Advice Requested - Sony EV-E1 Camera Video Lens Advice

[@iHateQwest]

You are certainly going to want a wider lens. 90mm is going to be way too tele. honestly the kit lens that those are sold with are just fine. how you frame your shot and the lighting will make so much more a difference than any camera would. The sony FE-28-60 is what you will want.

[@CrashRacknShoot]

I was thinking along the same lines. Only small issue is the kits are usually sitting around f5 or so. Shooting indoors can be a problem if the gain noise is bad, but I haven't used this camera in particular, so unsure of it's gain. But yeah, pretty much this.

[@SchooloftheAmericanRifle]

That 28-60 lens looks to be an F4. Will that be a problem indoors with low light?

[@CrashRacknShoot]

@SchooloftheAmericanRifle I can't say for certain without knowing that camera body's gain abilities. F4 may be just a tad dark without adding a bit of extra light in the darker areas. Kind of like viewing into the ejection port without a bit of help from a flashlight or panel light. Long story short, f4 with a bit of gain should suffice. I would try this to test the theory. Put that lens on that you have currently. Get the lights to the brightness you normally have them and, if the lens is fast enough, open the lens to f4 and see how dark or light it is without gain. Then, try to under-expose the shot by turning the fstop to a higher number. Perhaps something like 6 or 7 to where he image looks too dark. Find the gain function and try to turn it up until the image has a useable brightness and record for a bit. Take a look at the footage on your computer and see if the noise level on the screen is acceptable to you.

[@JohnNeo19]

@@SchooloftheAmericanRifleyes but with your type of content you’re not gonna want to be shooting at anything wider than F/4. You need to buy some lights, rather it’s cheap lights off amazon or actual studio lights is up to you. The more open your lens is the less is in focus and with your type of content you want as much in focus as possible. If I were you I would never film at below an F stop of F/5.6 and I’d probably go to F/8 or even F/16 depending on the video.

[@CrashRacknShoot]

@@JohnNeo19 no. As I commented previously he doesn't have to buy lights. He has a look he wants to keep, and dragging in lights isn't what he wants. Keeping the extra speed of a lower f stop will allow that to happen, as the times he will be using low f-stops, he will be looking at tight and close areas of the rifle with little depth of field to begin with. The name of the game is clarity here. You don't get clarity with high gain, no matter how good the camera body is. Gain is processing. One would like to minimize processing for sake of image clarity.

[@xpatrickchoi]

I shoot a lot of videos for my business and I kinda nerd out on this stuff. First off, excellent camera and I think you'll be able to use it for many years but there will be a learning curve but nothing that can't be overcome. Your phone's camera field of view is likely in the 24mm to 28mm range. Shooting 90mm over the shoulder is likely going to be a very tight frame and difficult to maintain the same "style" of video and there's only so much you can "back up" to create the distance. Lens A good overall lens that likely won't break the bank will be the Sigma 28-70mm F2.8. You'll get a similar field of view as a phone at the wide angle and still have the ability to get in tighter if you need it. It won't have the detail and resolving power of a macro lens, but you also have one now if you really want to get those fine detailed shots. Mic Great mic and I have the same one. You'll want to make sure you have the right settings to capture your voice. If your wife is running and gunning (no pun intended), then setting the mic switch to the circle will tell the microphone that you want to capture audio in 360 degrees. If you know you're behind or in front, then you may want to isolate the direction using the switch for the best outcome. Also, I found that Sony's auto audio levels are pretty good, especially if your voice is being captured at lightly different distances. However, you can't overcome physics, so try to be within 3 feet of the mic as that is the distance where you get the best performance from a "shot gun mic." Camera Settings - This may be the most overwhelming part for a new video camera operator. 1. S-Cinetone, Picture Profile 11 - Has become extremely popular. Well known for natural skin tones, good out of the box colors, and still some flexibility to fine tune. 2. Frame rate 30FPS - and this is going to depend on your recording format and computer your using to "edit" the footage. There are some really good videos on KZbin that can explain this. I don't have your exact camera, but if I had to take a guess, you'll be able to shoot XAVC S 4K which should give you the most flexibility for frame rates. 3. Shutter speed 1/60th - If you're shooting at 30FPS the general rule of thumb is to "double the frame rate," so 1/60th of a second will give you natural motion blur, similar to what the human eye sees. 4. Shutter speed is also used to control how much light hits the sensor at any split second. So, you run into a lighting issue that has to be balanced out. This is where video can sometimes get complicated. You're constantly battling physics, and there's no free lunch, like losing velocity when shortening an AR15 barrel. The easiest way to overcome this is by setting your ISO to Auto. This increases or decreases the light sensitivity of the sensor - but higher ISO means loss in video quality but new cameras are very good as shooting at high ISO. Or, if you're in a controlled lighting environment, you can brighten or dim the lights. You may run into banding issues depending on your lighting and camera settings. Other options exist as well. 5. Aperture - Aperture is the Iris of the lens and it can be made wider (smaller number) or smaller (higher number). This is also how we can change how much light hits the sensor by changing the "f" value. Example f2.8 or f4 or f8. But as the aperture gets wider, your depth of field gets thinner. Objects in the background and foreground become blurring as the DOF gets thinner. For your style f4 will probably still be safe. 6. How do I know my video is exposed (lit) properly. You can't always trust the back of the screen because they're not calibrated. There are in camera video tools that can help. But the simplest tool to get you in the ballpark will be your exposure meter. Looks like -3 -2 -1 0 1 2 3, and if there's an arrow or indicated on 0, it probably means you're reasonably good. Once you have the camera dialed in, you'll be good and I'm happy to chat on the side anytime. Tons of great channels out there too - Gerald Undone, Think Media, Who is Matt Johnson, Tyler Stallman and more.

[@SchooloftheAmericanRifle]

I appreciate this so much. Thank you for the advice. So much great info. You are right about the macro lens. It's definitely not for the type of video we will shoot. It's going to be for just the ultra closeup views we need from time to time. I'll likely have to do a voice over or use an external mic when we use that lens in the limited situations we will use it.

[@ETC_Rohaly_USCG]

Dang! That is a lot to intake/process! Very well said!

[@anthonybravo5176]

Solid advice but I disagree on the lens choice. Even tho I love sigma glass. It’s a crop sensor camera so I’d recommend the Sony pz 10-20 f/4

[@Pixelsphere_Studios]

@@SchooloftheAmericanRifle Adding to what @xpatrickchoi offered. I would agree you're likely around 24mm if you're using the standard phone lens. Something to note if you go with the Sigma 28-70 is that it doesn't have image stabilization. That may not be an issue as the camera has some internal. But if you can have on the lens and camera it will aid keeping the handheld very stable. Tamron makes a decent lenses. I would aim for 24mm at the wide end if you can find a zoom lens that meets the budget and has image stabilization on it. Sigma also makes a 24-70 2.8 though it's a bit more expensive. Also something to keep in mind, smart phones due to sensor size and the wide lens angle tend to have a deeper focus. You may have to increase that aperture as previously suggested to maintain focus which in turn will decrease light that hits the sensor. Banding can be an issue with florescent and some cheap/household led bulbs. ISO and exposure, I'd recommend going about 1 stop hotter and experiment if you plan to use the S-Cinetone. Sony likes being a little over exposed rather than what seems to have been for most cameras I used growing up. HOWEVER, that's going to be if you plan to color in post, the colors may run a little flat in that profile. You would probably benefit/enjoy something more straight forward based on your style. I would recommend using the "creative looks" over the picture profiles in that case. Standard or natural. Turn down some of the contrast and saturation to taste. Keep it simple. While camera screens may not be perfectly calibrated, Sony's are good enough to get you 90% or more of the way there. If you aren't sure about exposure just press the display button until the histogram shows on screen. You can find a video if you want to learn more, but rule of thumb is keep the white in the middle of the box. Don't let it bunch to the left (shadows) or the right (highlight) too much. Between that and the exposure meter you'll be just fine. Also, look into a Smallrig cage and side handle to aid in hand held. Or something similar. Getting your hands on either side can help keep it stable. Though it's definitely not needed. Also, if you run into issues with focus hunting, look for a tutorial on setting the auto focus to only trigger when a button is pressed. That way once you've focused on a subject you won't likely have to fight the camera searching for it again. Then when you need to refocus or change subjects it's only a button press away and will stay locked until you're ready.

[@mikehenthorn1778]

you said most of what i was going to say.

[@JohnNeo19]

I’m a Professional videographer and photographer I’ve been doing this since I was a kid. For your type of content F stop literally doesn’t matter so just don’t listen to people who say you need to buy a low F stop lens. If you shot a video at anything below F/8 most of the frame would be out of focus which is not what you want for content like yours. You need to get a wide angle macro lens. When I say wide angle I mean something 50mm or less. So something like the Sony fe 50mm macro. For your video type you want to avoid depth of field at all costs so you’re gonna need to shoot at at least F/8 which means you’re gonna need some lighting if you don’t want to crank the ISO on the camera. I’m very happy to help so just reach out if you have any more questions

[@mattgraham7874]

I am also a videographer, and I disagree regarding f-stop. Better to have it and not need it, especially if they're not looking to have multiple lenses. I'd echo recommendations for either the Sigma 28-70mm 2.8, or the Tamron 17-70mm 2.8. These are reputable "bargain" lenses with extremely high versatility and image quality that will never be distinguishable from $2000 lenses for the average viewer watching on their mobile device.

[@officedullard8722]

Holy crap, that upper is ridiculously cute.

[@momo-hm5ru]

but it is crying for a better FA

[@calebdoner]

I know nothing about cameras, but I am drooling over that shorty A1 upper.

[@Miller-i6m]

Yeah, let’s see some more of that upper !

[@edwardnelson3304]

I'm more interested in that gorgeous upper laying there with the tear drop forward assist and the short triangle hand guard.

[@SchooloftheAmericanRifle]

@@edwardnelson3304 that's a Colt 607 clone upper.

[@dzphotoboi]

The Tamron 17-70mm 2.8 is a well priced, stabilized lens that has a fairly wide frame on an APS-C sensor and a nice open aperture of 2.8 for when you need it although I would recommend shooting at at least F4 if you have the light. The key point about this lens is the minimum focus distance is 7.5" / 19 cm which will be handy for those close up shots. There is also the Tamron 18-300mm 3.5-6.3 that has many of the same features, and a minimum focus distance of just 5.9" / 15 cm. However there is a variable aperture so you will have to shoot at 6.3 when zoomed in for those close macro shots.

[@CriticalTechReviews]

The E1 is a full frame body, and 12mp so aps-c lenses will force it to shoot 1080p only. So unfortunately you really have to stick with full frame lenses on the E1. but otherwise these recs are spot on, I love the 17-70 on my small bodies, it's a marvelous lens.

[@lukecapria8925]

I would also look at a mono pod. It’ll keep you mobile and hold the weight of the camera. That doesn’t sound like a big deal but you’ll start to shake holding the camera on your own. If not a mono pod think about a harness. That’s even more mobile and will help with keeping your image still.

[@GS0229]

Tamron 20-40mm would give you a similar fov as a phone camera without breaking the bank. If you have a local camera shops you can often rent a lens for 1-3 days to test if it’ll work for your application.

[@SchooloftheAmericanRifle]

Thank you. I'll look for a camera shop and see if I can rent something.

[@shibaspeed]

@@SchooloftheAmericanRifle if nothing is local, you can rent online from a place like Adorama. They will ship.

[@Kodachrome02]

Regarding the tripod use; If you ever need to work with both hands but dont have a cameraperson to help, you can use a lockable microphone arm for still overhead & tilted shots of parts on the table. They just clamp onto the edge of a table/desk and can be moved wherever you need. Cant help much with the camera & lens situation. I only use pre-digital camera equipment.

[@markharris8929]

Not an expert on lenses, but mechanically, this will be a bit heavier than a smartphone. For smoothness, your Wife does a really good job. A mono stand even a small weighted one will be really useful for her to be able to smooth out her movement and also allow for easier movement of the camera into difficult to hold positions to improve our view. Just a 18” rod with locking pivot will help her. Enjoy the channel immensely. Thank you.

[@tacticalrabbit308]

Did you get the owners manual with the camera reading that is a good first step, then play around with the settings and see what they do .eventually you will find what works and what doesn't work for the type of filming you do. If you still have trouble call B&H camera shop in new york.

[@CrashRacknShoot]

Broadcast video engineer here. I don't utilize these types of cameras, however, the principles of lenses remain similar. Having watched you guys forever, your wife moves a lot, but remains tight to the subject when shooting. I would highly suggest some ability to zoom so she can have a bit more flexibility to move around in corners or tight areas. A 28-55mm, or something of the like. Since you often shoot in shop conditions indoors, I would suggest a minimum f-stop of *at LEAST f4,* preferrably f2.4 or lower. Get a variable lens that "zooms out" to at least 28mm and has as low of an f-stop as you can afford. If you can swing for lower than 2.4, by all means do so. But it is expensive as hell to have good fast, low f-stop lenses. Fast in this sense means more light gets to the sensor more quickly. This allows proper exposure in lower light conditions without relying on gain and noise from the camera, which will make the shot eventually look fuzzy from the camera trying to add light in artificially. If you choose something wider (more "zoomed out") than 28mm, you'll notice a lot more "barreling" (commonly referred to as "fish eye"). If you, for some reason, have to stay with a fixed zoom lens (known as a "prime" lens) I would go no tighter than a 50mm lens, ideally a 35mm to no wider than a 25mm. The plus to these is you can get faster lenses for cheaper. The minus is that it is cheaper because there's no zoom capability. There's no free lunch, afterall. I will say, nowadays, you can rely pretty heavily on the camera's stabilization and be fine. No need to also rely on the lens stabilization as well. It will make the camera's movement look unnatural to have both systems fighting for stability and it will also absolutely wreck your battery life. Seeing as you do a lot of long form videos in one take, I would guess battery life is important, so I would stay away from image stabilization on the lens as well, or at least set it to as low as possible if there are no IS-free options available at time of purchase. So, to recap, ideally a 28-55mm (or thereabouts) variable lens with as low of a number of an f-stop as you can afford (known as a "fast" lens, because a low-f-stop lets light into the sensor fast, allowing for shooting in lower light conditions). Nowadays, it's pretty hard to find a "bad" lens. More money gets you a stronger lens body (metal instead of plastic, lighter weight, etc). And of course, better glass. Think of this very akin to scopes. As long as the mount is compatible with your cam body, I'd just run whatever you can afford with those parameters previously suggested. EDIT: I would also suggest making sure the lens you do end up with has auto focus capability that is compatible with the camera body. Nowadays, its pretty standard, but you never know. Trying to have her pull focus as well as zoom on the fly is for some more experienced hands. Im sure she could learn it quick, but she'll get *REAL* tired of that real fast 😄

[@JohnNeo19]

Bro why would you want him to shoot at a low F stop? It’s gonna make most of the image out of focus which is not great for the type of content he makes, he’s gonna want to shoot at at least F/8 to get a nice flat in focus image. In my opinion with his type of content he would want to avoid depth of field at literally all cost

[@CrashRacknShoot]

@JohnNeo19 1. Don't "bro" me. 2. They're zoomed out far enough to where the focal plane wouldn't matter. They will likely remain at f4-6 with minimal gain to keep noise to a minimum. They're shooting tables and flat angles. 3. Just because they have f2.4, they don't *have* to go that low. If you watch their videos, you see that they are often close up in areas that are dark. And when its close up, that focal plane doesnt matter as they will be looking at areas with a shallow fore and background. f8 in this particular instance wont cut it, and you know that. 4. Seeing as he's not looking to make a studio/buy a handful of lights as well, keeping the extra speed in a lens is favorable. You realize a 2.4 lens can *also* close down as much as one likes, right?

[@mattgraham7874]

​@@CrashRacknShoot concur. These two comments highlight the differences between the things one believes they've learned on the Internet and the things one actually learns in the real world (I've been both on this particular topic!).

[@CrashRacknShoot]

@@mattgraham7874 Much appreciated. I'm sure the other guy means well, he's just not yet learned enough to make a proper proposal. One thing I've learned doing this for over a decade is that you can't always have ideal situations. A pro is able to adapt despite less-than-ideal equipment. I unfortunately have to deal with that on a daily basis lol (usually budgetary restraints from the client 😄). Our buddy at SOTAR has stated what he wants. And what he wants is more functionality without sacrificing the current style. I respect that. What I have proposed will do just that. Dragging in more lights and gear is not the answer when he has seen the current results and does not desire more. But, to the other guy, hey what do I know? I've only designed live events that involved low-latency feeds and multi-point interactions in 60 countries (including China), utilizing every single type of transmission path known to man in order to achieve success...at the same time 😄. I think I know how to setup a camera. EDIT: and to your last point, we all have! That's the beauty of learning. Always gaining more knowledge. Hell, that's why we all watch SOTAR!

[@Geneaux]

Your wife is amazing with the camera work

[@EverythingisFire]

Something that could be helpful for you two is perhaps look into a gimbal. Even though your camera (nice choice!) & lens have image stabilization, it could help making longer videos a little easier on the person behind the camera. Especially an over the shoulder shot or something like that. I tend to see that they have a mini-tripod design too that could help with your solo filming.

[@plutonium5156]

Sony 20mm f1.8g or 24mm 2.8g. The e11mm is apsc and won't work on a full frame sensor unless you shoot in crop mode

[@mynameisnotcory]

Try the viltrox 27mm f4.5 lens, 87 bucks and has autofocus and image quality is great. And its a small profile

[@britkirby3375]

The fact you are moving to Sony and have an audience, they would be where I would go for help. There are small hand held SteadyCam portable units, and although it may be overkill, they might sponsor you on one.

[@whiskeyactual.]

So if you want a sub $200 lens with built in stabilization (OSS), you could grab a Sony 28-70mm for $140ish from MPB. I have ZV-E10 and with that lens I have no use for a gimbal. I would grab a camera cage and mount a side handle to it so it's easier and more comfortable to hold stable, but that's likely all. Just keep in mind that since it's minimum 28mm, she may have to back up a bit for some shots on occasion.

[@kacasio1]

I would get the $149 viltrox 20mm lens. (For right now) A little bit wider than an iphone, super cheap, small and light, but fixed focal length. Also with wider lenses stab isnt as important since most of the shots are handheld. Its on Amazon and i would say try it and return it if it doesn't work for you guys. If you are looking for a zoom lens I would personally go the used route and pick up the Tamron 17-28mm 2.8. Its about a touch under $500 on the used market.

[@dynamicfirearmsinc432]

Chad you should call Dr. Rudy R you know him. Not only is Rudy a Doctor but he would take photo's at the old (now) NMRA Rudy knows all the video guys who use that set up like you have. Rudy knows them really well they are all coming back today from SEMA show in Vegas.

[@Franz704]

Sony camera’s are used in some of the best movie’s.

[@12th_C]

For movement you might look into a gimbal

[@RoadReality]

Smart phones do a LOT of image processing when taking stills or video, so using a prosumer camera like that Sony is going to take some practice, testing, and overall familiarization before you're ready for prime time, as it were. I have over 700 videos across 2 channels on KZbin, and have been recording videos for over 4 years. The last 2+ years, I've bought and used my smart phone, Sony ZV-1, Nikon Z30, and most recently, the Canon R6 Mark II, with various lenses, to record my videos... in addition to 5 different GoPros, in all sorts of conditions and for all sorts of purposes. Here's my recommendations: For video: A wider lens is going to be your friend. Look for a budget Sony lens that has the smallest number mm [widest angle]. Phones take around 20-24mm, usually... which should be plenty wide for your use. I prefer first-party lenses because they tend to [not always, but TEND TO] work better with the brand's cameras. Auto focus in many instances is faster/better with a first-party lens. That said, even indoors with what you consider bright lights... most digital cameras will struggle, or jump the ISO up a lot. So, I recommend a "fast" lens [low F-stop number, which is a wider aperture - lets more light in]. Depending on the distance from the camera to you [or the subject you're recording] and to the background, the DOF [depth of field] will vary. You can stop it down to F6 or F8 for a wider DOF if needed. Take some test shots. I recommend faster glass because you said you have another photo project going on, and versatility is the name of the game IMO, in order to not be drowning in lenses or the money it takes to buy them all. I am a HUGE fan of the 24-105 F4 lens for my Canon. Takes a fantastic photo, and the video is SOLID. Sony sells a similar lens. Might be pricey - look at used from a reputable camera shop, or buy locally from Facebook or something, where you can try it out before buying. Remember this: you date camera bodies, but you marry glass. If you're going to be a Sony shooter, then buy the best glass you can afford, and when you wear out or upgrade your camera body, that fancy glass will transfer right over to the new one. I have born this advice out recently with the purchase of the 24-105 F4 USM lens for my Canon. It's a BEAST, and retails for like $1,299... but it's worth every penny, and if I get a newer Canon in the future, that glass goes right to the new camera, no problem... as long as the manufacturer doesn't change mounts [but usually there's an adapter so you can use older glass]. Go through the modes: Auto, Aperture Priority, Shutter Priority, etc., to find what works best with your style of recording. I tend to use Aperture Priority a lot, because I WANT a blurry background and narrow DOF. This may not be want you want. Also, look for something like an image optimizer or lighting adjustment. I am not sure what Sony calls it, but Nikon calls it "Active D Lighting" and Canon calls it "Image Optimizer". These use processing to lower the contrast in high-contrast scenarios, which can bring more detail out of the shadows, without blowing out the highlights. Good for the details on the ARs, for instance. For audio: The mic you have is probably pretty good. I will admit I'm not a Sony shooter outside of the ZV-1 that I own, and I hook a RODE Wireless Go mic to it. I highly recommend it, and have a video on my channel where I more permanently attached the dead cat to the transmitter [it tends to fall off]. This will allow YOU to be anywhere in the room in relation to the camera, and still pick up the audio, and should be really good for minimizing extraneous noise. BE CAREFUL: Wireless and wired lapel mics tend to be hot [sensitive], so adjust the audio gain on the camera so it's not clipping [in the red on the right edge of the audio level meter on the rear screen - you'll generally want to keep it at 2 or 3 bars from the red. You can speak into in your normal voice to gauge this. For editing: I use Davinci Resolve. I have a couple of videos on my channel about it, but I started a whole channel - search for @creatorreality1 on KZbin. I put all my tutorials there now. It CAN have a steep learning curve, but should be pretty easy for you to pick up. I just released a video over there with my favorite shortcuts for Resolve in it. The big benefit to Resolve is that it has a fully-featured free version which will use your GPU for a lot of things, which makes playback smoother, especially if you're recording 4k and with the bit rate that Sony will output. The biggest drawback is that it's a RESOURCE HOG. It will literally scale from a mid-range laptop to a top-of-the-line server, and suck up all the resources to do what it needs to do. It's pro-level software that Netflix and Hollywood use... and me. I've been a Resolve user for 4+ years, with thousands of hours in editing, and I love it. Buy an SSD to store your footage on, if you don't already have one. The read/write speeds are so much faster than old spinning disks that it's night and day when it comes to editing - again with the 4k/high bitrate files you'll be working with. If you read through all that, welcome to the rabbit hole I've been going down for years. It's not cheap, but the results are 100% worth it, IMO. If you have any questions about anything I mentioned, please let me know - I'm happy to help. And I'm not a pro, just a prosumer. And constant researcher of these things.

[@JohnNeo19]

Using a wide open lens is not gonna be good for his type of content where he needs the entire screen in focus. He needs to invest in lighting and shoot above F/8.

[@mickeyreefer4212]

Changing the subject. What is your recommendation on your tooling on ar15 go and no go tooling? Is there a kit i can buy.

[@UtubeEric12345]

That 90 mm lens is more of a portrait lens, and will probably not work with your style of videos. But I have often thought “he should cut to a still picture to better show what he is talking about now” and I think that macro lens will be very good for that. So I’m hoping you will find it interesting to experiment a bit with closeups that you cut to when talking about small details :) Especially since you are going to start to work a bit more with your editing anyhow. I have also noticed that you like to fit an entire video in one take if you can. I guess that is to show that nothing has been edited out? By now I think we all trust you a 100 % and nobody will think that you are “cheating” of camera. So do not be afraid to do cuts in your editing :)

[@Isailuck]

You’ll need FE 50MM (Sony)

[@alecubudulecu]

Yeah you will likely want a wider lens. 90 is too tight. Your phone is running 24mm. Sigma and tamron make a great budget lens that’s around 16-75mm and has excellent macro capabilities. That would work great for any situation (assuming you ok with the weight since someone is hand holding the camera)

[@Ricochet845]

Someone get Eli Double Tap from the Unsubscribe podcast…. He is THE camera guy…..

[@taylorsrus9543]

Should have got a video camera honestly. Don't worry about spending on a big aperture because you are going to want to shoot in a very tight aperture to keep things in focus. F1.8 you are going to have a super narrow focal plane. 90% of the shot is going to be out of focus. Going to want to shoot at like F12 if you have enough light. IDK what the auto focus capability of that camera is, but that is what is usually a pain with your style of shooting.

[@SchooloftheAmericanRifle]

We needed a good camera too for another project I'm working on. We need to take some good photos.

[@taylorsrus9543]

@@SchooloftheAmericanRifle Makes sense.

[@Slay_No_More]

My stupid self seen "School of the American Rifle", I then seen an AR, BARELY read the title and though "Yo, Sony made an AR? Kickass."

[@ETC_Rohaly_USCG]

My (now) ex-wife was a Canon fan... Before Sony got market stance. Back then things were 'Canon' or 'Nikon'... I went into so much debt 😢 Elan 7E, 5D, 10D, 20D, 'red-ring' lenses (EF/EFS series) I even gave her 2 years of my G.I. Bill to get her degree in "Photographic Technology"! She is still a bartender, and I'm still mad.

[@ericmckinley7985]

Just Dependa things... Enlisted shouldn't be allowed to be married.

[@Disastrous.Affect]

No input for you on a camera other than the way you do your videos is awesome and I am certain you will find a solution.👍

[@stefanmolnapor910]

Mark Novak may have good intel

[@mikehenthorn1778]

if your camera and lens will take it a gimbal will help with camera shake. that is the thing that makes me turn off your videos. sometimes they make me motion sick. lens depends on things. ( i know informative ) mainly what you want to do. the smaller the MM of the lens the wider the view. it comes with some optical problems. like distortion at the edges. you might also get what is called force perspective effects with a wide lens close up. things closer to the lens will distort . a wide lens close up will make the nose on a face look big! but back a few steps and it is fine. the F stop ( how much light can get in to the camera ) also might require more light to get a good exposer. ah exposer , set your exposer before you shoot. at certain settings you can't change things when you are recording. so have shutter speed and ISO and aperture set before hand. aperture - you will want a 5.6 to 8 depending on how close you are. the higher the number the more that "looks" to be in focus. there is a range of what " looks " to be in focus. the closer to something you are the shorter that range is. so in focus at 5 ft give 1 ft in focus but closer and it gets smaller. fast! move back and much more " looks" to be in focus. also a good rule of thumb is 1/3rd in front of your focal point and 2/3 behind will " look" in focus.

[@aliceburte9278]

👍🇺🇸

[@bigracer3867]

Dead cat alert🎉😂