occasionally we take a break to ask you all what types of topics and guests might interest you for our coming Thursdays this is our video theme day today is that day and you might not be aware that the planning crew for these Thursday show has have kind of an informal cycle of of things what we try to do here basically is mix shows do some about gears some about people we have themes for beginners intermediate and advanced video topics we basically want to rotate things around so there's something for everyone over the course of time and the backstage team has gathered a little graphic look back at where we have been up to this point in the year and so let me uh switch to my presentation part and I'm just going to really dive through these really quickly uh we started 24 uh with a show 1381 General look at the latest trends in camera and lighting uh the next week we went on to uh show 1388 looked at compression then we had our first major guest surround sound Guru drawn Ross was there in show 1402 we had another one Michael chion fabulous chance to talk to Michael and get a kind of look at the future of things uh then we did color correction basics in our next show Charles Klein and CJ koville helped us do that uh a special guest we had after that was uh Matthew semiglia of uh uh althon uh guy Cochran and some others came in uh for our next look at spatial video with apple Vision Pro uh the next show was Blackmagic Auto with Adam to um we moved on from that to uh prepping for our Eclipse coverage boy that was fun with an ask the expert segment uh guy came back along with others next uh for our AI with auto clipping presentation uh then we went on for our Oscars Graphics breakdown we looked at Apple compressor next and then uh we did one of the two that we did that was kind of open Q&A we we extended that out and uh just gave you more chances to interact with the show our NE preview came up right after that then the next week we had uh Nick Bon from FX Factory come in and talk about all everything they do there uh show 1486 was our coverage of video tools we all saw at NAB then there was another open question and answer one followed by uh one that I did telling stories with editing dat valentic came in from color La AI then we did picking lenses and why uh we had an interview after that with Sven P from this guy's edits and Michael Coleman came in following him talked about shooting in the editing process and last week we covered ecams new Integrations with zoom so those are the kind of things we talked about in the first part of the year we want to do the same kind of thing and we want to let you we want you to kind of ask you what are you interested in where do you want to steer the show so if you have any ideas about the kinds of things you want to talk about today is really we're going to devote our second hour to you and to kind of getting your feedback so that we know we're driving this Thursday video show in the directions you want us to so I'm going to open it up to panelists and or if you want to put questions in about topics that you are interested in this is how you kind of get into the cue So Courtney start us off and let us know what you've been thinking about you know I'd like to see an hour done on video wall setup and the type of video servers that are used to drive them and the kind of setup that's used and what's required and how to prep the materials for uh a large video wall let's say behind a rock band or in any live venue that has prepared video playback on it for like an award show so it'd be interesting to see the the setup and all that's necessary to do that how many people are required to set that stuff up how it's transported how it's hooked up Etc yeah it seems like that's always been a fixed installation thing but more and more I see people who are traveling with stuff to be able to do that kind of in a remote setup circumstance so that's a big deal so cool uh Alex you had some thoughts yeah I I was just going to riff off of what court Courtney said I think that'd be great and I think that there's there's different uses too there's the kind of the presentation use of a of a video wall and there's also the virtual production um and so I think those are probably two different entirely different days know that we could that we could have with video walls because I think that it's a uh those are you know the way you approach those I think is very different um so so yeah I think that I think that makes sense and I think I we probably have some contacts with corporate um folks as well and we had view on and they talked about what they did but I think that it would be fun to Courtney's point to get more into the nitty-gritty of like let's look at it um I know uh yeah so we'll we'll I think it's a great idea and if people like that let us know um but and and again uh not only you know definitely talk about it on the show here because it lets us kind of work with it but also uh second hour in Discord we look at that all the time you know for reference so definitely uh throw things into the second hour ideas as well absolutely and you know this is really a very open thing I'm just always curious how much do people want to know about Hardware which is fabulous and we love doing our Hardware tests and the rest of that but we also have the things like we've done them on writing and on lighting and on things that are less about the hardware well lighting is certainly about Hardware as well but techniques too are you interested in or not interested in that the more you tell us about what you're looking for the better we can serve your needs essentially so let's dive into our questions from the outside and see what everybody's interested in Courtney I'm sorry not Courtney um Alexander John folz from ceilings gr Pennsylvania ask how about a session on using media encoder and apple compressor what settings troubleshooting considerations Etc o Alex have we done one on compressor before want it actually on compressor but it was just the basics of it there's certainly probably another level it's so complex an art and it's something that AI is I think going to be maybe dipping its toe into uh at some levels yeah yeah I think that I think that it would be interesting to uh uh I think we just have to find some folks that do media encoder I I have to admit that I mediacoder on the Mac when when I used it a long time ago was really sluggish so so it's gotten much better but it was but it was not really competitive or not really worth using the only two that I used right now or handbrake and uh for things that come out as webm um you know out off the web I get convert them in handbrake and then I use compressor to do everything else and so the uh um but I think it' be great to have someone talk about it I think it would be fun to take one file on the same computer also and I have media encoder I just don't use it very much I could we could do a like this is what a Mac Studio does with in compressor this is what it does in media encoder with roughly the same settings and see what the times look like as well and John I'm just going to refer you back it was show 1458 that we did our second hour on Apple compressor specifically so jump back there watch through that and then if there are further things there's absolutely no reason we can't dive back in again uh Courtney yeah I agree with Alex uh for once uh only we need to include everybody and handbreak would be a good choice for that because it is crossplatform and it does work uh also VLC uh VLC is another good video playback tool everyone knows it's cross platform but it does have encoding as well into it although a lot of it is command line interface so you have to learn all that stuff but uh uh VLC would be another good second hour on how to use that since it would include both Windows and Mac and uh and even I think phones yeah I think if you spend a lot of time on video those two eventually end up in your toolkit one way or another because they're very useful let's go on to the next question Dave tropman asks Scopes and video standards for color oo Alex thoughts yeah we have talked to the folks at omniscope quite a few times and it's just a matter of lining up our schedules we'll get that on there and that's not a problem so but I think that um uh they do a lot of training on it already but I think that I think they it' be really really great and they've got a good trainer um and I can't think of her name right now that has been doing a bunch of stuff that that um for for omniscope on YouTube so we'll see what we can do about getting them on to talk about both just how to use Scopes but also um how to use omniscope specifically I think the vast majority of us at this point are all using omniscope um for this for this solution so I think it'd be good great to have them on and if there's one single thing that can improve your results in terms of the look and feel of your video learning to use these objective measurement things is probably the thing that'll really send you the farthest the fastest instead of just guessing whether it looks right to be able to see whether your vector scope is align to see whether or not your luminance values are there objectively not whether you think they are the the room is too bright I always think it's funny like I I see people like someone asks like well how do you do a green screen I'm like well you pulled out the Scopes and they're like oh I don't use Scopes I'm like okay well you can't do a green screen I can't shoot a green screen without a scope like I I literally need at least my phone like I've I've literally lit a green screen with my phone not that I was shooting from it but I needed to like see if it was level and you can kind of do it with your eyes I mean I can get something that's close enough and probably better than most people's green screens by just looking at it but man when you have a scope you can dial that I remember remember seeing we had a DP from a visual effects DP from ilm and you know you can't have a perfect green screen when you're doing filmor because you're seeing the feed and there's all kinds of stuff and everything else but when you're doing interviews if you're doing interviews without someone's feet that green screen should be perfect perfect like not not kind of okay there's no excuse for it not to be perfect you know like you know and uh uh and to make it perfect requires a scope you know that you know and and if you do that it the amount of Labor that you save and the amount of quality that you add to your your key is dramatic I mean I can take cheap green screen a cheap seamless green and light it well and shoot it with a DV camera and get a better key than most people can with a regular one just because I'm I'm hitting that those numbers right where they need to be hit and so uh you know so I think that that would be a um Scopes are really really powerful powerful and even without at least a basic technical understanding of that you got think I remember the first time I saw a false color display and then somebody said well the yellow is said at ad I understood what that meant why because I had spent enough time with Scopes to understand those kind of numbers so it's really basic Literacy for anybody who wants to analyze any kind of a video screen and you should you should spend some time looking at it so yeah definitely a good subject let's go on to the next question someone from por ailum BC with the same name as me ask how about a video day on Blackmagic camera IOS app with demo of all of us trying to edit the project as the proxies come in over the cloud this whole Cloud proxies thing is fascinating to me Courtney what do you think I think that would be interesting uh with people uh contributing uh live stuff uh into the uh Blackmagic Cloud I'd also be interested in a second hour I'll just glom this onto your question here Alexander if you don't mind uh as long as we're about black magic is the new we haven't really seen a demo yet I mean a a a comprehensive instruction manual how it works of the new replay controller uh that works with the the hyperdeck pros and the D venci resolve and how all that integrates into a live type capture and replay system that would be cool too cool Alex yeah I really I hadn't thought about it but we should def given that they have the controller and everything else I think we should definitely try to see what that looks like a lot of us have thought there's got to be a better way to do Replay for a long time like it can't be there it shouldn't be this expensive um and uh and I don't think this is going to replace anybody's EVS tomorrow but but I do think that having some basic replay would be great so we'll we'll um we'll definitely dig deeper into that let's go to the next question John folson ceilings scow Pennsylvania ask I teach students and they shoot badly all the time I'd love a session for nonc colorists on dealing with footage that wasn't shot well say under or overexpose wrong color balanced or where part is bright and part is dark we call it fix it in post Alex what do you think well I think that there's two sessions there the first session we can talk about fixing bad stuff but the other session is how to not make shoot bad things I think I think there's a there's an hour there of fix it in Pre I mean like yeah fix it in Pre fix it in yeah how about we fix it on set yeah but the uh um the I think that one of the things that's important is understanding what those tools are so for instance in a light in a a good example of this is in a bright environment if I'm working quickly false color is really really powerful because I can very quickly look at something and go oh that's that's over that's going to blow out this is going to be underexposed whatever and I can tune things very very quickly and and I think people underestimate how powerful that is but understanding how it works and what it does is really really useful um you know also with little screens being able to have Focus assists you know so you see little red edges where things are you know those are the kind of things that you know we can teach people to to do very quickly um you know and then some of the things like what you're talking about here like wrong color balance that gets fixed if you shoot it in log like so well not totally fixed but if you shoot it in raw you're going to get you're going to do that later you know and so so that's um so those are uh you know those are some of the things so I think talking about how to shoot better I think as a whole episode you know and how to do it on your phone I think that doing it shooting it I think that film students at this point can really start most of what they do on on a phone you know like and I would say until Samsung gets figures out how to record video um they um it'll I would say an iPhone um and and that just fundamentally that Sam this S2 24s are not not recording video very well right now um so when they figure that out you could use an Android or or an iPhone but right now none of the Android phones are capturing stuff in a way that is particularly useful um and so but the iPhone captures prores you know and so and uh and a lot of other things and so you um uh you could really send students out with the last two generations of iPhones but I'd say the last one um uh but the but I think that um uh shooting on an iPhone or shooting well on an iPhone or a phone in general but again I I just think that right now Android needs to the Android manufacturers need to figure out how to record video um and so once they do that then you do it on on a phone but I think we could talk about how to shoot these with the Blackmagic camera let's go to our next it's not actually a question it's a suggestions so our next suggestion Robert linkr in Belmont Shore California says set up a manage PTZ cameras over Poe plus and all the poe variants so you just want yeah looking into power over ethernet but you know once upon a time all cameras were coax connected into baseband and now we have so many cameras that are sitting on the network as Network things I will never forget the first NAB where I was hired to do some video work it was six or seven years ago and uh there were no BNC connections on anything it was all video over IP and I was I was lost for a minute and I I had to learn very quickly that it doesn't work the same now there's so much video that is flowing over networks as opposed to traditional cabling that it's something you really have to understand if you're going to work in this industry Alex I don't know if we could pull off a whole hour but it feels like Poe is a is probably a Friday session not a Thursday session but just a suggestion for the team on Fridays to think about is just talking about Poe the use of poe poe plus Poe Plus+ you know all those things about and like how much like so for instance I have a a router here I just got and I made the choice of making it of 140 Watts cuz I I had to think about what you know it's got It's all Poe plus but I had to decide like I could spend another $200 and have it 300 and some Watts you know that are available to it these power the power bricks get really big for you this little router and these huge power bricks to deliver that power but understanding how Poe works and how you're going to figure that out and what those requirements are I think could be useful because more and more of the stuff that I have laying around under Poe yeah there you go uh next suggestion David Brady New York City ask I think revisiting ffmpeg would be beneficial a basic understanding on its uses we dove into the deep end years ago but I use it more and more for quick work I got to tell you I could use that I FFM Peg as kind of a front end to so much of the codec stuff is something that I don't understand nearly well enough Alex well fortunately there is a goey that is the front in for FFM Peg it's called handbreak so handbreak is basically that is a graphical interface for FFM Peg that's all that's all it is like it did and they just expose all the things that ffmp can do with little pictures and buttons but you can of course just write scripts and just build a pipe that is just like I want to do all these things and when and have it pop out the other end so um I do think that um talking about FFM Peg we could probably do one on handbreak on its own to to Courtney's Point earlier handbreak is a pretty deep product you know that has you know it started off as something cute that we it started off as something cute that we all use to rip our Netflix DVDs um and has grown into something that is a pretty useful tool to you know get almost any kind of format to something else so it's it's powerful those translators VLC which has a huge open- Source Community behind it handbreak which is the same uh you know EG is the motion picture original Sten but yeah shutter encoder is another one that was mentioned um and then uh David Brady also has the Amia open source. gethub but .io ffmpeg provisor so there's a a couple of them yeah huge amount of power if you want to get back into the programming site of things and automate that's how people build a lot of the push this button and it'll do all the things you want systems let's go to the next question next suggestion Dan Huber Erie Pennsylvania asks how about AI inside of Av technology installed solutions to assist creating control surfaces and graphical user interfaces getting more and more of as we go AI is going everywhere Courtney what do you think well you could use it to lay out an interface perhaps if you're going to manufacture something but its creativity usually is problematic because it's hallucinations especially with text and you know button shapes might get a little bzar uh but there are what we could do is is look at the ai ai AV uh generation generative video uh which there's more and more generative video engines coming on from stable diffusion engine and others out there uh that have just I think there was another one just released yesterday that's uh you know not as good as Sora which has been is still not been released I think to the general public uh but some of these are now coming out for uh that will generate up to four or five seconds of AI generated video from a text promp and that would be a good second hour to explore all the AI video generators that are out there how good they are how long they can go and whether or not we have access to them if they' figured out how to put guard rails up to protect them and that's probably what's holding them back from General release Alex I'm very curious about the idea of how to use the AI as inside of those things um so I think that it'll um and and as far as surfaces and goys but I do think that there is a dance between we've talked about this in the past a dance between implicit control by an off operator and the explicit actions that are done by an algorithm or by a um you know either by the algorithm or by AI or whatever where you're just telling it what you want to get done and it just kind of does the things that you're trying to do um obviously in in a fairly tight way and you're seeing this really with how Apple's implementing a lot of these things where they're essentially um giving it very tight rails for the things that are on the phone and the things in the private Cloud you can't do everything they give you somewhere to go everything you can add chat GPT if you want want but the stuff that they're doing is very tight rails the chances of hallucination are not zero but much less and I think that looking at where AI can be given some very tight guard rails of this is the these are your options and and it's less likely to produce a bad outcome and then being able to have someone give it implicit control I think is really interesting let's go to the next suggestion Douglas Carmichael is suggesting 2110 infrastructure and how to build it Bo that's tough iCal Alex yeah we should we should talk about 2110 I mean I think that I think it was hard because uh we we've talked about 2110 it's been hard because before Blackmagic was doing 2110 there wasn't a lot of options that were affordable that we could just go grab and start up and turn on and make it go so so we'll see if we can get some 2110 infrastructure so we can talk a little bit about the networking I think we can talk about it in a theoretical way I do think that it's worth talking about because over the next couple years we'll probably see a lot more of it yeah and it's a i e specification is it or am I wrong about that it's just the it's a sem specification okay yeah uh okay let's move to the next question Mickey maor from Manila Philippines asks multiple practical three-point lighting demonstrations for various looks well that's good oh now you're speaking my language Mickey uh Alex yeah I'm we're going to try to uh get my brother to come back my brother of course did um uh steady cam uh the um uh um session a couple little while ago I have a little I have access to a little Studio that I think we can probably do some shooting in I'm thinking about doing some if people are interested doing some green screen you know there's some green screen stages there so I can possibly do some green screen of how to do it finally after all these years of promising we'd get to a green screen session I actually have the tools to do that relatively easily um the uh uh one of the things I was hoping to do is bring him into to do a lab he's on a film right now his the film that he shot not this last one but the one before just came out on Apple uh Apple TV plus so if you if you watch Presumed Innocent um my brother was the aam for that film or that Series so uh so he was um so you guys all got to see him talk about steady cam but he was see a lot of steady cam work there so in that in that series um but he's on a film right now he gets off in mid mid July so we're going to see if we can't rope him into doing some potential lighting and shooting um uh Labs with us as we as we go forward Courtney sorry lost Mouse uh yeah uh ASC does master classes on lighting and and there's videos posted I don't know if if they're freely available but we if we could talk some if Alex's brother's a member of ASC and has access to that stuff to see uh some of those ASC uh master classes are discussed what what's available and and where to see them on lighting are very well I think that I think that I think we should would discuss it though I mean we can definitely refer back to them I think it's mostly I don't um need to play something in in our second hours but but we can but I think sending people and I think there's a lot on the internet as well though some pretty good DPS that are talking about it but I think having answering questions and potentially again having um some basic lab might might make sense I was just wondering if I could do something from the desk if I can get complete control over the lighting range yeah little you know or just something like one of our setups and you go through this is the rim here's what happens when you turn it up and turn it down here's the key light why did I set the key light where I did uh let's see with the rim without the rim there is a lighting uh I can't remember what who makes it it's a lighting simulation that'd be interesting it's a lighting simulation software that is like it calculates it to be as accurate as possible um you know for building out it's for photographers uh I'll try to find it Well we should bring them on but but that'd be another one that would be kind of cool well the whole tradition of uh uh photography for portraiture and things like that they have modeling lights built into their flash things so you can turn them on and set lighting ratios exactly what we're talking about what should be the the what's the proper for this result ratio between your key light and your fill light and your Rim light and I think this might be it it's called set a light I I'm not 100% sure so you can say oh I want I have a a person here and then I can this might be a fun one to at least try yeah um and that you can set up you know these are different looks but you can uh and it works on Mac and windows um but you can say I actually want to use this light with this thing and it's you know theoretically simulating you know um you know Sim simulating those uh those out so we'll have to uh we'll see if we can play with that or even have them on cool Mickey thank you for the suggestion let's here our next one next one comes from Ros humph in comach British Columbia Canada would motion control devices and types of uses be interesting uh Courtney got big budgets sir it's an interesting field although I think it's shrinking greatly since the ability the availability of free or very cheap 3D match move software that's available in post to do what we used to have to do with the uh motion control for uh match moving you know between shots uh especially in visual effects uh so it's they're used less and less these days but um because it's a lot cheaper now just to do match moves and post Alex I think that what's really interesting is potentially some of the match moving and motion control on a like sub $10,000 range or even sub 5,000 there's lots of these little sliders uh there's remote heads there's lots of things that you can reproduce and a lot of times um what they're used for at least for a lot of creators is you're doing product shots you know you want to do those like product shot going around it or something like that and those are not particularly expensive um you know to to run so we might be able to even look at some of those Solutions yeah it' be interesting to get somebody in who does a lot of tabletop work cuz tabletop is its own little environment there trying to make things look absolutely perfect particularly product shots modeling and things like that a lot of lot of work there so yeah thank you Ross that sounds like fun let's go to the next suggestion Dave Tran in Emon Canada asks ND filters proper application uh neutral density it manages and for those of you might be unaware neutral density filter is a filter that passes all the colors properly just reduces the pure amount of light going through the lens to hit the sensor so it does not shift a good neutral density filter does not shift colors at all just the amount of light reaching the sensor Alex thoughts I think one that might be interesting to expand on this a little bit is the use of a mat box so um you know when you go into film you know we stop putting things on our lenses and we start using matte boxes um and uh and I think that that could be a really interesting interesting process you know what of what matte boxes are how they're put how they're applied and why we use them instead of oftentimes why we use them instead of uh uh putting things on our lenses absolutely Courtney and include graduated IND filters which uh can be used in some situations but not all situations if you got foreground stuff you can't use them but on landscapes and things graduated IND D filters can be used to take the bright Sky down and see the exposure in the clouds without taking the the landscape and the foreground especially if it's backlit uh to dark areas so the use of uh grads in graduated in filters would be another thing then you got to have a mat box you know first time I ever I I had a shoot uh for a we had to show bags of dog food but we wanted an organic thing so we went up to Woods Canyon Lake in northern Arizona and I took along a mat box and a grad filter and I was able to get an extraordinary split exposure of a beautiful sky plus the lake and everything else in um without having to shoot HDR we didn't have HDR back then and that was the tool of choice for managing to get a really nice scene when you have what would have been a blown out sky against uh a a lower thing that was nowhere near the same level of intensity so yeah that'd be fun let's go to the next question or last suggestion Douglas Carmichael says text to video generators and other emerging AI Technologies AI upscaling Etc well Alex big subject well the generators I think are just about there's a couple of them that are are starting to roll a new one sunno I think rolled out there yesterday or or the day before uh and that what happens is as soon as one they're all working on them hoping to make them better because they still hallucinate and then somebody releases one and starts taking market and then everybody else releases the ones they're like okay well we're going to put out whatever we have right now uh and so I think that we're in the process of seeing that right now and and I think it's going to uh so I think it's a good subject I think probably it'll be a better subject in August or September when probably there'll be three or four of them to pick from next suggestion Mickey macachor and Manila Philippines ask color science with someone like Costas the doio oh uh color science that's a simple subject there's not much to talk about in joking of course Alex yes yeah we we'll reach out to him see if we can't uh see what see what we can do there excellent let's go on to our next suggestion next one's for me how to organize and shoot a music video ooh you don't see them as much now that that MTV is not doing music videos as much but it's something I think most of us have been involved with at some point or another in our careers uh it's a fascinating convergence of Technologies to take an existing work of creative effort uh a song and bring it to life on screen So Courtney your thoughts I can give you the key ingredients right now Alexander it's make sure you have plenty of food for the crew and make sure you make a flat deal on hours you can tell you're getting practical advice here folks it's not all theoretical sometimes it's you know craft Services is what is going to make or break your shoot let me tell you uh Alex your thoughts M&M's at 4M that's the key don't do it before 4 p.m. it gives them that little push it gives them a little chocolate brush they're all tired and everything they're all tired and cranky and then you give them little M&M's and you got them till six but after that you're done like so so you know so they they now now they be really cranky uh I will say there are a lot of things to learn from that form from the music video form which it tends to be short a lot um I haven't done music videos in a long time so I would love to work on a music video again uh we we we've actually reached out to a handful of bands to do some uh some music videos and so we'll uh uh we we'll get more intense about that over the summer it seems like a really good idea um we have one band that we're really trying to sell on doing one of their music videos because they haven't made one yet and we think it'd be a lot of fun so we'll see what we can do it' be fun to do one on an like to take an older song that already has a music video but reot re reimagine it on an iPhone or something like that and an iPhone video music video production would be kind of fun too Alexander okay so this is very valuable advice M&M's but which ones the plain ones the peanut on PL plain do not mess around with any of the other ones if you're going to give out M&M's you put out the peanut ones here's the problem is is that the peanut people Everyone eats the peanut ones and they can complain about the plain ones you just put out the plain ones the they're compact they're all the like don't well I've definitely none of the ones that are like the the peanut butter cup ones in a thing I mean it's just there are they're M&M's yeah that's Reese's Pieces one of the Mickey says the peanut M&M are the only M&M's and I strongly I like the peanut M&M's but but I uh I strongly prefer the all right put in a note an entire second hour on M&M's or onset candy well there's I think that there's crafty I think there we did one at some point about this but but doing one on crafty that's probably more of a Friday subject but that that's a suggestion for the Friday team crafty would be a good another good one to come back to black licorice whips and it its effect on teeth in post crew break let's go to the next question or suggestion Dave tropman and Emmon Canada says tips for shooting outside actually I would I dismissed that in my brain for a minute but I got to tell you between environmental things like I grew up shooting in Arizona and through eight months of the year it is a significant challenge to shoot stuff Outdoors there uh but that's true in Snow Country it's true in a lot of places where going out can be a significant Challenge and you must be prepared for it Alex your thoughts uh yeah the uh I think that it'd be a lot of good suggestions there I think we could go out and shoot you know something and talk about it and talk about some of the gear that we use I mean protecting yourself from the environment shooting well outside shooting over time I think those are all all things that be useful yeah it's Sun control when you're out there with a with a direct sunlight infecting your shot somehow and how you manage that could be a whole one almost by itself Courtney and shooting an inclement weather whether generated artificially for the shot or actually preparing for it if you don't have control over the weather at your location and preparing for that kind of stuff is crucial uh if you find yourself out in the middle of the desert a giant rainstorm comes in you better be prepared for it and have the way to shelter your equipment get it out of the rain Etc so that kind of stuff would be a good second hour on how to shoot in the rain you know the types of things that are available to protect the equipment and still get the shot in a pouring down rainstorm yeah nice good things all the way around let's go on to our next suggestion Mickey mcor's back again from Manila Philippines the sunny 16 rule in other basic image exposure rule of thumbs that teaches the basics of camera exposure without Reliance on monitors and Scopes yeah uh Alex I think it's a great idea I was trying to think of the last time I I did something without monitors and Scopes and I think it was it was a long time ago like you know I will say that a lot of that built into cameras now you you have yeah I think I think it' be good I think it's I think it's good to to know how to do it I I and it's it probably has more of my resistance to doing it like if I'm not going to be if I'm not going to have what I need I'm kind of like oh I'm not going to time Life's Too Short you know like I'm not gonna I'm just not going to go out you know if I if I can't do it but that definitely limits my my uh where I go so I think that it I think it makes sense Courtney I used to work with a gaffer named Bill King all the time on commercials and Bill was an old school gaffer he was a gaffer on uh I Love Lucy so that's how far he comes back and he would go out into the set and he would set all the lights and we were shooting on film and he never used a meter he would just hold his fist up like this and hold it in the light look out model and uh he'd go throw a single in that one over there okay and then he turned to the camera and goes split 5 six uh and eight never used to meet her and I asked him you know what happens if he he washes his hand do you have to have recalibrate it yet he's been on vacation in the Bahamas you see him with his hand see him his hand in in in a wash and what are you doing I'm calibrating my hand calibrating my dipping it in a certain tea for three minutes before I go to shoot uh yeah we are getting more and more tools but you know I'm a great believer that if you know the basics keep them in the back of your mind and it's just that one time when you come out and you and everything is not working and you still need to get the job done the more you know the better off you are at least that's what I've always discovered let's go on to our next question Rion Smith in Trinidad West Indies uh says when starting a studio now which is generally a cheap cheaper for small Studio hope for a small Studio hoping to get into accepting live video from the field SDI 2110 ndi Alex what do you think what is the next I think I I think that there's a there's a couple days there that we could talk about an SDI workflow it could be a series that happened once a month or once every quarter or whatever that's like building an SDI uh Studio building like a basic Studio that does let's say three camera interview like we decide what it is it's got to do three cameras it's got to have this many mics it's got to do this stuff and one of them is SDI one of them is ndi one of them is 2110 and we just talk about what it would take to put each one of those together and what the cost would be and do they output roughly the same thing you know and I think that that'd be a really interesting um series to do like we did with like the different Studio costs you know we did a little of that so this would be kind of similar to that it' be interesting as we always say we are here to answer your questions that's all the the input we've had put into the show for today so we're going to wrap things up and thank you very much for your suggestions it really does make us feel better when we know we're taking care of the issues the topics the subjects the the presentations that you are most interested in so this is very valuable to us and I thank everybody who uh watched participated added things in there uh those go on top of our thanks to all the panelists who showed up today and those who showed up all week long we had another tremendous Week full of a lot of expertise here uh the backend crew who shows up every day and puts things together for us I I I wish you could listen to some of the chats of how much effort goes in from everybody all around the world who participates in this show and the expertise they bring to the table every single single day it is inspiring for me nothing short of that and of course to our producers those of you who pitched in questions today and everybody who helps us uh make this show possible without you it does not happen telect traversal for today actually don't see it I don't know if it's been calcul oh wait a second maybe I was just in the wrong place yes it has been calculated uh today wow we went a long distance 102,000 miles we would have had to travel to get the expertise we brought to you on the panels today and through uh your questions that's 164,000 km and for those of you following that is 89 million bananas for scale thanks for watching after hours head over it'll be fun today oh I need to figure out how to get those numbers fed into my watch for my steps for the day exactly you did great man I've reached my goal exactly you laugh about that my watch is constantly telling me good job good job job you went 20,000 bananas today yeah you're crushing it today really thank you watch we convert your goals to bananas I'd like to I like to walk I I did I did it 12,000 steps and that is and I I think 12,000 steps would probably be about 4,000 bananas 106,000 microG no no it be the other way it' be like 40,000 bananas it be like 40 or 50,000 bananas but I think I think measuring your effect your about walking in bananas would be great six and a half miles something like that yeah all right
