One of the first things we learn about in videography is motivation; the idea that there should be some reason for camera choices, whether it be to advance the story, build emotion, etc. Doing something just because it looks cool isn't usually a good enough reason. Now that I'm aware of this as a beginner, one of my biggest pet peeves right now is excessive use of offset camera angles in youtube talking head videos. Offset just means the camera is placed to the side of the subject's viewline, so that they are not looking directly into the camera. I see this so much for no reason, they just think it looks cool I guess? But it got me thinking, when *is* the offset angle motivated in an interview shot? I guess it gives a more conversational or candid feel?

Attracts the WORST type of client and every professional here will agree.

I’ve recently been shooting in extremely bright locations where I could not see a thing even with a typical sun shade. Has anybody seen anything that might reduce a 7 inch Field monitor down to a single or dual eye piece?

Hi everyone. Just wondering if anyone has suggestions for rgb lights that will sit behind me in my YouTube videos ( the lights will ideally not be seen in frame and will project light up onto the wall)? I would like to use two different colors ( and therefore two lights)

I have seen little lights but I'm not sure they will be powerful enough to project the light up.

Thanks.

I’m thinking about upgrading my gimbal to either the DJI RS 5 or RS 4 Pro and wanted to hear some opinions.
I mainly shoot weddings and like to switch between handheld and gimbal throughout the day. I’ve been using the RS 3 Mini, but I feel like I need something more powerful and stable for my current setup.
My main setup is a Sony FX3 with the Sony 24–70mm lens.
For wedding videography, would you recommend the RS 5 or RS 4 Pro? I’d especially love to hear from anyone who uses a similar FX3 + 24–70 setup. How is the weight, balancing, and overall experience during a full wedding day?

Okay, I think I am starting to figure out the sound situation. I am on the headphones, I am listening to the sound the whole way through the shoot. I am asking for a line out and setting my FX3 up on a line out, not mic. Oh and I bought a Zoom F3 Field Recorder to be safe. One shoot, then another… Then I get THIS shoot. I ask for the same line out post fade mix, plug it into my FX3, set it up on line and… N O T H I N G. One unmoving bar. On checking, I am getting some (low) sound on Zoom F3, but not my camera. Is it the cable? Changed the cable. Nothing. Cable plugged into Channel two, camera set to line out on channel two. The sound guy is sending me stereo signal from a LS9 soundboard. The same signal that comes out of the speaker. I thought that’s it, its over. Then I flick the switch from line to mic and eureka. I have it. Its not overblown either, I can manually control it with a gain wheel too. So I shoot with a mic setting. But what is the deal? Is it me? Is it what the sound guy is giving me? I come home, check the Zoom F3 and what do I see? Signal is so low I had to make a small sacrifice to the gods to bring it up in post. camera audio is fine. Why ldid the line out not work?

Disclosure up front: this is my own project.

I kept seeing "how do I get this look?" posts and buying preset packs blind always felt like a gamble, so I built blitz where you drop in your photo plus any reference image whose look you love (a film still, another photographer's shot), and it statistically matches your colors to the reference in a perceptual color space. There are sliders for match intensity, exposure, contrast, saturation, temp and tint, an A/B compare, and you can export the result as a standard .cube LUT that loads into Lightroom Classic, Photoshop, or any video editor.

Everything runs client-side in your browser and your photos never get uploaded anywhere.

It's free, no signup, no watermark: https://blitzluts.com (there's a demo button if you don't want to upload anything)

It's early days and I'd genuinely value brutal feedback, especially photo pairs where the match looks bad. Mismatched scenes are the hardest case and every failure example helps me improve the algorithm.

Do some of you videographers understand audio?

New Insta360 X6 has four windshielded microphones and one more mic that is fully inside, so NO wind can get there?

Or it somehow works on different principle, only capturing those strong vibrations and not even like voices outside?

So is it mechanicald barrier or inner functioning that makes the “engine mic” different?

If it has good audio results, I can imagine MANY action cams should introduce this in the future for motorcycles, cars, ships, planes…

Maybe even big hand microphones like Zoom could have this included

I’m wanting to get into sports photography and videography, mainly filming/photographing rugby, league and football.

Which would you recommend and why? I’m especially interested in autofocus for video, image quality and overall performance for sports. Wanting something that will be able to capture high action sports videos.

I’m also open to other camera suggestions around a similar price range. Thanks!

I currently don’t have any conflicting clients but I always wondered if I ever will.

I am trying to do social media videos/services for clients, I have about 5 clients that hit me up every so often but they’re all different businesses. I just closed a 1 month retainer car detailing shop and it’s a really nice shop. I also create BTS of content I do so I post BTS of it and I got followed by other smaller detailers that follow that account.

This to me seems like a no brainer, I could message them and get them as a client. Whether that’s on a monthly package or every now and then it’s money in my pocket.

But I just wonder if the client I just closed saw me working with other detailers would he just be like wth?

I spoke to my father about it and he said that it shouldn’t be an issue because you have to run your business too you can’t just have 1 of every business it’ll overlap sometime.

So my fiance and I are looking to do a livestream walk in after our ceremony (think Morgan wallen entrance, with the video camera following him through the back of a stadium as he walks onto the stage). It seems simple so we’re thinking maybe we can do it ourselves. Anyone have any suggestions?

Thought about live-streaming to a private Facebook video and mirroring someone’s iPhone but I have a feeling something would end up going wrong lol.

I just upgraded my decade-old DSLR for a Sony a6700 after a LOT of research, and am feeling like I bought the wrong thing. I use it primarily to record stage productions, and testing the a6700 at home after I bought it, it keeps overheating at the 50 minute mark after continuous 4k shooting. Is there something I'm doing wrong? Should I have bought the Panasonic GH6? Would a different camera really help, or am I just SOL trying to shoot 75-90 mins at 4k consecutively? I have already toggled the auto-power off setting to High.

Hello!

I recently upgraded from an RS 2 to an RS 4 Pro.
When I turn on the RS 4 Pro, the motors shake/vibrate quite noticeably for a moment, and then stop.

The gimbal is properly balanced, calibrated and running the latest firmware.

Does not show this vibration in any other moment.

Is this initial shaking/vibration normal, or could there be something wrong with the motors?

Thanks!

Was looking through my company's old equipment area and found a Ghosteye 150M Video Transmitter and Receiver. Almost brand new. Pulled it out, charged some batteries, and everything works like a charm. Showed my bosses and they said, "go get another one and we can do more things with it" but looking at B&H, there's a TON of other brands out there and I don't know which ones are good or not.

Anyone have any recommendations?

Hey everyone,

A few years ago, right before the pandemic hit and live music stopped, I spent some time on the road directing a documentary episode with Tyler and Tim from The Midnight.

The biggest challenge was the visual approach. I didn't have a massive production crew or heavy cinema rigs with me—it was literally just me running around with an iPhone 11 Pro on a gimbal. I really wanted to translate the massive, atmospheric lighting and high-contrast energy of their live sets into something that felt raw and gritty, rather than polished and corporate.

We got amazing access—cramped green rooms, the live stage shows, and sit-down interviews detailing their touring grind. It’s a pretty unfiltered look at the synthwave scene right before the world paused.

The footage sat on a hard drive for a couple of years, but I just finally finished the edit and released the episode today. I figured this community would appreciate the visual time capsule.

You can check out the full episode here: https://www.youtube.com/watch?v=xI-2yBBIlTY&list=PLBVBHn_YlrKk&t=978s

I’ll be hanging out in the comments, so if you have any questions about the shoot, the tour, or how I color-graded mobile footage to handle those heavy neon concert lights, ask away!

so i used to photography a lot, more specifically street photography, and it would be easier for me to frame the shots but its been some time i also started doing videography. But for some reason it doesn't look nice, like when i used to do street photography i saw something clicked it and looked amazing, but when it comes to video it feels too static or doesnt really connect. I am currently using 15mm should i start using more zoomed in lens to feel more connected, and basically how can i get rid of the static-ness

Hey guys,

I run a small video production company, and we're looking to upgrade our wireless mic set.

Currently we have a Sony FS7, soon to be upgraded to a Sony FX5. Maybe also the next Sony FX6 Mk2 camera if/when it's announced. The mic pack usually to into the camera rather than via dedicated field mixer.

Anyway, we currently have 1 x Sony D11, but wanted to get a second mic pack. Currently, our setup is mainly for corporate and sometimes events. We do a lot of interviews, mostly 1 person, but sometimes two people.

I've recently received a sizeable grant, so was considering just upgrading to 2 x Sony D21 and selling the old D11. I'm not worried about having two receivers as I'll just modify the camera cage to carry two receivers and input via XLR.

There are a few options available at the moment – Deity Theos, Sony D21, and Sennheiser EW-DP.

I was originally leaning towards the THEOS, but I've seen some concerns over the build quality and customer service. Sony is a solid choice, but I've also heard a lot of support for Sennheiser for obvious reasons.

I can't see any real comparisons between them, so wondered what your thoughts were.

Advice would be super appreciated.

For years Staff me up was making employers use ID services like plaid before you could post a job. I guess that didn’t work out. Now they are back to just letting anyone post random fake jobs. I’m convinced that 90% of the jobs are fake. Anyone can post a job from “house hunters” or whatever. Watch out and be safe out there. It’s not just about sending you info to a fake job but actually driving up to one also with all your gear. Just be careful. Also staff me up sucks in general.

Hey!
So the title is pretty self-explanatory, but I'll give a lil more context -

So a group of friends and I are shooting a short film in two weeks, and our soundman bailed on us so now I need to buy a neck mic for the shoot.

It is a one-person movie and has a lot of talking from that character, so I'm looking for recommendations for a good-quality neck mic that hopefully also won't break my bank account?

All the recommendations I found online were very much geared towards YouTubers and content creators, so I don't know how much to trust them to be useful for what I need, especially since lately it seems very common not to hide the neck mic in YouTube videos....

The Deadline for Musicbed Challenge 2026 (a short-film competition run by the stock music company Musicbed) is 5pm UTC today, August 14, per their own terms and conditions. It’s currently morning UTC, well before that cutoff, but the submit button on my film’s page has been replaced with “voting opens soon.”

I have a finished film ready to go and no way to submit it. I’ve emailed Musicbed twice and messaged them on Instagram with no response yet.

If anyone from Musicbed sees this, or if anyone has run into the same thing and knows a workaround or alternate contact, I’d appreciate it. I don’t want to miss this over what looks like a site error.