The gimbal for the iPhone was a good first step. That made movement with the phone smooth and sure but we needed to do something about locking in white balance, frame rates and other particulars. Two days ago I downloaded an app for the phone called, Filmic Pro. It's pretty amazing for $14.95. To take full advantage of the program you'll probably want to download an upgrade that's priced at $13,99 which unlocks Log files, shadows and highlight recovery, noise reduction and a few more goodies. You can get along for most stuff with the basic app but if you can afford it the additional upgrade adds even more control.
As many of you here probably already know Filmic Pro is a powerful software tool for making smart phones into very capable video cameras. You can work in a fully manual configuration and control most parameters just as you would in a video camera or hybrid camera.
I shot a test roll on Monday, along with the Zhiyun Smooth 2 gimbal. Here are my ungraded results:
I still have a lot to learn about mastering iPhone video and gimbals but I'm ready to do a deep dive and find out as much as I can. My friend, James, took some time to show me how to walk forward and backward with a gimbal in a way that minimizes the up and down motion of walking. It's paying off the more I practice it.
We won't be using the iPhone as our primary camera for the Zach video projects, mostly because my iPhone XR is limited to a wide angle vision. One other flaw of the iPhone, which was mentioned in a comment yesterday, is the tendency of the native Photo App to over sharpen videos. That seems to be much less of a problem when using Filmic Pro.
The impetus to install Filmic Pro was my realization of how much fun it is to work with gimbals. But after working with my little phone gimbal for a handful of days I'm ready to experiment with other set-ups. I've ordered an inexpensive but well reviewed intermediate gimbal; the Zhiyun Tech Crane V2 (an older generation) to use with my Lumix G9 and I'm taking time this afternoon to charge, assemble and balance the much bigger (and stronger) Ronin-S gimbal that I have on loan to use with an S1 + 24-105mm.
My hope is that the G9 on the Crane V2 will work well and I'll be able to designate that set-up as my primary gimbal system. It makes sense since the G9 benefitted from a free firmware upgrade that handed G9 owners access to 10 bit, 4:2:2, 4K video files that look really nice. I'm getting great hand held shots from the S1+24-105mm system as long as I don't try for big moves or long traveling shots. Clearly those are the province of either gimbals, or well laid dolly track and a dolly grip.
Moving on to the Ninja V. I've been very pleased with its basic operation; as a monitor that also records easy to edit files in the Pro Res codec. My one gripe is that the camera and Ninja don't sync up completely. The monitor doesn't automatically start recording when you push the record button on the camera. It's not a fault of the monitor it's down to Panasonic not including an HDMI trigger signal in the S1. If you splash out for the S1H the synchronization works fine.
Monitors and digital recorders are certainly not essential if you are out shooting your own art or if you've been let off the leash to pursue footage for a client on your own. They do come in handy during those collaborations that include client hand-holding. Many clients, either new to video or just insecure, want you to play back every take to make sure they've got what they wanted before moving on to the next shot. In those instances the external monitors are so much easier to share than having one or two additional people hovering over the back of your camera trying to look at the 3.2 inch rear screen!
The external monitors are also much more flexible in their placement. I've loved having the monitor set up so it leans away from the camera body and over the lens. It's makes for a much more stable way of holding the camera for a lot of casual shooting. I also love being able to put a camera at the end of a small crane and have the monitor at the other end of the crane where you control the operation. Finally, you can see what you are doing....
But the really interesting thing about the Ninja V is its ability to take 6.5 K information from the S1H sensor or Cinema DNG raw information from a Sigma fp (with available beta firmware in the Ninja...) and write out Pro Res Raw files from them. The implementation from the S1H looks more sophisticated and might be of more interest to fast working pros since the camera works in V-Log and the monitor can use LUTs to show that one is in the ballpark. With the Sigma fp a working videographer will need to make a series of exposure tests to see just how far into overexposure one can get away with in order to raise the shadows. (No Sigma Log file forthcoming...).
But with either camera and a Ninja V you'll be heading into the higher end of what's possible with video.
It's good to temper expectations a bit though. The Pro Res Raw codec is still a compressed format and while it provides good exposure latitude (at least one full stop in either direction around optimum) the color is mostly baked in and isn't anywhere close to being as malleable as photographic raw files. On the other hand the Pro Res Raw will get you a lot more information on your storage before it fills up, when compared with the totally uncompressed raw files at 12 bit that you'll get directly from a Sigma fp.
On the video project I've been working on we are still shooting directly to the camera's memory cards. Shooting bigger files would quickly become unwieldy as we're shooting between 30 minutes to an hour and 30 minutes of video per shooting day. If we shot that as uncompressed raw on the Sigma fp we'd be filling up SSD drives about every twenty minutes...and the back end of the process would become overwhelming.
I'm gearing up for a long and varied day on Saturday. Unwanted mission creep is starting to accelerate its creep-itude. In addition to the stuff I've already seen on story boards we just added an interview style presentation with the managing director who is flying in and then out to do this. So, from gimbal work with a cast of up to 30 on the big pedestrian bridge, to music and dancers on stage we're also adding a completely different set up with different lighting and the need for full audio. Mission creep = the bane of every volunteer project. And the thing that keeps one from re-volunteering for months or years afterward.
If Hercules has been confronted with volunteer mission creep he would have walked away from his labors and changed careers... Makes cleaning stables look like fun...