厲害!iPhone 11 HDR超強!人像模式有進化?防手震如何?【器材老實說】ft.Osmo Action

厲害!iPhone 11 HDR超強!人像模式有進化?防手震如何?【器材老實說】ft.Osmo Action


那接下來我來跟各位介紹就是人像模式的部分 那我這邊先給各位看 Google人像模式還有iPhone人像模式算的差別 色調差異先不講 iPhone 11我覺得有個缺點就是 它的人像模式要用26mm去作拍攝 然後它在拍人像的時候沒辦法作變焦的動作 這點我覺得非常可惜 因為我們在拍人像的時候通常習慣遠一點的焦段 而不是26mm 邊緣的話呢 邊緣這次的iPhone表現我是覺得有進步啦 比iPhone X或是XS還要好 我直接跟Google比 因為Google是當年算的最好的 那我覺得到這代呢 iPhone的邊緣算是可以跟Google作比較了 真的算得還可以 真的算得還不錯 第三組照片我給各位看這個點是因為 如果我要讓人是同一個大小的話呢 iPhone 11要這麼近 Pixel 2只要這麼遠就可以拍到一樣的大小 我自己會非常希望就是 Apple可以在iPhone 11人像模式的時候 可以讓我做放大的動作 那像是之前在拍iPhoneX或是XS的時候 它的人像模式都是52mm 我有時候就想要35有時候就不想要52 所以我希望在人像模式的時候還是可以做變焦的動作 這樣我在拍攝的時候會比較方便一點 那這邊要給各位看一個比較地獄的東西 因為它在人像模式的時候它可以做調光圈的動作 那它調光圈動作是假的
(我意思是不是真的有光圈葉片在動) 就是它給你光圈的概念 讓你去調它景深的模糊程度 那我給各位看這是它調1.4的情況 1.4的情況幾乎是 一張非常奇怪的照片 不存在的照片 很像切出來的照片 非常非常的假 這個我完全不行 那它可以繼續縮下去 可以縮F2阿 2.8 4 5.6 … 這樣 因為畢竟它不能放大 所以你在用iPhone 11拍人像模式的時候 如果你想調它的光圈值的話 我建議就是開在F4以下 你的畫面會比較自然 因為畢竟它只有26mm 不是52mm 所以它如果開光圈太大算下去的話 畫面會非常非常奇怪 那這張照片我給各位看就是因為 這次的抗耀光非常的差 可是抗耀光差的時候有時候就有些優點就是 像拍人像的時候 如果抗耀光差的時候 你就很容易產生出有耀光的照片 會讓這張照片有一種更為夢幻的感覺 其實嚴格說起來抗耀光是要越好才對 雖然有時候抗耀光不好你會拍出更夢幻的照片 那大家通常還是比較喜歡抗耀光好的鏡頭 不過就是各有所好啦 那HDR這邊我直接給各位做比較 這是iPhone 11直接的HDR下去 我個人這邊給各位建議就是 你iPhone的話不要去開啟手動HDR 它的自動HDR表現比手動HDR還要好 我實測起來 大家可以看到這張照片 它保留了天空的細節然後又把暗部拉起來 那我用Google的時候呢 我給它開HDR+ 會沒辦法達到這樣子的(iPhone 11)動態範圍 我覺得在HDR的部分iPhone算是贏的這樣 像這張我們可以很明顯的看到 它HDR表現非常的自然 非常的好看 不管在超廣角還是普通鏡頭上 它的HDR表現都是一樣好的 像這個它可以把天空保留成這樣 然後人也拉得起來 這連Nikon的RAW檔的做不到 Nikon的RAW檔就是這次我們一起來拍的Basir有做拍攝 那個RAW檔它的天空 如果人是清楚的話 天空基本上是救不回來的 所以大家可以知道就是 iPhone到底救了多少的動態範圍 那接下來我給各位看錄影的表現 那這邊的表現呢主要是著重在防手震的部分 iPhone 11跟iPhone X這兩個的防手震的表現 還會給各位看就是 iPhone 11跟Pixel 2 那接下來給各位看就是 iPhone 11的超廣角PK Osmo Action 直接走路 我們可以非常明顯的看到 Action是完勝iPhone 11的 畢竟Action的電子防手震就是很強 iPhone 11會輸是正常的啦 但是還是滿有趣的啦 給大家看看這個評測 它不是發表會有去跟各位宣導就是 它可以錄影的時候變焦 然後非常非常順暢 那我在做變焦的時候發現真的超順的 我從超廣角變到1倍到1.5倍都很順
(2倍是口誤抱歉) 我後來發現阿 iPhone 11的話 它不會作換鏡頭的動作喔 所以iPhone 11錄影的變焦它是不會切鏡頭的 11 pro會然後11 不會 那這邊有一個影片我給各位看就是 我們很明顯的就是從 從0.5拉到1在拉到1.5的時候呢
(2是口誤抱歉XD) 它並沒有換鏡頭的動作 那我們這邊把普通鏡頭直接遮住的話 我們在作放大的動作 可以明顯德看到它不會有切鏡頭的動作 我原本以為是光線很充足它就不會切鏡頭 結果不是 它在光線很暗的地方它也不會作切鏡頭的動作 你開0.5的話它就是用超廣角鏡頭去作放大
(而且畫質不太優) 那你開1倍的話呢它就是用1倍的鏡頭去作放大 你在錄影的中途你也沒辦法推到0.5的部分 那這點算是它的缺點 那11pro的話可以 iPhone 11的話不行 那這點我覺得還滿奇怪的 那我其實也滿推薦大家去作購買 因為畢竟它是一台CP值最高的iPhone麻 那喜歡iOS的玩家呢 我覺得你不用猶豫了 iPhone 11算是攝影表現真的是OK的一台手機 好 那這次的評測就到這裡了 那喜歡我的頻道歡迎訂閱分享以及打開小鈴鐺 我是興趣使然的攝影師Enzo 謝謝各位 ㄅㄅ

Film Photography – A visual review of Kodak Porta 400

Film Photography – A visual review of Kodak Porta 400


Un análisis visual Un análisis visual (No profesional) Escaneo en TIFF —————————————Edición final Espero que hayas disfrutado ¿Cuál es tu foto favorita? ¿Cuál es tu foto favorita? (Déjame tu opinión en los comentarios) Y sígueme en Instagram

20 How To Choose An Affordable Display For Your Tethered Photography Workflow

20 How To Choose An Affordable Display For Your Tethered Photography Workflow


(serene techno music) – Welcome to the monitor
or display section of this tutorial. We wanted to show you
some additional options if you want to a little bit further from your MacBook Pro or your laptop, to provide an additional monitor in your work flow setup. There are a lot of options out there, it can be overwhelming with all of the features that all of them have. The different types of screens, the different types of qualities, and the price point can
vary quite drastically. So in this part we’re gonna start on the lower end and we’re gonna cover something that is provided by Acer. So introducing our resident expert, Sinh Troung. Would you consider yourself an expert in the display category? – Of course, of course. – Of course. So he is going to be explaining a lot of the features that you wanna consider when purchasing a display, and what that’s gonna do for you on set. So, you went out and got
these two as an example of something that’s on the lower end. So let’s start with this one and kinda tell me, tell me about this one. – Sure. Just to be clear, Acer is not a bad brand these just happen to be some of the cheapest displays that we’re able to find. So on the right here we have, their both like around $100. This one’s a 23″ IPS, and then this is a 23″. It’s a newer, TN. And they’re both around $100. – So you said “IPS”. What is IPS? – In-plane switching. So it’s a type of technology. It’s basically the panel technology. So all monitors they have a panel, and that’s the screen that you look at. IPS is something that is preferred by most professionals. It has some inherent qualities that benefit photo editing. Where as TN has also great panels and they do make great TN panels as well, but it’s different strokes
for different folks. So if you game this may be the route that you take. If you do mostly photo
editing or video editing this could be the better option. – So correct me if I’m wrong but In-plane switching or IPS, is really a way to consider a monitor that you can see it from about 178 degrees from all the way around? – Yeah, it has better view angles so the colors do not shift when you go off axis. Where as a TN panel, there’s a sweet spot. So you kinda have to
look at from straight on. A lot of tvs are TN panels or MVA panels. So when you go off axis of an LED or LCD tv, you notice that it starts to fade. The colors aren’t as vibrant. – So that is actually a big thing to consider IPS. When you consider having a team of people looking at a monitor, obviously everyone can’t be 90 degrees on to that monitor. You’re gonna have a team of people trying to get their head in looking at that monitor, looking at their work. Whether that’s hair and makeup or a design team, or the creative agency, or client. So IPS is something you
really want to make sure your monitor has, when you pick one up. – Yeah, and luckily IPS technology has basically taken over as the preferred choice of displays. If you go to the store, most of the displays that
you see on the shelves are actually IPS displays. And they reserve pretty much TN panels just for the low-end or really good gaming monitors. So, most of what you’ll find are actually these guys. But not all IPS are created equal so that’s also important to know. – So what are some of the other features? We talked a little bit
about the screen itself. What about resolution? What about ports? What about how you connect it? These are the same price monitors and you also lose and gain something. So for example, even though this is an IPS display it doesn’t have an HDMI port. It only has a VGA and DVI port. So, you’re limited on connections here. – That’s like your grandma’s ports. Those are the two ports you’ll find on your grandma’s tv when you go to Nana’s house. – What’s actually funny is we try to find a DVI cable in the office but we couldn’t find it, so we actually can’t
hook this one up today. – Yeah. So there’s only two ports on there, so a lot of the newer monitors, especially like Apple monitors, those are gonna have the miniDV ports or the Thunderbolt ports. – Yeah, DisplayPort and HDMI are the main input and for Apple it’s Thunderbolt but it converts to like a DisplayPort for video connection. – So one thing to consider if you have, this is the 15″ MacBook Pro, this actually has an
HDMI port built in to it. Some of the computers
that you’ll get from Apple and also PCs might not have an HDMI port. So if you want to free up some of your Thunderbolt ports on your computer itself, let’s say you only have one and that has to go to a display, well then you can’t hook
up your external hard drive to that computer itself. So you’re actually going to be losing out quite a bit depending on
how many ports you have on the side of your computer, and also how many dongles that you want hanging off your computer if you need to go to
something like VGA or DVI. – Yeah, yeah. Fortunately though, DisplayPort is the new port that everybody is using, and actually on this computer you have the HDMI but that Thunderbolt could be adapted to work with just about any display. – And that’s actually going away. Now Apple’s gotten into the USB-C. So there’s only one port and it’s serious Dongle City. – Yeah, it’s pretty serious Dongle City but USB-C is very similar, it’s identical to the
Thunderbolt in the way you could hook up multiple displays. So the new MacBook Pro with the touchbar has four ports. You can use any of those four ports to convert and plug into a display. – So what is the resolution
of these two monitors? – They’re both Full HD, so 920×1080. So the same resolution. Some of the features that you’ll see here so I’ll show you. This one has a VESA mount right here. I think this is VESA 100. So you could attach it to an arm or you could attach it
to a different stand. – Right. We actually have, this is also made by Tether Tools itself. You can now really quickly right out of the box mount this, get rid of the stand itself, and if you want to create
an additional height to your digital workstation, which we’re actually
gonna show you later on in this tutorial with Clake Cook. It’s very to take something like this, lift it up off a table, and now you’re working in a mobile station with both your laptop, and also an additional monitor. So you can have like your Color palette on your laptop itself, and then a preview on
the display port on top or display up top. Then this one. – This one doesn’t. – This one doesn’t have it. – You’re limited to just the stand that it comes with. – So you’re not gonna be able to mount. So another thing to consider is, “Can I mount this? “Should I not want to put
it on the stand itself?” – There’s another huge difference between the two. You wanna turn that one around so we can show them? Other way. Alright. So the big difference obviously is the screen texture. So this is glossy, notice it’s very reflective. And this is, matte. Fortunately again, just about all the new displays are matte and if they’re not matte, they’re semi-gloss. Nothing is really as glossy as this. – Except Apple computers they’re all real glossy. – Except Apple computers, yeah. – Apple, what did you do to us? You used to make a matte screen. Remember the 30″ Apple display, we still use those here in the studio. – Cinema displays, yeah. – Cinema displays. They’re great. So, from here if this is something that maybe you have a little bit more budget where would we go from here? – Well, you could stay with the IPS you could actually get a decent one, Full HD, just a little bit more money. – What’s Full HD? – So same resolution as this, maybe bigger size and more ports, for a little bit more money. – How important is it so now that my files are 50 megapixels and they’re huge, should I really consider wanting to put that
preview on a 1080 display? Do I want to retouch on a 1080 display? – That’s a tough question, cause it really all boils down to personal preference, your budget, of course. And just know one thing is, your camera is always
gonna have more pixels than your display. Unless you’re shooting an old digital camera. For example, Full HD is 2 megapixels. There’s 2 million pixels on this screen. Most cameras are what? Like 24 megapixels? A 4K display is 8 million pixels. So you’re never going to be able to display, natively, what your camera outputs. That’s just how it works. – Seems to me though
that the kind of standard is at least a 2K display, right? – This is 2K. – Well if you consider 920×1080. – Yeah. – If you’re considering
that part of 2k display by the marketers. – Like 4K. – 4K, 2K, 2.7K. How many “K”s are there? – The most popular resolutions right now that you could buy are obviously Full HD. Then there’s QHD which is like 2560×1440, like the Thunderbolt displays from Apple. Or 2560×1600 which is a 16:10 ratio. Those are really popular, those are great displays, great resolutions. And then you go up to 4K which is 3840×2160 or something rather. – That’s the 2K display I’m talking about. That’s length and width. The width is what I’m talking about. – Then you got 5K and
there’s gonna be 6K displays. So the resolutions are getting wild. – It’s getting wild folks. – It’s also like, you can’t just plug in a 4K display and work for a lot of people out there. You have to make sure that your hardware is compatible. For example, 4K, requires certain output. So you have to have DisplayPort 1.2 or HDMI 2.0. – What about your graphics card? How important is your graphics card in your computer to support clear display? – Graphics card is incredible important because when you’re running
high resolution displays in order for you to run efficiently you need a lot of video RAM. Which is why so many computers now have like 4GB of video RAM, or 8GB, or more than that. Professional workstations, the sky’s the limit as far as what those graphics cards
will have in memory. – A lot of Apple computers
come standard with 2GB and you can’t upgrade it to 4GB. – Yeah, and it’s not that
you can’t upgrade it. – You have to upgrade it when you buy it. – Yeah. You have to buy it with that spec, and just because it’s capable of displaying to a 4K display, doesn’t mean that it will do it well. So a lot of machines, yeah you can hook up a 4K display to it, but how well will it work? Will your computer be able to keep up with that 4K? Cause it has to pump out, for a lot of displays they’re 60Hz, so it has to keep up
with what you’re doing at 60 frames per second. It requires a lot of power to do that. Probably a little bit
more with PCs than Mac. Just because Apple has really good scaling and a lot of times, for example, the 5K iMac. Even though that screen is a 5K screen, most of the time it’s
actually running on QHD, it’s scaling most of the time. So they kinda cheat that way. So that way you get the most out of the internal graphics. – So it’s actually not 5K sometimes. – Sometimes, sometimes. – Like web? When is it not 5K? – Yeah, if you have a regular laptop and you’re trying to run a 4K display, unless you’re doing just
spreadsheets on the web, that’s okay. If you gonna plan on doing video editing, or if you’re planning to do photoshop where it’s really straining your computer, where you’re moving the canvas around, you’re gonna notice maybe some tearing. – Tearing? – Tearing, yeah. – What’s tearing? That sounds scary. – Where the image on your screen basically breaks apart. A lot of the times it’s
because your hardware isn’t capable of keeping
up with your display. – So there’s a lot to consider here. If this isn’t confusing, and we know that it is
a little bit confusing. I think the best thing to do is first start with your computer itself. Look at the specs of
what that will support and then start there. Next, look at the actual hardware that you’re gonna need, the hookups that you’re gonna need that go to the ports on your computer, and then make a decision on that based on your budget. I would recommend going to somewhere with a really good return policy. Maybe getting one or two to start out, testing them both, look at the colors, calibrate them, and see if there’s any tearing or any sort of lagging that you experience in testing phase, and then choose the one
that’s right for you. Okay, so to recap, I know that’s a lot of
information coming at you. But the first thing that we really want you to consider is A, start with your computer. What do you have to work with? Also think down the road. Are you going to be
upgrading anytime soon? The second step, look at the hardware of
the displays themselves and also things like the IPS, matte screen, glossy. Again, the Acers
themselves is a good brand. They make a large variety of monitors from the very low-end
to the very high-end. Some monitors are more geared towards things like spreadsheets. While some are more geared towards things like graphics. So, this might not be
a solution for everyone but this could get you started out in the tethering market if your budget doesn’t allow for it. (serene techno music)

23 Studio Shoot Introduction With Clay Cook | BTS of Shooting Tethered Photograhy

23 Studio Shoot Introduction With Clay Cook | BTS of Shooting Tethered Photograhy


(electronic music) – I’m Clay Cook, an editorial
and fashion portrait photographer based in Lowell, Kentucky. Today, we’re gonna walk
through step-by-step my workflow for tethering. Tethering is a process
that takes your image from your camera to your computer. And so, it’s a very
vital and important part of what we do on location and in the studio. Today we’ve set up a test
shoot with our model Kaylin and our hair and make-up artist Bethany and we’re gonna create a really
natural looking portrait. It’s gonna be shot on this
elephant background behind me and I’m gonna show you
step-by-step of how we tether in the studio today. Tethering is a vital asset
to how I work in the studio and so, right in front of me, I have all this tethering equipment. This is what we use in the studio and on location. I’m gonna walk through this step-by-step on how to build our tethering workstation and the tethering workstation
used in both the studio and on location. But before I build the set-up, I want to talk about why I tether. There’s a few reasons why. Number one, is a client preview. I like to have a client preview
because I work with teams. I work with hair, make-up,
stylists, art directors, creative directors, and my client. So it’s important that
I have a big preview, a big screen where all my clients and my entire team can
see what I’m shooting at the same time while I’m shooting. So, it gives the entire team the ability to check their own work. So I can check my composition, the hairstylist can check the hair, the make-up artist can check the make-up, so on and so forth. So, it’s a collaboration. Everything we do is with a team. So this tethering workflow
gives us the ability to collaborate and make sure that we have the greatest image possible. Another important facet
for having that preview on a big screen, is that my client is
standing there making sure that this photograph is within
those creative parameters that they first set out. So we wanna make sure that this photograph is something they initially envisioned. And that’s a very important
aspect of shooting tethered and why I shoot tethered. Also, you don’t want a
bunch of these people, your creative team, to be huddled around you staring into a 3.5 inch LCD screen on
the back of your camera. It can get very crowded, very hectic, and it’s just a very annoying process. So by having this tethering workstation, you can provide a nice, comfortable and creative environment for
your team and your client. The second and most
important facet of tethering and why I tether, is that it really slows me down. I think if you shoot with just a camera and you’re spraying and
praying all over the place, you’re gonna be shooting a
significant amount of images and it’s not nearly as precise
as if you were tethered to a laptop with a slowed down workflow and collaborating with a team. So obviously shooting
untethered without a cable is gonna allow some freedom. It’s gonna allow you to move around a lot and, you know, shoot all sorts
of different compositions. But the problem with that
is that you’re gonna shoot a significant amount more imagery. But when you’re tethered to a laptop, it’s gonna slow down that workflow. You’re gonna shoot less, which is gonna really
speed up your workflow and post so that you can
go through these images a lot more and they’re a lot more precise. They’re a lot more exact
to what that vision is so you don’t have to go
through all these random images of something that’s experimental. It’s a much more precise process. Also, when I shoot tethered, I’m using a program called Capture One Pro and that software allows
me to apply a color grade that’s gonna be very
close to the final vision and that’s something
my clients love to see. They love to see something that’s closer to that final product and so Capture One allows
me to apply a color grade which is gonna automatically
apply to every single image that I shoot that flows through
this tethering workstation. Another reason why I love
tethering is ’cause you don’t have to rely on one
single source of memory, a memory card. Instead, you’re backing up to a laptop, which is backing up to an
additional external hard drive. So you’re gonna keep your files organized, you’re gonna make sure
that you have a backup of all these files that
you’re importing as you shoot. And so, with Capture One
Pro, you can name these files and you’re gonna keep your files organized to go to any additional
software such as Lightroom, if you want, or you can go
ahead and start the post process with Capture One on site or on location. So that’s why I tether. So now I’m going to take
you step-by-step through all this equipment and how we build
this tethering workstation in the studio.

Photoshop 101 For Photographers | An Essentials Tutorial To Adobe Photoshop

Photoshop 101 For Photographers | An Essentials Tutorial To Adobe Photoshop


(smooth music) – My name is Pratik Naik, and I am an editorial and commercial retoucher. So, the type of work that I usually do is stuff like commercial projects, like advertising billboards, brands, editorials, fashion magazines. The reason why I worked on this
Photoshop For Photographers is at the moment, there’s nothing really out there that encompasses
what photographers wanna learn in a 101 Photoshop course. We wanted to make a tutorial
for the Photoshop beginners, something someone new to the software could pick up and learn. But in doing so, we
found that this content is valuable for experienced users as well. Understanding the
fundamentals of this program is something every user can benefit from. We were really intentional
with what we kept in this tutorial because
everything included is what you need as a photographer. With this tutorial, I actually made everything easy to understand. From the hardest principles and concepts, like the pen tool, to the
simplest things, like the layers, everything becomes easy to follow. The reason why this course is better than anything else you can get online because it has everything there for you from start to finish. There’s no hunting or seeking. You don’t have to go through and look up tutorials and
mine for specific tools, everything is there in categories for you. And because it’s in video,
if you ever forget something, you can always come back
and look at it again. This tutorial is for every
photographer out there. I feel like if you understand
the fundamentals of Photoshop, you can really take your
business to the next level. It’s easier to learn Photoshop today than it was ten years ago
because you have people, like me, who went
through the grind to find all this information, put it in a package, and allow students to learn in a way that becomes really sufficient. The fundamentals are really
important for photographers because you can learn a lot of techniques when it comes to Photoshop, but you need to understand the core basics in order to think outside the box. Because if you think about it, the people how are making amazing images already have a great
understanding of the fundamentals. Without understanding how Photoshop works, you can’t develop your own style. Even if you don’t intend
on being a photographer and you wanna get into retouching, this would be the first step
in order to master Photoshop. There’s over 20 sections in this tutorial, making it very easy for people to take it at their own pace. It doesn’t have to be frustrating anymore. I’ve taken the last 15 years of knowledge and put it together into one tutorial. The concepts are the core
of what this program does. The principles never change. With this tutorial, knowledge of Photoshop and its fundamentals
will finally allow you to take full advantage of the software and make the most of your images. (smooth music) This tutorial is available at RGGEDU.com.

17 Software Troubleshooting In Tethered Photography Workflow

17 Software Troubleshooting In Tethered Photography Workflow


(calming music) – Okay, now we’ll cover some
software troubleshooting. The keep it simple, stupid, still applies. Sometimes you just need
to restart the program, sometimes you need to
restart the computer, sometimes you restart
the computer, not because it needs restarting but
because you’ve got Google and, Chrome, you got Chrome running
and you’ve got Safari running and it’s chewing your processor. Activity Monitor is a
fantastic application that’s built into the
Mac OS to look, to see where’s my processor, why it’s humming, I’m not doing anything. Oh, look at that, all
these things are open, I didn’t know that they were open, so let’s go ahead and, you
know, quit out the applications that we’re not using
because it has nothing to do with our shoot. That’s, you know, that’s foundational. So a fresh start on the computer,
running only Capture One, that’s a good start. Once you’re in Capture One,
if you go to Preferences and you go into General,
which is the first tab, sometimes depending on
the build of your machine, OpenCL, which is the
graphics acceleration, can be a problem if it’s,
if the graphics card in your machine actually isn’t
supported by Capture One. So it’s good to switch
these Display and Processing to Never, if you’re running into problems. Processing only has to do
with output processing. So, if you are trying to
output and it’s stalling, you don’t understand why, set that to Never, then
restart, you gotta restart the, you gotta restart
Capture One in order for that to take effect. Then, when you start
again, that batch might just start moving just fine. The other thing to look at
is under the Capture tab, whether your camera is connected, whether it’s been checked
that it can connect. Depending on whose computer you’re using, if you’re teching for
somebody and they’re using a different camera than they usually have, they might not have Nikon
and Sony even turned on in their Preferences. So you gotta make sure that
the camera can even connect by checking those boxes. Now, in Capture One 8, if you are looking at an older version, Capture One 8 was using the Canon SDK,
the development kit, so Phase One didn’t create
the math for interpreting the camera, it was delivered by Canon. That has changed in Capture One 9.2. Now it’s fully controlled by Capture, by Phase One, there’s no over, there was a problem in 8,
especially when the 5D, when the 5DS came out
and, if you are running Capture One 8.3.4, the most
recent version should be good. You had to click only the Canon box and de-check everything
else because there was a problem with the Canon
SDK not playing nicely with having other cameras enabled. That’s something that you could look for. In Capture One 9, it’s not a problem. So, if you’re having problems connecting, if you’re having problems tethering, try checking everything
off, except for the camera that you are connecting with. That will keep things simple. Especially when you’re
prepping for a shoot, you don’t wanna be an early adopter of new firmware, an
adopter of new software, an adopter of a new operating system, that little tab that pops
up, that window that pops up, and says “Hey just upgrade to El Cap”, you might not wanna do that
right before your shoot. If you’re gonna do that,
it’s safe to, you know, best practice is to clone
your entire hard drive to a secondary drive so
you’ve got an entire back-up of exactly the way that
operating system was set up. And then go ahead and
install that new one, if it’s not working right,
you got that other version that you can, if you copy it
right, if you use a program like Carbon Copy Cloner or SuperDuper!, you get everything copied
across to that drive, you can boot from it, you
can use it in a pinch. Now, if you’re tethering,
then we know that causes another layer of potential
problem, if you’re trying to have your operating system
run off an external drive and you’re trying to tether
through that same connection, so, you know, careful with that. So, be a slow adopter, we test the software versions, we test the software versions in the different OS versions
at Capture Integration, that’s what we do, we
have a link on our website that people can check in
on to say have we blessed this software yet, have we
said that this was tested and confirmed this firmware is working. You know, because there’s only
so much that the developers can do to test it when they
don’t have as many set-ups as there are in the world of
shooters, using their equipment in the ways that they use it. So, we test it and then when we bless it, it’s still with the caveat
that should be good, we’ve tested it on,
you know, myriad backs, we’ve tested it on myriad situations but there’s still that asterisk,
there could be a problem. Have a back-up, have that
previous version ready to go so if you’re on a shoot day and things are acting squirrelly, you can
go back to what was working the last time and you’re
back up and running. Okay, so your operational
check-list when you’re, when you’re encountering problem, first, quit Capture One, relaunch. If that doesn’t solve it
right away, like right away, then restart the computer,
take that, you know, that, with a solid state
drive, restarting a computer isn’t what, you know, it used to be, they fire up really fast, really easy. To quit the applications
you’ve got running, restart the machine, that
way, when it restarts, you’re not relaunching
all of those applications that aren’t serving you right
now, you’re here to tether so let’s just open up Capture One and that be the only thing. So, first off, shut down those programs, restart the computer, just
have Capture One going, and see if you have success. At that point, then you start
stepping through the other, the other things, the
going into the Preferences, making sure your camera is selected, making sure Activity Monitor isn’t showing that there’s something
running in the background that you might have some malware or something going on that way. It’s always good to have some
kind of a drive utility tool that makes sure that
you’re, like a DiscWarrior, something that’s keeping the
catalog file organized along, that tracks all the rest of your files. It can be a hairy place
when you’ve got seven shoots on your computer and
there’s a lot of files. Corruption can start happening
and you don’t even notice it. There’s good, pro-active things
to do to keep your computer in fine, running shape when
this is your primary way of getting your, you know,
your very important shoot into a reliable hard
drive through the layers of software, firmware,
and operating system. That raps up software troubleshooting. Next, we’re gonna move into
setting up Capture Pilot. (calming music)

Dixie Dixon Interview | PRO EDU in Brazil

Dixie Dixon Interview | PRO EDU in Brazil


(slow moody electronic awesome music) – So Dixie, we now come to one of my favorite parts of any tutorial, and that’s where we get to sit
down and talk a little bit, get to learn a little bit about your life so our viewers kinda know a
little bit more about you. ‘Cause frankly, we’ve had a
great time over this last week. – [Dixie] Yes. – We’ve made a ton of images, and traveled a long way together. (laughing) Everybody was living in a house, so you really definitely
get to know somebody. – Yes, it was a blast. – It has been a blast right?
– Total blast. – It’s been a blast. – I’m really grateful
for this opportunity. – [Interviewer] Good.
– Yeah. – Good, I can’t wait to see
all the images you made, ’cause when we’re
sitting here calling ’em, they’re looking fantastic,
– Oh good. – and I can’t wait to see what happens with Pratik on the retouching, and it’s some nice work in there. – Thank you. – You’re welcome. So, let’s have a little toast. – Awesome. – To an amazing week in Brazil, right? – Yay, absolutely. – So, let’s kinda back up a bit, and talk about your whole
life story, like how, your growing up and how
you got into photography. So let’s start from the beginning. – Okay. – Growing up as a kid,
you grew up in Texas. – Yeah, so I grew up in Houston, Texas. – [Interviewer] Yeah. – And, I was in every single
kind of different club. I was in band, I was in soccer. I’m definitely a band nerd,
played the saxa-ma-phone. – I know, we both did,
which is totally cool. – Yes, that is really cool. – Both soccer players,
both saxophone players. – Both studied abroad in London. – I know, went to the same school. – That’s crazy. – Which is amazing we found that out. – Yeah. – Alright, so you grew
up, starting soccer, let’s go back to that,
’cause that’s actually a pivotal point in your life, ’cause something happened
on that soccer field. – Mmhmm. – With a big name change.
– Yes. – Let’s talk about that. – So there were four Lindsays or five Lindsays on the soccer team. – Right.
– And– – Which, that’s your real name, Lindsay. – Yes, my real name’s Lindsay so, it was tricky calling
people on and off the field, so my best friend Courtney ended up nicknaming me Pixie Dixie at the time. (laughing) – Right. Pixie kinda fits. (laughing) – Eh, Pixie’s really cheesy, but, Dixie ended up sticking, so, that just, and people said that sorta
suited me better so– – [Interviewer] Yeah, Dixie makes sense. – Yeah, so I just went with Dixie. – So you became Dixie Dixon.
– Yes. – Right there on the soccer field. – Mmhmm – And it has really and
truly become your name. – It has. – Which is awesome. – Yeah. – It’s a great name, by the way. – Thank you. – Love it, it’s very cool. So did you stay in Houston the
whole time or when did you? – I did. I, and then I was um, so I
really hated marching band, so our band director was
really mean and he made me cry. – [Interviewer] Why? – ‘Cause I had a really hard time marching and playing the saxophone
at the same time. I could play really
well, I was first chair, but you add marching to the equation and I was just running into tubas and. (laughter) Just, was a bad, it was
a really bad (laughing). – I’m trying to picture you
running into a tuba, I like it. – Yep, that was brutal. – That’s funny. – So I quit band and I never quit things. Like once I do things, I go for it. – You’re committed. – I commit it. So, that was a huge deal
for me to stop doing band. I joined the yearbook
staff ’cause that was the only way to get out of doing marching and still be in the band. So I ended up joining yearbook staff and then I ended up falling in love, I had to take all these dark room classes to be in yearbook so I
spent my whole summer taking photography classes
to get into yearbook staff. And that ended up being my passion. So thanks to that band director that yelled at me on the field and made my cry. – Thanks to being clumsy
and running into tubas. – (Laughing) That too. Realizing what you are not good at. – That’s funny. – Yes. So my image ended up making the cover of the yearbook and so that’s. – What was the image? – It was an image, actually,
it’s kind of funny, it was a, it looked very candid. It was a picture of
two of the cheerleaders cheering at the game but
it was actually a game that they were losing and I
talked to all the cheerleaders. I said, “Okay I want you
guys to go out there, “I’m gonna make a really
cool picture of y’all. “Go out there and scream like you are “just kicking butt out there.” – Right, so you were
directing at an early age. – I directed it already, so I don’t know. Probably people don’t know that at the high school that
that was totally staged. But that’s okay. – I imagine this was a big high school. This is Houston. – Yes, 4,000. – 4,000 whew. So 1,000 in your class? – Yes. – That’s a lot of kids. – It was a lot of kids. – So there were a lot of photographers, you weren’t the only one? – Yeah, yeah. Their yearbook staff was quite a lot. – Cool. And then off to TCU. – Yeah, off to TCU. Majored in business, entrepreneurship. I went to TCU because they
were one of the first schools that had an entrepreneurship program. So I majored in business
and minored in art. – [Interviewer] Right on. – Yeah. I would have loved to majored
in photography but I realized I need to figure out the
business side of things. – You know what, I think
that’s a lot smarter. ‘Cause truthfully, there are a lot of great photographers that never make it because they can’t run a business. And if you can’t run a business, you’re not gonna be here in
five years, ten years, 20 years. So that’s a really
important skill to have. – Yeah and if you’re not good at business, you can always hire people or start working with people
that are good at business to maybe you guys can collaborate. – [Interviewer] Yeah, absolutely. – Yeah, so if you
weren’t a business major, it’s good to get to know,
maybe go to business classes just to learn the side of it and then work with people who are good at business. – Right. – Yeah, so there’s always a way. – Right, exactly. And how long were you in London? – I was in London for three months. – Okay so you did a semester abroad? – Yes. – That’s so crazy we
actually did the same school. – Yes! That is so weird. I Googled fashion photography study abroad and there was only one program and it was through Syracuse. – [Interviewer] Really? – Yeah. – Oh that’s cool. – They had the only program and I was the only Southerner in the program. It was all Northerners so they, I had a bigger accent then. – [Interviewer] Yeah, a little thicker. – So they got a kick out of that. – More y’alls back then? – Yes. – Right on. And they definitely didn’t have that program when I was there. – Huh? Interesting. – In fact, my favorite class though was London The History Through Architecture. Which was amazing.
– That’s cool. – ‘Cause we would just cruise
around the entire city. – Right? It’s beautiful. – Yeah, London is an amazing place. – Stunning city. – Amazing place. – [Dixie] Yeah. – So you come back, you
graduate then from TCU. What happens now, where are you off too? – So I was assisting a wedding
photographer at the time, all throughout college
and I ended up telling him that I needed to focus
on building my portfolio. I wasn’t passionate about weddings so I started doing test
shoots on the weekend, shooting portraits, paid portraits. All throughout my senior year I pretty much started my business. – You started your photo
business senior year in college? – [Dixie] Mmhmm, yes. – Wow, that’s pretty progressive. – [Dixie] Yeah. – People don’t really do that. – Yeah. I’ve always, I just
knew what I wanted to do and I was like, I was
just gonna go for it. – [Interviewer] Right on. – Yeah. – So what were your
first test shoots like? What were you doing initially? – I was just putting my
friends in my clothes and taking pictures of them. (laughs) No, I was putting friends
in cool, fashion-y looks. ‘Cause after I got back from London I saw the importance of
hair, makeup, wardrobe and I didn’t necessarily have
the models to work with yet. But it was great ’cause I got
to use my friends as practice. So I would set up concepts and shoot for little local magazines like, Parker County Today
magazine was my first cover. – Nice. Parker County Today? – Parker County Today. – Is that in Houston or Dallas? – It’s in Weatherford, Texas. – Weatherford, Texas. Where’s Weatherford? – Weatherford is about an
hour outside Fort Worth. – Alright. – Yeah and it was kind of
funny because the models wore, you know I did the styling,
hair and makeup and photography. (laughter) – [Interviewer] That’s a lot of work. – They had nothing, they didn’t have crew and I didn’t have an assistant. So, we got boots from this country store and they had leather soles
and the models walked around, they were just a bunch of college friends, they walked around on gravel. – [Interviewer] Destroyed the boots. – Destroyed the boots so I
ended up getting paid in boots. ‘Cause I destroyed the boots. – I hope they were your size. – No, they were men’s nines. (laughs) – So you couldn’t even do it anyway, you couldn’t wear em’ yourself. – Nope. But my ex-boyfriend has those now. (laughter) So, anyways. – It was a benefit for him I guess. – Yeah, they’re cool. – So what do you think was your first real break in photography? When you’re starting to
put your book together and you’re shooting friends, and you’re getting away from the wedding photographer that you worked with. What’s the first big break for you? – My first real big break, I mean, I would say it’s a bunch of baby steps. I ended up working with
people on Model Mayhem and I ended up shooting an
agency model on Model Mayehem and the agency liked the pictures. And so I ended up shooting
a bunch of their new faces. A lot of people don’t
know that you can actually go into an agency and ask if
you can shoot their new faces and if they like their work,
you can shoot em’ for free. – It’s a great proving
ground for photographers as well as the new faces. – Yes, exactly. – ‘Cause, everybody needs to get seasoned. And that’s a prime place to do it. – Exactly. – How long did you do that? – A couple years. – A couple years. – Yeah, just building a portfolio. – And that’s where you feel
like you really got your chops. – Mmhmm. And at the time, I mean
I had to figure out how to also make a living. So I was shooting weddings,
portraits, product. And I tried to do high end
portraits so I could charge more. So I would have them, send
them to the MAC makeup counter, get their makeup done
and I would help them style their wardrobe so I could sort of make it a higher price point than just your normal portraits. – [Interviewer] Did that work? – It did work, yeah. So I was charging like $1500
for a portrait session. – That’s good. – Yeah, so making decent
money to pay the bills so I could build my fashion portfolio. (laughter) – I think it’s interesting that you say it took a little bit of time to build this ’cause I feel like your career has been, it’s been a meteor ride, it’s been fast I think in many ways. You are a Nikon Ambassador
and I have to imagine you’re the youngest Nikon Ambassador. How did that whole
relationship come about? How did they notice you? – Yeah absolutely. I always had this goal since I graduated to work with Nikon ’cause I’ve been such a avid Nikon shooter my entire life. ‘Cause my dad gave me
my first Nikon camera and it’s just stuck ever since. So I, during college, I had a
great business teacher tell me that if you’re interested in
working in a certain industry, join a trade organization
associated with that industry. – Smart advice. – Yeah, so I went home, Googled photography trade organization, and there was a few that popped up, ASMP, APA, WPPI, PPI. So I joined all of the student versions and sort of, would get their emails, and one day I got an email
about a contest for WPPI. It was for emerging
photographers in college and so, of course I’m a procrastinator, I put together everything
and I FedEx’d overnighted, the portfolio for that
contest, it got there. And a couple months go
by and I got a call from the president of WPPI
and I won that contest. – [Interviewer] Awesome. – So that was cool. – [Interviewer] What was the image or what was the set of images? – It was a portfolio
of images that I shot, like personal work I shot during college. – [Interviewer] Oh right on. – Yeah, so, the presentation
I think was a big part of it. I had it put together really well in a nice portfolio and
resume and everything. So I ended up winning that
and that sort of allowed me, winning that contest enabled
me to go to WPPI for free. So they flew me out to Vegas and attended this whole trade organization and get to see other, these
amazing photographers speak about photography and
business and all these things and I also got to know all of
the people in the industry. Like the president of
Rangefinder magazine, who actually fast forward three years, he introduced me to the
marketing director at Nikon. So that was a really cool connection. The guy at Nikon said, “You
know we don’t really do “sponsorships or anything but
I’ll critique your portfolio.” So I said, “Absolutely!” – Wow that’s cool, yeah. – You know, so, I was just super excited to meet someone who worked for Nikon. – Did you ask him for a sponsorship or did that just come
out of a conversation? – No, no, he just kind of– – He just said, “Hey we
don’t really do this, “but I would love to take
a look at your work.” – Yes. – Wow, cool. – Yeah, he immediately said that actually. I was like, “That’s fine, I’m not like, “working, you know I’m not going for that, “I just would love to hear your opinion “since you work for this camera company “as a marketing director.” So I brought my book back the next day and we sat in the lounge at Nikon and he sort of looked through
my work and he sort of saying, “Oh my gosh, so you shot these images?” And I said, “Yeah, yeah
I shot these images.” He’s like, “Well keep me updated.” He was really curious and so I kept him updated through email
every two or three weeks for about a year and eventually, they hired me to shoot for one of their consumer level cameras, the Nikon S1. – [Interviewer] Oh cool, right. – So they gave me a
budget to go out and shoot for this camera for their ad images. And then they ended up
hiring me to speak about that at their booth at the
different trade shows. So that’s how it all started. – That’s cool. – Yeah. – So did you feel like you
were pestering him at all when you keep, ’cause you sent him images on a regular basis, which he asked for it. – Yes, he asked for it. – Which is cool. – He asked. Had he not asked, I don’t
know if I would have. – Right. – ‘Cause you don’t want to pester people. – [Interviewer] No you don’t. – I would just say in an email, “Hey just keeping you
updated on my new work. “Here’s this shot with this camera.” – [Interviewer] Wow that’s so cool. – Yeah. – What was the first campaign? – The Nikon 1J3. – What was the subject matter,
like who did you shoot? – Oh, yes, for the first
campaign it was all lifestyle. All lifestyle images. We shot some, there was
a lot of action shots ’cause they wanted to showcase the capabilities of the camera, that it could capture like, fast motion, like a few frames per second. This small mirror-less
camera could capture that. So we did biking, we did
skating, lots of action stuff. – So did they, effectively, they really and truly are a client. – Yes, absolutely. – And they’ll come to you
and they’ll give you a budget and say, “I want you to
feature this new camera.” And are you in charge of all the creative? – Yes. – Like you come up with everything, you know you have this dollar ammount? – Well they give me a
budget and then they give me what ethnicities, talents and
age group they’re looking for. – Okay so they give you the demographic? – Yes, they give me the demographic. They give me the number of shots. Maybe, ooh. – Spider monkey. – Sorry (laughs). They give me what they’re
looking for basically and then I go out and I
create it in my own style. – That’s so cool. – Yeah. – What a unique opportunity. – Yes, it’s very neat. – How often are you shooting for them? – Very often, actually (trails off). – Wow. – Oh my gosh. – Look how cute he is. – Oh. – Oh he wants to take it all. (laughter) He doesn’t know how. It’s okay buddy. Have as much as you want. – Oh he’s so hungry! (monkey squeaks) That’s amazing! – I know, it’s incredible. Honestly, this has been one
of the most unique trips. – This is amazing. – And unique experiences. – Oh, good job. – Wow! – Wow. That was awesome. – You know, the interview has always been one of my favorite parts of the tutorial ’cause it’s just great to
sit and talk with people. – Yeah. – Having spider monkeys come down and take melon off of– – Just takes it to another level. – Basically taking it off the set. Completely takes it to another level. Unbelievable. I know so many photographers
are really curious about the inner workings of being in a relationship with a camera company. And I’m sure a lot of
people don’t realize, in many ways, it’s not a sponsorship, but they are effectively a client. – [Dixie] Yes. – They’re actually hiring
you to feature their cameras. – [Dixie] Exactly. – So how much information
to they give you? When you know new cameras are coming out, how much do they share with you? How far in advance, ’cause I know other people are gonna want to know this. – Oh man, it is tough. – How far advance are you
getting your hands on stuff? – Well you know sometimes
I’m not working with, I’m working with gear that’s already out. Like as far as that first campaign, that camera had already been released. They needed new images for the ads. But with the D5 campaign
and the D5500 campaign, those hadn’t been released yet. So that’s actually through, when they’re releasing a new camera, that’s through Nikon Japan
and their agency K & L. So they approach me
separate from Nikon USA. – Do they get a lot of input from you, from all the ambassadors on the quality of the cameras,
what you guys want? – Yes, definitely. They have us go through meetings with the Nikon engineers,
talk about the gear and what we need as photographers
to keep it all current so they can really reach consumers and give consumers what
they’re looking for. So they’re very, I guess
the D5 was a few months before the camera released. – That’s pretty cool. – So I had to keep, you know quiet. – I’m sure you have to
sign a non-disclosure – Oh yes. – To keep everything nice and quiet. – Yes, they’re really, yes. – Sure, don’t want the competitors to know what they’re up to. – Absolutely. – That’s dangerous territory. – It is. – But it’s also a real privilege for you. – Yes, very grateful. – So obviously Nikon is
really and truly a client. Who are the other clients
that you work for? – I work, you know it’s funny ’cause I call myself a fashion
photographer but honestly, I think I’m more a commercial photographer ’cause I shoot a range. I shoot beauty, lifestyle, fashion, just anything advertising
commercial related is my passion. So I shoot for a shoe
company like Florsheim Shoes, (monkey squeaks) beauty companies like Macadamia Oil, which is a hair oil at Brovage, a pharmaceutical company called Oltherapy. – Wow somebody’s chattering behind me. – So cute. So I was saying Oltherapy which
is a pharmaceutical company, all kinds of different
lifestyle work, REI of India, which is Woodland Worldwide,
which is lifestyle. So really kind of a broad range. – Yeah you kind of have clients
from all over the world. I think you and I are also very
similar in our client bases in that we do very corporate direct work. A lot of photographers
are making images that they want and a lot of
photographers in this day and age are almost strictly social
media photographers. – [Dixie] Yeah that’s true. – Which can get you attention,
it can get you work, but it’s really the corporate jobs, one, that’s paying and gives
you longevity with your career. – [Dixie] Yes, absolutely. – So is that hard for you
to work with corporations and have to fit within their, ’cause I know for me personally, the images aren’t really for me. – Uh huh. – I’ve gotta nail it for the client. – Uh huh, right. – There are a lot of constraints that corporations put on you. – There are, absolutely. (monkeys chirp) Wow! That’s amazing. – There’s so much chatter. – Yes! It’s like a chorus out here. So working with corporations,
you have to be sure and capture exactly
what they’re looking for but with every shoot I try to capture my own style at the end of it. So once I’ve gotten what they want, I create something that
really inspires me at the end. – Right. Here comes that big one,
wow, look at his face. – Wow! (giggles) – So we were talking about clients and client structures
because it’s definitely different when you’re working
directly for corporations. You have to understand
the brand messaging. You have to understand
exactly what the clients want. – Exactly, yes. – With lifestyle imagery, how much freedom are they giving you to create the mood and still hit the mark? – You know it’s, with clients you really have to go with what their vision is but I try to bring my own flavor to it. – Right. – If that makes sense. So I’ll capture exactly
what they’re looking for and then I put my own spin on it ’cause ultimately, clients
are hiring me for your vision. – [Interviewer] Absolutely. – Not just their vision,
so they want you to put your own creative spin on it, bring something else to the table. So I try to do that in my images. – You get to travel quite a bit now. – Yes. – Where are some of the
places that you go to work? – Oh gosh, I’ve been all over. Miami, Puerto Rico,
Ibiza, Spain, Barcelona, Cannes, France, L.A., New York. – Everywhere. – Everywhere. It’s really cool about
being a photographer. – Yeah it’s a pretty remarkable career. When you hit the right beat, it’s a pretty remarkable career. – Absolutely. – We were talking earlier, you were talking about your parents. Which I know you are
really close with them. – Yes. – You’re an only? – Yes, I’m an only child. – Really tight with your folks. And your mom was pretty instrumental in helping you get your
business off the ground. – Absolutely, yes. – Tell me about her roll. What was she doing to help you and what was that relationship like to have your mother working with you? – Absolutely, she is extremely talented at branding and fashion and she was actually instrumental
in like this hat thing. I love wearing a hat when I shoot. And she was like, “You should, you know, “be unique and really express your style.” And so I started wearing hats. – It’s kind of your signature. – Kind of became a thing, yeah. – I think a monkey just grabbed an apple off the back of my chair. – I think he did! That’s amazing!
– That’s amazing. – And she uh, she did a lot of my portrait retouching, starting out. So I helped train her how to retouch ’cause I was so busy when
I was shooting weddings and there was so much volume. – [Interviewer] Really? – Yes. So she was doing a lot of my retouching. – Why did you chose to
work with your mother when she didn’t know retouching verses going to a retoucher? – Well I didn’t have a budget for a really experienced retoucher so she worked very minimally. – Cool mom! – Yeah, totally cool mom, she’s awesome. – Way to help you out, yeah, yeah. – So she was really talented at that. – Awesome, does she still work with you? – She’s great at idea
generation, really great. So we’ll collaborate on different things, with ideas and also just certain
select projects and things. So, she’s super talented. – Awesome. One of the things that you and I were talking about earlier
when we were on the set, the process of creating images. It’s completely different to work in the corporate structure where you’re creating a set of images
for a corporation. – Yes. – Verses doing them on your own. – Yes. – Creating images on your own
is hard when you’re a client. – Yes, it is. – What’s that process like for you? – Meaning when I’m creating personal work? – Yeah. – Yeah that’s really
tough, very indecisive. – Yeah. – Because you’re trying to really express your own vision and create new, interesting, unique work. – Right. – So it’s hard to make up your mind. It’s hard for me ’cause
I have so many concepts I wanna shoot, like personally, it’s hard for me to make up my mind on which one’s to shoot. So, hello. (giggles) – So quite honestly, this whole experience has been really amazing. – It has. – This has been one of
the most amazing trips I’ve ever been on in my life. – Me too. Such an incredible experience. The landscape here is just insane. The models are stunning. It’s just been such a dream. – Yeah I think this place has really had a lot to offer all of us. – Yes. – From your point of view
as the art director on this, as the image creator, what
has Brazil offered you that you couldn’t get in Dallas or in L.A. or anywhere in the states. What has this production brought to you? – Absolutely. I think just being able
to shoot so much volume of different imagery, all in a week. It would take me six months to do this amount of test shoots in one week. (laughs) You know? ‘Cause it’s a lot of production work. Figuring out the concepts,
the hair and makeup. It was almost like we
did a different shoot three times a day or twice a day. It was a really unique opportunity. – Yeah, it’s pretty incredible. I think that you are gonna have a completely new portfolio. I think that the landscape
here is so unique. – It’s beautiful. – That it’s really gonna bring something special to your images. – Yes and the models have a really international look about them. They don’t look like they’re from New York, L.A., Dallas,
they look very exotic and I mean, I would come
back here in a heartbeat to do a shoot production. – Let’s talk about the crew too ’cause we had an amazing crew. – Yes. – Oh my God, that guy,
his face was so cute. – That was awesome! – I looked down and saw this
little face stuffed with bread. (giggles) Unbelievable, I can’t wait
for my kids to do this. It’s gonna be fabulous. Let’s talk about the crew. – Yes. – Crew is so important. – Yes, it’s everything. – I mentioned you have
a pretty regular crew. I mean obviously we met Eric on this who is an amazing dude. – [Dixie] He is amazing. – He’s really your right hand. Tell me about the rest of your crew that you work with on a regular basis. – Yeah absolutely. I have an incredible producer, Nancy. She, took me a few years
to find someone that, she is just on it, I mean,
she makes things happen so quickly and like a lot of times I’ve worked with people before that, a client would ask for
something and be like, “No, we can’t do that,”
and they’d sort of, just weren’t like, I am
a can do personality. If a client wants something
and they have a budget for it, we’re gonna freaking make it happen. And Nancy has that mentality that I do to. So I love working with her
and I only surround myself with really positive, enthusiastic people. – You are one of the most positive and upbeat people I’ve ever met. – [Dixie] Thanks. – Which is great. I’m pretty much the same way. I feel very much like the
glass is always half full. – Yes, absolutely. – I would much rather go
through life that way. – Absolutely. – And you definitely bring that upbeat, positive attitude to everything. – Good! – So I think you’re surrounding yourself with people who match you in that sense. – Absolutely ’cause it took
me forever to find this crew. It took me a few years. I worked with tons of different people and some people would
bring drama to the set and I just can’t handle that. – How do you handle that? – I feel like you have
to take people aside and really talk with them about it. I had a makeup artist that was sort of belittling the models before. – Seriously? Yeah, before I was supposed to shoot them. And I was like, “Look, you can’t. “You either need to keep it positive “or we need to find a
different makeup artist.” Because that– – [Interviewer] That’s bad behavior. – Drains the model’s confidence right before I’m about to shoot them. And then I had a stylist
tell one of the models that the models weren’t
skinny enough or something. I’m like, just, I can’t. I never worked with them again. – [Interviewer] Yeah that’s bad. – I can’t do that. Gotta keep it positive and everything can be switched around to a positive. Things happen organically. – Right, like our getting washed out. – Yes, exactly. – We saw it as an opportunity
to make some changes, we fine tuned things and came back and got some amazing images. – Exactly. – I think our makeup artist was unreal. – Un, insane, unbelievable. – Amazing talent. – I was trying to say
unbelievable and insane and it came out like. (laughter) – That’s okay, it’s good to make up a word every once in a while, doesn’t mean to. – Yeah that’s okay. – Absolutely need to. – So, yeah, she was incredible. I really work hard when I travel and I’m not able to use a similar crew. I try to find people,
like I search on Facebook, Google, all these things to find the right person for the job. I don’t just let a producer handle it. I really like to be a part
of every part of production ’cause it enables me to create the images I’m looking for. – You’re big into research. – Yes. – It surprised me quite frankly. You’re really into researching. Is it a control issue for you? You feel like you gotta
control every aspect or why, where did you develop that? Did that happen in college or? – I think that’s my nature. I like to be over prepared so I can relax the day of the shoot and just be and let things happen. So the being a little bit control freak in the production stage allows me to be open to moments of serendipity
the day of the shoot. Like people walking
around with surfboards, oh we can use that surfboard. You know, not being so freaking out that, I’m relaxed ’cause I know the
production’s put together. – I think you surround yourself with good people too that are looking out, like Eric is looking out for your lighting and all the technical stuff. You can focus on what you want to focus on which is the composition. – [Dixie] Exactly. – Getting the model to
move, the composition and really making it flow. – And I end up getting a lot more, ’cause I mean I for five years or so, I was doing all my own
lighting, everything, so I have a really good handle
on lighting and technical. I’m not an overly technical
person but I do know it and so it enables me to
help direct and collaborate with people that are even
more skilled than I am. – Right. And I think that’s an important
thing for people to realize. You don’t have to have every skill set. – [Dixie] No. – Play up your strengths and
if you’re not that technical, learn what you need to learn and also surround yourself with the people that are gonna take care of that for you. – Exactly, exactly. ‘Cause it took me a while
where I had a budget where I could hire a really
great assistant, you know? So, it’s good to get there. – It does take a little
while to get there. – [Dixie] Yes. – What do you think is your most favorite image to date
that you’ve ever captured? – I would have to say it was an image that I shot when I was working
for that reality TV show. – [Interviewer] Yeah. – For Get Out. That’s when I got to travel. That was a couple years out
of school I booked that gig. – Yeah let’s talk about that ’cause we really haven’t talked
about that period at all. – [Dixie] Okay, yeah. – This was a major, major break for you. – Yes. That was a huge break. So I ended up, I had a portfolio from after college and setting
up test shoots and things, it was all personal work,
so I had a really nice book. And it so happened that a video producer was looking for a photographer and I new an editor that
was editing for the TV show, a few TV shows for this producer and she knew he was looking for a photographer and she immediately thought of me and said, “Hey you guys should meet “and see if it’s a good fit.” And he looked through my book and really liked the work in there and he hired me to shoot for a TV show called Doheny Models which was in L.A. It was another model reality TV show. It was really funny. I’d never worked with reality or anything. It was really interesting. – What was it like? – I liked it! It was a blast. – Was it scripted? – Not really. – Really? – Yeah not really. – It was pretty real then? – I wouldn’t say it was real but it was not, I mean they
set up the situations and just sort of let things happen. But I got to be the photographer. So I got to test shoot
all the models on the show and I was on the show as well. So then that evening we went to dinner, I said, “You know this was a blast. “If you have any other shows
that you need photographers “for, for your advertising, let me know.” And he said, “Well
actually we could use you “in Miami next week for the show Get Out.” So I ended up shooting for that TV show and then they kept me on
the show for four years. – [Interviewer] Four years? – Yeah. – [Interviewer] Great run. – 21 seasons. – Wow. – Yeah. – Wow. – It’s a lot. – That’s a lot of work. – Yes. – So that had you rolling
around all over the place too? – Yes. – Where’d you get to go with that? – All over. We shot, it was funny,
to keep the budget low, we shot a lot in Miami
and then they would have their main host travel to
all the exotic locations and they would stage the photo shoots like they were in these other locations. So we shot a lot of them in Miami but we also went to
Puerto Rico, Ibiza, Spain. – That’s pretty scripted,
that’s pretty fake. – Yeah it is pretty fake. Scripted, I’m thinking like a script, like a set out script,
but yeah it was pretty. – Yeah. – Yeah so it was, I’d say, that’s why I started shooting swimsuit models. I never thought I would
love doing that but, really enjoyed it. – [Interviewer] Pays to be open. – Yeah, absolutely, open to adventure. – Alright so what was your favorite image? – Oh sorry! So it was an image shot
in Canada, in Toronto. A French model called,
her name was Geneveive and she just had something about her that I really loved and
she was very down to earth and created this amazing set of images. It was really cloudy out
that day, it was freezing. We had her in the water
at the Scarborough Bluffs and she had wet hair and
she’s sitting on this rock and it just looks so serene. I think that’s one of my favorites. – If you could redo your favorite image, what would you do to make it better? – Oh I would do a slightly
different composition. I was really tight and
the location was amazing. I think I would get more wide angle shots. But we were always, I
only had like five minutes to shoot each model so I
was really stuck on time. – [Interviewer] Wow that’s fast. But that’s great training. – Yes, so true. – I mean that, I would imagine, really pushed your eye fast. Make decisions fast. Which I think is kind of
interesting that you say in personal work you’re
a little bit indecisive. – Yes. – But you really had this proving ground that made you have, you had to make quick decisions in order to shoot. Five minutes with a model is nothing. – Is nothing, yeah. Cause they had to do video
and stills of each girl. So, it was good. – Are you surprised you are
where you are with your career? – I mean, yeah. I mean, I’m just grateful. – Yeah good. – I feel like I walk around just grateful. – That’s good. – Yeah. – Where do you wanna go with it? – Um. – That’s a hard question. Like, where do you go? If you’re gonna put stuff
out in the universe, like you wanna work for Nikon, like where do you wanna go
with this career of yours? – Yeah, so I’ve written
down Victoria’s Secret, Sports Illustrated on
my dream client list. Hopefully I’ll be shooting for them soon. – That would be amazing. – Yeah. I had a good meeting. – Oh you’ve met with them? Good. I’m sure it’ll happen. – I hope so. I would be really excited. (laughter) I’d be jumping up and down inside. – I’d be excited for you. You’ll have to call us and let us know. – Yes, absolutely. – What were some of your favorite images here at this tutorial,
cause you got a lot of portfolio work out of this, a ton of it. – Yes, absolutely. I really loved, gosh
when I was looking over at the Ford models page this one girl really stood out to me a lot, Natalie. She looks like a supermodel
and she was incredible. That was during the editorial shoot. So very ethereal,
there’s just some quality about her mood and the background that just really came together. – Yeah those shots are amazing, she is definitely something else. – Incredible. – Now that you’ve had a chance to experience putting this tutorial together, what do you want people
to take away from it? Like what are your hopes that people are gonna learn from seeing your process, seeing your work and just kind of seeing how you handle things? – Absolutely. I think what I want people to really take away from this is that you can do it. That you can really, like if you have something that you’re going for, an image that you’re going for, you can make it happen it’s just gonna be a lot of hard work but it is possible. Like I didn’t even know lighting when I graduated college but I’ve sort of forced myself to learn about strobes and all these different
types of light sources and there’s always a way. There’s always a way to create it and I don’t know all the answers. I’ve only been doing this
about six or seven years so I’m not been doing this 20 years so I’m still learning a lot too. And I think people
hopefully can relate to that and sort of create a framework. Like, they can make some amazing stuff and just start from what they have. Like, you don’t have to have all the best gear when you’re starting out. – Oh definitely not. – Yeah. Like the D5500 we created
some amazing images, beauty images of him with that camera and I’ll use those in my portfolio. – And this came with the, that little point and shoot mirror-less. – [Dixie] Yeah. – I mean you got a couple portfolio shots of him in the water. – Absolutely. – [Interviewer] Not expensive gear. – Yes, not expensive gear. I started out with one lens and one camera and as I’ve grown my business and made money from certain jobs, I’m always investing
it back in the business to buy gear or and I
always rent gear a lot. You can always rent,
keep your overhead low. Don’t spend a ton of money starting out on all the best equipment
’cause you don’t need it yet. I think that’s the main thing. I just want people to know that photography is approachable
and that now is like better time than ever to try
to do something in photography. – So other than watching
you randomly whistle at times during this tutorial, what are we gonna show our viewers? I think we put together a
pretty amazing tutorial. – [Dixie] Yes. – With you, covering a
lot of different things. Give me a little rundown of what the viewer is gonna expect to see out of this. – Okay, absolutely. The viewer will hopefully take
in how I work with a crew. How I get together hair, makeup, wardrobe, where I find these people. How I art direct all of these people and working with the team
and how I work on set, I think is really huge. And just learning how
these productions happen ’cause when I was starting out, I never knew how a production happened. I didn’t know that there
was so many people involved in the creation of these images. So I think hopefully
they’ll take home that and also a ton of lighting tips. How I work with lighting
and create this natural look and how to utilize all different
aspects of photography, camera settings, posing,
so many different things. – Yeah I think there’s a lot in it. We’re truly covering you
as a lifestyle photographer but we’re showing editorial,
the telling of a story, kind of how it comes
about and where it leads. We’re doing swimwear, which is
also very lifestyle oriented. There’s just a wide range
of different types of shots and I think that they will
see the way that you work and your work flow with that crew ’cause it’s so incredibly important. We’ve also shown then something
a little different this time where you and I sit down
and kind of call together, where we look through the
images and talk about them and see what we like
and what we don’t like. – [Dixie] What works and doesn’t work. – Yeah and it’s really
cool to go back and do that where you have an opportunity to look and see where the
composition is really strong and where it’s weak and
it’s a great opportunity to kind of study models and the way they move and the way they pose. – Yes, absolutely. – I think that’s gonna be one of the important things that
people take away from this. – Yeah and just for people to know that I don’t instantly go out there
and create an epic image. Like, it’s a process. – It is a process. – And think as a creative, you kind of can let it evolve and
let yourself experiment ’till you get a really amazing image. Like not every frame
that I shoot’s awesome. I shoot some really crappy images. And you get some amazing ones and that’s part of the process,
that’s part of the beauty of getting those one iconic shot, so. – But it’s not gonna stop at the shot because we’re gonna work with Pratik. – Exactly. – My favorite re-toucher. – To make em’ even better. – Yeah you work with Pratik a lot. – I love Pratik. – What’s your relationship like with him. – He is incredible. I outsource all of my
beauty retouching to him. And he is just very detailed. He sees things that I
don’t even think about. So he really creates a
beautiful finished product for my clients to go and then use that for ads, for editorial,
magazines, whatever it is. – He really has great understanding
what the client needs. – [Dixie] He does. – And he understands not
to push images too far, how to really bring them to life. – [Dixie] Exactly. – In fact we all kind of met at a workshop together a couple years ago. – [Dixie] Yes. – You, Pratik and I were
all teaching down there. – It’s really neat how
that comes together. – Yeah it’s kind of funny. – I love that. – Now we’re all working together on this project which is amazing. – Exactly. You have to find retouchers
that you can trust too because a lot of things
haven’t been released yet. You wanna make sure people aren’t out sharing stuff on Instagram and things. And he’s very careful. – That’s a really valid point. And particular when you’re
doing stuff for Nikon. – [Dixie] Yes. – And I run into that too with product that hasn’t been released yet. And I have to sign an NDA. – Yes. – And I have to make sure that. – Your retoucher does. – Absolutely. Because that stuff can’t leak. Yeah it’s interesting the different skill sets you have to find in people. – It is. – It’s not just that they
have to be a good retoucher, they have to be trustworthy
and professional. – Exactly, that’s very true. And actually, the Nikon image, they don’t really allow retouching much. Especially in Nikon Japan so
you have to shoot in camera. So I don’t really outsource those. – It all comes out of the camera? – Yeah. – Kind of RAW? – Yeah, RAW. – Are they putting curves
or anything on em’? Wow. – They use the JPGs out of the camera. – They use the JPGs? – Isn’t that crazy? – Yeah. – Yeah, it’s crazy, ’cause
they want truth in advertising. – Wow. That’s a directive. – Yes! – I would imagine that makes
it a lot harder for you. – Yes it does! – What do you think about then, if you’re working on images that you know you can’t do anything except shoot a JPG, what’s your thought process? How’s it different from knowing
you can go into retouching? – I think that it makes you more aware of really minute details. – [Interviewer] Yeah. – And think about the
lighting and everything. It just makes you even more anal. (laughter) – It’s one shot. – Yeah, one shot. – Which you don’t really
do much compositing at all, you really try to stay away from it as much as you can do in
camera, you do in camera. Your retouching then I would imagine consists mainly of just kind of like curves and color and skin. – Skin, curves, color, exactly. Black and white if we
want black and white. – How much of your images to
you create in black and white? Quite a few.
– Quite a few. – Yeah your portfolio’s
pretty loaded with em’. – I love black and whites
’cause I feel you get more to the soul of the person. And it creates this
beautiful, classic feel. – Yeah it’s definitely a classic. Well this has been an amazing week. – Oh my gosh, thank you. – Are you kidding, thank you, we loved it. – I’m so excited. – We enjoyed so much working with you and I can’t wait for everybody to have an opportunity
to look at this tutorial ’cause I think they’re
gonna be absolutely amazed by the work you create and the way in which you work the camera, the crew and the entire thing. – Yay, so excited. I’m excited to start editing. – Yeah, you got a lot
of work ahead of you. – Yes, you guys have been
so incredible to work with. Your whole crew has just
been a blast, so thank you. – We’re a little bonkers but thank you. Ah you’re welcome. – That’s good, that’s a good quality. – Glad you like working with us. – Yes. – For more information on
the Dixie Dixon tutorial, please go to rggedu.com (slow moody electronic pop music)

02 The Best Shooting Tethered Small Budget Setups | FREE From PRO EDU

02 The Best Shooting Tethered Small Budget Setups | FREE From PRO EDU


– [Instructor] In the next
sections, we’re gonna be covering a lot of the different gear
and grip that you can use to make your tethering
workflow the most efficient and most custom to your personal solution. Now, there are a ton of
options on the market to how to best tether. From complete DIY to super
high end, very expensive. We’re not gonna do a lot of the DIY. We’re gonna start with
a lot of the options that are easily available to you online. In the very first setup we have here, we’ve built a solution that
we think is pretty much affordable if you’re going
to be shooting professionally that is good for studio
and also on location. And a lot of the tools you’ll
see here are adaptable, so you can shoot on location
without having to completely reinvest in a whole other system. And also, on top of this,
it is also pretty mobile. One person can basically put this down, break it into a bag, carry it on location, and be set up in about 15 to 20 minutes. When it comes to tethering,
there are a million options. What we’re gonna do now
is cover entry level all the way to the higher end options, and show you, piece by
piece, what you can use to make a workflow
that’s efficient for you. On this workflow, we have a tripod. Any tripod will work. I would definitely suggest
you invest in something that is going to last you a few years. This is my first tripod,
from about ten years ago. It’s still working. Made by Manfrotto. From the bottom here,
we have an attachment that goes onto your tripod. This is made by Tether
Tools, and it allows you to put three casters and
make your workstation, which can get quite heavy, pretty mobile. So you’ll notice that, if I
would like to move my setup, let’s say I’m the photographer,
I wanna move my lights. I need to bring this with me, because my cable isn’t infinite. I can now move it pretty
easily with one hand, and I don’t have to pick
up my whole workstation and move it across. The nice thing, too, is if I
wanted to be out on location, obviously you’re probably
not gonna wanna use wheels on location, as
the ground isn’t level. You can take these off and
work on an uneven surface. So it’s nice to have that
as an option if you need it. So moving up from the tripod itself, you’ll see the first
thing we have attached to the tripod is the utility tray. This is also from Tether Tools. That is attached to the
tripod through what is called the Tether Tools master clamp. You’ll see from there we
have a lot of “A” clamps. You’re just gonna need a lot of these for a lot of different reasons. You’re always rigging
something up in photography, so invest in a lot of
these that are also black. Don’t get colored ones of these. You can get these from Home Depot, you can get these from Tether Tools, you can get these from
B&H, they’re everywhere. Just get black ones. The next tray that you see
here is the Tether Table Aero, this is also from Tether Tools. This comes with a mount
to go directly onto, let’s say, a C-stand, or your tripod. It’s a pretty universal
mount, and that’s what we have our computer attached to. You’ll notice that there’s two things that we added on to here. One, this strap, to keep
a PA or an assistant, from someone knocking this over, and then we also have this pad right here, which is gonna be grip. It allows for the computer
to sit on something that’s grip and not on metal. Now, as we rotate our
station, you’ll notice that you see a spot for
our external hard drive. And if you’re going to
be shooting tethered, you’re gonna be going to
the internal hard drive on the computer, and we’re
gonna need a second location to put those files. This is a great modification
that you can get from Tether Tools, as well,
to put your hard drive. The second thing you’ll notice here is our JerkStopper system. It is a two part system that
attaches to the cart itself, near where you’re going to
be plugged into the computer, and also once on your camera. Can be on the bottom of your camera or on the side of your camera. And this part comes out
here, the cable goes on top, and it prevents you from pulling out, accidentally, and destroying
the ports on your computer and on your camera. So it keeps you connected. It’s a really cheap way, this is probably one of the
first things you wanna buy if you’re going to be shooting tethered. From there, we have cable management. Again, it’s really
cheap to stay organized, and you don’t want to
have a huge mess of cables everywhere on your workstation. So the first thing you
can do is just get Velcro. When you travel, use Velcro. You don’t want to be untangling cables and be stressed out
while you’re setting up. You’ll notice that also
there’s modifications, these are made by Tether Tools. I recommend getting five to ten of these, these are pretty invaluable. You can clip them on pretty much anywhere. It allows you to have your
cables nicely organized. You’ll also notice, on the very far back, in addition to Velcro we’re
also using these little “A” clamps, what we talked about earlier. Again, these are useful
for a lot of things. Right now we have our
Apple MagSafe power cable hidden in the back here. And below that, you’ll see
another piece from Tether Tools. This just allows you to easily attach this onto your tripod itself. And then we’re using
more “A” clamps down here for cable management
before we plug into power. So there you have it. This is gonna be our most basic setup that’s good for in studio
and out on location. This entire setup is gonna run in between $600 to $700 depending on your tripod, and depending on what
accessories you add onto this. Now, to recap, the tripod
itself doesn’t matter, it’s universal. You can use your existing
tripod to fit onto the Tether Tools casters that
we have here at the bottom. We have the utility tray,
a spot for your camera. You can have multiple utility
trays for multiple cameras if you are shooting with multiple. And on top here, we have a
spot for our hard drive and a spot to safely put our computer
without it falling off. Now let’s take a look at a
setup that’s a little bit more rugged, for location shooting. In this setup, we’re not
really shooting tethered, but we kind of are. This is gonna be customized
for someone that wants to shoot out on location, and they
might not be able to afford a team of people to help them run a set. Specifically, a lot of people
that shoot architecture might fall into this category. So let me go through this setup. The first thing you’ll notice
is that we have a tripod, and a camera mounted. You’ll notice the one thing
that we are shooting to here is the CamRanger, attached to
our Really Right Stuff tripod through our Tether Tools MagSafe adapter that we used in the previous setup. That goes through our USB 2.0 cable into our Canon 5D Mark III
to get the files in here. Now we’re shooting to two
cards, both the SD card and the CF card internally here, so we have two backups of our
file in the camera itself. Because we’re not
actually sending raw files to the iPad itself, we’re
just sending a preview, so you’re able to see what you’re getting. You’re able to adjust your
aperture, your f-stop, and all of your settings without actually touching the camera, and actually
being quite a bit far away from the camera itself. So it’s incredibly convenient
for an efficient workflow. The next few things
you’ll see here is, again, we’re using our master
clamp from Tether Tools, or a super clamp from
anyone else, like Manfrotto. This allows us to build a
workstation without having to carry a table into the
woods, or into any location. So all of this can be
easily adjusted, high, low. You can basically put a
table anywhere you’re at. So just by turning this, that’s gonna lock it down pretty tight, and you’re able to put a decent amount of light to medium weight
things on a table such as this. And the last thing we
would recommend is using some sort of sun screen or
way to minimize reflections on the glossy screen iPad itself. Hoodman is a company that
creates a lot of different hoods for different devices of all sizes. So depending on the iPad
you get, you can use this. You can also just bring
black velvet with you, completely drape it over your head. That’s gonna be probably
a $10 solution from, like, Jo-Ann Fabric. But you’re gonna look a
little silly doing it. So we recommend having at
least one of these on set if you’re going to be walking
around in a bright location. But, overall, this is very simple setup. From the CamRanger itself, you’re looking right around the $500 range. A little bit higher if you go
in with high end carbon fiber. That will put you into the
$1000 to $1200 price range for the entire setup, not including
the camera and the iPad. So overall this setup can
really range in price. What you see set up here,
not including the camera, not including the iPad, is around $1500, but it’s incredibly sturdy. And this tripod and the
ballhead are gonna last you probably for most of your career. One modification that
we have to this setup is to simplify it by
using just one tripod, and using the crossbar from Tether Tools. This allows us to attach the same tray to one side of the crossbar, while putting our camera’s
tripod mount to the other side of the crossbar to create
a much-simplified setup. From there, we can use
master clamps and J hooks. J hooks are a good addition
to the master clamp itself. You can hang cables, you can hang tape, you can hang really anything you want. It’s just another way to
stay organized on set. Overall, this setup is very
similar to what we just covered, but allows you to, A, not
invest in another tripod, and B, be a little more
minimal while you’re on set, either in the studio or out on location. Now let’s take a look at some
of our higher end setups.

Sony FX9 – Footage & Hands-on with the Full-Frame, Fast Hybrid Autofocus, Dual ISO Camera

Sony FX9 – Footage & Hands-on with the Full-Frame, Fast Hybrid Autofocus, Dual ISO Camera


This is the new Sony FX9, Sony’s new full-frame, fast
hybrid autofocus, dual ISO, low light capable camera. cinema5D at IBC 2019
is brought to you by B&H, the professional source
for all your video needs CVP, the leading specialist in
creative, cine video and photo solutions MusicVine, beautifully produced
music for film and video Cartoni, support your vision and Fujinon, ultimate optical performance Hi, my name is Nino Leitner
and this is cinema5D. Today Sony officially presented
its new Sony FX9 camera. Alongside a handful of industry
colleagues from all over Europe I was lucky enough to be invited to
a presentation and hands-on shooting with the FX9 in London. There I also shot an interview with one
of the lead developers of the camera, Yasua Ueda-san. You can watch the interview
by clicking this link here. Now, before I share my
impressions with the Sony FX9 let me give you a little bit of background. The Sony FS7 has been
my personal main camera for the past five years
since it came out. I shoot a lot of documentaries,
commercials and corporate stuff with it and actually I invested in a second one
three years after it came out because it was so incredibly popular. At least here in Europe
the FS7 is everywhere it’s the most used Super 35 mm camera in normal day-to-day productions. During these full 5 years that
the Sony FS7 has been out there’s really only been
one small update to the camera which was the FS7 Mark II which really only introduced a variable
electronic ND filter to the camera. Other than that, Sony really
rode on the success of the FS7. So it really was time for something new. As you will see, the Sony FX9
really builds on the FS7 success. If you want, you could really
call it an FS7 on steroids. 11 years ago the Canon 5d
Mark II was introduced and what followed was
of course a filmmaking revolution. For the first time it was possible
to create cinematic images from an inexpensive camera
with a full frame 35-mm sensor. Shortly thereafter, cinema5d.com
was founded as the forum and news site for all those things
relating to the SLR filmmaking and helping you guys find
your way around this new world. It took a lot of time, but
after all those years finally the big camera manufacturers have
jumped onto the full-frame bandwagon when it comes to cinema cameras. Finally they’re giving us
a full-frame sensor in all those professional
filmmaking cameras. Sony has started with
the Sony Venice which has of course
a 3:2 full-frame sensor and now finally we have a lower
end professional cinema camera the FX9 with a 17:9 full-frame sensor. Now what’s really noteworthy
is that the Sony FX9 has a 6k sensor. But right now you can’t actually
record those 6k, only 4k. They’re down sampling the 6k
sensor for a very crisp 4k recording. Sony says that actually gives
them an increased sensitivity with a bigger photo size, and also a better capability
of having a better autofocus which I will talk about a little bit later. Sony is using a new sensor
in the FX9 called Exmor R but it’s not the same one
used in the Venice. However, the camera shares
the same dual ISO with the Venice at 800 and 4000 ISO. Internally, the FX9 uses the
same codecs as the FS7: X AVC intra 10 bit 4:2:2 in up to 4k. on top of that the new Extension Unit
will of course share all the features from the
old XDCA FS7 Extension Unit. The up to 16 bit RAW output
from the XDCA unit will be via one SDI cable again. Unfortunately, only in
up to 4k right now. When asking the developers
about why that is and why they’re not offering 6k output, they said that they will consider
it in a future firmware update. At the start the camera will
only have 16:9 aspect ratios built in. UHD 4k and 1080p HD. 4k and 2k DCI in 17:9 aspect
ratios as well as a 5k crop mode which of course will only be able
to be recorded in 4k internally, we’ll be added with a firmware
update later on. In terms of frame rates the camera
can use its full 6k full frame sensor with up to 30p, of course only recorded in 4k. When you switch to the 5k crop mode
you can record up to 60p, again, recorded in 4k, of course, and there’s also a Super 35 crop
mode which can be recorded in 60p. With the future firmware update
this Super 35 crop mode will also be able to do 120 fps. I think that eventually this camera will
be able to do the same full frame rates that the FS7 is doing right
now which is up to 180 fps. Here are some test clips from the
full-frame 6k mode down sample to 4k. here’s the full frame 6k modes
down sampled to 1080p. and here you can see
the S35 crop in 4k. And the S35 crop in 1080p. You can see that there is still significant
moiré in the S35 crop mode in 1080p. But the developers from Sony assured
me that all those modes are not final yet and this will be much better
in the final camera. All the images filmed on
the FX9 that you can see here were filmed in a new picture
profile called S-Cinetone which is aimed to reproduce
skin tones really nicely. Sony introduced a new
color science with the Venice and then also this was carried
on to the FS5 Mark II and for the first time now
we have Sony cameras that produce really nice-looking skin tones
out of the box. And, at the same time, they are maintaining the
full latitude of the sensor, at least it seems like that. I can see this being used on
most TV productions in the future where there is little time to actually
do proper grading from an s-log image. And I really like the way the
skin tones look from this camera. Apart from the full frame look
of the biggest sensor which of course also brings
shallower depth of field and the ability to do wider shots, the other big innovation in
the FX9 is the dual base ISO of 800 and 4000 ISO. Now, the FS7 was decent in
low-light but it wasn’t really great. But the FX9 completely
changes that. When you switch that camera
to the base high ISO of 4,000 you can ramp it up up to 12,800 ISO. I did try that mode, and while it’s not completely
noise free of course, it’s still absolutely usable
for most productions in TV. Finally, we have an F Series
camera from Sony that is as low light capable
as some of the alpha cameras in Sony’s lineup. Particularly the a7 Series. Of course, the King is still the a7s II
when it comes to low-. The FX line is the first camera to have
an electronic variable ND filter on a full-frame sensor, with all the same features we
already know from the FS7 Mark II and also the FS5 cameras. The camera does not have IBIS the mechanical in-body
image stabilization because it seems like this
is impossible to combine with a built-in ND filter. However, the FX9 has a gyro and
it records movements as metadata which is saved onto the clips directly. This metadata can be used in post
to stabilize the footage electronically using Sony’s own Catalyst software. Sony is also working with the
makers of other editing platforms to support this metadata in the future. And now let’s tackle one of the most
important innovations in the Sony FX9: the Fast Hybrid Autofocus. This is comparable to Canon’s
dual pixel autofocus and it also works really
well in the Sony FX9, I was really surprised. Now, the FS7 didn’t have a great
autofocus, it was only contrast based. Now we have something
that is contrast based and also face detection based. Both combined. It works really smoothly and it is fast and what’s particularly impressive
is the phase detection . It sees all the faces in your shot
and you can, with face registration, register one of the faces and the camera and the
autofocus will lock on to that face, no matter how that person
moves through the frame. I tried having them actually leave
the frame for a brief second and then come back and
will still recognize that face and keep them locked on. That is really seriously impressive. I also really didn’t make it
easy for the autofocus. I was shooting mostly at F 1.8
with the new Sony 35mm lens and I would say it kept
focus 90% of all time. That is almost as good as
a professional focus puller. I’m not saying that this would
replace a professional focus puller but this goes out to all the naysayers who say that autofocus has
no place in the cinema world. Times are really changing
and I think people need to adapt. What’s a little bit cumbersome
is that the FX9 still comes with a very similar
screen to the FS7 which is not a touchscreen. It’s not like I absolutely
need a touchscreen but as soon as you’re using autofocus
for something like face detection it would be very very useful. Like Canon does it on their
new C500 Mark II where you can simply tap on
a face and it will stay locked on. With the Sony FX9 you
actually have to shuffle through the faces
that you see in your shot with a joystick on your handle and then tap on one to register that face. It just takes a lot of time and sometimes
this might not be fast enough. So I hope that Sony will introduce an optional touch screen
for the camera in the future. Now let’s quickly move on
to the outside of the camera but stay with the sensor
for a little bit. This camera still uses the E-mount
Lever-Lock TypE-mount of the E-mount which they already introduced
with the FS7 mark II. I’m not a big fan of the
Lever-Lock TypE-mount simply because it actually prevents
you from replacing a lens alone when you have your camera
on the shoulder with one hand you need both of your
hands to actually take a lens off and if you try it with one
hand you will drop the lens. This is very dangerous. But still it provides a better
protection for the camera mount than the original E-mount, of course. The advantage of the E-mount of course
is the short flange distance which means that you
can adapt practically any lens onto the E-mount, which still
is a huge plus of this technology. A nice welcome addition to
the internal connectors of the FX9 is the inclusion of time code
and genlock ports in the body of the camera itself. That means that we don’t necessarily need
the XDCA unit for timecode anymore like it was the case with the FS7. The FX9 has Wi-Fi image transmission
built right into the camera. That means that you can use your smart
phone with a dedicated Sony app and watch the image with
about a one-second delay live streamed from your camera. And you can control the
camera functions with it too. Now as you can see the FX9
looks very similar to the FS7 it’s just a little bit longer. But that also means it lives better
on your shoulder than the FS7 but it makes it even harder
to put it on a gimbal. Please note that the final finish of
the production version of this camera will be gray. We had only one gray camera with
us when we had the test shoot there were three other models
which were actually black and looked much more like an FS7. But there will be no black version
of that camera in the market. Unfortunately, Sony decided to
stick with the same loupe design that they used on the FS7 series already. I think this loupe is too long and it actually creates a problem
if you use lenses of a certain length because the center of gravity
on your shoulder will be off with that very long loupe. The handle also looks the same as
the one from the FS7 Mark II. It’s ok, but I would have liked to see something like the
quick-release technology that Shape is using for their FS7 handle. On the handle they added a grip
belt which of course is very useful because the camera will
simply be more secure in your hand. You can see that there are a lot
of buttons on the side of the FX9. Most noteworthy addition
over the FS7 series are the two additional
audio wheels that you have there. With these 2 wheels you
can control channel 3 & 4 which probably by default will also be
set to the internal microphone again but you can switch that
through external audio as well. Sony also released a new series of
U-WPD audio devices recently and they also, like before,
communicate through a smart hot-shoe. The new thing is that now a full
digital transmission is maintained, never ever goes the signal to
analog or back to digital again, it’s digital from the start to the end. which actually results in better
audio quality overall. In addition to the camera itself, Sony announced a new cinema
lens series for E-mount which is supposed to combine the precise
manual focusing from cinema lenses with the advanced autofocus
capabilities of the new camera. The first lens will be
a 16-35mm T3.1 lens, which will be released
in spring next year. So, let me summarize. Sony claims that the FX9 is
not a successor to the FS7 but to me it clearly feels like one. They clearly built on the success
of the FS7 Series and spec it up as much as possible. At a suggested retail
price of 11,000 euros with availability in December already I’m sure it will find its market. The 4,000 euro price difference
to the Canon c500 Mark II will really forgive the fact that Sony
could have been a little bit more bold in redesigning the concept
from the FS7 to the FX9. Nevertheless, the really great autofocus that’s really ready for
primetime cinema production and also the full-frame sensor look
combined with the S-Cinetone all of this, I think make sure that
this camera will find its way into professional productions worldwide. Thanks for watching, this is cinema5D and please
stay tuned to our channel for a lot more videos from IBC 2019. And please subscribe
to our YouTube channel.

Street photography with a film camera,  My first street photography shoot with my Nikon FM2

Street photography with a film camera, My first street photography shoot with my Nikon FM2


we’ll go the right way but you we need
to go that way hello how we doing so today I’m with Julien a good friend of
mine and we’ve just been down to bath to see a photo exhibition show con thing
called photo fest and I thought well we’ve got amazing evening we’d come down
and try and do some street photography and in the absolutely gorgeous city of
Bath and it’s not somewhere more fat beautiful up in Christmas sort of time
here but it’s not somewhere actually been and especially not with my camera
normally just come here for a wonderful Christmas time sort of thing so it’s a
really really cool to see everyone get some nice street photography especially
with the harsh light that we’ve got today a little bit of difference though
I’m actually going to be shooting with my film camera not using the Fuji x100f
I can only do more videos I’m actually shooting with the 100% manual or nothing
electronic in this camera does have a light meter actually but what me using
that so it’s a Nikon FM2 film camera and I’m going to be shooting with an
ilford HP5 film which I’m going to push the film to 800 ISO just to give me a
bit more flexibility with the ISO so yeah we’re going to wander round oh yeah
and that’s the DJI Osmo action on the top there just to get some of the shots
so another one around try and find some nice light it is a gorgeous place so
we’re not going to show all four sort of composition but it’s a yeah yes quite a
touristy place hopefully won’t be too busy now so coming to the end of the
date right then we’re only through my
settings obviously shooting with a film camera
there’s a few limitations say limitations it’s almost like it frees
your feet a few complexities you have with digital cameras so don’t have the
luxury I’ve caught a lot of the other things you get used to with a digital
camera like histogram changing ISO and that sort of thing focus peaking
clipping a lot something but it’s gonna be really really good fun it’s a I love
this camera I absolutely love shooting film it’s only something I’ve been doing
for the last sort of six months a little bit of a project I was trying to run and
which I talked about I’m actually developing my own film as well using
them passing tanks it’s really really good phone I really am enjoying using
film again I haven’t shot film since I was a college going back to
many years ago so yeah a few things I learnt no didn’t know when I initially
used to shoot film that you could actually push and pull film so basically
what that means is you never you buy a 400 film whatever it said on the box a
si or ISO 400 and you can actually change the ISO in camera to add more and
more contrast or to be able to give you more flexibility or to to pull the film
back and shoot at 200 ISO just to give you a bit more of a flatter look so what
I’ve decided to do is to push this 400 film to 800 that’s going to give me a
more option for debt bigger depth of field and a faster shutter speed
especially when the light starts dipping so I think 800 ISO is a good way to sort
of base my exposures and with I’m shooting with a 50ml lens on this now
we’re going to trying these try and keep it as much as I can to f8 reason being
obviously I want to get as much depth of field as possible but I want to try and
keep the camera as simple as possible so I haven’t got to worry about the
settings and stuff I can literally for the most part trying to keep the the
focus in one place the aperture F 5.6 f/8 so I’ll get my depth of field and I
want to try and keep my shutter speed about five hundredth of a second as well
the lowest all goes to is 250th of a second obviously cuz I want to try and
maximize the amount of light coming into the camera so yeah keep it all very
simple but hopefully we’ll get some good images it’s gonna be good fun I didn’t
go didn’t I think I didn’t get the right side of the the line that’s on the floor
there so my my shadows ruining it anyway but what I want is that shadow pointing
up to that light but I miss it with that shot
was a bit of a rush Constanta just literally getting the camera focused
there’s so many commonalities one in the film on go to 500 5 6 actually the lights really really good
that way they said that way window and if we can get this guy sitting on a
railing from the side and realize in servant 500th of a second f8 come on go
to five six focus at five meters he’s the rail in I had to cheat a little
bit there because the forgetting that I was on a 50 mil lens and I wasn’t even
looking through the camera eyes to try and get the same shot again but using
the using the viewfinder because the first one was too much right now it’s
far too close oh I think I like that one
I like a shadow see we’ll get ours a woman come in the way it’s gonna get her
again get this shot now enjoy just episod the
road rather annoying you to pose lovely for that shot but wanted him to wouldn’t
have been street photography then though would it have been cheating and he
seemed eager to take the pictures who had to pick up his bag to get out the
way that’s really quite not even would have been a good char Peter stood that
is when I spotted him he was taking a picture from a distance it was really
really good I loved the scene of the war Lee okay it
was just a fantastic live fantastic background not the part with his vintage
camera they were showing that well this is fantastic light up here this has to
be a good shot there has to be all these fantastic and pillows and stuff around
me nobody seems to be walking in the shade but the shadows and the low-light
is absolutely stunning gotta be a good shot amongst this lot if I can get over
this shot I think now be a good shot the guy was
studying dappled light really likes a nice frame what he was dead by nice and
relaxed pose and and it’s just difficult with with not especially with filming
with this camera as well because I haven’t got the haven’t got the Nick
onto my eye so I’m having to sort of just do this thing just holding the
camera down so there’s have been a few shots where I’m pretty much certain that
the first attempt isn’t gonna work I might have the moment I want to have the
light I might have that the person in the right position but I’ve been taking
a second shot just to see if I could get a better composed shot and just by
keeping the camera to my I like that because without the screen on the back
it just goes to show how much we take for granted having an LCD yeah really
yeah really enjoying this challenge though it’s been really really good fun
no boosters in the way like it’s amazing a bit slippy as well was this worth I
think I was gonna happen that it did I did not think that was gonna happen sure I’m not sure if I was Square and I
got that horrible background I was a bit of a rush I really really like this like
going up it’s that corner I was concentrating I’m trying to get rid of
that close that gap with the tree is there just trying to be over here at
same time I ones at the line of contrast here and there’s a chap going from the
right sorry from the left to the right it’s gonna see if there’s anyone else
coming it was really exciting machine for film
course you’ve got no idea what your pictures are gonna come out like so I’m
really keeping an eye on my I’m using an app on my phone and I’ll keep checking
just to make sure the light hasn’t changed so much now it’s not overcast
now actually but I’m just making sure that the law isn’t changing that motion
I can keep to the same settings but it’s really exciting because I’ve got no idea
if your pictures are coming out after the sharp or not I don’t know if you
guys have seen anyone put them at the end of it over it’s really really
exciting of course it just means that you’ve got to make sure you set into the
right slows you down yeah less about the camera more about seeing it and
obviously just making sure the settings hopefully if the settings say the same
I’m looking for the same light there shouldn’t really be any reason to change
the settings in the camera because I’m not going to be taking any photographs
when I’m locked in a shaded area even if I’m in a shaded area I’m going to be
metering for the light the same life as if I was standing in a really bright
area so not street photography I know technically but look at the the shadows
on these houses here absolutely fantastic so shame there isn’t more of a
shape going around but I really love that shadow so I’m gonna take a quick
portrait shot at last that’s really really cool by walking from my right
I focused at like two meters away so I’ll focus at three meters away go in
that gap there I think he was more than three meters away should have left it
off five meters that’s across the road here now if he walks to the right in
that light over there I’ll have a job China voice like the refrain but
hopefully look like she’s gonna go right I don’t like the hotel there but what
can you do in the shop that’s a good that light on that corner
chain the bins there Oh Coco didn’t get it but I was focused at infinity f8 on
that light that lady Chinese able to push a walk in the opposite way to that
sign might have been okay she was just nowhere near the side always focused at
pretty much infinity to get that sign sharp and there’s no way on a full frame
camera that her being about three meters away from that song Julia dude just try
again okay going up for that location but
losing lights the problem we’ve got is I’m trying to I’ve still got like I’ve
only taken 18 pictures I’m probably got half an hour left before I lose light
and I can’t stand my images when I’ve got no light so I’m going to do if I put
them put the camera next to this glass here quite a nice reflection and a pre
focus on that curb the only thing I don’t like about the sign now in the
back of it so I’ll have to do is wait for somebody to come around here close
enough to this corner people seem to walk on the road around it that’s like
there are cars driving up and everybody seems to use the road and not not the
path all over the steps there the light has gone really low which is
gorgeous but it means that we have to be careful where we’re standing so there’s
a shot that I’m in now which are really really like fantastic textures on this
wall I was the guy just walking up to it and as he smoked you could see I was
just showing Doolin you could see like fantastic sort of silhouette of him
against that wall there and it was really really cool but as we’re standing
here we get an our shadow in it as well it’s even with a 50 mil then standing
right back because the Sun is so low my silhouette is over there so it’s a
making things been difficult to be putting it politely it’s the nightmare
we’re running out of time and the other thing I didn’t worry I’ve
got is I keep seem to be falling into a trap of taking the same folk life over
and over again because the light is so I’m not finding any like walkways or
anything like that even slightly lift and all I’m finding it’s nice side lit
buildings so it just it just means that I’m constantly falling into the trap of
taking the same photograph over and over again but you really don’t want to do
and I’m trying to try to get out of that yeah I just found a shot then that was
completely different and then my shadows on it so he can’t weigh in Kenya so I
just took a snap of a guy put a little bit of a g-body he was walking just
across this I was getting a bit frustrated because the light is gorgeous
here but I’m just desperately trying to do something different there’s a guy
coming here now anything again it’s just it’s just like I’m pre focus to five
metres and perhaps that needs a bit three metres I’ve gone down to five
point six and I just know these shots aren’t gonna be shaft or try another
explosion one thirty thirty exposures now so I’ve got about five or six left
and all I want to do is I know that if I exposed for the light here on the
right-hand side that is going to be pitch-black so I’m going to crop it at
the back of that pillar there so Ivan I’ve like just to put just the front of
someone’s face as they walk they the transition as they go from the dark side
to the light side here but I want to be quite close to them so let’s go to two
metres I’m probably not even two meters away let’s go two meters and just wait
somebody coming this way but they need to be one person on their own I’ve
missed two shots I think they would have been the ones to have well that was focused at two meters away
from the camera f8 500 per second don’t know how close to this column I
want to be and I don’t want to people there really but I have to get a shot focused at infinity using these columns
blowing them out f4 not gonna work because they’re focusing infinity anyway
he’s not really see how this is gonna beat this photograph but hits the floor some of the cheese I’m back at infinity again occurs when I
clear this line of pillars the lady is there if I just use the line of pillars
wait for somebody to come out about say five meters away from me losing light so
this is a flat photograph anyway there’s no decent contrast to at all but so
focusing out five meters like five point six I’ve gone down to 200 250th of a
second so I’m going to construe on the shot because I’m going to be all day off so that is the end of my film 36
exposures I’m pretty certain that now because I’m not taking any more
photographs I’m probably gonna find a belter on the way back to the car but
it’s been really really really really really good fun awesome challenge really
good for you enjoy it so haven’t even had to I was in bath I
mean but definitely you gotta come back because 2 hours is just not enough from
the problem we had was just running out a light and I can’t really even find a
composition in flight I just need contrast I need something so yeah it was
very very limited so we’re but it’s really really good fun but no really enjoy shooting with the
film camera I mean I’ve I bought a medium format
camera as well which doesn’t really work that well for street photography because
it’s even slower but I didn’t find the actual film side of the camera
restricting tutorials just the folks in but no I really really enjoyed using it
out of 36 exposures out of the 36 exposures and I’m probably looking
forward to seeing three I don’t think there’s many younger like that the idea
was there a few times I was getting a bit frustrated as well because we were
so limited with like the the different compositions of what nothing was jumping
out at me and bath is so beautiful such an amazing place so much charisma so
much charm ideal place for street photography lots of people around but
yeah just because the light disappeared but no really really enjoyed using the
the Nick on FM 2 I actually give a shout out to Scotland cameras for sorting this
out for me because they knew I wanted this camera and they found a really
really mint one so yeah thanks guys and but yeah I hope you enjoyed the video as
I said I’m going to scan and develop my own negatives using a person tank and I
might do a video on that but I’ll put a link to a few of the guys and put them
up there as well feel the guys that have helped me out of the youtubers have
helped me out with my year with my film learning process haven’t done it for so
long but yeah really hope you enjoyed the
video thanks so much for watching hit the subscribe button if you haven’t done
so and jump over and see Julian’s channel
as well he’s a good landscape salesmen from the south go so thanks again I’ll
see you guys soon take care