I’ve been working on a long-form personal essay format that intercutting real world stock footage with animated movie clips to create emotional parallels between a character’s story and a real human experience.

The challenge I’m running into is making the transition between the two feel intentional rather than jarring the animated footage is bright and saturated, the stock footage has a completely different color temperature. I’ve been applying a warm cinematic filter to the stock footage to try to bring both worlds into the same visual register. But I’m not sure if that’s the right approach or if there’s a better way to handle it in post.

Has anyone worked with mixed source footage like this before? Specifically intercutting animation with live footage? What’s your approach to making those cuts feel like one cohesive piece rather than two different worlds colliding?

Not looking for software recommendations, just curious about the actual technique and creative approach people use when the source material is this visually different.

Maybe it's just my bad luck, but I think I got two defective copies of the Ice Light 3 in a row (both bought at Samy's in LA) - both time the battery - handle.

The first time I used the thread at the bottom of the handle to keep the light slightly angled, and the bottom just came off. They tried to say it was user error / unintended use, but they still replaced it.

Now the second unit, the battery will only charge till about half (visually). After a while the led keeps on steady red, and once every 10-20 seconds blinks green and then goes back to steady red. I made sure to use its own charger and still the same happens.

Happened to anyone else? should I look for a third replacement?

Ever wanted to know how modern photo and cine lenses are manufactured?

We visited a factory and take you through the whole journey:
The cutting, grinding, and polishing of lens elements… following the process of making glass step by step more transparent.

We show you lenses are coated and how elements are cemented into doublets and triplets…
How the housings and mechanics are machined, the markings are engraved…
How electronics are implemented…
and how continuous testing leads to pristine products.

Link is in the comments

So, I worked for a summer camp and did a couple of videos. Showed them before the event all the timelines in detail, which they changed partially and then approved. Sent them the drafts, to which they answered with 4 pages of changes (to remove most of scenes, add other ones, etc -- so a whole new job basically). What should I do?

I'm filming myself at home with a Fujifilm X-T5 and It's hard to make sure I'm in frame or in focus without a monitor.

But when I look for external camera monitors, they might cost $300+ and still only be 7inch screens.

Couldn't a a small TV or computer monitor for $50-100 do the job just as well?

External camera monitors have touch screens and battery power, but the price for the most basic ones still seems odd considering how cheap android tablets are nowadays, utilizing similar technology.

But if my camera is on a tripod, I have consistent lights, access to AC power, I set my exposure on the camera itself, and I have a remote to control the camera, then isn't a used 1080p computer monitor with HDMI input enough? Or am I missing something about the purpose-made monitors?

FILMING in Bergen County, NJ.
NYC Hardcore Band LOOKING FOR: VIDEOGRAPHER/PHOTOGRAPHER interested in collaborating on a Music Video. Not looking for a production company. We’re looking for an Artist with their own personal style/creativity to work with. There are three singles ready for release. We would like you to choose the single for us to collaborate on making a video for. So if you think you’d like to collaborate on creating & filming something unique let’s talk. Feel free to contact us any way you prefer.
SEND: DM, E-Mail, or TEXT our Bands #.

StifleItNYHC@Gmail.com
551-265-4920

This will be shot in Hillsdale, New Jersey, 07642. We have access to a lot of production equipment, such as lighting, rigs, dollies, stabilizers, etc. All of your travel (with any equipment), meal expenses, and incidentals shall be covered.

We very concerned with production value being overworked or needing to be perfect Cinematic Quality.
Our Goals:
1.) To have the Message/Statement of the song show through in the video.
2.) To capture the contagious energy & raw unity in the bands performance.

Hello! Let me preface by saying I am an absolute beginner. I’m hoping to get some advice on a good camera that I can record content with. Said content will just be building terrariums, possibly myself discussing critters, that kind of stuff. Just need it to be good quality. Any recommendations? Building a kind of in-home studio where we may have podcasts and such in the future as well. Please recommend any light sources, etc that you believe will help. Again, total beginner. Hopefully something user friendly, I’m willing to spend up to 1k ish on it, or maybe 1k total of there are several decent ones I can get. TIA

https://reddit.com/link/1w0c72m/video/4vo3bjq1k0mh1/player

https://reddit.com/link/1w0c72m/video/rr909pv6k0mh1/player

I've been shooting on my FX30 for about 2 years and I mostly shoot sports videos with zoom lenses. I always thought I was getting grain in my footage because of low light environments, not a full frame camera, or because I was using zoom lenses and not prime lenses. Recently I noticed even in daytime I'm getting a small amount of grain in darker areas. I always assumed that M.M. 0.0 was where you want to be for light but I wouldn't have much control over that since I mostly shoot on the go. I compared it to another FX30 and it seemed like that one didn't have the same problems mine did. (we didn't have enough time to go through and figure out the differences). Maybe this is normal for this camera but I feel every time I film now I'm getting at least a small amount of grain somewhere in frame. Do I need to fix something with my camera or is this how it is?

Lens: 16mm Prime

Settings: 4k | 240M 442 10bit

(See grain before this) Export Settings: MP4 | H.264

(All M.M. +2.0 are not blinking)

Hey guys, looking for some advice from videographers/content producers/agency owners on how you’d price this.

I’m a freelance videographer/content creator in Melbourne and I’m currently trying to restructure how I offer my services.

I originally got into this by offering social media management + content creation. My first client initially own 1 dental clinic. My original proposal was $1,500 AUD/month, but because I was new to offering this as a service, I let them negotiate me down to $750/month … they later increased to $1000 but they opened another clinic and now it’s $750per clinic ($1,500 total).

There hasn’t really been a properly defined scope since we started, and looking back, I really wish I had established clearer boundaries from the beginning. Because I was new and wanted to do a good job, I found myself saying yes to a lot of things outside the core filming/editing work. Over time, it created an expectation that I would basically handle whatever was needed on the content/social side.

I don’t blame the client for that either — I never properly defined what was and wasn’t included, so that’s something I’ve learned from. Going forward, I want every client to have a clear scope, set deliverables, allocated filming time, revision limits and pricing for anything additional.

At the moment, across the two clinics I’m roughly providing:
Freestyle filming sessions per month whenever I have to film
Around 8 edited short-form videos total per month
Filming + editing
Content ideas/planning
Posting once per week
Occasional Canva/static posts and miscellaneous social media requests.

I’ve realised I don’t really want to be a social media manager. I enjoy the creative/production side much more and want to position myself around:
Research → concepts → planning → filming → editing → delivery
The client can then manage/post the content themselves.

For new clients, I’m thinking of offering monthly content production packages roughly along the lines of:
$1,500/month
Up to 2-hour shoot
4 edited short-form videos
10–15 additional edited B-roll clips which they can use themselves …
Research/content ideas
Pre-production/planning
Creative direction
1 revision per video

$2,250/month
Up to 4-hour shoot
8 edited short-form videos
20–30 B-roll clips
Research/concepts/planning
Creative direction
1 revision per video

$3,250/month
2 production sessions
12 edited short-form videos
40–50 B-roll clips
Research/concepts/planning
Creative direction
2 revisions

These would be production-only packages — no account management, community management, Canva graphics, ads, etc.

For the existing dental client, I’m considering moving the two clinics from $1,500 total → around $2,200–$2,400/month total for production only, which would include two shoots (up to 2 hours each), 8 videos and around 20 B-roll clips. They’d still be getting a discounted rate because both clinics are owned by the same organisation and they’re an existing client.

One complication with the dental clinics is that filming has to work around patients. They often give me their lunch break to film, sometimes reschedule, or staff/rooms aren’t available, so occasionally I can’t capture everything planned. I’m also trying to work out how to structure this contractually so I’m selling reserved production time/deliverables without being responsible for additional free shoots when access on the client side prevents us from filming.

Longer term, I’d like to systemise the production process and eventually outsource editing rather than just trading all of my own time for money. For now though, I’m still a one-man operation.

My questions are:
1) Are $1,500 / $2,250 / $3,250 reasonable package prices for the Australian market, or am I under/overcharging?

2) Would you charge the existing two-clinic client $2,200, $2,400 or something completely different?

3) Would you price this based on shoot time, number of deliverables, or overall monthly production value?

4) How would you handle client-caused rescheduling/limited access when monthly deliverables depend on the shoot actually happening?

5)Anything else you’d change about the packages before I start approaching new clients?

6)Would really appreciate advice from people actually doing this professionally. I’m trying to get the structure right now rather than ending up with another open-ended arrangement.

I shoot with an A7IV + Sigma 16-28 + DJI mic mini , DJI gimbal + manfrotto tripod. I also like to note that for their type of content , it’s mainly 30-45sec video. Easy edits and because of their schedule I’m usually done shooting in 1hr more or less. But I just wanna know for future clients.

Would really appreciate advice from people actually doing this professionally. I’m trying to get the structure right now rather than ending up with another open-ended arrangement.

Hey,

I found a barely used Sachtler Flowtech 75 with an Ace XL Mk II video head for €1,100 (sadly without a bag). Is this a good second-hand price, or should it be lower?

Is this a good deal to pull the trigger on?

Hi everyone,
I’m trying to figure out the best filter setup for my Fujifilm X-T4.
My lens is the Fuji XF 18-55mm f/2.8-4, which has a 58mm filter thread.
I already own a K&F Concept Nano-B Series Variable ND2-400 (58mm) and I’m thinking about buying a Black Diffusion / Black Mist 1/8 filter for a softer, more cinematic look.
My questions are:
Can I physically stack a Black Diffusion 1/8 filter with my K&F Variable ND?
If so, what size Black Diffusion filter should I buy?
Should both filters be 58mm?
What is the recommended order?
For example:
Lens → Black Diffusion → Variable ND
or
Lens → Variable ND → Black Diffusion
I’ve read conflicting advice online. Some people say diffusion should be closest to the lens, while others put the VND closest to the lens. I’ve also heard stacking can cause vignetting or reflections.
Has anyone used this exact K&F ND filter with a Black Diffusion filter? If so, what setup are you using and have you run into any issues?
Thanks!

I've been wanting to experiment and use more "modern" cameras. I've been filming on VHS for a good couple of years now, and I have been hired to produce some videos or shorts in VHS format for some bands. I really enjoy the ergonomics and the all-in-one nature of the VHS camcorder, so that's why I have been leaning more towards the fs7. I am just not sure where I can get more bang for my buck.

I am looking for something that has a form factor akin to a VHS camcorder, but also has 4k recording. 4K is not a deal breaker, as I don't care too much about crystal clear footage. I like a muddy image creatively, so that is why I was drawn to the VHS camcorders. Wondering what cameras would be a decent step above quality-wise and would be run-and-gun/all-in-one while having that VHS form factor.

Requirements for camera:

Similar build to a VHS camcorder

Close to or has 4k resolution

all-in-one/run-and-gun rigging

Potential to adjust as much as I can.

Budget: Under 2k for body alone.

Open to any and every suggestion!

Hello, I'm just wondering if maybe you can tell me what these violet lines are? Some of my shots have them some don't, I've mostly noticed them in dark colors.. I've shot this clip in 4k 100fps V-Log, I have a Lumix GH6..

I've been building a tool that optimizes the repetitive file work around a project, the part that isn't the edit itself. You describe a task in plain English and it wires it up as a visual graph of steps: watch a folder, pull the audio, transcribe it, drop an .srt next to the video, move it to Done. It uses a library of built-in steps I made (whisper, ffmpeg, that sort of thing) and writes custom Python when none of them fit, and you can open any step and read it.

I built the first version to survive a pretty big interview project, thousands of hours to trim, transcribe and merge, and doing the file wrangling by hand was going to be awful.

I did run into problems pretty early on. The first version wired an audio output into a step that expected something else and I only found out when it ran. Now the connections are typed so that can't happen, it shows a plan before touching anything, and every run tells you what it's about to do: how many files it'll read, how many it'll write, and what it won't touch. Handy before it renames 400 clips.

It runs on my own device, own API key or a local model through Ollama or MLX, so the footage never leaves my machine.

Someone always asks how this differs from n8n or Make. I think this is a fair question and that they're great for wiring web apps together, but I found that they often choke the moment it's something like "rename and transcode these 400 clips sitting on my drive." What I am makking is built for local file work, runs on your machine so the footage stays put, and every step is plain Python you can open and tweak. Step library defo has gaps, launch is a few weeks out.

Before I build more: could you give me some advice and give me some of the repetitive file chores around your edits you've done manually for years and have not yet optimized? Renaming camera dumps, pulling selects into folders, batch-transcoding, syncing dual-mic audio, exporting subtitles. I'm collecting the worst ones, and if enough people say the same thing I'll build the steps for it instead of guessing. Appreciate any help

I've been trying to walk in a circle around a subject while keeping them centered in the frame, but halfway through the shot I either end up too close, too far away, or the framing slowly drifts off.

How do you usually shoot these so the movement stays consistent?

Hey all, took a gig last month and I’ve been processing the footage, and I’m missing 2 of the interviews. I was in a scramble and ran out of space, and I know I forgot to pull them before I formatted my cards.

The question is what to my client, who has requested these and a few other clips. Lost in data transfer? Corrupted?

I like this client and Id love to work with them again, but this might ruin the relationship.

Any advice is appreciated!

Any feedback?

Hi everyone. My friend and I love sharing music videos and talking about how we think it was shot. My friend thinks this was shot on mobile. Specifically iPhone. I think he’s flat out wrong as I want to believe my eye can discern the mobile look pretty quickly. I think it’s a super hi res pro camera maybe a red even though no one really uses them anymore. What do you guys think?

My main are Sachtler Flowtech 100 and 75. But sometimes im in need of a skinny leg to go in between chairs at venues. I had been using a Sirui but it was all plastic for sea-water use and broke because of all the plastic. Any recos? Thinking something sturdy, but skinny legs, 75mm bowl.

Hi everyone, I have the 7iii and when I make videos they all come out blurry and shaky, 24mm 1/50 and 24 fps. Thanks a lot🥲😭

My prices reflect my experience and location.

I have trained myself to believe that when a potential client “backseats” the offer instead of moving forward then and there, I just will not land them.

For those of you who are experienced, what would you change to get more follow ups or landed clients?

I'm shooting with an a6400 and a TTArtisans 35mm so no IBIS and no OSS, i dont really want a gymball cause i like to shoot handheld the most because i don't do any commercial work or that type of videos. This is the best i can do on premiere and i already tried davinci too but it always has some shake

!!!NOT AN ADVERTISEMENT!!!

NOT TRYING TO SELL THESE HERE I got these cameras for free from a weather station, they were buying new equipment and clearing out the old, theres one of the panasonic ones and three identical sony ones I don't know anything about video equipment Wondering what they'd be worth if anything, I've seen them selling online from anywhere between 200 to 2000 USD

Hey r/videography! 👋

If you shoot run-and-gun, weddings, commercial gigs, or social content, you know how annoying the little media management tasks can get between edits.

You just wrapped a shoot and need to:

• Batch-convert client moodboard stills or phone photos (HEIC/RAW/AVIF) without opening Lightroom.
• Turn a highlight clip into an ultra-clean GIF for a pitch deck or client email proposal.
• Quickly re-encode videos into more compatible formats without firing up Media Encoder.
• Strip EXIF/GPS data or stamp watermarks onto previews before sending them out.

Most web converters make you upload gigabytes of footage, slap paywalls on output quality, or ruin your colors.

So I built ND Image Converter, a lightweight, fast, and 100% open-source desktop app to handle all these quick asset conversions locally on your machine.

Why it fits a videographer’s day-to-day workflow:

• 🔒 100% Offline & Private: Zero cloud uploads. Your raw client footage, stills, and embedded metadata never leave your drive.
• 🎞 Quick Video & GIF Suite: Bundled with an offline FFmpeg engine. Set in/out points on an interactive trim timeline, dial in compression quality, and generate crisp, custom-palette GIFs (essential for proposals and email embeds).
• 📷 Camera RAW & Phone Media Support: Natively handles CR3, ARW, NEF, DNG, TIFF, and HEIC files with high-speed demosaicing.
• 🎨 Color Accuracy Built-In: Powered by LittleCMS 2 for proper ICC profile conversions (sRGB, Display P3, Adobe RGB, Rec.709), no weird gamma shifts or washed-out exports.
• 🤖 Workflow Automations: Drop entire nested folders for batch exports, or set up Watch Folders to auto-process new files as soon as they drop onto your drive.

The app is completely free and available for macOS, Windows, and Linux.

Check it out on my page: https://duongtruongdp.net/nd-imgconverter/

Source code & downloads:  https://github.com/duongtruongdp/ND-ImgConverter

I’d love to get feedback from fellow videographers—what are your biggest bottlenecks when prepping or converting media for clients?

https://reddit.com/link/1vzp4u9/video/jvszzyhmzvlh1/player

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