Blackmagic Ursa Mini 4.6k | Netflix Documentary Requirements Camera Gear 2019
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Enjoy the Video? Make sure to leave a comment and check out the show notes for more helpful links. If you want to learn more about making a documentary, look at the full playlist http://bit.ly/MakingNetflixDoc 💪
Okay Johnny. I really have to be honest now because this is bugging me whenever I see you uploading these kind of videos. Your content in general is really nice and you definitely know what you are talking about. Although a lot of stuff is up to taste you are still well educated in your craft and I totally support that. What I DONT like, or actually HATE about some of your videos are your MISLEADING titles. You did this several times on your uploads, be it by including the Netflix logo in your thumbnail or mentioning the word Netflix here and there (like you did in this video @0:19). You literally never talk about the topics you are phrasing your videos with. For example: In this video your title includes the phrase "Netflix Requirements Camera Gear 2019". So I expect you TALKING ABOUT those requirements RELATED to submitting your stuff to Netflix. Now although Netflix openly released lists with all the technical requirements and other similar important informations which everyone can look up on their own, I find it ULTRA FISHY from you to try to CLICKBAIT the heck out of your content by including either these types of thumbnails, video-descriptions or big brand logos to attract viewers. The funny fact is that 90% of your audience get lost in your lengthy content and forget that you actually clickbaited them on your video and don’t comment or criticize on that. On the other side the stuff you are talking about is definitely right and in most of the cases I agree with what you are communicating about but this clickbait-behaviour is really making me want to hit that “Spam or misleading”-button. Problem is: There is enough evidence of you using misleading titles every now and then. Please stop doing that.
Doesn't come from angles, camera movement, framing, cutting either. It comes from using the cinematic language to immerse the audience into a story world that is built up with the whole cinematic language of film. Now camera, angles, movement, framing, cutting is part of that. BUT far more important is the action. Whats put into the film, where you show don't tell. Using the artform film to tell a story rather than have interviews, voice overs or talking actors say whats happening. It's all about perspective to create immersion. Have a whole storytelling playlist that you can check out if you want to dig deeper into that: https://www.youtube.com/playlist?list=PLr67Xvf9e36lJwZBGElvV-oZ60rNYeTBS
I think that che C series (Canon cinema) is the PERFECT kind of cameras for documentary. But BlackMagic, RED, ARRI, are a lot more cinematic... I just look at them as studio cameras, where everything is setup and perfect. I don't really think blackmagic is the most verisitile brand
I used to own the C300 MKII and I've rented others a bunch of times. Even though I get why a lot of people like it for docs. It was far from ideal too me. It was too big and bulky (I know most cinema cameras are). C300 have a dumb monitor unit build though. But more so it was the build quality I disliked. The handle squeaked, and the mic mount is flimsy. A really bad thing in a run and gun doc scenario if you have a on camera mic. It's a great camera, but I think it's overpriced and not the right one for me because I don't use autofocus, which is noisy as well. Anyone that wants that makes it great. But I like building the rig as it fits me and C series are ready made builds. Means the screen is what it is. The monitoring unit for the c300 was way too big and clumsy. I much more prefer to do manual focusing where I can decide how fast and where it should be. It makes for more organic shooting. But that's my take on it, others love autofocus and the build that C series is. I'm in the process of building the BMPCC4k to the pretty much ideas doc camera setup for me. Which also comes down to size. C series is way to heave for what you get as well. Now the ursa on the other hand is way bigger, but ursa isn't ideal for small shoots either.
Actual film cameras are the most cinematic of course. Most of being "cinematic" is trying to emulate a filmic look anyways. A close second would be the ari alexa because of how close to film it comes. You can really tell from what hollywood movies use. Obviously for someone like me shooting video on film isn't a very economical option however.
I have the ursa mini 4.6k (non pro) and I love it so much. I also have the Sony a73 for other stuff. My question is this. When using the ursa with an IR cut filter, Nd filter and a diffusion filter, what order should I place these filters on the lens? Thanks
Haha I went the opposite! Felt the c300 mk2 was a pain in the ass with squeeky grip and loose monitor unit. I understand the thing though. Cause ad agencies especially know very little about what camera it is if they watch the footage but they know everything if you talk about what camera to use before hand. I mainly do doc type of shoots so they don't stress it as much then. But having the most expensive camera does make it possible to charge more without effort. Weird, shallow and stupid. But the way it is I guess. :D
I remember when Netflix was mostly about filmmakers and supporting them but the front office became money hungry and shifted another direction for the future. When this implemented how to submit your film and also certain camera requirements in 2014, I was shocked with how they choose the tools used instead of content. Some festivals are like this now I guess because quality on the screen is something these days. Good video though.
Johnny York I actually did not know, my professor who is a producer knew this. But for the camera requirements, it was a discussion we had with my peers and a professor about the pre production targets of what we use to film for targeted festivals or platforms. But since you seem well qualified from one sentence then that is your opinion. I will stick to people’s word who work in the industry than a YouTube comment.
Thanks mate. Think about this though. Their standard is not law or anything. If you want to make your film make it and if it's good enough and wins prizes etc. They would still buy it. You would though, minimize your chances of making it into a originals program. This is not strange at all, the difference is that now Netflix in #1 in film and tv. That demands higher standard. They need to produce stuff that competes with HBO etc. Before it was mainly crappy films on Netflix, the DVD era. Often old. That didn't serve the filmmakers at all. They bought films for much less than now. Today they are one of the biggest producers of high end production. That doesn't mean that they don't buy small indies, but they don't pay as much for them. They never have either. It was only recently that they started to pour money into production... But in the end everyone needs to make their films and find the right partner for distribution. Netflix is not the right fit for everyone, it's not the only one out there either :D
Thanks The Young Travelier! Awesome to hear! I think they produce pretty similar look in prores at least. Pocket can be a bit different in the noise pattern i raw. But I think they are very equal in terms of image quality. So then it just comes down to using the right camera for right situation. For me it makes sense to use an ursa on a easyrig while on a gimbal it's nice to have a lighter pocket4k. Also in small spaces etc a pocket4k is great. And for low light as well. But the weight of the ursa can often be a good thing when doing handheld for instance.
so i'm currently using the FS5 and it's amazing for me at the moment and works great for shorts, skate and client videos. I was looking at the Blackmagic URSA mini but I found a great deal on the FS5 so I copped it and hell no I wont be going back to DSLR's for films, maybe for vlogs or a single shot if i cant fit my rig in a hard to reach spot but im sticking to cine cameras from now on
Creative North yeah exactly! What ever camera is best for the job is the best camera! I would never have a chance at doing an internal two shot of a driver and passenger of a car as the camera wouldn’t fit but something like a GoPro would get the best quality for the situation, a filmmakers tool box doesn’t necessarily have to be full of these tools but they should be willing to always use them and at least consider them 🙏🤙
I think they're pretty similar and much more a which is right for you type of situation. I like that the ursa has BRAW but would probably not go through the hassle of selling a fs5 to buy an ursa. Best camera is the one you know in and out. Look at the BMPCC4K though as a compliment. Similar image quality but great B-Cam or A-Cam for smaller gear situations.
Thanks Mehmet Kose! Awesome to hear! yeah was there to shoot a branded doc at the end of the year! We have a b-unit shooting the final scene there very soon but I'm not going to be there. Almost done with the edit on that one :D
Awesome! The old one is called The Pearl Of Africa, not sure if they still have it on there because their license should have run out. Here otherwise: https://vimeo.com/ondemand/tpoa 50% promo code: SALE_CN But this is the equipment I use for the next one, you can see the BTS series of the ongoing project here: http://bit.ly/MakingNetflixDoc
Great video , I have a GH5 and the G80 as a b cam . However, I have built up my GH5 in a rig that allows me good XLR audio connected to my Rode NTG3 . I would love your camera and would most likely purchase one if I were in a different situation. Thanks for the great video.
@Creative North yes the low light situation is an issue , so now I use a speed booster with my wide aperture Samyang cine lenses . Enjoyed your doc Johnny on Netflix , looking forward to your next Netflix doc .
@Creative North By the way, can recommend the Rode NTG4+. Power it via USB with internal battery proved to be very useful. Especially when you're on Docus in the middle of someplace without name. :) What was the timecode device you are using, still looking for something affordably.
Yeah, the Ursa Mini (Pro) seems like a working man's camera. I hope to save up an buy something like this one day. Thinking of buying the Blackmagic Video Assist recorder for my little GH4 for now though.
Yeah I think they'll update it soon and then it would be interesting to see where they price the new one. Might be more expensive but then the old one should drop as well. But if you're fine with smaller camera the pocket 4k is also a dream. As good just different and has some limitations with battery and screen tilting :D
Not in 4K but have done 2K cinema dng projects and DCP in Resolve. I only this year started shooting 4K :D Theatrical is usually projected at 2k DCP so I haven't really cared about it until now when Netflix and others are pushing 4K for their originals projects.
@Creative North Great stuff.Thanks for your opinion.I also think that with speedbooster,ND/Pol filter system,External batt and display the system is more modular and portable(depending on the situation you can tailor the setup).The other advantage is that on gimbal BMPCC4k is just fine while UM4.6K is too much.
Although currently I have the previous pocket model which is amazing and gimbal use is a breeze.I am also looking at Ursa mini series but BMPCC4K is packing amazing feature set for great price.Anyways thanks for sharing the knowledge.I like your videos.Cheers!
I think it's pretty much the same if you're not used to working on a cinema camera. But when you're used to those cameras you get used to having internal ND, more XLR inputs, formats and settings. Super 35 mount as well. Now for me none of those things are a factor. I think I get more out of the pocket because its better in low light. But it has it's issues with battery, it's both good and bad that it's small. Small means more shaky for instance. Right now ursa has BRAW while pocket doesn't. I have the Metabones ultra speedbooster and with that it's pretty much the same in terms of sensor, but pocket is way more light sensitive with that on as well. In terms of image quality pocket has a bit less dynamic range but if you compare you get a cleaner image so what you loose in dynamic range between high and low you gain in cleaner shadows. I love using the Ursa but I wouldn't buy it if I didn't know why I would be better off with it. Chances are you wouldn't in that case :D I think BM will update the ursa soon and then it prob makes more sense cause I can't see why they wouldn't be able to compete with Alexa and Red for real with an updated version.
I definitely agree on the sound, I bought shot gun mic a while back because all the YouTubers had them and did an interview on a hill recently, so wishing I had a lav mic. And that's is the thing, no matter how good your cinematic filming is, unless you have an engaging story with good audio people won't stay and that is where I am stuck for the moment and it does not matter which camera you have. I did learn one thing though, don't be afraid of silence when interviewing, you can edit that out, pause and let the subject think and they will open up, definitely very hard and full respect to those who do it professionally. But when you see the subject open up and talk in the edit so rewarding, then you start to hear the wind noise and your heart sinks.
As long as you care for the final product, you will always be thinking on how to improve it, and it's an endless circle. You will always be looking for new gear, new ways of improving your audio, image, lighting etc etc. Because you care. So, that's a good thing.
@A A Hi AA, I fully agree, when I started videoing early on I bought a piece of equipment because I trusted the review of a youtuber I had watched for several years, when I got the equipment it filmed nothing like the video and lost a lot of money, incidentally I have never seen that youtuber use that piece of equipment again , I don't trust youtube reviews anymore because I see what some are doing and seldom watch reviews now. Now I look at what they actually use day in day out over a long time, the rode shotgun is an example of this and has a ten year warranty here in Australia, but yes be very very careful.
I would really suggest to be careful about the sort of tools people are using and consider that most of them did not choose them because they were what they needed but because marketing convinced them they did. A lot of these products dont work as advertised and they rely on the presence of what is supposed to be a neutral third party to use, review, and act as a commercial for them.
Haha very true! Today I also think people more or less expect your video to be great and it's easier to impress with great audio narratives. You also get a much greater impact on an audience when the audio storytelling is good. Crappy sound makes that pretty hard
@Creativenorth I’m currently stuck in buying gear mode... Just got the pocket 4K, and trying to decide between the 4.6K or Eva1 for a show I plan on pitching to Netflix... Great to hear your reminders about the DP making it cinematic...Thank you
Hmm I think that you can't make a series for netflix without them being involved early enough where you can upgrade the camera so I would focus on getting a pilot 12 min together before investing too much into it. If they do pick your show you might have to reshoot everything or they would just use what you have and shoot the rest on higher end cam but that's just me guessing.
Yeah check out the spec list for cameras. I don't think the EVA1 is accepted as an official camera. https://partnerhelp.netflixstudios.com/hc/en-us/articles/360000579527-Cameras-and-Image-Capture
Makes sense to future proof if you want them to pick up a show.
Here's a question of the day for you: What do you mean by "cinematic"?
It's a term that is constantly used in your videos. By cinematic, do you mean as close to looking like film as possible? Do you simply mean "creatively shot?" Do you mean mastering the balance of shooting, editing, and color correction (i.e. everything)? Do you mean "aesthetically pleasing"? Do you mean all these things?
And I am really glad you made a statement near the end of your video about the VHS camera. In the end, it doesn't matter if you can afford a Red or a GoPro or a DSLR or a Black Magic. It doesn't matter if your only available lighting equipment is the lamp in your living room or a 5 piece lighting rig. You can shoot creative, compelling video with the right approach.
Those were shot on a 5Dmk3 I think. Not sure cause it was a DP from Turkey that shot the BTS. But it's dumbed down and graded to look like super8. So I made it 16fps, added glow and graded the color and contrast to look more like super8. Plus added grain. I did play around with that in camera the other day though. On both the new and the old pocket. And the pocket 4k you can do that all in camera, and the grain if you push it at say 12800ISO looks amazing. Way better than if you do it in post. But I find it bulky to change the settings in the camera. Would love to have a preset for that though. Old pocket looks good as well, but you can't do 16fps in camera and grain looks not as clean or uniform as the pocket 4k
Yeah I have a fast Sandisk 300mb/s I think. It came with the GH5. That card works in 25p but not for slowmo. You can use the cards but it just stop as it droppes a frame. But the other Sandisk Extreme that are 95mb/s that I have doesn't work.
For me it makes sense to buy SD cards to add to my arsenal if they can record the BRAW 4k format. But as of now no SD cards are on the compatibility list and BRAW isn't out so I'll hold off on buying for now. My CFAST from Lexar isn't on the list but works so the list isn't very reliable, but still good as a reference.
It's great to hear your views on the Ursa Mini Pro, I would have loved to see some of the images you came out with on set though. I've had my Ursa Mini 4.6K for over a year now and love it. My only regret is jumping to purchase it before the UMP came out because those built in ND's are far more practical than using a matte box! Anyway, the false colour has become a Godsend for attaining correct exposure. Now I just need to up my grading skills to give it full justice.
There was a video online comparing the Alexa to the Ursa and it did stack up well but then again they were shooting RAW using Cooke lens soooo hey lol I think what you said at the end can easily be misconstrued though in terms of underexposing images. It is veeerry possible lol on the UM (or any camera), once someone doesn't expose for the ideal IRE values of the skin it can look really bad :(
Maybe you could do a video breaking down scopes and ASA/ ISO to help people understand why cinema cameras still have an edge over DSLR's? Side note: I was looking for your kit list, what travel tripod do you use?
Sorry can't show anything from that project because the shorts aren't having their premiere until late 2019. That's the reality of working with brands. But once the campaign is out I'm going to do a BTS series of that hole thing.
Yeah underexposing comes down to a style and look. If you expose skin tones correctly you get a cleaner and less dirty look. But sometimes that's exactly what you want. The problem with exposing safe (skin tones correct), when you invision it being dark and moody. Is that the client or whoever has latitude to make it into something you didn't intent it to be. I'm very specific in my pitches with how the stuff will look. And often clients wants to go completely against what they signed off on in the end. So reality is you need to factor other things in as well.
But as you say, you can overexpose and push it down in the grading as well. Both will generate similar results though. But I prefer to work as close to final result as I can on set. Otherwise I find it hard to have a consistent look to it.
Also great suggestion to break down the information part of DSLR vs Cinema Cameras. Such a massive difference once you look at them. I actually only use tripod in the studio when I shoot myself :D Otherwise all easyrig, handheld or ronin-s. But in the studio I have two Sirui N2205-X and one Manfrotto 502 head and tripod. Sometimes I travel with the Sirui but they don't have a head leveling ball which is annoying.
Not really, the channel tries to show the path to actually working as a professional doc filmmaker. Wherever you start you still need to understand that Netflix and others have demands on things like gear. If you want a film to be a original or series there. Shooting in RAW and on the Ursa is the lowest and cheapest gear you can use. They have an official requirements list. The ursa is one of the cheapest cameras on that list. So if I don't tell you that then I just do you a disservice of trying to show a path to actually making a living selling films to Netflix. But the video is showing you that reality, not saying you have to shoot on this. That's up to you in the end...
Thanks for this video. I edit footage of lots of high-end cameras, predominantly red or arri, and I have filmed with red and bigger Sonys. And while I really love the look and image quality of them, for my personal work I rather use something small like the a6300. Just because I am so lazy to carry around all that heavy gear 😂 I would love to have an Alexa for my Youtube Channel, but a) it's to expensive and b) it's an overkill and c) I would probably always leave it at home because it's too heavy.
Hehe so true! That's why I'm loving the pocket 4k though. Almost small and similar quality :D I think I'll find myself using the pocket often over the ursa if I'm not on a bigger production type of set.
Hey Jonny, (Johny?) I tried the red Scarlet but didn't like it at all, the image was really great, but only maybe 5% better than what i can achieve with my mirroless cameras. But all the process to get the shot was sooooo painfull, i could get 10 Times more great shots to tell a great story with a small camera body, and make a great short movie with it.
So, i'm not ready at all to go to a cinema camera. I guess it's the normal path but still, i was so obsessed with the glorious RED myth til i got one to shoot with..
Red Myth... how do you figure any red camera is far superior to a mirrorless camera. If you had said you tried the scarlet and you were personally not able to achieve a better look then a mirror l would understand. I would assume the main issue is your shooting a red like a mirrorless
It just takes practice :D I'm way quicker and more accurate with manual than auto. I can just be way more precise and organic in the movement etc. But using a follow focus can help a lot as well. on the 18-35 I don't think you should have any problem but on regular MFT type of lenses that aren't cinema style it's very very hard. They're not made to be used manually. So it's more of a lens limitation then. Vintage glass is way better for manual because of their focusing. Yeah GH5S is fine I think but the slow dumb format they use which slows down post workflow is a big factor I think.
@Creative North Alright i see, i already shoot only in manual mode for my iso, shutter speed, aperture and white balance since more than a year.
But the manual focus, i can't get used to it, i know so well how the autofocus will work on my sony cameras that i can create exactly what i want. ( I use only 1 point to set where my focus will be on my composition for each scene )
But doing manual focus is really slow for me to get the perfect focus on my subject.
I have to try more of good lenses with nice manual focus ring and not the focus by wire on most of sony lenses..
Maybe a BMPCC 4k or a GH5 with the sigma 18-35..
The GH5S could be an option too, but it will be a bit overpriced compared to the BMPCC4k and the GH5 right now. Do you think i'm right or i'm not at all on the good path ?
Yeah the red cameras are very cumbersome for anyone used to "simple video cameras". The biggest difference is that they pretty much demand a level of expertise before you can get the most out of them. The demand that you learn what iso, aperture and all those settings and why you're using them for the camera to be your friend. But before you know that in and out the learning curve can be slowed down, or so it seems. But I think that you do yourself a disservice learning the more simple mirrorless cameras because you sooner or later need to take that leap. Now you just need to decide when that is, problem for many later on is that they never get used to the higher end cameras because it's a bit hard to get over the first bump. Now I do think the pocket 4k will bridge this gap and push other camera makers to stop compressing the image to total destruction. But time will tell :D
Hey! 50k to start this year. Your 2018 was very successful and I spent a many hours watching your streams and videos.
I am not sure how I should approach this year, looking at my past year and planning to finish school. Finding an interesting internship in film or research(why not both?) after school and shooting some narrative finally.
I will also spent my Christmas money towards 'video' gear like recorder(still not set which) and microphone (later purshase or borrowing one). Also lights later(the prices are just too high right now).
I am all set with camera and lenses for now(bmpcc+ 14mm, 25mm, 35-135mm zoom/extreme macro), only minorly upgrading with a cage more batteries (for sure) and secondary card.
To this day very much I got my pocket a year ago and I learned a lot with just experimenting, I have the most fun in editing and grading(would love to try VFX aswell) but from past workshops and opportunities I experienced how much more fun shooting can be. I feel like I lack the friends - but I am working on it.
I like my current camera because it's small and the image you can get with is fantastic every single time I go through Resolve (I feel like the latitude is greater than the stills I do).
Thanks mate! So stoked for 2019! We ended the year by funding two films this year so it's gonna be fun to see where all this goes!
Do both! I think if you're coming out of school you need to get to work and internship or just jumping onto any random production will push you in the right direction. But you should also start making shorts if you want to do narrative fiction work. To both get a reel and perfect your craft before making a bigger project. Do research while you do that or see them as research.
Sounds like you're on the right path already though!
Ultimately, BM will come out with a 6K Ursa Mini Pro and that coupled with the Pocket 4K will be able to handle all the necessary setup possibilities for a documentary shoot including drone and gimble shots handled by a small crew and, if necessary, a one-person production. This coupled with the latest advancements in dual sensor readouts and slow-motion enhancements are the next step ... what more could you ask for? Mavo anyone!
All depends on the level you’re at. Video before this one is a on location review of the pocket 4k which is the cheap alternative in my opinion. Both are fantastic but they have different places in my productions. Our commercials usually are around the 100k budgets and for those you’re expected to have a cinema setup. This is cheap in that world. But also to aim for a Netflix series you need to future proof projects. Shooting in 4k raw is mandatory for that. If you just want to license to Netflix it doesn’t really matter though :)
That ump with battery and lens has to be close to 10lbs. Even with the steadicam rig, it seems like 5 or 6 hours of shooting and swapping batteries would be a drag? Of course the image will be fantastic though.
Actually the easyrig makes it very comfy. Its a big advantage to have some weight to the camera on the easyrig when you move around. Gets more stable. Used to have the c300 mk2 but I prefer this setup.
I think there’s a big chance. But I’m not sure if Netflix and other buyers will have it on their lists yet. Now the Netflix requirements isn’t really an issue if you just want to sell a license to them. But if you want to create a originals series, then it would be a factor to take in. So I’m from project to project thinking of where it’s going to screen. for some pocket makes more sense and for others the Ursa makes more sense. In Iceland for instance I needed the extra light sensitivity and small form factor.
Great vid man, I have to say Johnny: It's the things that are unsexy and not interesting to most young newcomers fo filmmaking. Things like: Having internal ND, XLR with quality pre-amps, time code, no recording limit/overheating, battery life , robust codecs, and good ergonomics, these things I've learned to appreciate since I upgraded to a cinema camera.
Creative North I’m currently stuck in buying gear mode... Just got the pocket 4K, and trying to decide between the 4.6K or Eva1 for a show I plan on pitching to Netflix... Great to hear your reminders about the DP making it cinematic...Thank you
Great video dude! In the coming months I’m going to be putting my own set up together with the pocket 4K at the heart of it. I completely agree with you about it’s more then just the camera that makes something cinematic.
Also I hope you managed to clean up the tea okay in your editing space.
@Creative North It should be a very interesting product. The price range and the capability for that price plus Davinci Resolve Studio is absolutely amazing in my opinion. I'm only 19 and I've just began my first year at university but I hope this camera is able to grow with me as I improve both my theory and practical knowledge.
Haha yeah the tea was fine in the end. Lucky that time :) yeah I’m still waiting on the DJI motor so I haven’t gotten to use it as I want to use it. But I loved using it on the easyrig in Iceland. Felt so light and easy to move around with. Didn’t really miss anything from the Ursa.
With the BMCC you really need dual audio. A separate recorder. The internal pre amps are so bad. I use it for the livestream as a backup audio and there is so much noise in those recordings you can’t use it. So a zoom or tascam would be an alternative. Or the tascam or lectrosonics small lav recorders.
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