my setup.
Oh, quick. You say quick.
Okay. Well, that was human error.
Yeah. So like I value a lot about like how quickly you can set up and disassemble your camera.
So this is pretty much what I came up with.
Yours looks a lot bigger.
For me, I like to add an extra ARM and a shoulder rig just so it's a lot easier to maneuver around.
Right. I also like to tuck in my elbows to my ribs.
So it's three point of contact there. One, two, three.
So it's a lot smoother when you move.
Right. I don't know if you can see that.
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.
Yeah. I think that's about it. I think that's the only thing that's different.
Bongo ties, cable ties, clips for audio over here, just in case someone's lab is a little too, you know, rustly.
We use this. Oh, sorry. Oh, I don't know how to burp it.
So now let's talk about like our Computex setup.
So because we're going to shoot with Linus and usually a lot of LTT videos that has more than one house.
So Linus with Jake, Linus with someone else.
So you basically need two channels of like lab audio going into the camera.
And then you also need a shotgun for, you know, scratch audio and in case someone jumping into the frame and say stuff.
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.
So on this camera, I have four audio channels. One for lab one, maybe Linus will use that.
And two for lab two, the other host will use that.
And the other two channel is for the shotgun.
Usually we have a audio module like the hot shoe adapter thingy that can have this packed directly into the camera.
But if we're doing that way, then you only have two channel of audio.
So but you need four because like you need your shotgun.
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.
Power option for the lab receiver because if you have the hot shoe adapter thingy, you don't necessarily need any battery in there.
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.
So then I can basically have like full day of battery life on the pack without worrying about anything.
We are using a pretty much like jerry rig everything type of like solution.
We have the lab going into our tentacle sink.
And this is like audio recorder that can do 32 bit flow recording.
It's dead, but trust me, they work.
So audio going into here get recorded into the Macro SD card and loop out to the transmitter.
And then you can monitor on your side and also record on your camera side.
Then that way, you know, later on when you're trying to sync the audio, it's not going to be an issue.
And if somehow this file is like missing or corrupted, then you still have like a backup in the camera in your SD card.
We used to double lab Linus first.
That thing is super annoying because you have like two Labs instead of just one.
There was one time Linus was cutting maybe like he's like he was doing something in his like TV cabinet.
And then somehow the cable got cut on the recorder.
And I have a wireless transmitter system going into my camera.
And then I hear like glitch. Then I was like, I have the audio like, you know, recorder thing.
So that that's running. It should be fine. The cabling was cut.
So we don't really have the backup ended up having bad audio.
So the looping thing that we're currently doing is mainly to prevent that.
You are basically monitoring what you are recording into the recorder.
Since we switched to this system, like we rarely have like, you know, audio problem.
Rarely. Knock on wood.
The reason why I have a small setup like that is to save, you know, my backpack space.
I can quickly very quickly disassemble this entire thing in probably like two minutes.
And that can assemble it really quick within two minutes, let's say.
Also, it's not going to catch a lot of attention because sometimes on the show floor,
you don't want to have like a big shoulder rig of a professional.
Yeah, people will just give you the look. I prefer like low key.
You can see I have a type C port running into my camera here.
So the tape, the cable is coil up underneath so you won't see it.
The reason why I need a V-mount is we need to shoot a hour basically.
And shooting with Linus for like LTE tissue is more intense.
So you need a lot of power. You might question why I don't really use the dummy battery setup.
Because we have lost so many footage with dummy battery.
So if you shoot on FX3, A7S, FX30, that kind of camera, try to use just power delivery.
Because power delivery, you still have a camera battery in your camera.
So when your big V-mount battery run out of juice, you won't cut the camera.
If your power accidentally drop on those tiny cameras, usually it's not a good time.
The other thing weird about my setup is I have a phone here.
So the reason why I'm using a phone, not a monitor, because the phone has built-in battery.
It doesn't really drain anything from my V-mount battery.
That way I can pretty much run full day without worrying, you know, charging my V-mount battery like multiple times.
Or bring free V-mount battery.
By the way, this battery charge at 100W like power delivery.
So it's insane. It's good. It's good.
You may have also noticed that I have a power bank in between my V-mount battery and my camera.
You have two monitors. So this one you can touch focus.
But this one is purely for monitoring purpose.
I have a lot of battery in this setup. I just don't want to, you know, change battery or charge during the day.
And it's compact. It's small.
And then when lines need a prompter, we have the ring on the lens.
We have a prompter. Okay, prompter with the phone.
And pretty much you just slot it on.
Trust me, normally it's a lot easier because I'm just nervous.
Yeah, so it's basically going to be like that.
Alright, here's the fun part. I'm going to demo my speed of disassembling this thing.
Okay, I'm timer started.
Unplug. Unplug.
Okay, I said like two minutes. Yeah, you said two minutes.
I should be able, I should be able to hit two minutes.
I mean, you look like you're going to achieve it.
Lens. And then this thing, slide off.
Look at that. I completely disassemble my rig in one minute probably.
One minute a few seconds I think. Yeah, so basically this is my Computex setup disassembled.
We're at the top down set. This is where we do, I mean top down shots.
I mean, it's pretty straight standard, straightforward.
You turn on the light here, we've got a dummy battery here.
So we don't have to keep swapping in and out batteries the whole time.
Now this camera moves a lot though, like literally gets taken from here for other shoots and stuff.
So there's a little bit of setup required in it.
Sometimes we have a spirit level on here that will let us know exactly when we're seeing inline and everything is perfect.
Obviously you just put your cards in here. So we just go HDMI into this lovely monitor here.
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.
So this is just diffusion. It's not a filmmaking monitor or anything like that.
So it won't give you any kind of focus peaking or any kind of exposure tools or anything like that.
But I mean, we have the camera plus, you know, you've done it enough kind of here
where you know the settings should be relatively similar.
I like to do manual focus on this because it won't drift.
But I mean, right now it's on auto, so we'll just leave it on auto.
But like, oh, like point out the pins.
Okay, done. Wait, what's that controller for?
So I was just going to check if it's working, but it's not working right now.
But if it does work, what was it? When you pair it, it works great.
It's because as you can see here, the way it's mounted, even though it's braced quite a bit, it still shakes.
So let's see. Okay, we want a shot of the CPU.
So you set it all up like you're like this.
Okay, want a shot of it. So then use the weight.
If this was just as it was, you push record, you don't have to push it that hard.
I'm being dramatic, right? But you push it like that.
You have to wait for it. So that means the editor is now looking at a shaky video.
That's where this comes in. It's not synced right now, but it's very handy.
Normally what you just do is like, you line it up, give it a second, bang.
You are not touching it. You're not shaking it. And then, you know, bang.
Hi, it's me again. And this is our green screen setup.
Basically we use that for tech link, game link, and Techquickie.
For the green screen keying thing, we use the ultimate from Biomagic and recording.
Also, Blackmagic. We do assist 4K. So that records into a 4TB SSD.
That basically lasts forever. We're not going to go too much detail into this because we made an LTT video.
If you're into this, maybe check out that video after you finish watching this one.
Talk about the camera. So the camera, that's slightly different, but basically the same.
We use the FX6. The only thing different on this specific camera is we use shutter speed.
Shutter speed, except for like, shadow angle. The other ones are more like, 180, you know, degree.
But this is like, one over like, 120s.
Because we shoot on 60fps on this.
But, but, we put it on a 30 frame per second timeline.
The reason why we're shooting like, you know, 60 is just because like,
for keying less motion blur, the better. We're not going to do 60fps.
No. No. Boom.
You're on game link setting.
Boom. You're back. So the setting is slightly different, you know, tuning wise.
Just like, basically the game link, it's a lot darker.
And tech link, it's more of like a high key type of like, show.
For tech quick key, we don't really record on this system.
Because we don't really need the keying in real time.
So we just record into the camera. And then the editor will do the magic after.
Specifically for game link, we have like the RGB type of looking light in the background.
So it's really handy to have a color like, you know, one button.
You can just switch from daylight temperature to RGB mode.
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.
It's not really new then. It's kind of, it's still new.
It's still new over, well, it's still a year. So that's kind of new.
Everything else was the old apartment set where you see us talk about our cameras.
So over in the large apartment, we do ShortCircuit, large item unboxing.
Premium plus unboxing. So that's what we love to call it.
Right, Belle? Belle usually sits here.
So I'm kind of alone today. We are using FX30s.
So this is our B cam. Over there is our A cam.
So this is the C cam or top down camera.
This is a little negative, so we don't see that light up there.
And it doesn't, if we have a reflective item, you don't just see like a big glass
and all the other wiring sets up here. So this is our B cam, as you can see me moving this camera here.
So this is the one that moves a lot. Zoom in, zoom out, focus.
All right, this is our most active camera. Our second most active would be our C cam right here, which we just showed you.
Better just died. Better just died.
So we can show you our backup batteries down here.
So we are running the TILTA Nucleus M.
So that is the Fizz. So Fizz stands for focus, iris, and zoom.
So this is the focus. All right, this is our zoom.
We don't have an iris style right now because we want to do a set iris just for coloring and editing.
It'll be a lot easier for them to get the matching colors for all three cameras.
So this is just called, I actually don't know how to properly call this.
It's just like a handrail. So this is also for the B cam.
If you look back here, this is for our focus.
And then, oh my God, what a bad teeth.
Don't ever do that. If you ever hear this, that's bad for the teeth here.
So this little knob here is our zoom. Right, we go in close to the face or close to the products.
Zoom. Temporarily, this is our battery option for this monitor because we don't have an AC outlet for it.
Right now it's all battery powered at the back.
So we had to do a dummy battery to a D tap to a V mount battery.
Because before we did have one, but the monitor wasn't great and it had an AC power, which was awesome.
But the color sucked so we stopped using it.
This only powers this monitor and that is pretty much temporary, just like the set.
That's what we've been here for a year. We're supposed to be getting something soon.
Why the frick is Sammy here? We're doing a floaty exclusive on cameras.
Cool. Okay, so back to these camera gear.
We have the deity right here, the tentacles sync.
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.
So it's a lot easier for editors to sync all three cams, multi cam sequence in their timeline.
One thing I want to talk about is FTP in our cameras, which is file transfer protocol.
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.
So you know what, to make things easier, it's to transfer all the videos that we shot on the day to our ingestation.
Wait, so why do you use FTP? Just so we don't take out our memory cards in this camera.
Easy. Quality of life. Quality of life.
Sammy knows. Full plan. I was editing this video.
I forgot to show you guys what the social team uses for their shooting.
And here it is. We actually have two cameras.
Both Artie and I shoot things, but mainly it's me shooting.
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.
This is the A7. So this lens is called 24105.
Pretty good lens. When I came over to the social team, I found that we had a cage that we're not using.
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.
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.
And then what we took inspiration from the camera crew is the light.
So when it's too dark, now it's light.
I actually use this when we film Glenn's ShortCircuit section.
It's a lot brighter than usual. And we have this monitor or anything which I took from Andy's Computex setup.
But this one's a lot worse because it's a lot laggier. I can see.
So look at this. I don't know how much you see this, but what kind of lagginess is this?
My hands aren't even there yet. And my hands away.
It's very laggy, but it's just to make sure that I just get a better image because this thing is really small.
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.
Bam. Now I can take pictures. I rarely use that function, but it's better to have than not have it, you know?
And for audio, we recorded with these wireless pros all recorded locally.
As you can see, your mind's going here. This one is the one that broke during Eli's closer look.
So we labeled it broken so we never use it. So this is the A6700.
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.
It's a very good camera. We just like what already now are comfortable with, which is the primary camera.
Finally, this is what I use to monitor audio.
So make sure the audio works and is rolling because I've never shot something and not had the audio roll before.
Glenn's smiling because we recorded something and I didn't have the audio going.
Oh, I'm not recording. And now let's go to David or at WAN.
And lastly, we're on the WAN Show set where we have three C200s.
And you might be wondering, why do you have C200s? Everything else is Sony.
And the answer is we were using these as main shooters for a while.
Before we got the FX6s and FX3s, this was kind of the go-to for your all-round professional level,
not narrative level camera. And these are great all-rounders.
They're very similar to the C300 Mark II same sensor,
but they're stripped down in a few key ways that made us not want to use them long-term.
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.
And we have the 18 to 35 Sigma. I think it's a 1.8 for the main camera.
This is a sick lens. And for a lot of people, this is the only lens they use on their smaller sensor cameras.
The problem is, is that it's not a full-frame lens.
On the wider focal ranges, you'll have vignetting around the edge of the frame on a larger sensor.
If you have the kind of sensor that, you know, it's 8K, 12K, that's fine.
You can crop in. But for what we're using, which is mostly 4K cameras,
you would just lose so much detail that it's not a great option.
One of the great features of the C200 is that it has very high bitrate raw
that it goes into these C-fast cards. And you can shoot proxies to the SD cards.
The other option, the closest to the raw, is a very low bitrate H.264,
which is kind of a bummer. And it's the main reason why we're not using it.
For our purposes, we don't want that raw.
I think it's like 128 gigs last like 10 to 15 minutes.
Something like that. My details might be a little bit off. I'm no longer a shooter.
And if you go to the SD cards, you're getting such a low bitrate
that you're losing detail, color depth. You're losing all kinds of ability to recover stuff in post, which isn't ideal.
We're doing so much run and gun. We need to have that latitude to play with in order to make sure that
the videos come out to you in the highest possible quality. These were great because it made it super easy.
Everything's built into the camera, including audio and the screen.
So it was really light, really compact, and they were really reliable cameras.
I think that's the strength of Canon cameras is that they're just great workhorses.
We've switched to Sony's. There is nothing wrong with Canon's as a go-to camera.
If I was building my own set and I could find cheap C200s or C200Bs,
I would probably be very interested except for one fatal flaw.
These things can do high bitrate raw to the C-Fast card in here,
and they can also do really low bitrate MP4, H.U.64 encoding to the SD cards.
But there's no in-between, and that's kind of the fatal flaw of this.
If you're shooting narrative stuff, you can get this great high-quality footage onto this,
shoot proxies to your SD cards.
But for what we do, we kind of want something in between.
We shoot a lot of footage. The low bitrate was kind of a bummer.
The FX6s and the FX3s are perfect for that in-between spot 400 megabits per second.
I think these ones top out at 100 megabits, I might be wrong.
And that's just not good enough when you need to recover details in post.
And it also just like you lose some of the depth of the color, and it's fine.
But that was really the thing that pushed us over the edge to switch back to Sony's,
was just kind of the fact that Canon purposely designed this camera to not be the end-all be-all.
If you could shoot high bitrate H.U.64, these things would be pretty unstoppable.
They might not have the low light performance of the Sony cameras,
they might not have quite as good autofocus, seeing as they're a few years older than those cameras.
But they are still amazing cameras, and sensor technology hasn't gotten that much better.
It's really the quality of life improvements that have improved in cameras,
especially AI-powered autofocus and all these different autofocus modes across the entire sensor
that are really impressive and really reliable. All three are the same, and as we use them now, we are using the HDMI output,
because that's another kind of an issue with these cameras.
They do have SDI output, but it caps out at 1080p,
which is a bit of a bummer because we do streams and we stream at 4K.
I think that if you get good 1080p, you can upscale it to 4K on a stream.
People probably wouldn't be able to tell the difference, but we are always trying to give you the best product, the best video,
and so 4K is better, but with an HDMI cable, it's not great if you're moving this camera.
When it's stationary, it's fine, but it's not a locking connector,
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.
And that's not good. As stationary cameras, the HDMI is fine.
We use these AC power bricks, no batteries necessary.
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,
no LCD or viewfinder, but we don't really need those other than for framing,
but you could do that on a computer, or one external monitor connected to all three.
Great camera, a little bit out of date, but I would be glad to use one of these still.
Thanks for watching this video. If you like content like this, why don't you check out our video
where we talk about every PC we use on set. That's also a good one.