Illegal Drone Flight in Sydney, Australia | podcast ep26

hey indie filmmakers I'm Griffin Hammond

I'm Nick bodemer and on this week's

episode Griffin's drone catches the

attention of the Australian police that

is true

plus your questions about NAT sound

breaks avoiding light flicker in foreign

countries and capturing slow motion

audio how are you I am good I am in

Sydney Australia I'm actually in the

convent on the convention floor I'd

simpie right now oh very fun have you

presented already I did I had a

presentation today and I have another

one today and several more over the next

few days so if you happen to be in

Sydney you should come to simpie the

free broadcasting and trade show very

good very good so let's jump right into

it because I'm a little concerned you

caught the attention of the Australian

police what happened I did so I came to

Sydney thinking this could be the

perfect place Australia could be the

perfect place to test out my drone my DJ

spark the one that I crashed a few

episodes ago on the podcast so it still

works is that what you're telling is

just fine yeah but I don't have any

opportunities to fly with it in New York

City so I thought out here in the

wide-open spaces and I even read all the

rules about drones here as long as your

operating 30 meters away from people and

you don't go above a certain height as

long as I'm not endangering anyone it

seems like I'm allowed to fly it right

or so you thought

that's what I thought so I went to a

place in Sydney called the domain and

all I did was I flew it like around a

tree a little bit just like pretty close

to the ground around a tree just for

like a minute and I was having some sort

of compass error so it actually wouldn't

let me fly above 16 feet so I wasn't

even doing very much okay and then I

left that spot and I started walking I

was kind of disappointed like why is my

compass my working it took me a while to

figure that out

I'd like recalibrated for all Australia

I guess because I'm from the crowd

probably because I'm in the southern I

was out now

oh that's funny and and I ended up in a

different spot and I hadn't even started

flying you I just found like the spot

where no one was around it's my good

spot to to be and I was starting to set

it up messing with the compass and all

of a sudden I heard like that quick

siren the police would like loop yeah

like like to get your attention siren

okay yeah but they weren't even near me

it's like oh I just see I could hear the

police are nearby like I can't even see

him and then eventually this this

officer came and found me and she was

like hey do you have a permit for that

you're like uh no but she's like in the

shoes like well in in the domain and the

what she call it like the trade lands or

something trust land yeah she's like on

trust lands you can't fly I was like go

okay what so what is the domain I don't

understand the domain is a park in

Sydney and I get out and when I looked

it up later even though I was following

like the Australia rules it just so

happens at this particular Park the

domain had a no drone rule so that's how

all of that so you were not placed in

handcuffs and drugged to the nearest

penitentiary no they were super nice

about it she was super nice but now I

know I can't apply there okay well

that's good I did see some of your drone

videos on like a rocky beach it looked

pretty cool yeah eventually the next day

I went to Bondi Beach which is over on

the on the east side of things it's the

nearest beach to me and really beautiful

over there I found a park that I could

fly in and early snow one was stopping

me from flying there I think I was

following the rules again sure we know

how good you are at that well here's

what it surprises me though about when I

was in the domain

I was only in that spot for like a few

minutes flying and then I went to

another place where no one was so that

means that the police were called

because they someone saw me doing it in

the first location and then they came

and found me at the second location

well you're quite the criminal your

criminal mastermind of a stopped yet

like someone at this Park is like I know

the park rules and I don't want to see

no roads here and it's like got on the

phone right away like I couldn't believe

how and then I don't know does the

officer like show up and like where's

that drone and everyone was just

pointing like that he went that way so

the pretty big park I take it yeah

really big park like not quite central

park size but pretty big

it's always about New York with you

isn't it we had my my second day

shooting in Bondi Beach I went back to

Bondi Beach because it seemed like if I

went really early in the morning there'd

be no one there and I could really get

away with shooting I just want to be

around people I don't want to endanger

anyone or be in the way of anyone else's

shooting sound somewhat for all we know

you're an excellent drone pilot I've

never seen you crash wait never mind

yeah well actually I have not crashed in

Australia so I think all I needed was

some space yeah why around granted that

and you've got your crash protection on

now I hope I did yeah the one thing that

kind of freaked me out with the with the

DJ's spark was that at one point after

flying around for a few minutes getting

lots of shots I'm at the battery life

drained it was down to like 15% and at a

certain point it's a threshold where the

drone just automatically says hey I'm

going to return home now because I don't

have enough battery left and so on the

screen it said like return home now and

I can override it if I want but I just

was like all right if you think you need

to come home that's great but the thing

it did was it just flew straight up like

that I just kept going up and up and up

and I was like where are you going this

is magic so I immediately cancelled it I

was like I can take controllers I can

bring it home I didn't need it to do

that for him but I guess I just wanted

to clear all the obstacles but it

started going really high up there thank

you oh that's crazy that's kind of cool

that it would do that for you I'd be

interested just to let it do its thing

and see what happens right well I just

was waiting for it to slow down and it

showed no signs of it it was going to go

forever again into a space I think and

then connect I don't think the physics

was that work but well yeah you know

thin air but the one thing I still need

to do with the drone is I need to

actually start shooting in manual video

controls like I've just been letting it

do like auto wipe out all my dough

exposure yeah and the shots I'm getting

back are a little bit too blue for my


especially when I'm shooting sunrise

like I would expect it to be a little


okay so you can you'd have the ability

to do all that manual stuff you can do a

manual white balance and do you just

have presets there to meet you a custom

um I think you could just dial it in and

custom like I know you could dial in

that exposure I actually couldn't find

the white balance dial it must be there

though because it shows me the white

balances toes them maybe I'm wrong about

that interesting yeah but that's that's

next test I need to actually shoot some

video I'm proud of I mean I love the

movement I'm getting but my exposure was

a little bit dark it doesn't jump around

or Sun running good about about locking

it in and not hunting to Mitch it jumps

around but like in a good responsive way

like when I'm filming dark stuff that

gets brighter I guess in one shot though

it can change a lot with all that

movement yep

makes sense

I wanted to bring up a couple YouTube

comments we got from last week

yeah people make fun of me no actually I

think people people love what you're


we got a youtube comment from J Pierce

vids who loved your comment when I I

guess I was saying people should go to

Griffin Hammond calm pleasure fence and

you said what are you a business and J

Pierce vigil he liked that line good job

yeah it was pretty funny myself but the

answer is I guess you are you are a

business my friend force unto yourself

I'm not a I'm not a businessman I'm a

business man let me handle my business

damn it's that Kanye I think it's jay-z

on RT Kanye song yeah yeah okay

but then the Isaac hatch on YouTube was

making fun of you I think he's making

fun of you his comment would simply make

sense yeah I say that a lot when I can't

think of anything to say

well I'm no real substance say well that

make sense let's move on actually so I

appreciate that because I think that

what I want to be able to do better on

the podcast is do a better job of just

acknowledging when you say something

perfect and I don't need to add anything

to it well it's very rare so if I don't

need a lot of practice make sense

nice little funkiness we got a youtube

comment from mater grafica who laughs

and says it is the same video might go

and it split broken in the exact same

spot as yours yeah and he recommends the

video micro it's so small it won't break

up at all and it has excellent pick up

so good little tip so it had a try for

you I looked that up it looks like a

cool form factor it doesn't look like

it'll break and actually I thought

surely Road is at this trade show I

thought I'd go check it out and I don't

think they're actually here oh to bed

which is crazy because they're an

Australian company

Oh big mistake big mistake and does you

son being a road yeah my audio last week

not so good

did not turn out kind of like we hope to

do this yeah someone commented that

maybe you should retire that tascam that

little tiny recorder yeah that probably

was the problem I don't think it was the

rode videomic but and my quick testing

before we recorded I thought it was okay

but it clearly was pretty bad apologies

for that well and I think here is if you

got the levels better if maybe the

recorder just performs badly with low

levels and maybe he had a better signal

noise ratio would be better I don't know

the other yeah try a lot of things to

try but it was it was not right

unfortunately yeah

well what should what else do we need to

talk about today who else we talk about

um I got two laptop whoo what kind of

laptop new MacBook Pro 13 inch so I

didn't have the late 2016 13 inch

MacBook Pro without touch bar and now I

have the early 2017 MacBook Pro touch Y

so a very slight upgrade barely you know

it's upgraded processor and a 16 gigs of

ram instead of date if it doesn't have

the touch part is I mean it still has

like that ste card reader and all that

stuff no oh so what is it all USB see

yeah and it only has 2 USB sea ports

where as the ones that touch bar have

four ok it's just the cheaper version

yeah so my work finally agreed to buy me

a Mac so I switched to this and I

basically just maxed out the config I

could get for the price one that they

sent me cool yeah but yeah metal upgrade

and now I can sell my current macbook

pro pocket cash

yeah have you done any editing with us

or anything yet actually yes I've been

editing a wedding that I'm working on

I've been playing more with multi camera

editing in Final Cut Pro I really like

it it really you know saw when I shoot

weddings only shoot two angles but I had

something all you really want for me

yeah but this one has three which I like

and using multicam to edit is really

fast and easy and I really enjoy doing

it so I need you to explain multicam to

me because I know it's there but I know

that you and I have kind of edited the

same way for a long time I think the

technique we've used is just

synchronized your multiple camera angles

and they all probably have audio on them

so you can synchronize them they all go

into like kind of a compound clip and

I'm just copy them out of the

synchronized compound clip into a

timeline and then just edit by chopping

you know cut away the top layer and

you'll see down to the next layer

yeah which works great until you get the

three angles and now the sudden you've

got to chop two layers at a time and it

just becomes a mess

so really with more than two chef angles

you really need to go to multicam so

would it what exactly like I don't I

guess I can't exactly picture what the

workflow is in a multicam edit so there

is a compound clip called a multi angle

clip of that specific type where you can

go in and you can see all the you know

so I have three video sources and two

audio sources in addition to those video

sources and you can kind of do you can

tweak them inside there so if I you know

what a pro limiter on one of the audio

channels is something I do it in that

compound clip but then when I have my

project I dropped this multicam clip

into the timeline and it looks like just

like one compound clip and then you

bring up the in your video viewer you

can bring up the angle so when you're

playing it you have your playback screen

and then you also have a little box that

has all the different angles so you can

see them all once and then I can just

you can either click on each box of the

angle you want it to cut to or you can

use the numbers so like I have mine set

up to layout there's one two and three

so I give it two three one issues lon

like live 28 I do it live UPS playing

back and then you can go back and tweak

it really easy because it just adds edit

points then you can get AB and scrub so

I know that I'm such a stickler about

edit points that I would not be getting

it right live is there a way to is it

easy to stop and make the edit oh yeah

absolutely I mean just like I mean

you're playing back like normal so you

can scrub all the ways you would

normally scrub through so could I just a

trim base to stop playing go back a

couple frames to the left arrow and then

to lace up Darrow left arrow hit two

it'll drop okay where we say and then if

you get it wrong you can quickly adjust

it to I guess that is significantly

easier than hitting command shift to be

to cut through every layer and then go I

would usually use the V button to like

disable some tracks and yeah and you can

imagine if you had five or six or ten


it could get really messy yeah and this

is nice the only thing I haven't figured

out a good workflow for dealing with

audio right now

just enabling all three because you can

cut video you can cut audio regret video

and audio when you're cutting yeah when

you're hitting the buttons so I just

only do video and then I go back and

kind of manually do the audio there's

probably a better way to do it but I

haven't quite figured it out yet right

yeah so that's what I got going on cool

so you're happy with the computer then

I'm very happy with the computer yes

indeed she answered some questions my

friend yeah we have a lot of questions

today we do our first one is a youtube

comment from film land studios and just

wondering if the Panasonic g7 is a good

camera for $500 so I actually asked

Scott Mellish who's here our our

Panasonic representative in Australia

and he says that the g7 is essentially

like a gh4 it's just missing a few like

the higher bitrate shooting options and

I mean for $500 it is a pretty good deal

yeah absolutely you know the the one

thing that you're missing out on by not

going to like a g85 I think is that in

in body image stabilization so you know

I think image quality wise you're

probably going to be very similar so if

in body image stabilization is really

important to you it's quite worth upping

the price but it's not I think the g7 is

great yeah I think the g7 is half the

price of the g85 I use the g6 is my

secondary camera for a long time no yeah

camera and then our next question is a

youtube comment from Jimbo Jam it's also

about the g7 I'm just wondering oh wait

sorry I skipped ahead this one is from

sbatch e hibachi know who uses a fence I

get that P normally it's a bachina

it's a bachina ug7 to shoot film and

just wondering about affordable lenses

for the g7 and so actually this is a

great time for me to go to scotch of

course we have our prime lenses like the

25 1.4 and their 42.5 1.2 I know you

shoot with Griffin oh no ugh five but we

actually have some sort of baby brother

versions of those lenses so there's a 25

mil F 1.7 that's $300 in Australia and

there's also a 42.5 F 1.7 again just

like four or five hundred dollars

available in Australia as well and the

other lens to look at is the twenty

millimeter F one point seven now the

thing with that lens is that it's a

pancake lens it's really small and

portable so if you're going for

something that's unobtrusive small

package it's a great option it's also

very sharp and gives you that subject

isolation again that you might be

looking for and again it's quite an

affordable lenses only a few hundred

dollars let's go thank you okay so I

have that same lens the Panasonic twenty

millimeter pancake f17 great lens I use

it all the time in addition to being

inexpensive and really fast getting it

lets in a lot of light it's also super

compact the pancake lens so I want to be

discreet or just you know don't want a

huge rig it's really nice and I think

remember that lens also focuses really

close ooh yeah I think it does I had I

don't know what it's the actual distance

is up top my head but that sounds right

yeah I feel like I could like I could

focus like an inch or two away from

things I mean it's probably the lens

I've used the Pens like ones I've use

that can focus the closest

well we did get a question from Jimbo

Jam evenly jump the gun earlier with his

name or her name just such a good name

Jimbo Jim it is a great name and I

actually are a really great question so

I'm glad you pulled this one out because

I saw this on last week's episode said

one of the things that really caught his

attention in your creative live classes

something you called NAT sound breaks

can you talk about those why you use

them how to use them and maybe when not

to use them sure so NAT sound or

sometimes we call it wild sound is just

the sound that goes along with b-roll

and actually most of the time I'm not

even recording this on like a super nice

microphone lessons I'm just capturing

NAT sound on the cameras microphone

because it's going to be b-roll b-roll

is any shot that that is not an

interview really all the shots that show

the story you kinda do stuff you overlay

over the top of an interview exactly

once I've made those cuts on the

interview creating lots of jump cuts I

need to cover those edits up with

something beautiful that's the b-roll

okay and the b-roll has its own sounds

usually from the on-camera mic and I

always use a little bit of that NAT

sound when you see b-roll usually it's

at like negative 25 DB or something real

low but a NAT sound break is just when

you let that audio come up like you stop

doing the interview audio you stop doing

the voiceover in the documentary piece

or the news story whatever it is and you

just let the NAT sound happen for a


okay and why do you do that well one

it's a great way to let the audience

just kind of breathe like let's pause

for a moment and just change the pace

but also I consider anything in that

sound break if it's like not an

interview like even if it's people

talking that they weren't talking like

an interview setting like if it's two

people saying wow we won the race that's

great you know just people it could be

people in their natural environment

environment showing emotion or in the

case of pankot there were a lot of like

Chainsaw moments or chipping ice moments

those are NAT sound breaks just let the

guys audio speak for itself

and does that term come in from TV news

or yeah it's a TV news term so when I

think about like the ingredients of

documentary I talk about that a lot of

these workshops is I think about

thoughts which are interviews that sense

were sound on tape you have voice over

b-roll and you have NAT sound breaks I

mean those are really be a four

ingredients to documentary and you

sprinkle them all together and you get a

doc yeah I mean anything you're making

really any creative work you're making

it benefits from having variety so in a

documentary you just want to want to use

a little bit of each so that you're not

too heavy on sound bites you're not too

heavy on that sound you want all of it

to help self the story love it make

sense Griffin and make sense makes total

sense sense has been made there's a

youtube comment we got from Praveen in

India and he asks about the GH five

settings this is actually an interesting

question he says everything is working

well in the camera shooting video it's

great photos are great then the moment

he goes to shoot time lapses he hits I

guess he hits the shutter it takes a

photo and then the camera just shuts off

and he's like what is wrong with my

camera that doesn't seem good to have

any idea with seven no it doesn't sound

good right

well no actually I think I know exactly

what's happening is it just kind of

turning off always to take the next

picture we're interacting happening here

I don't know if I as a real problem I'm

wondering what his interval is on the

taught on the intervalometer if you have

like a 1 minute interval you're not

gonna see it do anything for like

another minute and if price shuts

everything down in between this big

battery it does I think I've noticed

that even as low as like a 15-second

interval on the time lapse mode the

camera will shut itself off between

photos just to save batteries so I guess

I wonder what is interval is because

that sounds like that's what it's doing

all right Praveen check your interval

and trying some patience

that's how did you know that I got

Harvey Harvey is 17 and has been making

films for a long time just got a gh 5

big investment for him his words but

that's true

$2,000 big investment for camera and he

is wondering why everything in the

camera is either 50 P or 25 P frames per

second he doesn't have any options to

shoot like 30 or 60 sounds like a

European model

well the gs5 comes in like a global

model but he should he probably is in

that powell mode for Europe so I think

if he just goes to the system frequency

and switches it from the 50 Hertz mode

if he goes to the 59.94 Hertz modes and

that's like American version I see in

the notes here you're explaining the

answer I thought that was part of his

question and he was saying he already

had it set correctly oh yeah I was just

I I wrote back to him and told him he

should go to menu setup and there's a

menu called system frequency where you

could switch it from 52 59.94 beautiful

beautiful but the one thing he has to

worry about here is if he's shooting in

I mean there's a reason his camera wants

to shoot 50 Hertz in his country let's

see where is he

I guess maybe he's in the UK the

lighting there flickers at 50 times a

second so if he's going to shoot in 60

frames per second if he's gonna shoot in

a frame rate that does not match the

refresh rate of his lighting he at least

needs to shoot in a shutter speed that

matches his lighting yep which in this

case would have to be 1/100 of a second

we've got an email from Joshua he says

he loves your content and sriracha he's

a new gh4 user and he wants some lens

advice for a narrative short only and he

lists out three potential lenses the

Vedran 25 millimeter cinnamon lens the

Sigma 18 to 35 millimeter or the

voigtländer 25 millimeter go Griffo I

actually don't think I've shot with any

of those although the one that I

probably hear people the most excited

about is the Sigma 18 to 35 I believe it

has a really good 1/2 stop on it I can't

remember is that one of their art lenses

oh I don't know it's even a harder line

that's really good my my response to him

was that I know that personally if I

don't know if he's only choosing one of

these lenses if this would be his only

lens of shoe it I know that personally

if I was stuck with just a 25 millimeter

I would feel pretty limited it's a

beautiful portrait focal length but like

I like really wide so I mean even 18 for

me might not be wide enough

so one thing to consider is just that a

zoom lens is going to be much more

versatile he may not get the great great

f-stop that the other lenses may have

but I think I would be wanting some more

versatility yeah and it is an F 1.8

constant and what is one of their art

lenses it's an F 1.8 okay so yeah head

up 1.8 that's still going to do really

well I'd be interested how that compares

be up stops on the other two primes so I

went like that oh is probably an F 0.95

oh yeah that's crazy isn't it my 18 to

35 Panasonic is an f28 so how much less

light is that frickin Fermin f28 to an

f-18 well at f28 down to an f2 would be

doubling the light so that's about it's

a little bit more than 2 times the light

it's a lot of life and a third you know

I just wanted to test your knowledge

there I knew the answer you memorize one

and one point four and then you have

scale and you can't have any matter less

light right now we know it's just a

quarter of the light that's right work

we are learning every week every day

here's an email we got from Mike who is

you has usually been shooting with a Sun

hyzer or rode mic plugged right into his

DSLR but he's pointing out that the gh 5

when you shoot super slow-motion like

180 frames per second when you're in one

of these variable framerate modes to do

those high frame rates you don't get any

audio camera just doesn't record audio

so he wants to hear that super

slow-motion roar roaring sound and just

wondering how he should do it may be

used as age five like I do plug in a

shotgun mic but he also doesn't want to

get like a big rig going so I don't know

if you have any ideas for how to like

keep this lightweight let's go get some


well I mean you're going to have to add

more gear so it's going to get a little

heavier right so I mean I think if you

can get bh5 mounted directly to the

camera and then add it up I mean is

there an easy way to mount to cold shoes

to a jh5 I guess they make adaptors for

that right that'll let you kind of

Mountain plan yeah there's like a V

adapter that like turns your one cold

shoe mount into three that I've used but

he also mentions like maybe using a cage

I mean that would certainly be one way

to mount everything together but I also

think that like don't underestimate the

fact that it's a feature to be able to

shoot separately on an audio recorder an

audio recorder doesn't have to be

attached to the camera so maybe you

mount it to your belts or something like

it doesn't all have to be on the camera

again and that lets you get the mic

closer to the audio source than the

camera which sometimes is very helpful

so right when someone else moves the

audio yet when we're doing interviews

it's pretty common for me to run the

camera for you while you stand to the

side holding the mic the audio recorder

separately so you can get that mic right

where you want it and also I I think the

the kind of sound you get when you when

you slow it way down into slow motion it

becomes such a foreign sound like the

audience doesn't know what to expect or

even know how to interpret it so like

one you could probably get away with

lower quality audio like you probably

recorded with a phone or something you

know maybe not even with your nice

shotgun mic but to you could you could

Foley this or like use fake audio or

record the audio later

yes I don't know if the audience would

notice that it's not matching up because

starting to be so weird and it gets you

know 180 frames per second slow down

that's going to be quite a dramatic

pitch shift down as well

right I mean I've done that with like

time lapses in hand cut like there is no

sound to go with the time lapse so I'll

speed something up it sounds really

weird and I've done that with slow

motion to just like take a sound from

something else that should sound similar

slow it down and we're all going to

sound interesting well Griffin you know

what that is that makes sense we should

hit t-shirts to say that makes them oh

no no not even that make it just makes

them make sense

period you're really avoiding it this


yeah I'm really kind of self-conscious

about it now

this next email from Christian actually

starts with a question for you mr.

Boatner I see those mr. Boatner that's

my father not me well you are a father

mr. Boatner and I am I guess I was

without that he says that he is

literally he's literally hours away from

the birth of his first child

congratulations Christian and he's just

wondering you as a father yourself Nick

how does having a family affect your


yeah that's a good question it's going

to eat up a lot of your time so kind of

the all hours of the night editing that

I might have used to pull off doesn't

happen as much anymore so I now have

three kids which really takes a dent

into the free time you have to pour into

some of these projects but you know you

make it work I mean no matter what you

do having kids is definitely going to

dramatically change your life and and

you just learn to fit all that in well

and some things probably jive with that

lifestyle pretty well like in a way if

you were a full-time freelancer I mean

freelance can give me much more

difficult than having a full-time job

but you might even have the flexibility

to to be home more often yeah exactly or

be home when you need to be home and you

know played the scheduled game with you

know your significant other yeah so that

is good

and clearly you you feel that being a

father is rewarding yeah it's alright

it's alright I'll keep them around for

now mostly they're free actors yeah


I mean they are the subject of most of

my photo and video work these days yeah

and then Christian has a second half to

this question for me mr. hamund he is

thinking about quitting his full-time

job and the especially because he's

having a child but he doesn't want to

lose his healthcare benefits and he says

that's a big issue and yeah that is a

big issue well let's talk about politics

Griffin oh maybe not maybe well view if

you will turn around through your

full-time job right I have health care

for my family through my whole full-time

job yeah and that would be very

expensive to replace because it's quite

right health care so I wish that health

care was not tied to our careers because

I think it would need a lot more

entrepreneurship and the ability to say

no I don't want to go over-- corporation

I want to try my own company and do my

own thing that we don't have that option

in the United States right now so you're

looking at you know the health care

market and seeing what subsidies you can

you can accept I don't know much about

that process you might know more since

you are self-employed right well I had

amazing health care through Bloomberg

and when that job went away I am now a

freelancer but I'm lucky that my wife

also works so we have health care

through her job which is not as good

it's I've looked on the marketplace and

in New York at least I guess I was

surprised looking at the marketplace was

the first time that I can't even if I

want to spend a lot of money get the

same like wonderful level of health care

it's kind of like so they're not

offering those same levels of coverage

and for freelancers frustrating yeah

well and I often think that like it does

seem really appealing to be an

independent filmmaker and go completely

freelancer like it feels like an

accomplishment it feels like you're

successful as a filmmaker to go all

freelance but it's difficult there's a

lot of trade-offs and I encourage people

as long as you can stick with a

full-time job because you you get all

these other benefits you get vacation

time you can work on the weekends on

your projects and you have that safety

net that if you fail to get enough

freelance jobs you still have someone

paying you every week to show up yeah I

think it's important when you are

comparing you know what you might need

to replace your full-time job in terms

of income to think about all those

benefits that aren't just your salary

right total compensation total

compensation let's bend the life advice

corner of the hey indie films in Kapaa

town beautiful beautiful so kids are

very expensive also just warning it cost

like a lot of money especially when you

have three yeah we'll just make sure you

put them to work on the farm and then

that's right that's right my my

two-year-old is great with a plow

so we got a tweet from shayden greens

Griffin what you say on the wrote broken

on as I am going on 12 millimeter 2.2

also what's a wireless audio solution

for the GH five for shooting a webserie

PS thank you so you notice how it's not

F 2.2 its eighty two point two lens yeah

skipped right over that because I didn't

understand what that meant have you

heard of study stops before no so a lot

of times when you look at cinema lenses

they are key stops instead of F stops

and even until like last week I didn't

really understand what the difference

was so I finally educated myself and

really all it is is that f-stop I mean

we know it s stuff is it's the measure

of how much light is making it through

the lens and hitting the sensor I feel

like I'm probably saying that wrong but

that's effectively what it is and a an

f-stop is a theoretical number it's like

they build the lens it has a certain

aperture opening they can calculate how

much light should be coming in but

effectively that number might be

different maybe there's some there's

some reflections on the inside or or

it's light is being absorbed by the

inside lens different physical factors

of the lens might actually limit how

much light is actually making it through

so a t stop is a actual measurement you

have like like when they make these

lenses they have to spend more making

them because they have to test each

particular one and make sure that

hitting the number it's supposed to hit

and now they do they correlate or they

similar is a boring 8 T stop and f-stop

you know theoretical about the same

right yeah that's the same measurement

it's just one is an actual and what is

the theoretical very cool and I guess

the primary benefit of that is just

knowing that if you buy a bunch of t 2.0

lenses for your film shoots they're

going to match perfectly so you could

switch between your different Mogoeng

gotcha that where in my understanding is

you might get an F one point four lens

two different x one point four lenses

and one of them might effectively be an

F one point six and one might be an X

1.8 like they could you can lose like

1/3 or 2/3 of a stop I think goodness

did not do that yeah that all that being

said I have not used the Rokinon 12

meter after you to point to so I can't

really speak to it I'm sure it's lovely

wireless audio solution for a web series

I have a solution it's called don't use

wireless if you can avoid it don't it's

just expensive headings yeah especially

I guess I don't know the nature of your

web series but if it really is like a

like a fictional thing where you have a

lot of control over the shots why not

have a boom mic above everyone or even

like to ADR like voice it over after the

fact if you have it take so that short

yep I agree I suppose if you're doing

like a prank show or something or

something where the actors like need to

be miked up and they're kind of running

around on their own away from the

cameras I could understand why you might

need wireless mics yep and if so just

read lots reviews and be ready to spend

real money not cheating honey what's

that road one that I feel like a lot of

people use like the roads link I think

oh I don't know I wasn't aware of a road

with wireless product yeah I've

encountered a lot of videographers who

use that so perhaps that's a that's a

good one interested I'm always wary of

wireless mics just because I've been in

too many environments where there's too

many wireless products around and

causing problems yeah and you don't know

you've got a problem to later yeah

our final question is a tweet from

Keiko's teaches ESL which is English as

a second language I imagine

Chico's is wondering if he only has

prime lenses doesn't have enough money

presume lenses you clearly going to be

swapping lenses a lot while shooting and

just wondering what's the best way to do

that when it's on a shoulder rig

I guess he's working with the Panasonic

14 millimeter and the 25 millimeter 25

millimeters a great lens yeah I guess I

don't really understand what is asking

us here do you understand I mean you

just swap the lens set the breakdown in

Southland what we looking for here yeah

I think I mean obviously if you don't

have enough cash for a zoom lens you

don't have enough cash for a second

camera body so one of my luxuries is

that I'm using two camera bodies and

that means I do a lot less lens swapping

and just I can especially when I was

hiking recently in Switzerland I would

keep one camera around my neck on the

neck strap and one holstered on my on my

pants when I was using the Spyder light

what do they call it the spider holster

I also when I have two camera bodies

I've often done like put like different

I'll put the same quick-release system

on multiple devices like maybe I'm like

my god I have one giotto's quick-release

system I have the same job as

quick-release system on my shoulder rig

that makes it easy

but you know I'm trying to think through

how I do it you know I'm not usually

using a shoulder rig so it could be a

little different if you can't handle the

shoulder rig one-handed but I just I pop

one lens off and I put it in my bag even

with like no caps on or anything and I

know I've gotten good at grabbing a lens

out of my bag and taking the back cap

off with one hand with one hand yeah

yeah and then putting it on and then if

I have time I'll go back and put that

cat back on the one that just came off

I'll put it on the new lens but if I

don't have time I just believe it open

in my bag and keeps you right I do that

too and it's it can be hard to reach

your bag especially if you're wearing it

so a lot of times it helps when it's

cool outside if I'm wearing a jacket

I'll often just use that front pocket

and throw a lens in there that way I can

quickly switch lenses we should have

like a showdown where we like who can

swap their lenses the fastest well I've

always been interested there's some

products out there that are like

essentially it's like a rear cap

attached to you like you can imagine one

like on your chest where you could like

rear cap your lens onto yourself

I don't know how secure that is you're

seeing me shake my head because it makes

me very sad and scared for my lens yeah

like all you would do is just bump it

rub it the wrong way or just fall off

I'm sure they had it month in must it

catch like like the camera does where

you need to push a button really let's

clip it out

and I can't do the name of the products

but I've seen the being at these trade

shows I've seen one that's like three of

those on your belt it's like a rotating

thing and you can mount three lenses

that way a rotating thing like the

old-school television lenses or you

rotate yeah kind of like that yes I

think I think these kind of like hanging

down it's almost like it's like a whi

that spins around here on the axis of

your belt love it love it make sense

yeah well my my battery lights on the gh

five is blinking we've been going for 42

minutes and I think I started with like

half the battery life is I've been doing

presentations and C so you're ill

prepared for your game no problem I was

thinking I was exactly the level of

compared because I think we're done just

giving the art it's just they're hearing

that the audience loves it when I tease

you yeah I think the more problems I can

bring to my shoots the more emphasis you

would never tease me though you're too

nice a guy

well I often don't know about the

problems that you've introduced to our

shoot until you send me the footage yes

I didn't I grew up at the beginning in

fact we didn't even go over this week

last week you sent me some interlaced

footage what are you shooting today

Vince it over back to mp4 out of a be a

goodie so I think we're in I think we're

in good shape all right well I should

let you go before the camera cuts off

goodbye my friend

have fun in Australia money back in NYC

I am back like next week I'll be I'll be

back for next episode awesome well

thanks to listening everybody appreciate

it yeah take care doctor later bye-bye


what's your questions out that sounded

up would you put my headphones in I just

had my laptop sounds rollin loud at dead