Podcasts about 5d mark iii

What's In My Camera Bag! 70 – 2OO F2.8 This is my bread-and-butter lens! The 70 – 200 is the first lens I grab at each session and couldn't imagine my shoots with out it. This is a massive lens but because of its size there is more compression and with compression comes gorgeous blurry backgrounds. The 70 – 200 is extremely versatile and is great for both portraits and sports.  24-70 F2.8 This is the “small spaces” lens! If you are shooting in doors and need a wider-angle lens this is the lens for you. The 24-70 is a wide-angle lens that does has less distortion than other wide angle lenses. This is also a great starter lens.  35 MM F1.2 I LOVE THIS LENS! Friends, if you are wanting to add a great addition to your camera bag this is it! The 35 mm has an artsy and sharp feel and will include more background because it has less compression. This lens also sings with detail shots and close up artsy like work. It is also a wider angle lens that is great for small spaces.  MACRO Although amazing I would recommend purchasing this lens after investing in other portrait lenses. But with that being said… This lens is spectacular for those close-up detail shots. The macro has great compression and will create that sought after bokeh effect in your backgrounds. Invest in this lens later in your career!  50 MM f1.2This is THE most used lens by wedding photographers and is also extremely versatile. The 50 mm is great for portraits and detail shots. If you are struggling on what lens to buy first this is the one! The 50 mm is a great investment and will remain in your camera bag for years.  5D MARK IIIThe Canon 5d Mark iii is my go to camera body! I own two of these camera bodies and have been using it for years. The 5D Mark III has a warmer feel to it that has become my style over the years. Although this is an older camera is a great one!  5D MARK IV My arch nemesis…. Hahaha yep I said it! I bought this camera about a year ago and have been slightly struggling with it's more cool toned style. Although, this camera has some really cool features like Wi-Fi capability and a touch screen. This is an incredible camera and is what I would recommend to all up and coming photographers.  If you are needing more help on choosing the right camera gear head to the LMP Collective Facebook group and join the daily discussion on camera gear this month! https://www.facebook.com/groups/641266380363861/

Initially released in spring 2012, the 5D Mark III is the replacement to the wildly popular 5D Mark II. And like the Mark II, it's a high-end professional workhorse DSLR photography camera aimed to tackle the harshest shooting conditions. Blog Post https://photographypx.com/canon-5d-mark-iii-review/ Video https://youtu.be/Aa1M0v8TVWI

Masks. Masks. Masks. Masks. This week Steve and Dustin talk a lot about masks. They also talk about a crazy price drop with the Canon 5D Mark IV, the new Canon R5 and R6, Sony's vaporware Sony a7s II successor, and Canon shooting a 5D Mark III into space. Beer Talk: Dustin - Fat Tire from New Belgium Brewing Co. Steve - Rum and Coke (because he ran out of beer) Q&A: Can you cancel on a client because they haven't been social distancing? Do you need ND filters while shooting video outside, or can you just crank that shutter baby? What do you do when your engagement shoot turns out to be a beach wedding? Links: Canon 5D Mark III in space. Best Masks for Wedding Photographers Shooting During the Pandemic. We're donating all the money we make this month to The Trevor Project. Dustin is matching however much money we make, so dip into the Patreon and sign up for one of the tiers and then delete that subscription as soon as the money clears so you're not charged next month. If you're looking for more info about COVID-19, be sure to head over to the CDC website. Want more? Get bonus content like outtakes from guest episodes and more weekly photography advice at patreon.com/WPH (that's where you'll find the Steve and Dustin Save the World weekly podcast). Join the hungover community: Wedding Hangover Facebook Group Connect with us: Facebook Page, Instagram, Twitter This podcast is edited by Bespoke Tone. Go to Bespoke Tone for all your photo, video, and audio editing needs. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/weddingphotohangover/message

Hemos revivido, Falla Inminente a revivido y ¿qué mejor tema para regresar que con un top ten de momentos de la saga Metal Gear Solid? También platicamos un poco sobre el Project Scorpio, Nintendo Switch, Magic Lantern para 5D Mark III.

Initially released in spring 2012, the 5D Mark III is the replacement to the wildly popular 5D Mark II. And like the Mark II, it's a high-end professional workhorse DSLR photography camera aimed to tackle the harshest shooting conditions.https://photographypx.com/canon-5d-mark-iii-review/

Initially released in spring 2012, the 5D Mark III is the replacement to the wildly popular 5D Mark II. And like the Mark II, it's a high-end professional workhorse DSLR photography camera aimed to tackle the harshest shooting conditions.Blog Posthttps://photographypx.com/canon-5d-mark-iii-review/Videohttps://youtu.be/Aa1M0v8TVWI

In this episode of Gear In Review, Bobby Rettew and Mark Berry discuss the Canon 5DSR, the 50MP version of the 5D Mark III. We are going to chat about the image resolution and how it compares to the Canon 5D Mark III and Canon 5D Mark IV. Here are links to items we discussed: Canon 5DS R - B&H Photo Canon 5DS - B&H Photo

Welcome to the 2019 CRC Series. Recorded live in Orlando, this series is bringing interviews straight to you from exhibitors and speakers at this year’s event. In this interview, host Jamin Brazil interviews Liz Moore, Candorist and Partner of The Candor Company. Find Liz Online: LinkedIn: www.linkedin.com/in/liz-moore-a54b452 Email: liz@thecandorcompany.com Website: www.thecandorcompany.com Find Jamin Online: Email: jamin@happymr.com  LinkedIn: www.linkedin.com/in/jaminbrazil Twitter: www.twitter.com/jaminbrazil  Find Us Online:  Twitter: www.twitter.com/happymrxp  LinkedIn: www.linkedin.com/company/happymarketresearch  Facebook: www.facebook.com/happymrxp  Website: www.happymr.com  [00:00] Hi, this is Jamin. You're listening to the Happy Market Research Podcast. The next set of episodes are conversations I had at this year's Corporate Researchers Conference or CRC. This is put on by the Insights Association in Orlando, Florida. I had quite a few interesting conversations highlighting specific companies that exhibited this year as well as a couple of speakers, Wells Fargo, IBM, etc. I hope you have a really good rest of your day and enjoy these short episodes. [00:31] Hey, this is Jamin. We are live today at CRC at the exhibit floor here in beautiful Orlando. At least they tell me it's beautiful. I haven't been outside yet. I have the honor of chatting with Liz Moore, two words. She is one of the owners of The Candor Company, which is a qualitative-focused firm, and I'm looking forward to finding out more. Hi, how are you doing? [01:05] I'm terrific. How are you? [01:07] I thank you for asking. I think I'm doing okay. I do actually really want to get outside. [01:12] We were out earlier. [01:14] Oh, you're such a show off. [01:15] I know. It's swampy. It's very humid. Yeah, it's better in here. [01:19] It's better inside. I don’t know. I feel like everything's yellow now with the fluorescent lighting tint. It's permanent. All right, so the show, how's it been for you guys? You guys have, by the way, sorry about interrupting. Ask a question interrupt. That's a terrible way to do it. You guys have the most bright and interactive booth on the show floor. [01:41] Thank you. Thank you. [01:43] Totally true. [01:44] It's totally bad-ass, isn't it? [01:46] Yeah, it is bad ass. You guys have just totally nailed the interactivity. For those that weren't in here, it's a ring light, which is something you use in photography to take a portrait photo. And it's like super pro. Is it just like cell phone cameras? Oh, you even have a nice camera kit. Okay. [02:06] Totally legit. You should check the lens out. [02:07] All right, I will. What kind of camera is it? [02:09] It's a Canon. It's our photographer’s setup. [02:13] 5D Mark III. Something fancy? [02:15] Yes, yes. [02:17] 85 prime. Okay, so, tell me about your business, Candor. [02:22] That's right, Candor. We are qualitative researchers who don't like to necessarily think about ourselves as qualitative researchers. I think qualitative research has kind of gotten a bad rap over the years: very staid, very conservative, very traditional. Call a bunch of people into a room, total strangers; tell them to ideate for 90 minutes and just come up with something great. That doesn't work, does not work anymore. We noticed that trend. We've been together about 20 years, and we started noticing the trend about 10 years ago that when we could take out of that environment and either go into their environment or bring them to a place that's really creative and it's fun and it's different—not just taking a focus group facility and going away from the standard setup to a living room setup, but actually taking them somewhere where it feels safe and there are really no boundaries.

Episode 4 - Cinematography with Karl Jenner Check out Karl's work here http://www.digitalrealm.com.au/Give Karl a follow https://www.instagram.com/karljenner66/ Transcript for our hard of hearing/deaf listeners Gareth Carr:Hey everyone, welcome to Action Cut and Everything in Between, episode number four. Today on the show, I've got Karl Jenner he was the director of photography on my film, my 50 man. And he's also just completed his own feature film called guilt. So we're going to jump right in and we're going to listen to the power of cinematography and the impact that it has on your movie. Gareth Carr:All right, so Karl Jenner, welcome to the show.Karl Jenner:Yeah, thanks for having me.Gareth Carr:That's all right. So you've just shot my film, Life After Man and your own feature film, Guilt. But how did you get to the point where you are now? Tell us about your journey over the years.Karl Jenner:For me, I actually started photography, underwater photography back in the day and always had a fascination with photography and cinema and anything creative, graphics and things like that. But my passion for diving led me into photography and I taught underwater photography. And through my diving, I worked on films and TV commercials, mainly doing a lot of underwater safety work, but some shooting as well. And I met up with an old character who shot documentaries on 16 mil. He used to build his own underwater housings and being working in the dive shop, we just chatted and I used to go out with him and we'd test all these housings and shoot all this underwater footage and things like that. And we ended up doing quite a bit. And then I just got hooked into filming and that kind of led me into where I am now.Karl Jenner:So just you know, an interest of anything creative in the photography field. And I worked on TV shows and did some big camera operating and shooting and eventually people asked me to shoot stuff for them, mainly corporate videos and corporate training and lots of this stuff. And I decided one day I'll just branch out on my own. And I had a very primitive set up back in the day with an older Amiga computer and an old video camera and an old VHS deck and a very primitive gen lock, which enable me to overlay graphics onto tape and just glue all this stuff together. So I had a very kind of early technical background in filmmaking. So this kind of led me from there. And just as the technology grew, I just grew with the tech. But I have to say, I got a bit disappointed with cameras, especially video cameras of how terrible quality they were.Karl Jenner:So I actually stopped shooting for quite a number of years and just got myself heavily into post production. And always had a fascination with visual effects, so I taught myself visual effects. I've done 3D animation ever since the very early days where you could do it on a home computer and actually wrote software out of a book, a Ray tracer that's how nerdy I was, and learned computer graphics that way. And then starting with my post production editing and graphics and visual effects work, I just spent years helping other people make their films and eventually the 5D Mark III came out. And so my interest then was piqued to get back into shooting. And so I bought a 5D Mark II and shot that with that.Karl Jenner:And then my passion just ignited from there and I've just been full steam ahead ever since, the shooting, shooting, shooting. Because now I can actually, what I have in my head or had in my head, I could actually get on screen. And so that's, I'm a bit of a perfectionist in a way. So I always hated those cameras and the look was horrible and everything was horrible about them. But the modern tech enabled me to get my creative vision that I had in my head across and we launched from there. So I just hung around with cameras and lenses and things like that and just became creative. So that's my journey in a nutshell.Gareth Carr:Yeah, that's awesome. So it was pretty much the DSLR revolution and the 5D Mark II that got you to where you are today?Karl Jenner:Yeah, pretty much. Probably, maybe a little bit earlier with the mini DV. I had a, I can't remember what it was, it was Panasonic FS 90 or something like that. And then I shot some, I actually shot a series for Fox Sports on old sports stars and where you actually use that little camera. And that kind of got me there, but I never used it to shoot really any kind of anything of significance. You know, I did my corporate work and stuff on that. But even when the price of cameras, like Digi beaters were astronomical and then they're crappy. So it wasn't until the 5D Mark III came out that I thought, "Nah, I can now get some focus separation and do all that fancy stuff that what kind of gives it that cinematic look." And it was at an affordable price, so there you go.Gareth Carr:Yeah. So since since the 5D, what cameras have you used or owned from that point to get to where you are now and tell everyone what camera that you're using now?Karl Jenner:Okay, well I bought a second hand 5D Mark II and then I had a 70 as well, and I was shooting quite a lot with that. And then the thing that made me kind of migrate up was the audio. The audio was always a challenge and post syncing though it was achievable, it was always fraught with danger. And so I built out a rig and it was like a big Franken monster just to get audio out, proper professional kind of audio with XLRs. And I had pre-amps and all these sort of things stuck in there. And it was just so many points of failure and always that fear in the back of your mind when you're on a big job that something was going to go really wrong. And then you'll get back to the studio and someone hadn't hit record or some, there was a hiss or a hum or something would just destroy it.Karl Jenner:So it was just this fear. So that's when Canon C100 came out so I was very interested in that camera. And then working with other DPs, I know a good DP friend of mine, Tom [Gleason 00:06:58] Had a RED Epic at the time and he also had a RED One and we did a lot of early testing on just some VFX and we shot some stuff on his RED One. So I was very familiar with the RED format and the difficulties in the early days of the R3D Kodak. But you know, being a bit of a tech head, I could get around all that. And I helped a lot of other companies deal with their workflows with the RED camera. But the C100 was in my price range, but it was only 1080p had Canon log on the camera, which is again it was interesting but I could see that the world was moving to 4K pretty quickly and then you could get 4K out the C100 I think, but you had to buy an extra module. And that price-wise, that pushed it up into the RED Scarlet range.Karl Jenner:So I started to look at the Scarlet as my next camera. And I, being familiar with the Red Epic of Tom's camera, I just thought the Scarlet is probably the way to go. It had 4K native, it had R3D, which is really the major selling point of the RED camera. So I jumped into that and I bought a Scarlet and I had, all my lenses went with it. Because I had a lot of Canon lenses. So I just bought a camera mount for it and for about the same price as the fully kitted out C100, I bought a RED Scarlet at the time. But it was based on the MX sensor, it was a great sensor, at the time it was probably the best one around, but it aged pretty quickly.Karl Jenner:And so I shot with that camera for about two years and it's enabled me to get on bigger projects, bigger, more high end stuff, shooting more high end projects. So that enabled me to basically, that camera paid for itself. And once you're in the RED ecosystem, you can actually, RED will buy your camera back and offer an upgrade path. And I think their mantra is obsolete, obsoletion, obsolete or something like that. And so I jumped and bought the Epic, which still was an MX sensor, but enabled me to shoot 6K and had all the goodies on that. And it wasn't compromised in any way. So I jumped to that. And then about probably 18 months, I had that camera and then they had the Dragon sensor come out and that was a beautiful sensor and still probably one of my favorite kind of looks in the RED line as sensors go.Karl Jenner:And so I used a lot of my money from that camera to buy that sensor. So I've got a sensor upgrade on that, which wasn't cheap, it was about $20,000 I think Australian. So it was serious money. But the camera was paying for itself. So I was kind of at a break even point by then. And I had the dragon for a good two and a half years I think. And that was a work horse, that was a real workhorse. Loved the look of it, that was just a tank. It was a bomb proof camera. Went through everything with me. And then, I then jumped to Epic W, which is then based on the HELIUM sensor. Again, I would've probably stuck with the Dragon for a lot longer.Karl Jenner:But the new form factor and all the new goodies that we're going in. And that's where they were going. And they offered a very good upgrade path. So I jumped on that. And so currently I shoot with the HELIUM 8K, which is basically the 8K Weapon. And that's my current camera. I don't know if I'm a RED fan boy or anything, but I'd be pretty camera agnostic if someone shoved a good camera under my face, I would use it, and that. But you use what you can afford. And fortunately I worked my way up into that camera over about five years. And that's the tool I've got. And it's, for somebody starting out, it's way out of most people's price range. But if you did what I did, you just start small and just build up and build up. But my God, the iPhone now shoots amazing pictures. So you know you can have a good camera. It's in your pocket.Gareth Carr:Yeah. Now we, well you shot both our films in 8K. Do you think that that's the way the industry is going and where will this resolution battle or war, where will it end and you know, what's the advantages that you found with shooting 8K?Karl Jenner:Okay. 8K yeah. I think 8K is where it's all going to go because TV manufacturers need to sell TVs. From a broadcast point of view, 8K is probably a long, long way away from a lot of broadcasts, especially in the country like Australia where some of the cable channels are still on standard def. Because it's cost prohibitive just to get in to HD. But as an acquisition format and a future proof your work, 8K is probably a good place to be. The reason I chose to shoot 8K for our projects was two fold, one is, it maximizes the full width of the sensor on the camera without having to go to [inaudible 00:12:30]. Because the way that the RED camera works is that you can have multiple resolutions but it's a sensor crop when you start to lower the resolution.Karl Jenner:So if you got down to 6K or 4K, it crops in on the sensor so you lose a little bit of the width of the sensor. Potentially compromising ... You got all those pixels that you paid for so you might as well use them. So I shoot 8K 2:1 which on the RED camera it's Super 35 but it's actually a little bit larger than a super 35 sensor. So on any of my lenses, I just want to maximize the width of that sensor. And 8K 2:1 gives me the full sensor across, because we shot the films with looking at doing a 235 output because you know, more cinematic. I just put up the frame guys for 235 and we just shot and framed everything within those guides.Karl Jenner:And it gives us the ability then to in post, just to do reframes and move, give people more head room if you feel like it, or lower the head room and that. But I'm not frightened of the 8K workflow and that. In fact my system here that I use, is not particularly powerful. I've got a five year old iMac Pro, 5K iMac. And I've just got a normal spinning backup drives but with a fast rate because I use Final Cut Pro just use their proxy workflow. And I barely touched the actual full res files which just sit on my drive and I've just got the proxy files sitting on my hard drive and I don't really have any slow kind of paid playback or anything like that. I've never had a glitch.Karl Jenner:I get perfect editing speed and I've got effects and layers and all that sorta stuff that all plays back in real time. So the workflow is not an issue with these computers, even a five year old iMac. But the ability to reframe, maximize the width of the sensor just gives you more possibilities and stuff. And I love the RED R3D which is really its signature selling point to have that, to have the ability to go in and when you're on set just to ... Because we're moving so quickly, we don't have a lot of lights or equipment, so difficult lighting situations or shooting in very low light, I can just, I know how to use the tools on the camera. So I just look at my histogram on the camera. I can look at the, I've got a little, a short cut to look at the raw sensor data so I can see what the sensor's seeing and if I can see detail in there and I can double check that across with my histogram and my tools, I'm pretty confident that I've got exposure I can work with in post.Karl Jenner:So when it comes back to post I can with the R3D I'm not locked into ISO or any of that stuff, so I can change that to do shot matching from shot to shot. Because I'm flying around the ISOs all the time just to try and get exposure as I need. I don't kind of lock myself into an ISO like some DPS will just say, we'll shoot 800 and that's it, the whole. But once you're so quickly and I need to get a stop or two stops and I don't have time to change an ND or anything like that, all right. And I do want to shoot fairly wide open most of the time one, five to two, eight is usually where I'm living.Karl Jenner:Sometimes I have to use an ISO change just to get those extra stops of light that I need. And I know that I can go in back into the R3D and change all that data if I need to. And you know, it's worked so far, so I'm pretty happy with that. That's why I think I liked the RED camera, just that flexibility and that bit of a safety net.Gareth Carr:Yeah, that's awesome. And Guilt and Life After Man both looking incredible. And I'd say, do you have a favorite shot now that you've edited Guilt and it's almost at it's kind of screener stage, do you look back through and you've got like a favorite shot from the film?Karl Jenner:For me I like all when the camera's moving. I don't think I've got a particularly favorite shot because the nature of the films that we've made, we're just moving so quickly. So I kind of have an idea of how I want the shot to go. But usually it's almost like shooting cinema verite in like you're making a documentary, you've got your actors all kind of lined up And as a DP you're looking for, trying to create some three dimensionality in your shot with a bit of separation and not having a large crew or a truck with any real light control and stuff. So it's really just kind of placing your actors very quickly, looking through my viewfinder and trying to find the best kind of composition and how to move and how to move the lighting that we've got into position and then snap that shot and then moving onto the next.Karl Jenner:So every shot was in a way a little bit challenging because a lot of the locations we would just walk in and we've got to figure it out on the fly. And so I think overall I'm pleased with pretty much all the shots because thinking back on how we got them, there's always kind of a pleasure. And at the time when you're shooting it, you're thinking, oh, I hope this works. And then you get back in the edit suite and you look at and think, "Okay, that's pretty good, I'm really happy with the results." But anytime I can get the camera moving, especially on the gimbals or little cheats or whatever, like we did sitting on the back of your truck, driving at 60 kilometers an hour hanging out the window, and those shots kind of worked.Karl Jenner:They are kind of like, wow, that's actually, yeah, that actually is really good. We got away with something and a lot of people will never know how it was done and think, wow you must have had a techno crane or some weird piece of gear. But it was really just gaffer tape and muscle power that gets the shot. So, yeah. So, yeah, no particular shot, but I'm pleased with how all the shots kind of come out. In Life After Man, I think probably my favorite shot is the horse shot with the sunset. You know, bomb it along with a gimbal that's at that breaking point, hanging out the window with the sun dropping and looking in the viewfinder, I could barely see thinking, I hope this is in frame and everything just lined up at the right time and it works.Gareth Carr:That's good. That's an awesome shot. I love it. So what advice would you give to people who want to shoot their first feature film? I know you said about starting small with your cameras and working their way up, but what about conditions to avoid? Like what's the most difficult conditions you'd say to shoot in and to avoid writing them into your script?Karl Jenner:Probably would be like shooting in the rain because rain has it's own kind of problems. Not for the fact that you don't want to get your camera wet, but you can be shooting in the rain in one direction and you can't even see it. Because you have to backlight rain to really see it. And then you turn it around to get your other coverage and suddenly it's bombing down with rain and you can see it. And then so when you go back to the edit suite and you're cutting, it's raining in one shot and not in another, even though it was raining. So I think above all, I think the biggest advice for anybody starting out in making a feature is control. You know, keeping control, having control of your set. Especially if you're using outdoor locations.Karl Jenner:And making sure you get the permissions and all that sort of stuff to shoot because there's nothing worse and we've experienced it, you know, when your guerrilla-ing and stuff that someone's going to kick you out and you've spent half a day getting all these shots and suddenly you can't even finish it, the work that you set out because you can't get access again and stuff. So having control and knowing that you can go in and you can block, you can work with your actors and get the shots and walk away at the end of the day. So above all it's control. And that control might have to spend money to get that by hiring a location and stuff. But the other things is just preparation.Karl Jenner:I think the thing with Guilt, even though we've managed to make a film, we were so time poor and we were always racing and that, because we had constraints before going in. We had a script and the script could have done with a few more revisions and stuff because we couldn't get the actors together to give them the words and then you want to hear those words by actors and then you can make those little changes. And if you get that script down and then you get on set, everybody knows what they got and you're not sitting there debating a bunch of dialogue. Because all that stuff's been done and then so you can get on set and everybody's on the same page. But if you try to make it up, that's always fraught with danger because then you end up with big continuity problems. So proper preparation prevents piss poor performance. So we weren't particularly prepared and we really paid for it at the end.Karl Jenner:And we were as prepared as we could with the time that we would given. But I would have love a bit more prep. And the thing with guilt is that was only myself and the main lead, Janet finding locations before we shot. So literally we spent two weeks finding all the locations for the film. So by the time we even got to the film where we're already knackered just by that sheer workload. So having people that can find your locations and do all of that paperwork and get all those permissions. And it was really myself, Janet and Lindsey doing a lion's share of the work even before we got to the shoot. And Lindsey, you know, she was based in Melbourne so she couldn't help out in that department. So she was doing as much of the prep work, getting on the phone, giving us permissions, doing all that sort of stuff.Karl Jenner:And then I was doing, up here, doing all the leg work, finding locations, negotiating with people, things like that. So by the time you get to that first day of shooting, you're completely knackered and you need to be fresh as a daisy because once those cameras roll, it's if you're shooting a big block, it's ... For us we shot for 15 days pretty much straight and after 15 days you are completely floored. And so yeah, script. Get the script right and be properly prepared. Cameras are irrelevant at that point. Get a good camera obviously to shoot your piece. But that's, you get a good DP, actually, he should come with his camera and not worry about all of that stuff. So look at your script to break it down, work out your scenes, get your actors together, do a script read, then get to set and everybody is on the same page and prepared to work. Because I think a lot of people in with short films start out on that adventure of making a film and it just gets bogged down in detail and everybody loses sight of what the end goal is and everybody loses direction and it only becomes too hard.Karl Jenner:And you end up, people walk away and I think a lot of films are never finished because it does get hard. And that can all be eliminated in the beginning if you're prepared. And for anybody out there who's going to be a director or the writer, producer, director, you just got to have tenacity and you got to fight every day to get your script done and stuff. But at the end of the day, it's worth it because I forget about all the pain now. I remember from your film, how many days we spend freezing cold on that farm. And it's worth it at the end of the day. It's like, you look at the fruits of your labor and you look it up on screen and you forget how you did it. In fact, I think I look at 80 and 90% of it thinking, I don't remember shooting that stuff. And that's what makes it worthwhile because then you just become an audience member and you can watch it.Gareth Carr:That's it. Sit back and enjoy the fruits of your labor. Yeah.Karl Jenner:That's it. And knowing that you've done it, it's just that sense of accomplishment because I think a lot of people want to go make a movie, but a lot of people don't even try because one, because a lot of people tell them it's too hard and you'll never succeed. And the other is that they do try, but they don't realize the burden or the amount of work that they're going to have to do. And that puts them off and stuff. But if you really want to do it, you'll do it and you'll do anything to do it. but it is worthwhile at the end of the day, even though you'd probably be poor at the end of it.Gareth Carr:That's it. You'll have no money but it's worth it. No, it's great. Such good advice. So where do you see now the future of cinema heading? I know we had 3D a couple of years back that seems to have died its death now, and then you've got kind of your 360 and AR now. Do you think that's going to take over or do you think the way cinema is, is it's here to stay?Karl Jenner:I think, personally I don't think you can beat the current cinema experience. I think 360 has its place, but I don't think it's an entertainment platform. I was involved not so long ago in doing some 360 tests for narrative with some good friends of mine. I was actually a little bit cranky and stuff because we've been talking about making films for so long and then 360 comes up and it's, oh we'll do 360 and I'm like kind of saying we just spent five years solving all the other problems. So now we've got all the cameras, I've got all the gear, we've got everything, we should be making a film and now you want to go solve a whole another set of problems, you know?Karl Jenner:And I said, let someone else figure that out. And I can't, personally don't want to sit in a room with a big headset on to have watch this movie. I think it'd be great as an experience. Just to go in, especially if it's like a good ghost story, a short film or whatever. But I don't think as a filmmaker I want to have people sit in a cinema and then look all around the room. As a filmmaker you want to ... But I've put something over there, there's the clue and then you've got somebody's looking at the back of the room because, that looks interesting. But I did read some statistics with 360 and it was like the first, and these were videos that were on YouTube and you can look at the analytics and this is why I'm always having these big discussions about doing 360. And it kind of transpired that it was usually the first 30 seconds people would look around, and then their vision would be usually where we watch movies because the experience was over and stuff.Karl Jenner:So they started to watch the movie where it was supposed to be. So it's like, but you went to all this effort to make this 360 movie. But the other issue with 360 movies are, where do you put the lights? Where do you put the crew? Everybody has to hide behind trees or duck behind cars. And you know, it's just like, no, no. 3D's again interesting, again an experience kind of movie. I think it's great for animation and things like that. 3D movies don't make me sick at all so I can put the goggles on and watch it and it doesn't bother me. So I can enjoy a good 3D movie and that. But going for, that's for high end productions. You got to have the dollars to do it.Karl Jenner:And most movies now aren't shot in 3D, they shoot with just one camera and they just dimensionalize them after the fact and stuff. I have been involved in doing some early 3D testing and things like that. And I've got some very good friends, Alpha geeks that worked on that stuff. And Yeah. But again, died a death, because I think people just want to go to the movies, pay their 10 bucks or 15 bucks, have that popcorn and just enjoy something and just be transported somewhere else and stuff. So yeah, putting on the headset and it kind of isolates you from the person next to you as well if you're wearing a big headset. So.Gareth Carr:Yeah, you might as well just sit at home-Karl Jenner:Sit at home.Gareth Carr:... and do that.Karl Jenner:Yeah. Yeah. So yeah, I think the way we're shooting movies now, even high frame rates, I don't like high frame rates. I think 24 looks really nice. There's a big push to have all those TVs, the DPS from Hollywood all want those TV's to come with the default off of that super smooth motion they stick on the TVs because it makes your work look like a soap opera. So, yeah. So anyway, maybe I'm a traditionalist, but-Gareth Carr:No, no, I'm with you on this one. I like it, yeah. I like what you're saying. [crosstalk 00:30:52].Karl Jenner:... But also from a post side of view, I don't want to rendering out 24 frames at high res it takes a long time, I don't want to do 48.Gareth Carr:I know. Right? Listen, this has been awesome Karl. Like I hope this has inspired people to just get out there and make their feature and you don't have to have a RED, do you, to shoot a movie.Karl Jenner:No, right. There's some amazing, very cheap cameras out there that just cut your teeth on something that's achievable and eventually all that stuff will become available as you progress as a filmmaker. People want to work with you and all that high end gear will naturally kind of come with it. But at the end of the day, you can give someone a RED camera or an Arial or something like that and they can still make it look bad. So the camera doesn't mean a thing. I know it's cliche and when you own a camera, big camera and saying, Oh, you've just got to use the camera because everybody craving for that new, big toy. But yeah, essentially at the end of the day most of these lower end cameras, sub $5,000 cameras and make amazing images like your little black magic pocket cinema cameras, just that's an amazing camera .for less than $2,000 you can shoot a feature on that no problem. RED cameras and Alexis and things, they come with a whole life support team because you're just going to have so much stuff on them. You can make them lightweight, but you know when we're shooting, you so often, I don't have a big set up, but that was still heavy and to lug that around all day. So yeah, shoot with what you have, make good films. That's the way to do it.Gareth Carr:So listen, where can people see more of your work and see your back catalog of stuff that's brought you to this point?Karl Jenner:I don't really have a big social media presence, but just go to karljenner.net and that's my DP site. You can see some of the stuff and some of the shorts on there. A lot of my stuff is client work never really ever sees the light of day. And I'm on a Instagram as @karljenner66, @karljenner66. That's how much I use it.Gareth Carr:Well there you go. Check all those out and hopefully-Karl Jenner:I'm getting better.Gareth Carr:Yeah, you're getting followers. Well, after this you never know, you might get a couple more followers. We'll see.Karl Jenner:I might get 10.Gareth Carr:But no, this has been awesome. Like I've loved hearing about your story and the process that you go through to shoot and like I'm just blown away with how Life After Man looks and I think it's probably going to be like one of the best looking zombie movies of all time and I can't wait to see how Guilt goes and the journey.Karl Jenner:Yeah. I've basically just got the screener ready and the Looking really good. I spent the afternoon painting out logos. The tedious work that you end up doing. That's why I always say to people, you always start out with like two people, three people with an idea and then you ramp up to your shooting and you might have 20 or 30 people and then eventually one day it's you in a room by yourself. And it becomes a labor of love. And I'm a perfectionist and bit of a pixel peeper. So I'll go in there and fix stuff that I probably don't even need to fix, but it annoys me. So I want to fix it. But yeah. But the film's looking really, really good and the story-wise and everything came together and I haven't even done the grade yet or we haven't got a sound mix or anything like that.Karl Jenner:And I'm really, really happy and super proud of everybody that worked on it. And it was a bit of a journey to get there, but we got there in the end and I think when people see it, they'll actually be quite surprised because when you're shooting a film, it doesn't look like a film, you know? And I've always said that's one of the reasons I love to operate as a DP because when I look through the lens, I actually get to see the movie. It's extraneous of all the other things that are around, you don't see any lights stands, you don't see any other people standing around. And that I just look at the lens and look at the actors and once you get a good performance and you know it in your eye that you can see it happening and you know, you've got some good stuff and you'd just piece together the film in your head.Karl Jenner:And that's the same with Guilt. And same with Life After Man. I could see everything as I'm shooting it and stuff. So I knew when the edit came together exactly how it would look and how it would feel. And it's once you get into the grade and you start to really craft it and that's a bit I like as well is just crafting your movie and eventually you can sit back and it looks amazing and sounds amazing and you're chuffed to bits that you've actually gone ahead and done it and stuff. So. But yeah, I'm super happy. With your crew, I think life After Man, it felt like a little family, when we were tucked away on the farms and all the right remote areas and things like that we were filming in. And we had all these animals and horses and all those things and you really bond as filmmakers and I always think in my mind, it's just a bunch of crazy, crazy filmmakers in the middle of nowhere trying to make this film, and everybody else would be laughing at you for doing it, but you get a kick out of doing it because it's fun. And it's fun and it's tough, but it's well worth it. And that sense of camaraderie and everybody on the same trajectory and it's inspiring to see.Gareth Carr:Yeah. I feel like it's not just the movie, it's the journey that the people that you go on the journey with that makes it, makes the experience what it is.Karl Jenner:I always find, yeah, that first day that everybody meets, no one really knows each other and by the end of the journey you're all like best buddies. Or people that, they'd ring you up and say, "Hey, can you come and help me on my thing?" And you go, "Yeah, absolutely. I'll be there in a heartbeat," because they've shed blood for you kind of thing and then so you're willing to go to bat for them and they need you. And that this kind of level, where you do rely on a lot of favors and people giving up time and going out of their way and stuff. And you could use that going back to preparation for other people's films, just be mindful of people's time and try and schedule around that and stuff.Karl Jenner:Because the last thing you want is to piss your people off and just be mindful of all of that. Yeah, and you'll find the end of that journey you'll end up with some good relationships and then those people might get a really good gig and then bring you along with them. And that's how it all works. So, you never know. So the industry's too small to really piss people off.Gareth Carr:Yeah, definitely.Karl Jenner:Yeah.Gareth Carr:Well Karl, listen, this has been so good. And I hope everybody's taken a lot of information out of it and yeah, hopefully you all go on and just have the confidence to shoot your own films. So Karl, thank you very much.Karl Jenner:No worries. Pleasure.Gareth Carr:All right. Cheers mate.Karl Jenner:All right. See you.

Hola y bienvenidos, un día más, a Aprender Fotografía – el podcast. Soy Fran Valverde y como siempre me acompaña Pere Larrègula. En el programa de hoy tratamos el tema de los ajustes de cámara en Lightroom.  Queremos agradecer a Javier el ofrecimiento de la edición de los audios de los podcasts. Abusaremos de tu amabilidad. Os informamos de que vamos a hacer un curso presencial en septiembre/ octubre. Haremos un par cada año. Que sean contundentes, con modelos, con maquilladoras... Os invitamos a venir a todos. Antes de entrar en materia, recordaros que podéis encontrar todo nuestro contenido en aprenderfotografía.online, una red social para fotógrafos totalmente gratuita. El principal motivo por el que te recomendamos unirte a la red social es porque vas a aprender fotografía, tendrás acceso a fotoconsejos que son píldoras de unos pocos minutos donde vamos tratando varios temas. Cuando te suscribas recibirás un mail con varios videos... Conocerás a mucha gente con tus mismos gustos. Recibirás feedback de tus trabajos. Te enterarás de las quedadas que se organicen y podrás participar en ellas. Dentro de la red social aprenderfotografía.online hemos montado la plataforma de cursos online, con conceptos muy básicos hasta más avanzados. Actualmente tenemos disponibles trece cursos, de diez lecciones cada uno. La suscripción a los cursos es de 10 euros al mes, da acceso a todo el contenido y se pueden ver tantas veces como se desee. No hay restricciones de contenido ni distintas cuotas. Os podéis dar de baja cuando queráis. Dentro de la red también podéis encontrar la sección de tienda online donde podéis adquirir algunos productos que recomendamos en material de fotografía. Por otro lado, la semana que viene empezamos ya los programas de verano, donde acortaremos la duración de cada episodio. Los haremos de 5 a 10 minutos. Sabemos que en agosto nos escucháis menos y en septiembre muchos de vosotros aprovecháis para escuchar todos los programas de agosto, así que para hacerlo más llevadero acortaremos la duración. Además, nosotros también necesitamos descansar un poco para coger fuerzas.   Los cursos que están actualmente en la web son: Curso de iniciación a la fotografía digital Curso práctico de iniciación a la fotografía digital Curso de gestión de modelos Curso de iluminación en estudio básico Curso de Adobe Lightroom básico Curso básico de marketing para fotógrafos Curso de cómo montar tu propio estudio fotográfico Curso de flash de zapata Curso de retrato de carácter Curso de Boudoir Curso de desnudo artístico Curso de composición en fotografía Curso de iluminación en Retrato   Recordaros también que ya están abiertos los dos canales de Telegram: Canal de Telegram: https://t.me/aprenderfotografia Grupo de Telegram donde podemos conversar con vosotros y entre vosotros. https://t.me/aprenderfotografianoticias Canal de difusión de Telegram donde estaréis informados de todas las novedades de Aprender Fotografía El Podcast, cursos, nuevos podcasts, etc. En éste no podéis interactuar.  Para el siguiente programa grabaremos un monográfico o dos con el AF, tema del enfoque. Hablaremos de la configuración de AF de la cámara del 5D Mark III. Empezamos con vuestras preguntas y comentarios: Ajustes de cámara en Lightroom Javier Martos Hola amigos fotógrafos, Estoy preguntándome si es posible aplicar la corrección de la distorsión de lente como se hace en Lightroom pero directamente en cámara. Sé que la cámara reconoce en la mayoría de los casos el modelo de lente que tiene acoplada y puede corregir las aberraciones cromáticas y la caída de luz periférica (aunque no sé en qué medida puesto que en Lightroom al aplicar dichas correcciones se ve claramente cómo actúan a pesar de estar activadas en cámara). ¿Alguien puede iluminarme un poco en este tema? Me gustaría poder ahorrarme el paso que hago por Lightroom en determinados casos solo para aplicar estas correcciones de distorsión de lente.

Ben Masters (on the gray horse) riding the trail for the film, book and multi-content feature Unbranded.  Note from Kate: Ben Masters is an enigma. In 2010, as a college student, he and two friends took a multi-month pack trip, and Western Horseman and I did an article about that trip. When Ben came to us with a hair-brained idea for a 5-month, more than 3,000-mile border-to-border pack trip that would be filmed with video and photos for a documentary, we jumped in to work with him again. The result was an award-winning film called "Unbranded." Today, Ben runs Fin & Fur Productions, focusing on wildlife and storytelling. This 28-year-old has been published in National Geographic and in Western Horseman. Ben created his own career and is forging a new freelance career, blending his loves the outdoors and storytelling.   Show Notes: Ben's job and how it fits into his lifestyle: Ben's job is ever-changing. He is a writer—magazine, online content and a printed book, as well as a filmmaker of two features, "Unbranded" and "Charged," as well as short films. He loves his lifestyle and the changing landscape of his career. He finds planning more than 6 months out hard. Each summer he takes time for his own outdoor experiences, leading elk hunts and pack trips. His work focuses on discussing conservation and caring for the wildlife and wild land. Ben's career path and how it led him to where he is now: Unbranded launched Ben into the spotlight, and opened up doors for other projects. Years  before, in 2010, Ben joined Parker Flannery and Mike Pickney to ride 2,000 miles along the Continental Divide Trail. That started his desire to make a border to border ride, and gave him an introduction to BLM Mustangs. Once the movie launched, it truly started his career. Ben had the help of filmmakers to create the masterpiece of "Unbranded" and that has helped him in the next projects. What has helped Ben along in his career? "Unbranded" was successful because of a massive team effort, Ben said. He found Kickstarter donors that helped get the project rolling. [here you will hear Ben get honked at! He said: “I hate being in cities!”] Most of the stories Ben tells are a reflection of thing he is passionate about. He did not study photography or writing or filmmaking, but he uses those modes to get his story told. At Texas A&M University, Ben studied wildlife biology and has used that knowledge when working ranches. He loves wildlife, and his background gave him credibility to tell the stories about conservation that he does. Speaking the lingo helps him to tell the stories he does. Working in the field and living the lifestyle of his story sources makes for a greater connection and comes through when he tells the story to an audience. Skills learned on the job, and how he's evolving his skills: He states that it is pretty hard to screw up a photo in the mountains with a bunch of horses. When he was “broke and needing money” Ben worked on the [oil field] rigs, where he purchased a Canon 5D Mark III and started taking photos. That inspired his love of photography. “Getting a shot right is one of the most satisfying things you can do,” Ben said. “I love the feeling of getting a shot.” He discusses the differences in taking a superb still photo versus filming. Equipment suggestions for working in the field: Ben is a “big fan” of the 5D Mark III. He has a 5D Mark IV, too. He discusses why he likes the cameras and some limitations he has seen. For video, Ben shoots with a Canon C500. "Unbranded" was shot with the 5D Mark III and C500. "Charged" was shot with a lot of GoPros. Typical hours or time commitment for your job? He does not have much separation between personal life and work because what he loves to do is his job. Ben discusses how his “work” filters into his life. Typically, his work is 18 hours a day. A feature film can take three years to move from concept to the screen. A short film will take about four months. How he gets funding and payment for his projects: Ben is still working to master the art of making money at what he does. The feature films have been a combination of Kickstarter for seed money and working with brands like Yeti. Ben says Kickstarter is crucial for alerting people to a new project. Also, when they contribute funds, it allows them to feel ownership of the project. Distribution networks like National Geographic and Western Horseman help. However, Ben had to prove his work was worth the effort before being hired by these organizations. Feature films do require financial backers for the higher budgets. How he chooses his projects, whether video, writing or a photography exhibit: All the stories and projects are things Ben is passionate about. He has a long list, but works to see whatever is timely. He enjoys character driven stories that can be a vehicle to understand a complex issue, like wild horses on public lands. However, he does not consider his films activist films. Instead of seeking stories, Ben has stumbled into them based on his relationships. Most challenging and rewarding parts of his chosen career: The most challenging part is that Ben spends a considerable amount of time chasing down funding. The most rewarding part for Ben is seeing the impact a project makes on someone's life, for example seeing more people adopt Mustangs after "Unbranded" premiered. A quantifiable and tangible impact is important. “Charged,” Ben's latest feature film, is inspirational. He has also worked with a veteran's program, Heroes & Horses, through his projects, giving them a tool for fundraising and learning from veterans. If you could do it over again, would you choose a different career path? Sometimes, Ben does entertain other employment opportunities. He doesn't enjoy the aspect of his job that requires appearances that place him at the center of attention. Preferably, Ben would like to drop social media and just work with horses. But, the obligation to tell stories is greater to him. Kate, Abigail and Ben discuss the responsibility of storytelling through good journalism. Advice for young people wanting to work in the equine media industry: Avoid “balls & chains” like debt, so that you can take off whenever the job or project calls. College debt, relationships and other factors can interfere with the chance to work on quality projects. Ben discusses the need to work to establish a portfolio so that bigger projects come your way. However, he said he still doesn't get the high budget projects all the time. He also advises to ask for help, or ask people to provide assistance. His own career is a culmination of people helping him out. Finally, surrounding yourself with good teammates is key. Advice for freelancers wanting to take on a big project: Ben has never had someone offer him a project. Moreover, he has started projects, and then people want to get involved as they see the potential. Especially early in his career. Ben has made a few short films that were never purchased, resulting in a loss of funds. However, it was important to have that project in his portfolio. Abigail agrees it is not always about the paycheck. Advice for pitching big companies or publications:  He advises face-to-face meetings instead of only email pitches. The face time meeting can help show your passion about the project. Human interaction in a pitch is key to Ben.   How to find Ben Master's online: Facebook  Ben C. Masters Unbranded Charged Film Instagram: @bencmasters Websites: benmasters.com unbrandedthefilm.com Ben at his Austin home with his sidekick, puppy dog Molly. 

Episode 102 of the PetaPixel Photography Podcast. Download MP3 -  Subscribe via iTunes or RSS! Featured: Gary Fong In This Episode If you subscribe to the PetaPixel Photography Podcast in iTunes, please take a moment to rate and review us and help us move up in the rankings so others interested in photography may find us. Sponsor:  FreshBooks. Get your FREE 30 day trial at FreshBooks.com/PetaPixel and enter PetaPixel in the “How Did You Hear About Us?” section. Photographer and Lightsphere inventor Gary Fong opens the show. Thanks Gary! The Canon 5D Mark IV has been announced, but is it an exciting update to the 5D Mark III...or just a solid attempt? (#) Canon announces two new lenses and a WiFi adapter. (#) Photographer Jasmine Star once again is accused of plagiarism, but after shaking it off in 2013, has it had any effect on her career and/or reputation? (#) A ridiculous law in Nice, France has upset the Internets (that's right...the Internets)...as an official wants to limit the rights of those photographing police. (#) A rumor that Sony will move to 16-bit lossless RAW in its cameras. (#) Guest outro:  Arizona Rattlers and Northern Arizona Suns team photographer Matt Hinshaw. Connect With Us Thank you for listening to the PetaPixel Photography Podcast! Connect with me, Sharky James on Twitter, Instagram and Facebook (all @LensShark) as we build this community. We’d love to answer your question on the show. Leave us an audio question through our voicemail widget, comment below or via social media. But audio questions are awesome! You can also cut a show opener for us to play on the show! As an example: “Hi, this is Matt Smith with Double Heart Photography in Chicago, Illinois, and you’re listening to the PetaPixel Photography Podcast with Sharky James!”

This is my full Canon EOS 5Ds R Digital SLR Camera Review, and we pitch the 5Ds R against the 5D Mark III and 7D Mark III to see how it fares by comparison. Details and images: https://mbp.ac/478 Music by Martin Bailey.

This is my full Canon EOS 5Ds R Digital SLR Camera Review, and we pitch the 5Ds R against the 5D Mark III and 7D Mark III to see how it fares by comparison. Details and images: https://mbp.ac/478 Music by Martin Bailey.

WARNING: this is a very visual episode that I highly suggest you watch the video if you can!!!   No that was not a massive green screen, we were truly filming RAWtalk on the edge of the Grand Canyon thanks to AdventureDriven.com.  Can you believe how amazing it looks.  We filmed this weeks show with two Canon C300’s, a 5D Mark III, GoPro and DJI Phantom 3 PRO for the arial shots.   This weeks sponsor so happens to be a LIFE SAVER for shooting landscape photos.  HOYA supplied me with all the filters I needed to help make my pictures go BOOOOOOMMMM at the Grand Canyon.  Having their circular polarizers on my lenses helped pump up the sky as well as the color in my images.  Just think how amazing the world looks when you where polarized sunglasses.  Now add that in front of your camera lenses and you have fantastically vibrant photos.  Here is a link to the exact CP I used form HOYA http://www.hoyafilter.com/hoya/products/hdfilters/hdfiltercirpl/   As you can tell this weeks show took us to an amazing place.  We had to change up the show slightly for obvious reasons but we cranked through photo news which included two main but very long stories.  One involves Anthony Mazur a 16 year old High School student and the other Richard Prince who took peoples Instagram Photos and sold them for upwards of $100,000.     You can check out the FULL Photo News Stories and more at FroKnowsPhoto.com/rawtalk-135    We had a ton of gear out with us but this weeks Gear of the Week was the Hoya Filters and step down rings which were a life saver.  Also JOBY sent us car mounts for our GoPro’s which turned out to be freaking amazing.  We had them attached to our vehicles in so many situations and they handled the harsh environment with flying colors.    If there is an amazing place you would like to help bring RAWtalk please feel free to email me directly at Jared AT FroKnowsPhoto.com with all the information.    

The huge news this week centers around Canon releasing not one not two but four new DSLR’s and an Ultra WIDE zoom pro lens.  Does this put Canon back in the game or were they ever really out of it?   I personally don’t think Canon was anywhere near out of the game.  They have the 5D Mark III along with the 1D X as well as a lot of adapted professional lenses.  This is what happens in the photo world, Nikon has something new for a while then Canon has something new so on and so forth.  So one or the other is always on top for a period of time.    As a little side note, at the time of recording we did not have all the official specs.  But I chose to discuss the camera after my inside source was able to verify the validity of information that was out there as fact.     I tried something new for Flying Solo where I put up a video on Facebook asking for your flying solo questions.  It looked like it worked because over 200 questions came in which is more than double what we usually get.  I chose 30 of the questions to feature on the show and moved at a pretty brisk pace to make sure I got to them all.    This weeks show was sponsored by RODE Microphone.  As you know we use the RODE broadcaster Mics both in the loft and on the road.  They sound fantastic and I think we have one of the best sounding Podcasts around because of them.  Remember if you don’t check out RODE’s site this week our friend Scott over there’s son may grow up to have blonde hair!!!!     FroKnowsPhoto, Canon 5DS, Canon 5DS R, Canon 11-24, RAWtalk, Photography News, Photo News, Photography, Nikon, DSLR

I will explain the title in just a second but first I want to thank everyone for their condolences on Lil’s passing.  We had the funeral on Monday just a few days shy of her 104th birthday.  Can you imagine what she saw in her life?  From 1910 on she was part of one of the largest technological advances in known human history.  May she rest in peace and not be forgotten.    Now onto the title of this weeks Episode.  I was attending my cousins wedding and a family member had a 5D Mark III with a flash on it sitting front row closest to the center isle.  Every time someone walked down the isle they were snapping three or four images.  The main photographer was down the isle trying to get the pictures and all I could see was the guests flash every single time.   I did not bring a camera to the wedding, it wasn’t my job.  There was a photographer who was paid very well to capture the moment and they do not need guests with cameras getting in the way.  The moral of the story is if you are not shooting the wedding leave your camera at home and enjoy the event.  More on this RANT during the episode.    PLUG ALERT PLUG ALERT - RODE is giving away a Stereo VideoMic X or a K2 Tube Microphone and all you need to do is take a two second survey to get entered.  Go to rockro.de/survey for your chance to win.  You have until Nov 10th to get entered.   Stephen brings us his news stories of the week and Sutter decided to shave his hipster head for some reason.     Gear of the week is pretty ICEY and cold and FLYING SOLO get’s cranking with solid questions.      Thank you to Atomos for their killer NINJA that we use on our center camera.  Thank you RODE for the Broadcaster Microphones.  Thank you to everyone on the Wheel of FRO and thank you to YOU GUYS.

Chris Fenwick, planetMitch and Carl Olson discuss the new firmware update (1.2.1) for the Canon 5D Mark III that provides clean HDMI out.

Kaupo Kikkas käis džunglis pärismaalastelt nägusid laenamas. Canon 5D Mark III versus Nikon D800, eksperdid Aivar Pihelgas ja Urmas Tartes. Kuraatorirubriigis räägib Annaleena Piel Linna USA naisfotograafist Cindy Shermanist. Ühe pildi loos räägib Kaupo Kikkas oma käigust Amazonasesse ja Peruu džunglisse. Kuuleme külastatud väiksest New Yorki külast, kus Kaupo ja tema reisikaaslane olid esimesed valged inimesed. Saame teada sealsetest inimestest ja […]

Today we take a look at the new Canon EOS 5D Mark III, with it's brilliant new Autofocus and incredible high ISO capabilities. Photos and Text on Blog: https://mbp.ac/328 Music by UniqueTracks

Today we take a look at the new Canon EOS 5D Mark III, with it's brilliant new Autofocus and incredible high ISO capabilities. Photos and Text on Blog: https://mbp.ac/328 Music by UniqueTracks

Dan and Bill discuss Bill's new 5D Mark III, CF vs SD, iPads one week in, Photoshop CS6 beta, and more! SHOW NOTES: Nikon D800 DxO High Score Photoshop CS6 beta Canon EOS 5D Mark III (Body)

Dan and Bill answer the age old question of if and why prime lenses are sharper than zooms. Is it technical or technique? You'll find out. They also discuss the recently announced and long awaited Canon 5D Mark III digital body. Plus a couple of duplicate file utilities for your Mac. SHOW NOTES: Gemini ImDeDuper Lens Rentals Best Blog Posts Doug's iTunes Scripts Lens geneology