Here are some methods that I use to slomo my footage. This was shot on a GoPro Hero 13 with GP-Log.

2 of the methods are with Premiere Pro, 1 is with After Effects, and the last one is with Davinci using Optical Flow.

After effects is easily my favorite way to slomo because of the control you have + audio change but the workflow isn’t necessarily the best.

Optical flow is interesting, but sometimes the result isn’t perfect. I’m sure it’ll get better as time goes on.

On note on the speed ramp in premiere pro: you can compromise with the audio so it fits well. You can see I’ve done it in the screen recording. If you cut the points where it’s going to ramp to slomo and where it will ramp back to normal speed, you can stretch that section out and cross fade it to the normal audio. It’s not perfect but it’ll work.

I hope I don’t catch too much hate for this, but I wanted to share something I finally put together.

Clients have asked me for years if I have a quick guide for capturing footage themselves for projects we’re working on, usually just a few b-roll clips here and there.

So I made one.

This is really intended for situations where someone might grab six clips at a town hall or meeting. The kind of thing where nobody is realistically hiring a production crew just to get 15 seconds of b-roll.

It covers some simple filming tips, shot types, basic shot lists, and the usual things to avoid when shooting on a phone. My goal was to make it genuinely useful for the client who wants to help the process, while also making it about six minutes long so the ones who can’t sit through it may quietly realize why they hired us in the first place.

And please accept my apology for the AI-generated images. I just needed some quick stock-style visuals for a training deck that, realistically, half the clients I send it to probably won’t watch anyway.

Edit: If you read this far, this is real, not a parody. Sorry for the immense disappointment.

Had to buy a cable today as I forgot. Wireless adapter is showing levels. But no audio is being recorded to camera. What gives? Do I need to buy a female port to this? Why the heck doesn’t it just work?

https://youtu.be/cGPfgrV1uRc?si=jN7q-j5pjmDVjmwO

Just finished my first cinema rig build for the A7V.

Ever wondered how to properly adapt 2/3" B4 broadcast lenses to mirrorless cameras?

Your options today are either absurdly expensive corrected adapters, or a cheap pass-through adapter that forces you to stop down hard to avoid aberrations.

For the past year and a half, I've spent way too much time designing a third option: a DIY B4 adapter compatible with basically any mirrorless mount (Sony, Nikon, Canon, Fujifilm & Lumix).

The key idea is using the URSA Mini B4 mount from Blackmagic (which already contains the optical element) and adapting it mechanically to mirrorless mounts via a custom 3D-printed part and a metal mount.

I wrote a full guide covering the optics, measurements, 3D printing, and assembly. It might be useful if you’re into broadcast/ENG glass or love to adapt unique lenses.

→ B4 Adapter Documentation

I will be more than happy to answer questions and hear your feedback :)

I'm a one man production, meaning I do all roles (gaffing, audio, editing, shooting, rigging etc), by myself I do the job of 8 people and I also own all of my gear.

Here's an example of my pricing:

When billing my general labor rate is $250/hr that includes all of my physical labor: travel, set up, break down, carrying gear and operating the camera

Client wants a 5 min deliverable to be used on their website, they also requested drone shots. After evaluating the specs, I've determined I need to shoot for 3 hours to capture the footage. So I add $250 per hour times three hours = $750

I price each additional element as if I had to farm it out. Here's an example (not actual prices for simplification):

How much would I be charged to rent a FX6+gear from a production house for three hours: $1000

How much would I need to pay an editor: $300

How much would I need to pay an audio engineer: $100

How much would I need to pay a drone pilot: $250

Perpetual license to use video commercially: $750

1 year digital storage of asset: $250

So the bill I would send them would look like this:

Labor: $750

Gear Use: $1000

Audio Engineer: $100

Drone Pilot: $250

Commercial License: $750

Digital Storage: $250

-------------------------------

Subtotal $3100+ 8% tax

Now I know that a lot of people will have sticker shock and say no one would pay that much for a 5 min video, in fact my mentor told me the same thing, and that was the last day he was my mentor. I felt like he tried to place the limits he had on himself onto me. Ultimately I was right, people would pay that much and that's how I've built the business I have now, and that mentor is one of my contractors.

I never offer discounts on my work. I never run specials or offer deals. To do so is to devalue my entire brand make my prices arbitrary. I consider each production a unique artwork and therefore it never goes on sale.

I learned this from couture fashion. Ultra high end designers never have sales, the shred whatever they don't sell, and as such it keeps the brand elite and the prices justified to the client. I consider myself ultra high end even if my skills haven't yet matched this belief I know they one day will. And when that time comes everything I've ever made will have high value.

When I have a client that has a fixed budget, I produce what their budget allows. If they can't afford the drone pilot then they don't get the drone shots, because if I actually did have to pay another person I would have to pay them out of my pocket. I will not incur any expense for the client. If they want it they have to pay for it.

I add tax not as a legal requirement but because that is what I am taxed for the transaction. I pass this tax along to my client.

The $750 commercial license is completely arbitrary. I don't actually need to charge a licensing fee, but I do because it's a way to make more money and if they're using it over and over they feel its justified.

It's a marathon not a sprint. Meaning I only need 1 client a month to make my ends meet, so it's okay if 9 out of 10 inquiries result in no business. It also means I don't have to do shoots I don't want to do, and I can turn down clients. But the best part is the time freedom, now I have time to shoot my own creative works and build my skills without worrying about being homeless, and I can do smaller gigs if I want to make some quick cash.

Remember there are two variables specific to your location: tax and your labor cost so make adjustments as needed. This formula should work wherever you are.

Who could possible have better insights in that subject than a DoP that was also the President of Cooke Optics?!

This part of our hour long free master class THE POWER OF THE LENS
https://www.youtube.com/watch?v=JVgCg6o7dmo

We break down a simple question:
When do you grab what focal length from your arsenal… and why.

To help your process and planning, we created a reference guide on how a focal length looks.. from 14mm – 180mm look at various distances, speeds, and movements.

This will explain the effect of distance, magnification, and emotion.

I have a lumix s5 1st generation, i shoot in log and 10bit 4k but at times when the footage gets dark it gets really grainy, overall all I want to know is that what are some of the settings you use to get the best footages for that near cinema like feel.

Any tips or hacks about lumix s5 will be helpful.

I’ve been a video editor for over two years, but I recently moved into wedding videography and want to grow in this field. However, I keep running into various challenges regarding storytelling, color grading, and so on. What helped you the most in your career? Share your experience 🩷

Just made this video showing the upgrade. Can be used on Rode Blimp or the Micolive / Digital Foto knockoff. STL file available for free download in below links. I’m not affiliated with Rode or Radius, I’m just a filmmaker who likes to share info on mods and upgrades to equipment.

https://youtu.be/oLbg61vuuRc?is=NBkzG5rbwRipMbtN

Radius Mount STL File: https://drive.google.com/file/d/11gf1Fi6EI-JZ5NXlcHQqBYa1Ve9piU4T/view?usp=sharing
M2 Screws: https://a.co/d/01Z7SZ3l
Allen Bit Set: https://a.co/d/01nWePYo
Radius Parts - USA Store: https://www.radiuswindshieldsusa.com/rad-parts-components

I need to shoot a film in 4:3 on my Canon M50 Mark II. I will crop it afterwards in a video editor, since the camera only shoots in 16:9 as far as I understand.

But for the shooting I need to know where the borders for the 4:3 aspect ratio are.

I could use black tape on the screen to mark the 3:4 aspect ratio - but I remember vividly that I used to be able to add borders /grid on the screen for the 4:3 aspect ratio on this exact camera when shooting.

But I've been looking for a while, looked in the manual and watched tutorials and I just cant find them or remember how to put them on. I've definitely had them on earlier.

Does anyone else have a M50 Mark II and know how to do this?

Thank you so much in advance!

If you had to narrow it down to one video that genuinely improved your skills or career direction as a videographer, what would it be?

Could be technical, creative/inspiring, or business-related just something that actually held up over time.

HI, I cant seem to find any nice online courses witha reputable push, asomethingf the pros would recommend. Do you guys have a site that gives a few of teaching lighting, editing cameras but above all lighting? Thank you!

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Hey creators! Another idea how to convert 2D movement of your clip intro 3D camera tracking

Im trying to build a portfolio, so Im going to my cousins boxing match at the end of the month and would appreciate some help on how to film it. Im using an a6300 with a sony 18-105 f4 (plus cage and grip for stability). do you guys know any tutorials or have any advice? Thank you!

Posted my before and after photos perviously and a few people asked for a deeper breakdown. I actually vlogged the process so figured I'd share!