Episode 56: New, quicker FAA authorization for drones

Episode 56: New, quicker FAA authorization for drones

In the United States, the FAA is rolling out a system called LAANC to make it easier and much quicker for commercial drone pilots to receive authorization to fly near airports. Plus, your questions about filming loud concerts, entering film festivals, and storing video assets.

Articles on this subject:

Brendan asked about film festivals. Here’s a spreadsheet from 2014 that details the film festivals I entered Sriracha into, including their various deadlines and costs.

Griffin Hammond
Episode 55: Cameras used by SXSW Filmmakers

Episode 55: Cameras used by SXSW Filmmakers

No Film School asked 43 filmmakers at this year’s SXSW film festival what cameras they shot with. (It’s mostly ARRI Alexas.) Plus, your technical questions about the Panasonic GH5, lenses, hard drives, and what audio mixer to hook up to your computer.

Read: From ALEXAs to 1980s JVCs: Cameras & Lenses Used on SXSW 2018 Films

Warren asked what audio interface to use with his Sennheiser MD 421-II microphone ($380). He’s currently using the $40 Behringer XENYX 502 mixer. Our voiceover artist friend Matt Shivers recommends he upgrade to the Focusrite Scarlett 2i2 ($150).

Griffin Hammond
Episode 54: Filmed With a Live Studio Audience

Episode 54: Filmed With a Live Studio Audience

Griffin is on campus at Illinois State University in Normal, Illinois—where his friends have joined as this podcast’s first live studio audience. Plus, your questions about the DJI Spark, unconventional interview framing, and why Griffin uses an ND filter but Nick doesn’t.

Special thanks to Illinois State University, Dr. Steve Hunt and Dr. Nathan Carpenter for letting us use their new Communication Innovation Center to film this week’s episode.

Special guests featured in this episode

Griffin Hammond
Join Griffin this Sunday in Illinois
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Join me this Sunday at Illinois State University for a live recording of Hey Indie Filmmakers!

Doors open at 11:00am. This free event begins at 11:15am.
Normal, Illinois
Illinois State University
Fell Hall 280 (Communication Innovation Center)

Nick will join remotely from Las Vegas, & we'll answer filmmaking questions from the audience!

 

Griffin Hammond
Film Gear Garage Sale

Film Gear Garage Sale

Nick is moving, and Griffin is clearing out closet space. They’re selling filmmaking gear they no longer use, in a YouTube Garage Sale. You can buy any of these 11 items at http://griffinhammond.com/sale

EDIT: All 11 items were claimed in the first 90 minutes of posting the video!

  • $250 — Nick's Synology DS41j DiskStation 12TB NAS
  • $230 — Panasonic 14–140mm f/4.0-5.8 lens (version 1)
  • $175 — Olympus A01 tiny camera (requires m4/3 lens and microSD)
  • $40 — CineSkates & Cinetics Skate Plate (GorillaPod not included)
  • $25 — My homemade DIY Video Light (includes eight 5500K CFL bulbs & umbrella)
  • $20 — Beast Grip phone adapter
  • $15 — Magnetic Coaster Set (new in box, looks like a 85mm f/1.2 lens)
  • $5 — Sriracha art print
  • $1 — Adobe CS3 Master Collection for Mac (on DVD)
  • FREE — Sriracha movie poster
  • FREE — The Last Jedi BB-8 figurine
Griffin Hammond
Episode 53: Retractable Closet Camera

Episode 53: Retractable Closet Camera

To build a convenient, retractable podcasting system, Griffin mounted an LED panel and a retractable camera mount in his office closet. Plus, your questions about step-up rings, when to use shotgun vs hyper-cardioid mics, and if you can show the iPhone operating system in your film.

Ingredients for Griffin’s retractable podcasting system

In addition to our usual filmmaking questions, Nick wants you to tweet other types of questions using the hashtag #askgriffin

Hey Indie Filmmakers is brought to you by Squarespace. Try it for free, then save 10% off your first purchase of a website or domain—visit squarespace.com/griffin

We received a question about the pocket-sized Panasonic LX10, which has a built-in f/1.4–2.8 24–70mm lens (super 35 equivalent).

 

Griffin Hammond
Episode 7: How to Produce Wedding Films [Rebroadcast]

Episode 7: How to Produce Wedding Films [Rebroadcast]

Episode originally aired February 14, 2017
Happy Valentine’s Day! Nick and Griffin share their wedding film production techniques—from dealing with low light in dark receptions to copyrighted music. Plus your questions about DSLR recording limits, asking good interview questions, and what format to shoot commercials in.

Watch Griffin & Amy’s 5-minute wedding video, edited from only one good camera angle after Griffin screwed up Nick’s great close-up angle.

A sampling of wedding films produced by Nick Bodmer
A sampling of wedding films produced by Griffin Hammond

Nick mentioned finding collaborators on the /r/videography subreddit and /r/weddingvideography
Nick uses this “Precomposed Zip Kit” After Effects template for DVD menus.

Griffin Hammond
Episode 52: “Flicks” & Frames Per Second

Episode 52: “Flicks” & Frames Per Second

One “flick” equals 1/705,600,000th of a second, according to a new open-source unit of time for measuring framerates. Plus, your questions about foggy lenses, appropriate audio levels, and if you can use Garageband music in your commercial video projects.

Read the Ars Technica article: Oculus creates a new, open source unit of time to measure frame rates

How many flicks have passed during this 44-minute, 23-second episode? 1,879,012,800,000!

Hey Indie Filmmakers is brought to you by Squarespace. Try it for free, then save 10% off your first purchase of a website or domain—visit squarespace.com/griffin

Griffin Hammond
Episode 51: Filming Sharks in Dubai
The Burj Khalifa in Dubai, UAE

The Burj Khalifa in Dubai, UAE

Episode 51: Filming Sharks in Dubai

In Dubai, filming sharks with an underwater camera housing—during Griffin’s filmmaking workshop tour through the United Arab Emirates. Plus, your questions about jitter and motion blur, settings for time lapse, and which camera is right for you.

View the full set of underwater equipment I’m using—including an Ikelight 200DL housing and accessories, and 2500-lumen Sea Dragon lights—at griffinhammond.com/underwater

Griffin Hammond
Episode 50: Filming Underwater with the GH5
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Episode 50: Filming Underwater with the GH5

Shooting underwater can be expensive. Including the cost of the Panasonic GH5 camera, and 8–18mm lens, I’m submerging $6300 worth of gear in the ocean!

View the full set of equipment I used—including an Ikelight 200DL housing and accessories, and 2500-lumen Sea Dragon lights—at griffinhammond.com/underwater

This week, I bought a much cheaper set of gear: a third Pedco Ultraclamp, microGAFFER tape for travel, and LEE Filters CTO gels—to make some of my very blue LED lights look warmer.

For Panasonic GH5 V-Log footage, I’ve enjoyed a LUT called VLog_to_V709_Varicam, included in this free zip file of LUTs created by Mitch Lally.

For our 50th episode, our friend Adam Rahn has a gift for you! 101 free light leak effects you can use in your next video. Watch his tutorial video, and download the light leak video files here.

 

Griffin Hammond
Episode 49: The New, Low-Light Panasonic GH5S

Episode 49: The New, Low-Light Panasonic GH5S

Panasonic debuted their low-light, dual-native-ISO GH5S camera at CES last week. Griffin and Nick share the 10 big changes that separate it from its predecessor, the Lumix GH5. Plus, your questions about daylight-balanced bulbs, how to transfer large video files online, and whether you should give your client the raw footage.

10 Changes to the Panasonic GH5S:

  1. C4K 60p/30p. These 4:2:0 8-bit framerates were available in 3840x2160 UHD on the GH5, but not in C4K 4096x2160.

  2. Multi-aspect sensor. C4K 4096x2160 actually uses a wider portion of the sensor, resulting in a 1.8x crop factor (slightly wider field of view).

  3. No IBIS (in-body image stabilization). The newly designed, slightly larger sensor catches more light, but is too big for IBIS—which would cause vignetting. But many Panasonic lenses have built-in OIS (optical image stabilization).

  4. 10-megapixel, not 20. Smaller photographs, but Panasonic added 14-bit RAW files—up to 10 frames per second.

  5. 14 stops of dynamic range. That’s two more stops than the GH5 is capable of.

  6. Dual native ISO. Native ISOs at 400 and 2500 means noise level at ISO12800 on the GH5S is comparable to ISO1600 on the GH5.

  7. Includes V-log. The GH5S ships with V-Log L already installed. Previously a $99 upgrade on the GH5.

  8. Timecode port. For syncing timecode across bodies, Panasonic includes a cable that adapts the PC/flash port to BNC.

  9. Red detailing on Rec Button and Drive Mode Dial.

  10. Price: $2499—the GH5S is $500 more than the GH5, and will be released February 6, 2018.

Griffin filmed behind-the-scenes as three filmmakers shot with the Panasonic GH5S for the first time:

*Taking advantage of the GH5S’ greater dynamic range, all three films were mastered in HDR, so if you have a high dynamic range television, they look especially great. I shot all the behind-the-scenes films on my Panasonic GH5.

Hey Indie Filmmakers is brought to you by Squarespace. Try it for free, then save 10% off your first purchase of a website or domain—visit squarespace.com/griffin

Griffin Hammond
Bonus episode: “You’re shooting video, not film”

Bonus episode: “You’re shooting video, not film”

A YouTube commenter suggests Griffin is wrong to call himself a “filmmaker,” because he doesn’t shoot on celluloid film. But most of the last 10 Best Cinematography Academy Award winners were shot with digital ARRI ALEXA cameras:

  • There Will Be Blood (2007) shot on Panavision XL, all in 35mm
  • Slumdog Millionaire (2008) shot on 35mm and Silicon Imaging SI-2K Digital Camera

  • Avatar (2009) shot on Fusion Camera System

  • Inception (2010) shot on 35mm and 65mm film

  • Hugo (2011) shot on ARRI ALEXA

  • Life of Pi (2012) shot on 6 ARRI ALEXAs

  • Gravity (2013) used ARRI ALEXA and ARRIFLEX 765

  • Birdman (2014) used ARRI ALEXA

  • The Revenant (2015) was shot with ARRI ALEXA LT and ALEXA 6

  • La La Land (2016) shot on film

Griffin Hammond
Episode 48: Shooting HDR in Final Cut Pro X 10.4
Nick found this photo from 2010, when he and I shared a Panasonic GH1 camera, 14-140mm lens, Zoom H4n audio recorder, ULTRAcompact shoulder rig, and Azden wireless mic system.

Nick found this photo from 2010, when he and I shared a Panasonic GH1 camera, 14-140mm lens, Zoom H4n audio recorder, ULTRAcompact shoulder rig, and Azden wireless mic system.

Patrick Gavin shared this photo on Twitter —using an A1 Steak Sauce bottle plus  Pedco Ultra Clamp  as a makeshift mic stand.

Patrick Gavin shared this photo on Twitter—using an A1 Steak Sauce bottle plus Pedco Ultra Clamp as a makeshift mic stand.

Episode 48: Shooting HDR in Final Cut Pro X 10.4

Version 10.4 of Final Cut Pro X has been released—Griffin’s 2018 resolution is to shoot HDR (high-dynamic range) video. Plus, your questions about protecting a camera in the snow, losing YouTube subscribers, and when to replace SD cards.

Apple: How to work with HDR in Final Cut Pro X 10.4

Hey Indie Filmmakers is brought to you by Squarespace. Try it for free, then save 10% off your first purchase of a website or domain—visit squarespace.com/griffin

Nick doesn’t want me to promote his YouTube channel, but you should subscribe for videos about hard drive shucking or the time he won a match of Playerunknown Battlegrounds.

Griffin Hammond
Episode 47: Licensing Tracks from Music Libraries

Episode 47: Licensing Tracks from Music Libraries

Featuring 11 of his favorite stock music tracks, Griffin compares six music libraries and how to find the best, most affordable tracks. Plus, your questions about slow motion, noise in your audio recorder, and when to use exposure compensation.

Audio Libraries discussed on today’s show:

*Artlist is the library I use. If you sign up for a $200 annual Artlist subscription at griffinhammond.com/music, you get two free months, and I receive $20.

Music tracks featured on today’s show:

 

Griffin Hammond
Episode 46: Documentary Production Workflow

Episode 46: Documentary Production Workflow

Griffin’s step-by-step documentary filmmaking process. Plus, your questions about interviewing subjects, focal lengths for crop sensors, and how to trick your Atomos recorder.

For 7 hours of documentary filmmaking lessons, watch my CreativeLive class.

Daniel asked about my short film about landscape photographer Ben Grunow.

Hey Indie Filmmakers is brought to you by Tongal—a creative network where anyone, anywhere has the opportunity to make content for brands and get paid.

Anyone know how to achieve white balance for infrared photography in the new Adobe Lightroom CC? 
*Even though Lightroom CC can't use my custom infrared camera profile I created for Lightroom Classic, I did learn I can save those settings as a user preset. Now my photos display properly on the desktop Lightroom CC app, but still turn red on mobile.

Griffin Hammond
Episode 45: I Crashed my Drone Again

Episode 45: I Crashed my Drone Again

Griffin’s DJI Spark goes down during difficult conditions in Brooklyn. Plus, your questions about lenses for cityscapes, how to read a waveform monitor, and why you’re seeing black bars when you export your video.

Watch the footage Griffin shot inside the factory.

This episode of Hey Indie Filmmakers edited by John Luna. Check out his YouTube channel.

Griffin Hammond
Episode 44: Broken Zhiyun 3-Axis Gimbal
One of the three axes on my Zhiyun Tech Crane v2 became disconnected, exposing one of the electro-magnetic motors.

One of the three axes on my Zhiyun Tech Crane v2 became disconnected, exposing one of the electro-magnetic motors.

Episode 44: Broken Zhiyun 3-Axis Gimbal

Can Griffin salvage a shoot after breaking his Zhiyun Tech 3-axis gimbal? Plus, your questions about proper exposure, lenses with a 2x crop factor, and how to know if your video is breaking copyright.

Hey Indie Filmmakers is brought to you by Tongal—a creative network where anyone, anywhere has the opportunity to make content for brands and get paid.

 

Griffin Hammond