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 taste especially when I'm shooting sunrise like I would expect it to be a little warmer 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 saying 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 angles 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 moment 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 audio 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 episode 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 career 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 exactly 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 calm

In Sydney, Griffin is confronted by Australian police, and Nick explains multi-cam editing. Plus, your questions about nat sound breaks, avoiding light flicker in foreign countries, and capturing slow motion audio.

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23 comments on “Illegal Drone Flight in Sydney, Australia | podcast ep26

  1. The Linthicums

    Sooo not a fan of Austrialia for their mummy laws. One can be pulled over and ticketed by police there for not wearing a plastic hat whilst riding a bicycle, and no-hands bicycle riding is a reckless driving offense. Ridiculous and we stay away.

  2. Eoin Healy

    Hey Griffin, while watching your GH5 setup video I noticed you picked Luminance Level of 16-235. You said it works well with FCPX and PP but I'm wondering what does Luminance Level actually do, and what are the different ranges for?

  3. 7JWM7

    Great episode as always! I got a question concerning music or more precisely remixes. Am I allowed to use a remix of a famous song in a project and upload it on youtube? Casey Neistat for example uses popular songs quite often – I'm sure he got the approval of the 'remix artist' but I can't imagine he got in touch with the original producer.
    Thanks a lot,

  4. Alan J. Mash

    I was about to place my order for the GH5 and saw a few videos of it when people are walking with it and the extreme sensor drift it had. Do you see this problem with yours and can you discuss it a bit? Thanks… keep the vids coming!

  5. Jeffrey Brown

    If you don't mind syncing audio the best wireless solution is to buy a Zoom H1N and a $30 lav. it doesn't transmit to the camera but it records internally with no wireless fuckery and gives you all of the quality and flexibility of a lav. Its smaller and lighter than most transmitters so you Can hide it the same way. Can also record at much higher sample rates and bit depths. it's $100 on Amazon brand new and when you don't need a lav you still have a great quality stereo condenser for mic planting or picking up stereo sound. I've used this set up for a while and occasionally fart in the box we keep the rode-links in. death to wireless dawg.

  6. c0pyimitati0n

    When you do RTH it flies straight up to clear obstacles, like you said. But it flies up so high and it's unnecessary. I'd rather take manual control. Also for settings I shoot full manual just like you would with a DSLR. For sure get a set of Polar Pro ND filters.

  7. Jack Morris

    Hey Griffin, your spark was going upwards as it heads to a certain altitude (as set in the DJI Go app) then returns home at that altitude. It means that if you are flying around trees/rocks/lampposts/buildings, you set that altitude above the highest thing around you so you know it won't crash on the way back. Something to bear in mind when using the auto return to home – it won't use full power to make it's way back to you, so if there is a bit of wind, it can just sit motionless or even drift away from you then run out of battery. If you over-ride it and fly it yourself, you can easily fly it in the same wind conditions! Hope that makes sense.


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