u/scottiethegoonie

First off, I DO need (want) a second camera for the simple reason that my main bmpcc4k is setup/rigged for studio use and I hate the idea of breaking it down. It takes me forever to set up and get things just right.

What I am realizing is that what I need (want) most out of a second cam is: small and portable.

I'm talking about something I can sit in the corner of a kitchen counter cheap $20 tripod for a quick shot if I wanted to.

I've already been down the rabbit hole, even looking at the og micro cinema cam and the G2. Then there is the Sigma FP which, used, is maybe twice the price of the OG bmpcc used.

Then there's the cameras I know nothing about, but practically fulfill my main requirement: Sony ZV etc. I do want the ability to shoot RAW and at least grade it so it exists in the same universe as my other BRAW.

The budget is around $1k more or less, and while I'm dumb - I'm not stupid enough to think I won't be spending more once I get it.

There are 1000 reasons not to buy the OG, but every time I see the footage from one I get sucked back in. It's not like BM is sponsoring YouTubers to pump an old camera on the second hand marker.

Am I crazy for still wanting it? Or is this just the same dopamine rush we all get when looking for new gear?

I wanted to check if there are any glaring mistakes in my "signal chain" for dialogue.

1. Rough edit video/audio on EDIT page. Normalize audio at clip level.
2. From Fairlight, send audio to external (Izotope RX). Fix big issues in RX (mouth declick etc.)
3. Back to Fairlight. EQ, then Compression, then Limiter. (EQ DY FX Order)
4. Final boosting of audio done using compression make up volume.
5. Fairlight AI Voice Isolation

I'm still not 100% on the order of operations but this is what I've gathered so far. I also haven't had good luck with Fairlight's De-esser. How does this all look?

So I made a small mistake. Btw it's indoor, controlled lighting so only my skin is a problem.

I set my key light to 6500k today instead of 5000k like my previous clips. BRAW 8:1.

Good news is that it's talking head, so magic mask + power window did a good job of selecting only my skin from the neck up.

I tried grabbing a still from earlier shots and A/B matching using only temp/tint. I played with these settings in primaries, log, and HDR panels using scopes but it's not coming together, or maybe I just need to be precise? I have a micro panel but have not pulled it out yet.

Is there a preferred way of doing this that I'm missing?

Been doing this almost 4 years.

There are still shippers that strike fear into my heart. You know the type of place where everything about it is stressful?

Driving there = stressful, Checking in = stressful, navigating their tiny yard = stressful, docking = stressful.

What's crazy is that I've done it enough times to where I know the drill but I still feel cortisol when I see the dispatch.

Every now and then I'll pass a random industrial lot filled with old yellow 20' trailers. Like 40 of them just sitting there with full Yellow logos. Why are these not sold? How many years has it been?

What became of the drivers who were employed during the shutdown? Did they ever receive any recompense?

If I were to get a second small camera dedicated to being handheld and portable, are there certain brands/models that are easier to work with when cutting it against BRAW? Or is all log footage sort of the same, and only in-camera color science the real difference?

I know this is an issue with different microphones, never considered if footage was as much of an issue.