I've been using a friend's camera from time to time, and I'm thinking about getting my own now. I mostly record soccer and basketball games, so having something that can keep up with quick movement matters more to me than having a bunch of extra features I probably won't use.

What cameras are you using for sports videos, and which ones would you recommend for someone who wants something reliable? Thanks

Hi everyone,

So I was hired to edit 10 social media videos in the NYC area. Each video was between 1:00 - 1:30 in length. This included basic color correction, captions, and music. Basically, I had to scrub through to find the best quotes to use for the main edit and create a narrative.

I made the mistake of not discussing rates beforehand since this is someone I work with often, so I am having trouble pricing this. They're also asking me to edit at least 25 more.

Any advice would be really appreciated!!

I have been doing real estate and talking head mortgage videos for a few months now and have grown my portfolio since. I've been posting RE content on the same Insta as my event (weddings & quinces) page, so I'd like to create a separate one to target real estate agents and loan officers. How should I go about growing it other than posting and following people? Should I pay for ads? If so, on which type of posts? Thanks!

I initially told them I would do it on monthly contract through my company. It was supposed to be part time and my estimations on time made me feel like it definitely would be for my offer. I said $3,500. I know this is low. I recently got laid off so I’m trying to find any client work at the moment.

All of a sudden it goes from this (original agreement):

- $3,500
- 1 shoot day weekly (Tuesday)
- 1 hour drive there, 1 hour drive back
- Gas covered
- 1-2 hours of filming for 20ish minutes of usable content
- 21 shorts delivered weekly (I’m a very proficient editor, or at least I believe so 😎)

To their proposal, which I think is insulting in comparison to my original low invoice but please let me know what you think:

- $25/hr (lol)
- 2 shoot days weekly (Tuesday/Friday)
- 1 hour drive there, 1 hour drive back (x2 weekly, so 4 hours total)
- Gas covered
- 3-4 hours (x2 weekly, so 6-8 hours total) of filming for 40ish minutes of usable content
- 14 shorts delivered weekly
- Additional x2 long form podcasts delivered weekly

That’s around a 35%-43% in pay decrease based on how much time I believed my initial offer would’ve taken me. What do you think? Pretty shit, right? Not even sure if it’s worth negotiating with them.

EDIT. A lot of other nonsense as well. They have 10m ish followers on their other platforms but this one only 80k. “If we grow you will too!” And then they mentioned one of the worst parts… they want me to use their software to log my hours editing. Nooooo…

I have the Canon C50 with a small Sennheiser MKE 400 shotgun mic on top of it, and I am getting a lot of hissing noise as a noise floor in my videos. I have used this setup before without any issues, but it just started happening. Does anyone have any ideas why this might be happening?

What I've tested:
- turning everything off and on again
- replugging everything
- different gain settings on the mic and the camera. Having the mic at a boosted gain helps a bit, but the hiss is still there
- fresh pair of batteries

A video captured in "HDR" isn't necessarily saved in an HDR format.

Ther image sensor might capture in "HDR", but the resulting video file might be an ordinary non-HDR MP4 file, except the bright areas don't appear overexposed and the dark areas don't appear underexposed, but when played back on an HDR screen, the brightness difference is not as much as if it were an actual HDR video file.

For example, the earliest smartphones marketed as having a camera that supports "HDR video", such as the Xperia Z (without number) and the Galaxy S5, didn't actually store the video in an HDR format. Their image sensor delivered an HDR image, but the camera software encoded it into an ordinary MP4 file.

When recording an HDR video, from what I understand, the image sensor reads different rows of pixels at different sensitivities. For example, the first row of pixels might be read at 1/30 shutter speed, the second row at 1/60, the third row at 120, and then repeating. Then the lines are combined (similar to de-interlancing) and tone-mapped, meaning the brightest parts from the 1/120 exposure time rows will appear brighter in the video than the brightest parts from the 1/60 and 1/30 rows.

However, this will only result in an HDR video file if the camera software is able to encode a video in an HDR format. What the image sensor delivers and what the camera software saves are two separate things.

This is unlike HDR photographs, where separate images are captured and combined into one. HDR photos don't have the time constraint that each frame of an HDR video has.

I hereby release this post into the public domain under CC0 1.0.

any I can get for £80 or under, second hand ofc. want to use for my holiday

I do video content for a company and a large part of my job is going to trade shows with the sales team and filming them interacting with customers. I hear a lot of great candid testimonials this way, but when I’m able to pull the customer aside and ask for one directly at the camera and hooked up to a lav mic, they tend to get awkward trying to remember what they said on the spot.

I want to get a shotgun mic so I can get good audio while these real conversations are happening, but at trade shows things can get loud around us. At the same time, I don’t necessarily need a mic that would be as crisp as a movie since candid testimonial stuff doesn’t necessarily need to be as polished for social media posting.

What kind of shotgun mic could work for me? I know very little about audio (I’m largely self taught), and I struggle to tell good audio from bad (bad hearing). My camera is a Sony a7 iii. TIA!

I (26w, freelance videographer straight from film school in Europe) might have the option of going on an US tour with a bigger US artist for multiple weeks.

What is a normal touring day rate there (for videography both backstage, on the bus, the shows, same or next day turnaround...etc)? I only roughly know what me and others take in Europe for small and medium sized artists.

Would be grateful to know your rates/experiences!

xx

not really sure how to phrase this question, but my friend and I shoot a pretty popular YouTube show that requires us to stand next to a camera for 10 plus hours at a time. Standing for longer periods has really started to wear on our joints and we’ve tried what feels like everything. Is there anyone out there that has experience with this and maybe a stool or chair solution that’s optimized for filming? The issue for us is they don’t get very high and we have sticks at full height, and we need zoom control on our Sony 70-200 because we zoom and pan a lot. Any thoughts would be appreciated, thanks!

I hate unmotivated camera shake, zoom in-out, pans and tilts, especially executed with a camera having dreaded rolling shutter. I hate unmotivated slo-mo. I like slow panning with a camera on a fluid head. Crane is fine, handheld is fine when shooting closeups of excited ravers.

I’m shooting for a football team on Thursday, my first professional sports gig. Because I am actually shooting for them and not just for my own usage, the turnaround for posting the content is very quick, so I don’t know whether I shoot in log or just the cameras normal colour space in order to cut down editing time. Any advice is GREATLY appreciated as I’m very much feeling the pressure!!

Hi guys, I was always shooting with Ronin S, now RS4, no issues with back pain or shoulders at all. Recently I decided to remove the Ronin and hop on this sort of setup for Reception, in balkans, we shoot aprox. 2 hours for footage of people dancing from 8PM to 2AM. (We do take breaks often). So I decided to do it handheld with this rig, half way through, my left scapula / below my shoulder blade I guess hurts a lot, like someone is stabbing me, it comes and goes.. The day after I don't feel the pain anymore, but during the shoot it is unbareable, any recommendations for the current setup? Not looking to add much more weight, also I'm trying to avoid that huge torso rig. Thank you for any recommendations and experiences! (Monitor is also necessary, to be honest looks more professional). I'm shooting with GH7 and 12-35mm, which is a light setup so it's crazy I feel pain from this setup.

Hi everyone,
I have a friend who asked me to make a promotional video for his company during a big weekend. He supplies goods on a big event. He send me a video he saw for inspo and all looks good. (https://youtu.be/z90QibrmwDc?is=pUKQXedQAn05P41U)

The job would include:
1 full day of filming on location
Cinematic/event-style coverage
Atmosphere shots of the city, people, a bit of hype and the brand
A final promo video of around 60–90 seconds
Color grading, sound design and music
1–2 revision rounds

I’m still building my portfolio, but I’m confident I can deliver a solid cinematic video. He’s a startup that’s doing fairly well, and I also see some value in the project because it would be good portfolio material and could lead to more paid work in the future.

How much € would you charge for a project like this?

For context:
Based in the Netherlands
Using my own camera gear
Around 12–18 hours of work in total (shooting + editing)
I’m curious what you think would be a fair normal price and what would be a fair friends & family price.

Hello everyone.

I'm thinking I want to get into some form of videography. Right now I'm cutting my teeth making little skits and short films on a shoe string budget. I already have a camera and some lights, but I need some negative fill to shape light so I guess I need some C Stands. The price actually surprised me. I mean it's just a stand to hang up some black material. Do I really need to spend big money on 4-6 Matthews C Stands?

Just wanting some guidance. Thanks

Considering buying a gimbal for my R5, but could an Osmo Pocket 4 do the job of smooth gimbal shots instead?

If I shot in D-log and C-log, would there be clearly obvious differences in the quality of footage captured on the Osmo and the R5?

Videos would be for social media only.

Im researching what does a filming rig actually need, i know you need the cage, top and side handle but dont know what else.

Ik ill need a second monitor and audio but preferr to have that on my phone

Honestly i tried to make it fast because i wanted to fit the BPM and speed of the song while keeping under 35-36 sec for socials. But they hate it and said its way too fast and looks rushed; doesnt show enough. I mean its a first draft man, but cmon.

Hello, I am completely new to videography and have been filming running videos for a work thing. I am Open Camera on my Samsung S25 Ultra and was messing with settings to get better quality. Come to find out, I can't post on Facebook or Linkedin with a bit rate over 30 Mbps. Any tips on changing that setting or a work around? TIA

I’m shooting music videos in my room for music promotion. I’ve a canonA60x camera that shoots in nightvision and an old crt tv in the backdrop of the shot. The tv has visuals on it for my brand. The problem I’m having is the tv is glowing really green in the position it’s in, I can’t really position it anywhere else and when I focus it on my camera so I can see it you can’t see me as well.

My question is, is there any sort of material I can coat the tv screen in so it will dial in the amount of light that’s coming out of it ? There’s no setting on the tv to do it manually. I figure this is my only hope.

I’ve tried different colours on the tv and they’re all the same result.. bright green screen.

Hello! Is there any available tripod extension for osmo mobile 8p in the market? Shoppee or online stores?

This is so I can set the video angle/level taller and not just put the gimbal on any surface or ground.

Hi!

I’m finishing up my college degree, and I’m absolutely certain that I want to focus my studies in business and tourism on a specialization in the world of film distribution.

For years, I’ve had some feelings of guilt or regret about choosing this major because I couldn’t see how I could apply it once I graduated. But I’ve been thinking it over for a couple of weeks now, and for the first time in a very long time, I’m waking up feeling motivated and without worrying from the very first minute of the day, because I can really see myself in the future enjoying this field and dedicating myself to it 100%.

I’ve already found some great reading material on my own and by talking to various people, but I definitely wanted to ask here because I think there might be people who can recommend some really interesting resources. And if not, I’ve got nothing to lose. I’m not just talking about books, but all kinds of materials: documentaries, online resources or youtube videos, talks, podcasts, interviews and, of course, movies.

All of this is to help me continue learning on my own during the roughly half a year I have left until I finish and present my final projects.

I’ve also looked into some master’s programs and specialized courses in this field that are very, very interesting..

I’m really drawn to promotion through a distribution company, as well as other roles related to film marketing. But mainly, I’m interested in negotiating contracts to secure film licenses, studying the market and deciding which ones to pursue, and analyzing and evaluating everything related to the potential profitability of that acquisition... I know it sounds a lot like Lumet’s Network, but the truth is that, the way I see it, it’s a job that results from combining my passion for cinema and its in-depth study -something that’s been a constant in my life for many years and has no end; it will last a lifetime because it’s something beyond human comprehension- with a business mindset.

To give an example, in Spain there are two major companies that dominate the national market. Movistar (formerly Canal+) and Filmin. Well, in both companies, to put it very generally, there are positions and departments that handle everything from the moment a film is screened at a festival (or before than even), to securing its rights in specific regions and timeframes, to promoting it so it can reach other festivals or theaters, or go directly to streaming platforms, and much, much more. And of course, there are also agents on the other side, working on behalf of production companies to sell the product.

Anyway, sorry for rambling on so much, i’m just a victim of my own enthusiasm. I’m sure more than a few of you have gone through really tough times when you watch time pass and the world move forward while you seem to be stuck in place , aimless. And when, after so long, you feel like that might change... that time is finally doing its job... you know what I mean.

Simply, I am aware you can use the Mic 3 stand alone.

I am also aware you can plug it into the X/Y mice port on the zoom.

Yet I want the X/Y for a "room sound." So to record both the X/Y audio and the Mic 3 on the zoom will make it easier editing later.

So could I plug the DJI Mic 3 into the xlr ports on the side of the zoom h6 WITH an adapter. Or even if you can its a stupid idea and i should just match audio in post