URSA Mini 12K Price Drop & TASCAM CA-XLR2d [Ep193]

In this episode Mike is back and we're going to be talking about the whopping 40% price drop on the Blackmagic Ursa Mini 12K camera.  As well as Tascam's new audio top handle for Canon, Panasonic and Fujifilm cameras. We also go into what to look for when choosing cameras and some simple mistakes we've have made in the past.

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Ariel Martinez

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Gear used on the show:

• Mic - Shure SM7B
• Mixer - Zoom F6
• Cameras - Sony FX3
• Lenses - Sigma 50mm f/1.4 & Sony 85mm f/1.8
• Software - Adobe Audition

Transcript

 Ariel Martinez (00:00:00): Sony has the market like it's, it's, it's kind of natural and normal to think. Why not make it for Sony? Yes. They have one it's $300 and nobody could ever get it right. There's always a need. And then I, and I, and I, and I continued with this point, listen, even if it was available, if Sony made their own camera cages, does that mean that tilter and small rig and wooden camera shouldn't even try to make camera cages. Welcome back to another episode of the ifilmmaker podcast. My name's Ariel Martinez with us. Big, big magic. Harry Mike Harry Mike (00:00:40): On the they'll never leave me. What's up guys. I am not next to you. Ariel Martinez (00:00:44): You are Harry Mike (00:00:45): Not because I heard you didn't take a shower for a month. Ariel Martinez (00:00:48): Sorry, man. It's that time? All that Harry Mike (00:00:50): Golf. It's just that golf. Ariel Martinez (00:00:52): I was gonna say it's that time of the month, but it's actually not a good joke. Harry Mike (00:00:58): Yeah, that's what I just kept going with it. Oh Ariel Martinez (00:01:00): Man. Oh man. How you been? It's been a, we've done an episode together. Harry Mike (00:01:06): It has been, man. I got a new hat. Check it out. Yeah. Ariel Martinez (00:01:08): God is your designer. That's fantastic. No, Harry Mike (00:01:11): Read it again. Read it again. God Ariel Martinez (00:01:13): Is a designer. God Harry Mike (00:01:17): Is, he's not your designer. He is. I said, Ariel Martinez (00:01:20): You're the one wearing it, Harry Mike (00:01:22): But he's yours too. I Ariel Martinez (00:01:23): Know that. I get it. But you're the one making the statement with that hat. Harry Mike (00:01:27): Listen, I'm just trying Ariel Martinez (00:01:28): To be grammatically correct. Harry Mike (00:01:30): IM like he is a, a creative and that's the field we're in and that's awesome. Ariel Martinez (00:01:34): Amen. Hallelujah. So on this episode, I need to bring up a post that got a lot of attention for some reason. And I need to say stuff about this, Harry Mike (00:01:48): Get it off your chest. I Ariel Martinez (00:01:49): Need to get it, get this off my chest. So I made a post apparently. So task cam, we're gonna be guys, we're gonna be talking about gear today. So get ready. Harry Mike (00:02:00): I love this. Let me, I do have a question. What's up? Um, they're not sponsoring this. Ariel Martinez (00:02:04): Uh, they're not cam has nothing to do with it. Harry Mike (00:02:07): Oh yeah. I figured Ariel Martinez (00:02:08): Because it's not gonna be all glamorous or I'm gonna say about this, but it's not, it's not anything crazy bad. Just something I was wondering about. So task cam came out with an audio unit is called the task cam CA XLR two D audio XLR a after. And they specifically in the article for, uh, C D they specifically mentioned cannon Fuji film and Nikon. And it just says development announced, right? So I'm like, great. This is awesome. But wait a minute, there's something missing here. Where is Sony? Why didn't they promote it with Sony? Are they not making it for Sony? Why would they decide to not make it for the company that has pretty much the entire market? Like most the biggest bulk of the market. They're not putting it out. And I figured in my head, I'm thinking, okay, maybe this is something that only communicates through cold shoe Mount. Ariel Martinez (00:03:11): I mean hot shoe mounts. Right? But the interface with these cameras Canon has it. I think Fuji film has it even Panas on, has it, by the way, I don't see Panasonic here either. Um, so I'm thinking maybe Sony's not allowing them to make it because they already have their own. Just like Panasonic. Panasonic is not here either. However, as I read in this article, it says that it's the same thing. It's an LAR unit that you put on top of a mirrorless camera. We with a shotgun holder, shotgun Mount has two XR. Inputs has a lot of nice buttons and stuff like that. Great. What everybody wants everyone that has a mirrorless camera would love to have this unit. I know that the K three M even for you, you were trying to get it. It's almost got it. It was it's. It was almost Harry Mike (00:03:57): Arriving tomorrow. Ariel Martinez (00:03:58): It's arriving tomorrow. Yeah. How long did it take you to get it? You've been trying to get it for a long time, Harry Mike (00:04:03): Dude. Like 3, 2, 3 years is on back order Ariel Martinez (00:04:07): Two, three years. Yeah. Harry Mike (00:04:09): That's honestly, I think it's a conspiracy to push everyone to buy the FX three since it's already comes with it. Right. So I think that that's all it was. They made everyone want to use it. Ariel Martinez (00:04:17): So granted they have theirs. All right. So maybe this is only hot shoe out, but wait, it is not. There's a part here in the article that says there will be a cableless solution cuz in the picture I see one on Nik icon that has a cable running from the unit to the he phone Jack. So I'm thinking maybe it's going in through the he phone, Jack that you just get XLRs and then the audio comes in and separate tracks. Maybe you in separate channels, there will be a cableless solution for cameras with a digital hot shoe interface, as well as an analog cable solution for cameras, without it meaning if a camera doesn't take it through the hot shoe out, you could use it with the cable. Wouldn't that be an amazing incentive to say, Hey guys, get it for Sony. If, if it's not, if it's on back order, you could still get this one. I don't even know the price of this thing. But the funniest thing is that as soon as I posted it, everyone started coming on me and saying, well, there's one guy that is actually a listener of the show and says, you must be living in a small world. If you think that everybody uses Sony, Ariel Martinez (00:05:20): I had to pray about it before I respond it. But uh, no, essentially, no, no, no. We, we had a, we had a good, um, sort of back and forth. I said, well, listen, Sony has the market. Like it's, it's, it's kind of natural and normal to think, why not make it for Sony? Yes. They have one it's $300 and nobody could ever get it right. There's always a need. And then I, and I, and I of continue with this point, listen, even if it was available, if Sony made their own camera cages, does that mean that tilter and small rig and wooden camera shouldn't even try to make camera cages if Sony has their SD cards, does that mean that SanDisk or uh, these other companies, Lexi, whatever, should they not make SD cards? Like, what's your point here? I don't understand that. So that was the whole deal there. I needed to get that out. Cause I'm like, I can't respond. I literally got over 20 message. Harry Mike (00:06:17): I'm a great listener. Just spill it. Ariel Martinez (00:06:21): I literally got over 20 messages and I was about to make that same argument 20 different times. Uh, I was, it was a big waste of time. So I had to like sort of come out here and sort of talk about that and kind of let people know what I, I feel like it's marketing one. Oh one only because there's a product available. Doesn't mean you're you can't now make a product. You can still make it. So why wouldn't you make it and market it to the man, to the people whose manufacturer of camera Sony is basically taking the entire market. It's the most popular camera right now. Harry Mike (00:06:57): It's possible that it's just licensing, you know, issues with Ariel Martinez (00:07:00): Sony. It doesn't have to be a licensing issue. I don't need a license from Sony to make a product that could be used with Sony. It's like do people that make an iPhone case, do they have to get a license from apple to, Harry Mike (00:07:13): To show we've talked about this one before. Yep. Yep. I hear you. Ariel Martinez (00:07:15): You know what I mean? Harry Mike (00:07:16): Yeah. It's, it's, it's Ariel Martinez (00:07:18): An accessory. Harry Mike (00:07:20): I still ha I'm still on that. Conspiracy thought that because the, I know I'm still holding onto it, but the FX three being released and being on back order, what I purchased and all of a sudden task cam comes out with this, you know, Sony Nikon, and, and it's not including, uh, Nikon and can, and it's not including. So all of a sudden they released the, uh, what is it? The, the, uh, the MK, the MK three? Ariel Martinez (00:07:46): Uh, Harry Mike (00:07:47): No, what? I just, I just purchased it. K three mercy. Yeah, the K three M yeah. So all of a sudden they finally release after all this time, the K three M right when this one comes up, that Ariel Martinez (00:07:58): Was actually surprising because I, Harry Mike (00:08:00): The argument Ariel Martinez (00:08:01): Something there, man, some of the arguments that I was making was, well, you can't even buy that. And then just to verify, I go and make sure I'm like it's available, But anyways, Harry Mike (00:08:12): Hey, I'll tell you what, how was happy? I Ariel Martinez (00:08:13): Know. No, no, that's fine. But listen, it, it, its just, it doesn't defeat. Like my point is still intact, you know? Yeah. Make it anyway. Yeah. Make it more affordable, you know and make it so that like for example, an incentive is like, what if people have multiple different cameras? You know what, if they don't only have Sony, why would they get the K three M if they can't use it on their pocket, six K or their their can, you know, make it yeah. Harry Mike (00:08:39): Like for example, you know, I own Sony, but I'm on a lot of, of shoots that they, they already own cannons. So if I had that with me, it would be great to invest in that. So I could use that on both platforms, but I can't. Yeah. Ariel Martinez (00:08:51): Yep. No, exactly. And so that was essentially my point and a lot of people just kept on with Sony already has theirs. It's like, so Harry Mike (00:08:59): That's, Ariel Martinez (00:09:00): That's sort of my point. Were you one of the people? No. Were you one of the people that messaged me saying that Sony already has theirs? Harry Mike (00:09:08): No. Oh, okay. I messaged you that yo, we came out, I'm buying it. Oh yeah. Ariel Martinez (00:09:12): And oh, that's when I responded to you. I was like, I just saw it. It kind of messed up one of my points, but whatever that I was trying to have online, Listen, the fact that there's a cable and it works with a Sony, I'm assuming, right? Like why wouldn't it work? Right. It's an analog cable solution for cameras. Harry Mike (00:09:32): It Ariel Martinez (00:09:32): Should. It should. Harry Mike (00:09:33): Right? Why don't they say it? Ariel Martinez (00:09:34): Why don't they say that's an interesting point. Um, I'll be honest. I didn't read the entire article, but it's just, that should be a headline feature for those that have been waiting a long time to get to KM. You get what I'm saying? Harry Mike (00:09:50): Yeah. It Ariel Martinez (00:09:51): Should be easily front and center on all this stuff. It is, is a really cool looking unit in the sense that it's essentially what everyone's been needing. And there has been a gap in the market. Oh wow. So the Panasonic audio currently costs 3 94. So the Panasonic one. Yeah. Costs Harry Mike (00:10:13): 400 reading that right Ariel Martinez (00:10:13): Now the Sony X, the K three N costs $600. Is that much? It cost 600. That much pay. Harry Mike (00:10:19): Oh yeah. Ariel Martinez (00:10:19): Oh man. I paid a lot And it says that I guess they haven't even released the price yet, but it says they Harry Mike (00:10:26): Paid, I think back in the day he told me he paid somewhere around like upwards to 800 or nine for it. Ariel Martinez (00:10:31): For Sony one K Harry Mike (00:10:32): Three. Yeah. When it first came out. Yeah. Ariel Martinez (00:10:34): Yeah. They're pricing, man. If this comes out and it's like, let's say 300 bucks, two, 300 bucks, come on now. Harry Mike (00:10:42): It's Ariel Martinez (00:10:42): Pretty. Harry Mike (00:10:42): Uh, but essentially it's the diff it's the difference between the a seven S three and the FX three essentially. It's just that. Ariel Martinez (00:10:50): Yeah. Yeah. But except that this is adaptable to any camera. It's cool. If you can adapt it, if the camera already has a hot shoe interface, it, you can still use it with, but it would even be more cool if they have internal recording. Harry Mike (00:11:09): Hello? Okay. That would be awesome. Ariel Martinez (00:11:11): Hello? Harry Mike (00:11:12): Yeah. Ariel Martinez (00:11:12): Put an SD card in this bad boy. Harry Mike (00:11:16): I was just working with an audio guy that he had, that he had a wireless transmitter out of his boom. That also was a recorder. Ariel Martinez (00:11:22): Oh, now I I'm, I'm skimming through this article and I don't see anything called Sony. Harry Mike (00:11:33): I just checked. I just did command F fine. And it's only that price point. That's all it is. Ariel Martinez (00:11:40): So it doesn't mention Sony anywhere. Harry Mike (00:11:42): Only the ads at the bottom. It's so Ariel Martinez (00:11:44): Weird. Harry Mike (00:11:47): Why its strange. That is, I dunno. I call like write them a letter. No, Ariel Martinez (00:11:51): It's just, it's just a weird marketing move. I wonder if there's some sort of legality, like you can't use our name to promote this. Like Harry Mike (00:11:58): That's what I'm telling you. I I'm, I'm almost sure is something with involved with lawyers. Ariel Martinez (00:12:03): That's so Harry Mike (00:12:03): Strange. It's much bigger licensing is so it's something, something to it. Right? Ariel Martinez (00:12:08): So that is, you got Harry Mike (00:12:11): Right. You got that off. Your Ariel Martinez (00:12:13): Ran number one, Ran number one, the task cam CA XR two D looks like a very cool product. It looks like it's going to be popular. I don't see the benefit. I mean, technologically, I don't see the benefit of making it match six or seven or 800, hundred bucks when it comes out. But maybe I don't know what they're planning on pricing this at because really the people that are gonna benefit, like I feel like this is more catered to higher end YouTuber slash commercial videographers that are thinking about getting a cinema camera, but Harry Mike (00:12:53): Lower end because the cinematographer is typically higher on a dedicated audio Ariel Martinez (00:12:57): Guy. No, I said video videographer, not cinematographer. Harry Mike (00:13:01): Oh, Ariel Martinez (00:13:01): Okay. There's a difference. Oh yeah. I think there's a difference. Harry Mike (00:13:05): I agree with you on that. That's a whole nother show. Ariel Martinez (00:13:06): No, no. That's why I said videographer for sure. Commercial videographer people, you know, trying to step into that, like the starting, not knowing if they want to get into the cinema line or just stick with their mirrorless cameras. This might be a, a happy medium there to sort of, uh, make their camera into a relative cinema camera with LAR inputs, proper dials cetera. Harry Mike (00:13:30): But see I'm, I'm used to working with audio guys, but I do have a gig tomorrow. That's only four hours and the bud only allows for it's cushioned. It's good. But only for a one man band. And it's nice to be able to have you it's like this, you know, Ariel Martinez (00:13:42): Absolutely those one man band jobs, although they require more work from you, you get more pay from that. You can charge a little extra because you're doing everything yourself. You can pocket a little extra. Right. So you're charging a little bit more for audio. You're charging a little bit more. You're charging it just a little bit more, but it's still less than hiring all that stuff separate, you know? Harry Mike (00:14:02): Yeah. Ariel Martinez (00:14:02): So that's why you can, Harry Mike (00:14:03): I try to always at least come in with a PA um, yeah, that's like kind of my, my bare minimum. Uh, this one happens to be tomorrow is just complete by myself. Um, but uh, yeah, normally at least minimum a PA to help out Ariel Martinez (00:14:15): That is the task time unit. Now let's talk about this price drop with SA the SA 12 K Camera. Harry Mike (00:14:26): No one's buying it. Ariel Martinez (00:14:29): So there, there are two theories out there, out there in the ether. Okay. There are two theories. One is that black is about to drop another camera that it's similar and that's why the price drops. That's usually what happens. And two, which is the one that I think no one's buying it. I think they're dropping it because it's just you like, this is a, you're telling people it's either the Sony FX nine or the Canon C 300 mark three or This camera, the 12 K. And I say those three cameras because they're relatively close, close in price Harry Mike (00:15:11): In price. Yeah. Yeah. Ariel Martinez (00:15:13): Um, so they're dropping dramatically from 10,000 to 6,000. That's a significant drop. Harry Mike (00:15:20): That's huge, huge price point. Okay. But you have to also remember too, like there's somes. Ariel Martinez (00:15:26): Can you imagine, can you imagine pulling the trigger on this camera like a month ago? Harry Mike (00:15:32): Oh, well it's like the housing market, you know, I have a friend who just sold this house and I'm like, Hey, so what is it worth now? He goes, yeah, I lost 30 grand for just posting it like a month ago. Oh man sucks. Ariel Martinez (00:15:44): Dang. Harry Mike (00:15:46): Yep. Yep. It happens man. Technology moves fast and this is a bummer for those who just purchased it that's Ariel Martinez (00:15:52): So this 40% Bri shop made possible by efficiencies in manufacturing, combined with an improved supply of 12 K sensors. They're saying that we're making 'em cheaper now. So that's, I don't believe that. I don't believe that That's hard to believe. Harry Mike (00:16:11): I think it's no, I, well, it depends. It's two points of view. There's the excitement. Oh, I can finally afford this it's Christmas and there's the other one that just skeptical. Um, why? And it just opens up a bunch of questions and, and that just brings lack of trust. Yeah. So, um, and I also know that I haven't worked a ton with it, but in post there's a lot of, there's been a, there's been a lot of issues with post. Yeah. Like magic. Yeah. And the premier, um, having to use third party, um, plugins or third party, third party companies, to be able to use it with the, you know, they have a dedicated codex it's, it's just for them. And they essentially are trying to be like apple where it's an ecosystem where it's just all their products from beginning to end, but they're not apple and they're not there yet. And so, you know, resolve crashes all the time. Um, you have to drop the resolution down like crazy. Um, it's just, it's just not functional. So I, I wouldn't even with the price drop, I just wouldn't consider it. You have to think of the whole production from beginning to end. It's not just about having a cool camera that could shoot 12 K that essentially nobody needs nobody has, has a 12 K TV or monitor. Right. And sure we can get into post-production zooming in capabilities and all that stuff. But 12 K we're not there yet. That's that's coming, but we're not there yet. Computers aren't haven't caught up to that yet. Ariel Martinez (00:17:28): As a reminder, this camera does 12 K at 60 frames, or you can shoot eight K at 120 frames. That's pretty nice. You do 4k, uh, 240 frames. If you're shooting this at the highest bit rate at the highest quality of 12 K at 60 frames, It'll take 17 minutes to get you a terabyte of footage. Harry Mike (00:17:53): Mm. Ariel Martinez (00:17:55): 17 minutes is a terabyte. A footage. Harry Mike (00:17:58): Geez. Ariel Martinez (00:17:59): Yeah. Needless to say, this is not an event camera. Harry Mike (00:18:04): No way. No man. That Kodaks of black magic raw man. It's a beat east. Ariel Martinez (00:18:10): You have a question, Chris? Yeah. All right, let me welcome Chris. Speaker 3 (00:18:15): Chris's up guys? How you doing Harry Mike (00:18:17): The man? The myth? The legend. Speaker 3 (00:18:18): So I, I just had a quick question. Um, cuz you seem to know a little bit about the, the black magic 12 K Mike. Um, but didn't when they came out with black magic raw didn't they announce that it'd be smaller file sizes. So wouldn't it be? Shouldn't it be easier to handle? Ariel Martinez (00:18:38): No. Remember so it smaller, sorry. Smaller file sizes means more compression. More compression means harder to render. Harry Mike (00:18:48): It's actually opposite. Opposite. Uh, of Ariel Martinez (00:18:52): I'm sorry. Harry Mike (00:18:53): It's the opposite effect of what one would think smaller, faster, but it's actually the opposite. Oh Ariel Martinez (00:18:58): You're oh, I'm sorry. You're confirming what I'm saying then. Harry Mike (00:19:01): Totally confirming. Oh, okay. I'm I'm agreeing with you. Ariel Martinez (00:19:03): I thought you were telling me it's the opposite of what I said. Harry Mike (00:19:07): All right. Let's start that again. Yeah, yeah. Be quiet. Be quiet. Chris is gonna cut this out already. And three, two go. Yeah. I totally agree with you man. Okay, I'm done. Ariel Martinez (00:19:20): Yeah. Yeah. The only way to get smaller file sizes is to have less, uh, is to have more compression is to compress the full sensor. Um, yeah. Yeah. You'll notice that it, it, it's interesting how that works, but it's once you understand it, it makes total sense. The more compression, the more the computer has to uncompress right. I don't know full science or terminology or whatever, but your computer's working more to uncompress it so that it could have a smooth playback. The more it has to uncompress the more it has to work, then all that stuff. So essentially less compression equals smoother playback. So at Harry Mike (00:19:58): Least that's all. And Ibel, I believe that they even have their own, um, editing software and they're just trying to push you towards it. And so it's, it works natively with that, but that's about it. So everything else needs to catch up with, you know, third parties and plugins and stuff to make it work. It's just such a headache. I just, even with the price drop, not convinced, Ariel Martinez (00:20:17): I'd be interested to see what a black magic mirrorless camera would look like. Not a cinema camera, an actual mirrorless camera, because remember they're coming from the point of view of they're coming from DaVinci, right. They never really made cameras. DaVinci is like an industry standard for colors and stuff like that. Harry Mike (00:20:37): Yeah. Ariel Martinez (00:20:37): Um, so they're trying to make cameras to cater to that program, but what do they tap into like the YouTuber world, where you got these creators and people just wanting make content and they don't necessarily need a mirrorless camera. They need, they need a camera that can do essentially an a seven S three sort of competitor, you know. Harry Mike (00:20:56): And how do you think that the pocket, uh, cinema six K fits into that world? Ariel Martinez (00:21:01): It doesn't at all, no way, no way people want to try and make it fit because I will admit, I'm sure you can get a much nicer image with the pocket six K, but you're gonna work a lot more. There's no way around that. There is none. Yep. And if you think it's a different price point, eh, kind of, but not really. Because one battery with the pocket, you're looking at 30, 40 minutes, one battery with the a seven S three, you're looking at two to three hours, Which is a huge, significant difference. So you either roll with that or you're gonna have to get a V amount, uh, battery. And with that comes a plate with that comes a cage with that comes, the race with Harry Mike (00:21:46): That comes. It's no longer, a little tiny camera. It's no longer Ariel Martinez (00:21:49): Little tiny camera. Harry Mike (00:21:50): It's not function Ariel Martinez (00:21:51): That way. So you're facing batteries a lot and you have to keep 'em with you and not to mention charge 'em all in between shoots or you get a nice little big setup. Harry Mike (00:22:01): Yeah. It's no longer Ariel Martinez (00:22:02): Camera. Harry Mike (00:22:03): Yeah. I have a friend who's who's right now in between Sony or, or that camera and he just loves the color and I get it, you know, the color's Ariel Martinez (00:22:11): Great. What's not to love. I've never said anything against the image quality of that camera. It's just not even in the ballpark with ergonomics and usability and user, like the menu might be user friendly, but that's great, but that's it, there's nothing else there, like for creators that just need to create constantly, listen, if I can get in and out of that door faster because of the camera that I'm using and not like, and getting a very nice image quality, I'd rather roll with that, man, you know? Yeah. Harry Mike (00:22:43): But everyone has different priorities. And I believe like when you're green, you're just so trying a percent to when you're, you know, when you're coming in, you just wanna have all the two. And if with all of you have all the tools you're magically gonna be competing with movies and you know, it's just one of those things that comes with experience. Yeah. You know, it's functionality Ariel Martinez (00:23:00): And, and here's the thing. And, and, um, anyone that wants to get into like cinematography coloring, if you're really that passionate about the much quality, then for sure get the six K, but know where you're getting yourself into. Like, if you're, if you're just trying to make it, but for now you're getting gigs for weddings and events. You gonna struggle on that. Well, Harry Mike (00:23:25): Yeah, I Ariel Martinez (00:23:26): Wouldn't do that for that. It's, it's the unfortunate truth you have to, not that you, you do whatever you want, but you know, I always go with what brings me the money, you know, I cannot justify buying anything else. Listen, I've wanted, for years, I've wanted to pick up a black magic camera. I think the G2 was like the closest I got to, to, to pulling the trigger on that camera. But there's never been a time where I could justify it. I could never justify that purchase cuz it's really just to, uh, sort of stroke my desire of wanting a nicer image quality. Right. But I know I'm gonna work hard for it. And no one, not one person, not one of my clients in my career has ever asked me for a black magic camera. Not one time Harry Mike (00:24:13): Ever my end either. Nope. Ariel Martinez (00:24:14): So many times I get asked for the FX nine back when I had the Fs seven, I had, they wanted the Fs seven I've asked work course. I got asked for a Canon cinema camera a lot, but not as much as Sony, Which is why I'm with listen. If I was getting asked for a cannon all the time, better believe I'm buying a cannon, Harry Mike (00:24:31): You know? Yeah. It's where the market is. It's I think it's a con I think it's a concept of a hobbyist, you know, a hobbyist goes for the glitz and glam of whatever it is that they're excited about. Um, but when you're running a business, you can't just look at the feel and the emotion of certain things. Um, there are some sacrifices you have to make. So it, it, it's hard to, to think I'm gonna sacrifice color and look. Yeah. Um, but the reality is if you have no way of paying for it, it's just not a smart business decision. So sometimes you have to, you know, I had a guy who got into this business and he was asking me for some advice and he was all Nikon. He wanted to go on Nikon for video. And I was like, Hmm. So I was like, let me ask you a question. Harry Mike (00:25:12): Most of the people that you work with, uh, that you get work from, what do they use? That was like my first question. He's like all Sony. I'm like, okay, so you're gonna own what glass I'm gonna own Nikon glass. Okay. So when you come and you're gonna work with all of the people you work with, you, you get a lot of work from them. You're gonna, the only one with that brand what's gonna happen when you need to pop in a different lens, cuz you don't own every single lens in every single millimeter. And we're gonna need that on our set. Oh, well then yeah. What am we gonna, I don't know. Yeah. You're not ready for that. But if you had the same ecosystem of the mainly the people that are getting most work from, you could just easily just adapt to that. And uh, he went and uh, went Nikon. He went for it, bought, it, spent all the money on it, you know? It's great stuff. Yeah. You know? No, no knock on it. And next thing you know, guess what happened? He sold it. Yeah. And went Tony of course. Yeah. Cause on his own. Ariel Martinez (00:26:04): Cause that that's where the market is. I've done the same thing with, I'm not gonna say his name. I had him on a podcast. One time He made the purchase he made and he's probably gonna hear this. He's not gonna care. He made the purchase of the pocket six K cuz he he's going from photography to video. Mm. And next thing I saw, he posted that he, he got the pocket six K pro and a bunch of cinema glass. And I was like, Yeah, I could not believe that. I'm like, you're just tapping into video. You're you're very new to video. You're a photographer. You're very new to video. Mind you a photographer. They do auto focus all the time. They don't, you know, do a manual focus. They Harry Mike (00:26:52): Don't understand. So this man Ariel Martinez (00:26:53): Straight to the pocket, six K pro and the cinema glass again, beautiful image quality. But he, that I called him right away. Why did you do that? Why, why wouldn't you call me? Like why? Like no. And he shoots sports. He shoots sports. Oh man, that Harry Mike (00:27:19): Hurts. Yeah. That hurt. Not sure what to say. Ariel Martinez (00:27:23): So it's funny. So we just recently shot an event together. Uh, the granite games and um, I brought both my FX three S okay. He was hating life. He was hating life. Harry Mike (00:27:35): Why, why, why? Ariel Martinez (00:27:36): Because he had his pocket six K pro rigged up with a V amount battery, a nice Mo a big monitor with cinema glass. Like that thing was a big rig, huge rig. Next thing you know, I'm there with my FX three, a top handle and a 70 to 200 lens. That is it. That's all I needed, dude. Every time I look over the guy is fussing with his gear. Wow. He's literally trying to get in a comfortable position to get some good shots. Constantly. The poor guy, I felt I kept laughing at him. I, he was, yeah, he was laughing too. He was like, bro. Why? Harry Mike (00:28:21): So he recently good. You can have fun with it. Oh Ariel Martinez (00:28:24): No, no. Yeah. He's a super Harry Mike (00:28:25): Cool guy. But he was like, he was just, he's like racking focusing. Oh, Ariel Martinez (00:28:27): Oh my God. Rack focus the entire time. Whereas I'm showing them shots where these athletes are running toward my camera at full blast speed perfectly. I'm there at F 2.8 with the 7,200 getting gorgeous shots of like slow motion, everything I'm getting 60 to 120 frames per second. Perfect focus. Not losing focus one time. Oh, gorgeous. And you can't do that manual, you know? No, Harry Mike (00:28:55): No. Ariel Martinez (00:28:55): If you could, it takes years and years and years of practice and it takes many, many takes. Harry Mike (00:29:02): Right? Yeah. That's the thing. You're not gonna get it first take every time you're not, sometimes it's dependent on the, on the, it can be nice that it breeds, you know, yessing it out. That's cool. Like I'm not against that. And so that's simple, you go to manual and then we get the same thing. But Ariel Martinez (00:29:16): The problem is that you risk missing focus in the critical moments that matter, you know, and I like that too. There's an option there and I've used it all the time. Once you get used to the whole focus thing on the lens, its there's a focus hold button. You know, I like it when people run past the camera and I hold that. So it doesn't rack focus over to the background and it stays there. That's awesome. Cause I'm thinking from the edit, that's a good cut right there. So I dunno. It's uh, yeah, Harry Mike (00:29:48): My, my guy that was about to buy it, I was like, dude, I just did a shoot yesterday and I needed it to be dead on focus the entire time. Like what would you have done if I would've hired you for that, with that, with that camera, would you have nailed it? You had, I said had one chance. That was it. He was like, yeah, probably not. Mm Ariel Martinez (00:30:04): Mm. Those are the things that are important. But again, you have to go with what you want to shoot, what you want to shoot. You can still get gorgeous work done with the FX three, a seven S three Sony cannon, a E OS R whatever. Like go with something to that's a lot more feasible that can check a lot of the boxes of the jobs that you're going to be getting. Harry Mike (00:30:27): Yeah. It really all depends on what you're getting. Right. Cause cuz this camera that we're um, we're a bit knocking off right now, but there's so many great jobs that are for that and live streaming. Great black magic for live streaming is fantastic. Yeah. So we're just talking about one area, but um, but yeah, go for, go for what, what makes sense Ariel Martinez (00:30:44): Feel bad every time I go in a rant like this, cause yeah, look guys. Pocket cameras gorgeous. I always go back to let's let's go back gorgeous, gorgeous cameras. Um, but we're talking about the way that we need to work and what the market is asking for. You know, it's, you know, unfortunately that suits a very specific kind of shooting, which is production, not very specific, but a specific type of shooting, which is production controlled environments. You know, things that you know is what's gonna happen. Harry Mike (00:31:16): Um, Ariel Martinez (00:31:17): Which sometimes that's the case and sometimes it's not. So it's good to have something that could check off everything. You know, you have a camera that can shoot and it's easy to shoot whether that's the case or not, whether you're in control or not, you could do it no matter what. Um, and if you have money, get 'em both, you know, Harry Mike (00:31:33): Also one of the simple questions too, before you get started on a shoot, if you're not gonna be handling post is, you know, with the clients like you want 10 80 4k, what, you know, because the reality is it don't effects, whatever posts, you know, whoever's handling posts. Cuz I remember when I first was editing for um, when 2020 happened and everything happened with that. If you know what I mean? And orange dairy fitness fitness contacted me to basically lead up their editing department on. And I had an old, old Mac and dude they wanted hour long and 20 minute long workout sessions with all sorts of effects and animations and all sorts of things. I mean that timeline was red all way across to export that, oh my God. So of course, you know, I had to adapt. Um, but like if that would've been 4k, no, my computer would just blown up, but gotcha. But you have to, you have to think about these things too, when you're going into shoes and you're not even hand the post. Ariel Martinez (00:32:25): I've actually asked clients all the time, just like you, you know, kind of camera settings at the cuz they always contract me to do, we got an interview there, just get some interview B roll, whatever it is, zoom meeting, zoom, interview, whatever it is. But they always like leave out camera settings. Like they never kind of specify that for the most part. I would say nine out of 10 times they leave it out. Then I have to ask them and normally they don't know. And then my first thing is, all right, well, can I get in contact with, whoever's gonna be editing this and let's see what you guys are working with. And Harry Mike (00:32:56): That's Ariel Martinez (00:32:57): Great just to make sure that, you know, that's just an extra step that you need to take to make sure they're getting what they're, what they need, you know? Um, even if it's not your fault that they didn't tell you it's your fault to provide that customer service and make sure that your customer is getting a good product. Harry Mike (00:33:12): Yeah. It's a nice professional thing to do. Think about the whole production, even if you're not handling the backend. Ariel Martinez (00:33:17): Have you ever had an issue where, where, when I first discovered ProRes recording externally, you know, I always wanted to, to deliver that, but one time I made the mistake of what was it? I think it was, I recorded pro re and it was for online delivery, but it was like ProRes HQ and I overdid it. Oh, Harry Mike (00:33:41): HQ. Ariel Martinez (00:33:42): I had to go in and process. I had to go in and like make pro essentially proxies. But proxies from HQ is like normal recording. You know, like it was like I had to make 'em into like much smaller files and then deliver them. I did not bake cuz they, I don't remember time code. No, no, I don't remember if they said that they wanted it flat or with color. I think they wanted it with color and I recorded flat. Right. So I kind of had to go in and reproces them with a LUT baked in. Um, so I kind of overdid that. You ever did anything like that where you're delivering the external or do you always deliver like the internal recordings? Harry Mike (00:34:19): Mostly it's for me it's been into yeah. Yeah. I had one time, but they requested just proxies and um, there was no LUT, so, or there wasn't, we weren't, we didn't shoot flat. So it was an easy, uh, Ariel Martinez (00:34:30): Output. I always automatically assume slog three, always that's by default for me. Uh, but if they're not sure if and the, even the, editor's not sure I'll always log too, Harry Mike (00:34:43): But when I shoot at the studio, they never want flat. They don't have time to worry about that in post it's. So, which is, it's so funny, which is interesting. Ariel Martinez (00:34:54): I guess it's, it's interesting because the way that we do color, we don't do color the correct way. Like a color is what don't get me wrong. I still like my results, but a colorist would take so much time to get probably a nicer image. Um, but for what we need placing a lot, tweaking the exposure a little bit. That takes two seconds. Harry Mike (00:35:18): Yeah. I'm not creating a bunch of nodes and just like every little detail Ariel Martinez (00:35:21): Exactly Harry Mike (00:35:22): What this, this, this, this, so Ariel Martinez (00:35:24): Yeah, every time I always hated that when people say, yeah, we, this is a quick turnaround, so yeah. Let's go ahead and put re 7 0 9 or something like that. Like I hate it cause I lose dynamic range. Harry Mike (00:35:34): Yeah. It's like, oh it's baked. Ariel Martinez (00:35:38): So, um, Harry Mike (00:35:39): And if you screw something up expose or something like you're, you're done. Yeah. Ariel Martinez (00:35:44): Yeah. I know you can't bring that back. But what I would probably do, I don't know if they need it. Like I have my let's baked a like installed on both my show, gun Inferno and my ninja five. So I, I would just record on the monitor. Nice LT files. They're very, very small. Or if they want a little bit better of 4 22, like now I have a better understanding of how to use it, obviously. Yeah. Harry Mike (00:36:07): Back that Ariel Martinez (00:36:08): I'm recording. That whole thing was back when I first discovered this Harry Mike (00:36:11): Nice I'm recording right now. Pro 4 22. Ariel Martinez (00:36:13): There you go. Hey, Harry Mike (00:36:14): There you go. Hey. Hello. Ariel Martinez (00:36:16): That's a big, Speaker 4 (00:36:18): Hey, Ariel Martinez (00:36:19): Might be too big for Harry Mike (00:36:20): This. You ask for internal. So I'm just, I just do it as a backup. Ariel Martinez (00:36:24): Oh, I see. I see. I see. Okay. Yeah man. So I just don't do too much, um, of the, I don't, I don't fuss with that too much, but if they do want color, I mean now with the FX three and even even with the a seven S three with you, um, you could always do acetone, which it's fine. You lose dynamic range, an option that I would take depending on the client who it is. If it's a one timer and it's an event, like nothing crazy. I do Sino Harry Mike (00:36:51): For events, for events. I do Sino tone. Ariel Martinez (00:36:53): But if I feel like man, this, this deserves a little bit more T like a little bit more care, just cuz I, I kind of like this content. I would probably do it internal and, and ninja five with a baked LUT. Cuz I like my LUTs. I like the Phantom LUTs. So I would bake that into the shot cuz I really like how they look as I'm shooting it. It looks gorgeous. Harry Mike (00:37:14): Yeah. So, and it helps them too. Cuz a producer comes by who may not know too much about what's going on. They Ariel Martinez (00:37:19): See that footage Harry Mike (00:37:20): In the flat world. They go, oh yeah. But when they see flat they're like, wait, wait, um, they have so many questions. Ariel Martinez (00:37:26): It's so funny. Harry Mike (00:37:27): It's like, it's like one of those. Trust me, Ariel Martinez (00:37:29): Trust me. I had a it's so funny. I had a, I have a client that I've been working with for many years. And uh, this is the funny, I think this is one of the funniest, like uh, I revision requests that I've gotten. Uh, so with this client, what my normal thing is, we make a video. I, I edit a video for them. I use for the stock footage. I'll use, you know, the, the, the watermark version of all the footage so they could approve if they all approve whatever they, and we'll go in and purchase the license and we'll replace 'em. But I guess they had somebody new there that has never reviewed videos before. Oh no. And they kept giving me like, why is pond five on everything? Like we see that, that does it. Like, I don't think that should be part of the video. Harry Mike (00:38:17): Did it? Sayon five.com. Ariel Martinez (00:38:18): Oh no, no. It's not from the audio. It's like, it's smacked. Obviously it's the watermark pond five Adobe stock. Like he's literally like he made a comment on every single watermark Harry Mike (00:38:34): Stock. It says a lot. It says a lot. It says all you need to know. Ariel Martinez (00:38:38): I'm like, and, and the funny thing is I had to, I kept replying. Like this is just a stock footage if you approach. But he kept, I kept seeing on, on my frame account, he kept putting those comments. So I had to call over there. I didn't know who the guy was. I called the person that I'm mostly in contact with. I'm like, listen, tell your boy that, that is just cause I guess they're not looking at his comments cuz somebody should have told him like tell your boy that this is just stock footage. Harry Mike (00:39:06): Like you should have, he should have, you should have nailed him by just starting off by tell your intern, Ariel Martinez (00:39:11): Your intern. Yeah, this is one. This is one of the clients that I I'm very comfortable with. Like we have a good relationship. So nice. It's it's it was funny. I thought it was hilarious. I was, I was gonna post a screenshot, but I wasn't gonna go that far. Ouch. Harry Mike (00:39:26): Yeah. Ouch. Your relationship. Isn't that good? Yeah. It's Ariel Martinez (00:39:29): Not that good. At least you, I don't wanna assume anything. Yeah. Yeah. Harry Mike (00:39:35): That's crazy, man. That's hilarious. That's crazy. Ariel Martinez (00:39:37): That is hilarious. So speaking of editing, do you see that there's a shift happening at least in the commercial world with regards to Les, do you think cuz right now premier is still pretty dominant in the commercial world for us. Like a lot of the people that do we do, do you think that there's gonna be a shift over to DaVinci? It seems like they're really trying to make moves and they've been doing it for some years now. Harry Mike (00:40:05): It reminds me of when final cut seven was a big deal and premier just went through this massive launch where they dropped the prices down, like crazy for a short period of time and everybody was crossing over and this is about like, shoot, this is about eight years ago. And I remember I was, I was at, I was uh, final cut seven and I was like, man, I don't know that I wanna learn something new. You know, we talked about that before, learning something new to try to keep up at the times. And uh, I was like, oh no, I don't wanna do this. But the price was so good. Like I was like, let's do it. I kind of feel like it's moving and pushing toward that again. And you know, this, the other day I was talking to this guy, who's just getting into this and he wants to focus on editing. He's like, yo, DaVinci's free. And I'm like, yeah, man. Uh, go for it. It's really, I, Ariel Martinez (00:40:50): I think that, yeah, I think that they still have ways to go. I've I've added in DaVinci. I've made full videos. Even green screening did some, several videos for my church when I was really considering switching. Um, but it kind of like slapped me back to reality when I had to collaborate with people. Like Harry Mike (00:41:10): That's the biggest issue. I Ariel Martinez (00:41:12): Think that is definitely the biggest issue is just non-existent right. Big collaborative projects. It, it, it is just not there. It's just not there. And I, I got some pretty good big gigs, um, where they needed me to come. My client needed me to come to their office and edit sure enough premier, um, on some projects that they were doing. And um, yeah, it's still definitely DaVinci has some ways to go for sure. I don't. Yeah. In my opinion, I don't think that they're even close. I think that they got all the YouTubers they got or most of the YouTubers, I'm not sure, but uh, they definitely have ways to go for sure. Harry Mike (00:41:53): It kind of goes back to our conversation of just, you know, business, knowing your surroundings and making a business decision about it and same thing, man, cross platform, you know, just, it happens to me all the time. The editor's like, yeah, I'm on this platform. Cool. So am I, but if I wasn't man, and then I have another editor, who's all DaVinci and one that's on, on uh, final cut X and needed a cross platform and we couldn't do it. Well, you could do it through MX, uh, MXL files. Um, but it's just Ariel Martinez (00:42:21): F XML, Harry Mike (00:42:22): XML. Thank you. XML files. Um, it's just not the same, man. It's just not the same as just being on the same platform. Ariel Martinez (00:42:28): Yep, yep, yep. Yep. And then dynamic linking and all that stuff. It's it's pretty nice. And then you got like plugins and Harry Mike (00:42:36): I'm not a fan of, uh, DaVinci resolves, uh, uh, audio interface. I'm just, I feel like it's not there. I thought Ariel Martinez (00:42:42): It was okay. I thought it was okay. Yeah. The small features that I've used, for example, um, I really like on the audio part where, you know how on premier, you could either edit the gain by pressing command G I think, or just G or just G and edit the gain to go higher, lower. Or you could just get that bar on the actual clip, but that's not really the gain. That's just the volume. You know what I mean? Harry Mike (00:43:11): I go, but I go way deeper into, into audio and premier, I guess it's just cuz I spent so many years on it. Ariel Martinez (00:43:16): Oh then that's yeah. That's, that's the thing. I'm very, you know, I don't tweak too many things. Um, but then in, in DaVinci, as you're moving that bar, it's actually changing the gain in my, I think it feels a little more tight, you know, it feels like better cuz I know that they now introduced it with Fairlight. I think software, I don't know too much about this stuff. I might be completely. Yeah. Harry Mike (00:43:44): I dunno. I haven't spent too much time in, in Ariel Martinez (00:43:46): The one time I had, I used one or two times I used DaVinci. That's what I seemed to remember in audio, in the audio part. Uh, but other than that, um, nothing else really called out to me. Premier is still the standard in my opinion. Harry Mike (00:44:06): Yeah. And I think I'm, I'm gonna hold on to being kind of like a grandpa and fully crossing over to resolve be like, I don't wanna learn it. Ariel Martinez (00:44:15): Yeah, no, at some point we're gonna have to do it. Um, I've always been like Harry Mike (00:44:19): Don't it's inevitable. Ariel Martinez (00:44:20): Yeah. Don't uh, I mean, if they continue on this route, put it this way and if yes, Adobe continues to ignore what we're asking for. One of the, my biggest gripes with premier, the biggest one by far is the export colors. Like when you export a video, it comes out flatter than what you were editing. Harry Mike (00:44:39): So there's a, um, there's a, there's a lot specifically just for that I can send to you. No, I have Ariel Martinez (00:44:45): It. Have it. You have it. The comp gamma compensation lot. Yeah, yeah, yeah, Harry Mike (00:44:48): Yeah. And it's it's it's okay. You know, it's it is something, but it's still, it is not perfect. Ariel Martinez (00:44:53): Exactly. No, no, I'm right there with you. It's it's better than not having anything, but have Harry Mike (00:44:57): You, have you, uh, updated your premier all the way out? I think, cause I just recently exported out and it matched exactly what I saw on my premier really. And I don't know if it's an upgrade thing. Ariel Martinez (00:45:08): Hmm. Harry Mike (00:45:09): Yeah. Something Ariel Martinez (00:45:10): Know what's funny is that sometimes it doesn't and sometimes it doesn't Harry Mike (00:45:14): Well, Ariel Martinez (00:45:14): That's weird. And the only reason I know that is because sometimes I export it with that gamma compensation and it's significantly more contrasted than before. So I, I go back, I remove it export again and it's perfect. Yeah. So I'm like, I need to know when this is happening. Like I don't understand. It's strange. That's the weirdest thing. That's my biggest gripe. But you know, this is after all the work is done. So Harry Mike (00:45:40): Do you get a lot of crash issues with premier? Ariel Martinez (00:45:44): No, not anymore actually. Harry Mike (00:45:46): Okay. Cuz I see it online. Everyone's always making fun all the time, but doesn't really happen to me. So I'm just wondering, Ariel Martinez (00:45:50): Right? No, they, there was this, there was a time of a significant period of like three to four years where they were known for crashing and it used to happen all the time. They've Harry Mike (00:46:02): Definitely got almost been lucky cuz it never happened. Ariel Martinez (00:46:04): It never happened to you ever. Harry Mike (00:46:06): No. Like every once in a while, but gosh, it wasn't an issue. Ariel Martinez (00:46:10): Um, every now and then I'll get up project where something is disconnected. There's a bug in the project where I can't even export. For some reason I can't play back two seconds. Like I don't know what happened to that specific project. And it's only on that project, you know, I'll open, open up another project. It's perfectly fine. I Harry Mike (00:46:34): Don't know. I'll I'll cop be over a timeline and add some stuff to it and export and there's something in that timeline that causes to crash and, and uh, media coder. And so I just create a new timeline, copy and paste everything into a new timeline. Boom. Perfect. Strange. Ariel Martinez (00:46:49): So weird. I think the worst, the error codes I hate to see the most is when exporting and then you see error code on this frame like, Harry Mike (00:47:00): Oh, had to happen. The other day's Ariel Martinez (00:47:02): Worst. It's like, how do you fix this? What happened? What's on that frame. Yeah. And I'll go back. Hopefully I can, it's a clear like, let me go over there. Maybe it's unlinked or maybe Harry Mike (00:47:13): In the log, it tells you what clip. And I went to it and there was no issue shoes. I'm like what is happening? Ariel Martinez (00:47:19): Yeah, I think so. The log will tell me exactly the frame, you know? So I'll go over Harry Mike (00:47:24): There. The time code. Ariel Martinez (00:47:25): Yeah. And I can sometimes figure out, maybe it's a text that I put on there. Let me replace the text. Or if it's the clip, let me replace the clip, you know, and try to fix it that way. Harry Mike (00:47:34): So I went through all of those steps and it still happened. And when I created a brand new sequence and just copy and paste it and fix it. Ugh, it's weird. Ariel Martinez (00:47:42): It's so funny. You have to just troubleshoot it that way you, when you don't know exactly what it is. Yeah. Just process of elimination, man. That's why experience with all this stuff matters. It's not usually a clear cut answer. Harry Mike (00:47:57): We're creative problem solvers. We're mechanics for this industry. Ariel Martinez (00:48:03): Dude. We've already been going for 51 minutes. Harry Mike (00:48:06): Oh shoot. And most of it's been ranting. I Ariel Martinez (00:48:08): Know most of it has ranting. I love it. This is the podcast. Harry Mike (00:48:13): I'm not sure was Speaker 3 (00:48:14): That you guys hear there's one piece of gear that you guys didn't mention that came out. Did you know tilted came out with the R five cooling system. Oh Ariel Martinez (00:48:22): Man. That's so funny. I thought they already had that though. Speaker 3 (00:48:25): No. Did they just come out with it? Ariel Martinez (00:48:27): They, they did announce it. I saw it Speaker 3 (00:48:29): The R R six Ariel Martinez (00:48:31): Because, but remember that, that came out with, when they announced the R five, the R five, the Canon R five. Like the biggest joke with that camera is that it overheats in 20 minutes, Speaker 3 (00:48:42): Right? Yeah. Ariel Martinez (00:48:44): But, and then soon after they released it til came out with the fans specifically for that camera an attachment and we thought it was funny cuz it was a joke. Did they release something? Like, and yeah, just recently Chris is saying that they released, uh, a fan for the R five, but I thought that was already out Speaker 3 (00:49:01): Four, four days ago. I'm saying Harry Mike (00:49:04): 1 65. That shows Ariel Martinez (00:49:05): That's fun. That shows you how bad the camera is. Harry Mike (00:49:07): Yeah. When you have to Speaker 3 (00:49:09): Wow. That's on back order. Apparently a lot of people are, Ariel Martinez (00:49:11): Oh it's on back order. Harry Mike (00:49:15): Yeah. A lot of people with the same issue, Ariel Martinez (00:49:17): Maybe it's a D it's an upgraded version of it. See, this is, this is the stuff that like, why? Speaker 3 (00:49:27): Yeah. Ariel Martinez (00:49:28): Why Speaker 3 (00:49:28): I saw that. And I was like, Ariel Martinez (00:49:29): Why would you do this to yourself? Why would you get a camera as beautiful was the image is, but it's just not reliable. You don't know if it's gonna turn on for more than 20 minutes. Harry Mike (00:49:38): Yeah, man. That's crazy. Why Ariel Martinez (00:49:40): Would you do that to yourself? There's no possible way I could risk a shoot because my camera's just not turning on. That's not good professionally. Harry Mike (00:49:47): I wouldn't go into it knowing this is the issue. Yeah, Ariel Martinez (00:49:51): Of course not. And like, again, they're catering to YouTubers. YouTubers might not have a problem with it because they're not getting paid for the content that they're creating by clients. Right. Um, because you know, their audiences are client and if it takes, you know, if they have to stop shooting and shoot the next day, they could do that. No problem. But for us, that, that, that won't fly. You know, like if our gear stops working mid shoot, that's a huge problem. Harry Mike (00:50:21): Yeah. Huge. Yeah. In fact, I think, uh, we had, uh, a shoot where it, one of the cameras overheated and thank God we had a backup. So it was nice that that that happened. But it was also like a hundred, two degrees out and we were out there with no shade. Oh Speaker 5 (00:50:34): Gosh. Ariel Martinez (00:50:37): Brings up a good question. What is the worst thing that has ever happened to you on shoot that you had to like on a set that you had to like really call in audible to get this resolved? Harry Mike (00:50:48): Let me think about this for a moment. Ariel Martinez (00:50:51): Just thought about that one. Harry Mike (00:50:53): Wow. Yeah. Trying to think of all the worst case scenarios. Geez. Oh, well I was on a shoot ready to record and I realized I didn't bring my SD cards. Ariel Martinez (00:51:05): Oh my gosh. That's happened a couple times, Harry Mike (00:51:08): Dude. Uh, I had to get the PA run, please go, go to Walgreens. I don't care. Get the fastest thing. They got the biggest thing they got, let go. It cost me like 50 bucks each and I ended up returning it like the next day. Oh man. Ariel Martinez (00:51:18): I've done that a couple times where I've had to go to best buy Walmart to get SD cards. Harry Mike (00:51:23): Yeah, that's hilarious. Yeah. I had to send it to Walmart. Yeah. Cuz Walgreens doesn't I don't know. They don't have anything good, but yeah, that, that was my, it was more embarrassing than anything else it's like, oh, give us, uh, 50 minutes. I'll be right back. Ariel Martinez (00:51:35): Yeah. I think is the embarrassment Harry Mike (00:51:37): Factor. Yeah. Yeah. Uh, one of 'em I rented a, um, not, I rented the photographer slash videographer cuz you know, everything these days is like a double, um, he rented the from uh, I'm not gonna say the name, but an online rental service. And uh, he rented the, the Ronin, uh, gimbal setup. Um, and uh, which is the Ron. Now my, my brain is flat right now. The Ronan setup with the, with the two sides and the whole thing. Would you put on massive systems? Okay. Our, uh, like Ariel Martinez (00:52:16): I dunno is an attachment type of deal. Harry Mike (00:52:18): No, it's the big one. It's the big, it's the big Ronan. Not, not the little, gimbles like the art, like the two it's the bigger ones, whatever. So he sets it up and we, we get it. The whole thing is jacked up. Uh, everything's not working. We call the, the red, the, an service cuz it's online service and lesson learned is if you're ever gonna do a specialized piece of equipment like that, or like a Dolly, a Fisher Dolly or something like that, you know, it's gotta be local. And uh, so they could send someone out for repairs or replace it cuz we were stuck and the whole shoot, it was, it was just that's it would just start tracking, going and go. And just wouldn't Ariel Martinez (00:52:54): That's one of the benefits. That's one of the benefits of renting local Ariel Martinez (00:53:00): Is that you get that service, you know, they'll take care of you, if something's off or missing, you can fix it quick or they'll send somebody and they can even drop off and pick up the gear for you. You, it might be easier and it's significantly more expensive, but sometimes that's worth it for that security. You know, I recently found out with regards to rentals that what a three day week is, I didn't know that I always thought, I always thought that they always charge you by how many production days you have. So if you have a, which makes Harry Mike (00:53:34): Sense, Ariel Martinez (00:53:35): If you have a week that you have five days of shooting, Monday through Friday, they'll only charge you for three days, you know? Cause that's still very profitable for them, for the gear that is being rented out, you know? Yeah. Harry Mike (00:53:46): I've always loved it being on the, the end that I'm paying for it. But since you're talk, you were telling me today, you're Ariel Martinez (00:53:52): Yeah, no, I rented my gear. Like my, the local rental house out here. Like we have a great relationship. So they called me up. They said, Hey, we need your FX nine. And we need both of your FX threes. We need some lenses, we need some, a bunch of other stuff. Um, and they were renting it. They had a four day shoot this week and uh, they had a four day shoot and they said, Hey, charge us for three days. But we have a four day shoot gave me no context, nothing. And I'm like, these guys are trying to take advantage of me. Harry Mike (00:54:23): Yeah. Ariel Martinez (00:54:24): I'm like, and I'm like, I called them back. They didn't answer. So I text her, Hey, listen, if you're renting for four, if you're shoot it for four days, it's only fair that you pay me for four days. So they called me who? We had a good conversation. I didn't know this existed. And I was like, man, I, it made me uneasy just because I'm like, man, we have a good relationship. Why would they try to take advantage of me? Like there has to be some sort of explanation to this. And I I'm glad that they sort of kind of broke it down to me, which made sense. But even then, like I verified with a bunch of other like shoot or cinematographers people that rent a lot. They said, yeah, that's a thing that rental houses do. So I'm like, okay. Yeah, it makes sense. I'm like, man, I had to apologize. You know, I felt bad. And the, the whole like thing of taking advantage of me, I never said that to them. Like I, I was, Harry Mike (00:55:08): It was in your head. Ariel Martinez (00:55:09): I was in my head. I'm like, man, it just made me an easy sharks because like this comes up like what follows is like an uncomfortable conversation. You know, either you let it slide or you kind of say what's going on here. Um, but no, it makes sense. I'm glad that they, they declared that up. Now. I know. So anybody that has a relationship with a Renzo hall like that now, you know? Um, so that it was funny cuz first they asked, Hey, uh, if you can help us out with this discount, it was 40%. I'm like, no problem. Of course I, I don't mind, like that's not a thing, but, but then I thought they were, they took it further like, all right now only charges three days instead of four. Yeah, Harry Mike (00:55:44): Yeah, yeah. It's like, wait, what, what my grace has. My grace has limits. Yeah. Yeah. Ariel Martinez (00:55:49): So, so no, it was good that it is good that I know that now. Um, but it's also good to consider that too, because there have been times where I've rented online only, just because I thought that rental houses were gonna charge me every single day of the shoot. So yeah, I, now that I have that understanding, I can sort of consider that next time I have to rent a bunch of gear for a bunch of days. So it's good to know that Harry Mike (00:56:13): Gotta love production, man. There's so many things to learn and so many experiences in every aspect of it. Yeah. It's fun. It's a fun world for sure. One of the things I love, I was just telling somebody the other day that he has a nine to five, like one of the ones and I wasn't, uh, bragging. He was asking me what, what our industry is like. And I was like, one of the cool things about what we do is it's just, it's the same thing essentially at the, at the root, but it's always changing. It's always, always different. Ariel Martinez (00:56:36): I don't think I've ever had a shoot that has been the same ever. Harry Mike (00:56:39): Yeah. Ariel Martinez (00:56:41): Oh I lied. No, I had that Harry Mike (00:56:45): Entire year of orangery fitness every single day. Seven days a week podcast. Ariel Martinez (00:56:50): Oh yeah. We do the mapping podcast, which is always the same. So Harry Mike (00:56:54): It was always the same. Yeah. Yeah. Ariel Martinez (00:56:55): I take that back Harry Mike (00:56:56): On that. I was gonna call you out on him. I'm like right. I Ariel Martinez (00:56:59): I'm gonna, I just thought about it now. Oh wait. Yeah. But even that, that was fun. Different conversations. Harry Mike (00:57:05): Yeah. But it's also revolving some, some people are positions like audio, they're revolving again to meet new people and new that's the one thing that's great about these productions. Like you get to meet new contacts. Oh man. Ariel Martinez (00:57:16): You know, so we were, I was, that was arsenal. I was, uh, actually having a conversation with Chris one day, my background, like I got my degree in criminal justice and my, my, I was actually, my route was to be in law enforcement. Right. So one of the things about Harry Mike (00:57:32): What a change, Ariel Martinez (00:57:34): One of the things about if I would've been in law enforcement, I would've been in every single action. Every time I get called, I'm going to like where there's a car crash, where there was whatever there was a or there's domestic abuse, whatever it is. Like I'm there to sort of see this whole thing, unfold, things that like you and I don't get to see all the time. Right. These are things that like, if we're passing by, we're gonna stop and see what's going on, you know? Yeah. Harry Mike (00:57:59): Um, we don't have to deal with it. Ariel Martinez (00:58:00): Huh? Harry Mike (00:58:01): Yeah. We don't have to deal with Ariel Martinez (00:58:02): It. Right? No, no, no. What I mean is like things that like, it would still be an interesting job in the sense that you're always where stuff happens. Harry Mike (00:58:11): Yeah. It's just constantly changing. It's Ariel Martinez (00:58:13): Constantly changing. Uh, so, but now, now contrast that with what we do now, we get to just meet a lot of interesting people. We get a lot of opportunities. So I still think I would've had like a, a good adventurous job as in law enforcement. But um, now with my job, like, dude, I, would've never thought I'd be shooting the IM athlete podcast with all these hall of fame players and Dwayne Wade and to, and Brandon Marsh and all these guys, Logan, Paul Mayweather fight, you know, all these music like videos with all these famous people. Uh, just a bunch of people that we get to meet that we get to interact with. Yeah. That people would all, all the famous golfers, Dustin Johnson, like, yeah. Harry Mike (00:58:58): So, so question for you was out of all the, all the athletes or all the celebrities you've worked with, who's been, who was your aha? Like the one that you just like, wow, I'm working with this person. Ariel Martinez (00:59:07): That's a good question, man. Harry Mike (00:59:10): Mine was, mine was Deion Sanders. Deion Ariel Martinez (00:59:13): Sanders was Harry Mike (00:59:13): Cool. There's some, something about Deion Sanders, man, since I was a little kid, you know, and I'm not even big into NFL, but there's something strong about him. He's so cool. Obviously D Wade too. That was fun. Ariel Martinez (00:59:24): 20 Wade. Yeah. D oh man. That's that's a good one. Cuz I don't, I don't cuz I don't get starstruck if it's funny cuz I think I got starstruck one time, one time and I can't even remember where it was or when it was with who it was. Um, man, I it's hard to it. It has it highs and lows, man. I will tell you the one that surprised me the most, the most to work with is Logan Paul, Logan, Paul, which is funny because Harry Mike (01:00:01): In what, in what way? Ariel Martinez (01:00:03): So Logan Paul, as you know, he just recently fought Mayweather and we got to shoot the inside access to this. So I was with Logan, Paul a lot. We interacted a lot. We talked a lot. Right. We had to be with him a lot. Um, on camera this guy comes off as a. Yeah. Right. Like you would think like God, big time this guy and that's kind of like the role he plays, but man, the nicest guy you'll ever meet, he is nothing like that. Nothing like that. Harry Mike (01:00:32): He is Ariel Martinez (01:00:32): Very considerate. Like put it this way. He's very considerate. He looks around. Makes sure that everyone's okay. He's still very like immature in his ways. Right. I, I feel like he's sort of, kind of outgrowing that whole phase of his life, but it, that was, that's what I mean, like that's a surprise. Cause in my perspective, I always see him as the jerk online, right? Yeah. Yeah. But he's very considerate and whatnot and he's super like willing to work 10 hours. If they need another interview here or head shots over there, he's super cool. Like super with Harry Mike (01:01:03): Everything. Think, I think it's all chalked up to just being a character. Right. That's what it is. It's a Ariel Martinez (01:01:07): Character. I don't think his brother though plays that character though. His brother really lives. That he's Harry Mike (01:01:12): Pretty authentic. I think his Ariel Martinez (01:01:13): Brother Jake really lives that. And even he says it like Logan says it like yeah, no dude. Jake is like going off the deep end. Harry Mike (01:01:22): Were you on that? Shoot with Jake? Uh, on I am Matthew or no. Cause I was, I Ariel Martinez (01:01:26): Was on that shoot with Jake. Harry Mike (01:01:27): So how was he, how was he there? Ariel Martinez (01:01:30): Jake was Jake man. Jake was Jake smoked out Harry Mike (01:01:34): Off camera is Ariel Martinez (01:01:35): Still oh man. Oh man. Jake was Jake. Can't say too much about it, but Jake was Jake. Just know that. Yeah. He's the same onscreen and op screen. Harry Mike (01:01:48): Yeah Ariel Martinez (01:01:48): Dude. So this was a great episode. Welcome back, Mr. Harry, Mike, Harry Mike (01:01:54): You gotta LA off your chest on this one. I Ariel Martinez (01:01:56): Did. Harry Mike (01:01:57): I did. That's what I'm here for. Appreciate it. Ariel Martinez (01:02:00): I could slap you up with my ran. Harry Mike (01:02:04): I could take them. Ariel Martinez (01:02:05): All right man. So room mind if people again, where can they find you? What is your Instagram and website stuff? Harry Mike (01:02:12): Sure. TN studios, Inc. And TN studios, inc.com. Ariel Martinez (01:02:16): There you guys have it. Thank you guys for, to this episode, ed, we will catch you on the next one later.