You obviously are not familiar with the MarkusPix channel. He has lots of videos about different budget minded gear, but specifically has at least a handful about light stands that you might find helpful.

2:49 Make sure to function test that feature. I had a PavoTube II 6C once fail on me mid shoot after the battery ran dry, and amidst being plugged in, it seemed to only charge off the power and not power the light. Needless to say, it created a continuity error and was an embarrassment in front of a corporate client.

It’s worth looking at bleached muslin from Joann fabric. Great for a soft bounce and diffusion. Can be easily rigged almost anywhere with some painters tape/fishing wire…prob best bet for travel efficiency

Nice lights but why bring soo many?? if anything i bring 4 mini lights and then a 100w all from smallrig

If you're chasing an AoD sponsorship why not concentrate on cities where there are already AoD members first

Another great video mate !

I'm looking at the lights from Light Bank Tech for travel lights. Im testing out the Airtube modifier this week.

Take a look at the Intellitech light mattes for your key. It folds down to 12X12.

52:11 Jared was definitely on that one since I hired him for it, haha. He must've been confused or might not have remembered it. Long story short, the algorithm introduced me to David's YT content about a year ago. Then, the first DFW filmmaker meetup happened, and I met Jared, who created the DFW IG chatgroup, and I got to be one of the original members. Fast forward a few months later, and I get the opportunity of a lifetime to DP and lead an entire crew that was pretty much sourced from within that IG group with one or two exceptions. Call time comes, and WE FREAKING KILLED IT ON SET! We all got paid handsomely, and we got to create a killer product. To me, the lesson to be learned from that is that the little things y'all did paid and continue to pay small dividends that eventually turn into $$$. Heck, Jared and I will work together next week as well again, and it's all because of the little things ya'll are doing.

Did you forget to link the "in the weeds" podcast? About travel lighting, the 1650 Air is what I use. The LD Mini II works, but is really small. The new Light Dome III folds flat and fits. I bought the Impact Link stands. They're okay, but barely rigid enough. I'm always looking on how to improve my stands game for travel... that seems to be the most difficult problem.

Where may I find your final video of this shoot, please? Just for my reference. Thank you for this breakdown video of how you went about it.

Inspired to start my own in North Carolina

Perfect long drive episode and I stayed into it the whole drive south which was great. Hope you two put out more of these in the future!

Product Idea for SmallRig/Aputure/Nanlite. You know how you have that Bright Beast light? The LED lanel with the focused led to project the light further forward rather than just soft flood? Imagine if you got that one foot amaran PT1c tube, but it had more of a projection led rather than just a soft throw. If they had a 6X version with the same battery and size as it is now, It would work as a hair light that's not super harsh because it is one foot wide but would be bright enough compared to only 95 lux at 3ft.

For full lighting for travel, I use my B light stand, it's a Ulanzi MT-49. It's pretty solid but with a 200x and a smallrig 3586 softbox it works but theres like a semi U bend down from the weight on that stand using that setup. So that might be something to look out for. That stand is carbon fiber so it can take some of the flex like that but it's not ideal.

I have a larger pelican that I put a 300d mark 2 and a couple 200x as well. I also have a super collapsible strip softbox and my audio gear and all of my cables like long HDMI, power, XLR. I also bring the water sandbags where you just fill them up with water when you get to your location. I bring a separate hard plastic case specifically for light stands and two tripods. It is exactly 50 pounds so it's considered my free bag with Delta. My big, heavy, light case with all the cables is around 99 pounds, so I can fly for only $50 each way as a media bag. I then carry a pelican carry-on case that packs two cameras a few lenses and all of my media and stuff for the cameras. Basically its 1 heavy media bag, 1 free check luggage light stand case, 1 camera pelican, and personal item (backpack that goes under the seat). If i have a bigger shoot i will hire local gaffer with grip van.

Watching the video live I will say always carry the body and all your glass on your carry on. They force you to bring your batteries too. I Travel portable all the time. You need to be in early boarding zones to secure that overhead.

Get the SmallRig LA-O90 over the Mini Dome Mk3. It fits the pelican and is 90cm instead of 60cm

I still root for the Nanuk The Nanuk 975s. I think I left a comment about it in your last video. It fits a full-size 100mm Cartoni sticks. That entire case, as long as it's under 99 pounds, will cost you $40 with media pricing on Jetblue. It comes with wheels too. It's the largest case you can take that doesn't surpass the oversize limit.

I recommend the aputure MC Pro

Assuming you're traveling within the continental US, have you considered renting via Lens Rentals and shipping to a FedEx close to the shooting location? Not sure if I missed something.

Ive used the Matthews stands before. Pretty good and break down small. They can fit in a 1510. I would probably just rent stands (and maybe even lighting) and have them waiting on me at the hotel. One recommendation is to get zipties that are a weird color and put them on the pelican. TSA has ways to get in your locks, but if they bust a pink ziptie, chances are they don't have another to replace. That way you can always see if your stuff was messed with. Stay safe in the hurricanes!

Just rent C stands and dont bother w it. It spares you a lot of space that u can use for one or 2 more light or anything that is more expensive to rent Than a C stand .

Your AOD pitch started at 7:40. It’s genuine. Send it to Mark…

What about approaching filmmaking companies such as Aputure? Approach these companies with a proposition saying there’s a going to be a gear talk portion and you can be in it if you sponsor this tour.

Just a thought , after seeing your friends new studio , get an umbrella for your key light , does bounce around but you could get a much bigger source , and so softer light, than that small softbox . Hair lights mmm, very 2005 , I would ditch that completely .

Haven’t flown anywhere yet for work but bookmarking this video (and making a note to make one of my own asking for advice) for whenever I do! Also, everything you’re doing to build community for filmmakers everywhere is awesome - keep at it and know you’re doing an awesome thing for so many people!

Great stuff! Hope you keep this up so we can see more!

I have been busy for years, but haven't updated my Reel since 2018. 😂😂😂😂 I really need to update that.

Just wondering, the Z280 has a smaller sensor (1/2"), but there are 3 of those (RGB). Would three 1/2" sensors handling each of the primary colors be the equivalent quality as a single larger sensor?

6:35 Dang, I thought a b0mb went off at that moment!

Is there any alternative to Production Hub based outside the US? I'm based in Australia

Handheld camcorders are okay, but I really wish JVC's idea of what I call the "mini ENG shoulder mount" form factor would have really taken off. Most of these pro handheld camcorders are "only" about 5 pounds, but when shooting handheld for extended periods of time, it can take a toll on the wrist. The shoulder mount form factor with the side EVF was always a good form factor, but traditionally too bulky. But even JVC's smaller offerings have the good ol' true interchangeable broadcast lenses with tactile ring stops and markings, something I miss. I would love to see something like this with a 1" or Super 35 single sensor (no need for 3CMOS with bulky optical prism block).

I have the Smallrig VCT and shoulder mount system, but the Brite Tangerine shoulder system is the best, but expensive!

The shot of the Mini with the ⚡️is 🔥

Thanks for sharing! I’m actually flying into Orlando in 20, 😅. Just watching your video now on the plane. 🤙 I typically travel as a full single OP production and roll with 2 cameras, 4 light kit, 2 Tripods, Automated Slider, 4 stands, Production monitor, 3 cases, and a multi-cart. Always looking to get a “media baggage” rate when possible too. My luck has been with Nanuk hard cases, backpack (camera gear), OSEE monitor which also holds all my batteries, and a cheap Neewer rolling bag for all the sticks.

EDIT: Plus, when you are not using the cases for flights, they make for great gear storage at home/warehouse or wherever. They don't look ugly in a living room. I love Pelican but Nanuk has really stepped up. If it helps, I was able to take a few Avenger's smaller stands in these same 975 cases. I would also invest in a baggage scale. I bought one from amazon for like $15. Annnd if you use an Amex Platinum, you could credit for these types of checked baggage fees;). END OF EDIT: This is my second post to my main post. I got an error message after posting. The Nanuk 975s is the best case. Just order without padding. Use your clothes and shoes to create cushioning. As long as there under 99 pounds you'll be fine. The 975s is 2 inches below the max "oversized" check in. With press/media pricing you'll only have to pay $50 (Jetblue) each way. I was able to fit a few lightweight avenger and matthews stands along with 240C pavoslim and CRLS 50cm panels. And they look pretty cool in a living room when not in travel. It's the largest case that fits under the airlines max limits for size and weifht. Goodluck David!

beautiful

Here’s a full breakdown of this reel. How I shot each clip, why I chose these frames and my goals with this type of marketing piece: kzbin.info/www/bejne/e4aZhIijadGJsNksi=Q0nLLriPgkozIMDe

Great reel and your video explaining how you made this has helped me to rethink mine.

The shots are great - But honestly? The mix of strong quotes alongside powerful shots are what put this over the edge. Great work on the edit, and good luck with the work this will inevitably get you.

👍🏽 👍🏽

Simple and Effective! Great Job David!

Can you make a video where you walk through asking clients permission to film Content for your KZbin channel on their shoot. So many of my clients want me to be under NDA and I feel awkward asking them. It's really holding me back. Like are you asking random email or is that in your proposal or do you offer a discount if they allow you to create KZbin content on set? I feel like clients would get mad that I'm not doing my job if I'm now taking a break to film KZbin content while I'm there.

For some reason this is one of my favorite episodes in a long time really diving into questions that I would have In 2020 I started teleprompting And had zero idea of what people were charging. So I just reached out to competitors in my space and told them I don't want to be the undercharger, what are they charging? And that gave me an idea for day rates and rental fees and how they break down their pricing for clients. It was super helpful And everyone I called was surprisingly helpful and even started sending me referrals since we had hit it off pseudo networking.

My business is a bit of me as a director of photography and also agency where I'm hiring out other people to go fulfill jobs for my clients. It's definitely eye-opening when you put a job out there and you start getting inundated with 10 or 20 responses, even up to 40 responses for a specific gig. Often I will put the price or budget I have for a specific role in the post, but in times that I haven't, that's been the most eye-opening seeing people's quotes coming back. I'm seeing an average of around 800 to 850 per day as a camera operator and then 300 to 500 For a kit fee The other super common method I'm seeing people price them is just at $1,500 per day, including their kit feet as a solo person crew. I will never secret shop people so I only know prices from actual gigs that I had and needed to hire somebody but even that has been super informative I have a shoot tomorrow for a TV show that I needed to source a second camera operator and used it. And it worked great. There's a lot to be said about value being found in the disparity of knowledge for information. When only our clients know what other people are charging in our market, that gives our clients all the power in terms of pricing.

Nice ... I like that scenes do not switch every 2 seconds :D.

Nice. What camera is the lightning shot?

Great stuff David! I like that you added some of the logos on there. A subtle touch that lets potential clients know that you’re experienced and have worked with larger brands.

Love it bro!