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[Quiet music]
-So, that was a nice trip, hey buddy?
You're probably wondering why I'm taking the RED with me.
Well, that is because I don't have an insurance yet,
so I'm taking it everywhere with me.
All right, let's get out.
And definitely not forget this one today.
[Cinecom’s intro music]
Welcome to the studio, guys!
A little recap: about 6 months ago we hosted a competition
where you guys could submit an idea for a short film.
Now, Eric Toms won that competition and for the past 6 months
we've been working together with him and that scenario now is complete.
So, that means we are starting on the pre-production of our short film!
Pretty awesome!
There are a ton of things that we are doing right here in the studio.
As you can see it's a pretty big mess.
We are planning to shoot as much as possible here in the studio,
so that is why we're building these walls over here
that we can use to build sets and light them out in the studio,
which is giving us great advantages.
and also if Kim would ever kick me out I can just build my own little house
here in the studio to live in.
Then over here we've got 12 Fresnel lights that will go up to the ceiling,
and we've actually made a video about these lights a while back.
If you want to check out that video there's a link in description below.
Anyways, we can kind of steer these lights with a control panel.
Let’s go check that out!
Oh yeah, it's not here yet,
but this huge cable will be connected to something and that will then connect
to something else, lots of cables, lots of something.
And finally we'll have this iPad through which we can control all of the lights!
That’s gonna be so awesome!
By the way guys, have you checked out this beauty yet?
[Music fades in]
And then over here we’ve got the gear room!
Camera, lenses, audio, lighting and all that kind of juicy stuff!
Why it's important to go through all of your gear before shooting a short film.
Well, there are two reasons for it,
first of all, you wanna make sure that you check all of your gear,
maybe that old gimbal that you have laying around
that you only use for specific projects it's not calibrated anymore,
or maybe you need to update its firmware, etc.
So, check all of your gear if it's working like it should.
And the second reason is to make an inventory for Eric,
who not only wrote the film but he's also going to direct the film.
So that means he wants to see what we have over here
so that he can make a storyboard based on that.
We don't have any budget whatsoever,
we're also not working together with sponsors.
Fortunately enough, we do have sponsors for our regular videos here on YouTube,
such as Storyblocks today!
With Storyblocks Video you've got access to hundreds of thousands
high-quality stock clips, After Effects templates, video effects transitions
backgrounds and so much more.
The cool thing is that you only need to pay a single price per year,
which allows you to download unlimited items from their growing library.
I can definitely recommend to check it out yourself
and you can do so by clicking the first link in the description below!
Now let's check out all the juicy gear that we have over here,
this right here is the RED digital cinema camera.
I actually bought the RED Geminy but there was something wrong
with the camera so I had to send it back.
They sent me a loaner which is the RED Helium X,
which can shoot at 8k RAW resolution.
This right here is pretty bare-bones,
we just have the RED brain, the monitor and a top handle,
but we also have a ton of rig components that we can put it on our shoulder
to put it somewhere else in, or whatever.
And these right here are the lenses that we're gonna shoot with,
which are actually photo lenses.
I don't have Cine glass yet, and I don't want to invest in it right now,
because of all the cost that we already have with the entire studio.
But this is great glass, actually.
We've got the Sigma 50-100 1.8, then we've got the Tokina 11-16 f 2.8
and then finally is the Sigma 18 to 35 which Lorenzo is shooting on right now
give me that lens.
There we go, so now we have got the entire range
going from 11 to 100 millimetres
and that way we can go really wide angle or super tele, which is amazing!
And this one is for audio!
This is not gonna be important, what is important though are the microphones!
I'm actually a huge fan of the Sennheiser G3 set,
which is a wireless lavalier set.
I'm actually wearing one right now.
However, for the short film I don't think that we're gonna use these
because I like to capture as much as possible with a shotgun mic,
because voice comes out just much warmer on one of these microphones.
My favorite one of all is the Audio Technica.
This one is a very small microphone but it is specifically made for indoor use,
so it's really focused on the voice
or on the subject that you’re aiming this microphone to
and that way we are eliminating any echo around it.
When your subject is running around it's really hard to focus the mic
on the subject, so that’s where one of these mics comes in,
which are also very much aimed but not as focused as the Audio Technica one,
this one right here is from Deity, it's a pretty good mic,
so we're probably gonna use these two in combination.
Oh yeah, before I forget, this right here is the CRC 302,
it’s just a mix set and also a recorder for the audio.
It actually has three inputs but only two tracks, so it's just stereo,
but for quality wise this thing is just perfect.
Lighting! the next thing!
We've already kind of seen these lights right here,
these are Fresnel lights, tungsten lighting,
that means they get pretty hot but they are super powerful,
because inside we can find a 2000 watt light bulb!
These lights will only be used in the studio itself,
because they will be hanging up to the ceiling
and we can create some stunning things with these.
But we also have some scenes on location,
and for that we're going to need some different lightings,
and for that I'll actually look in this rack right here.
These one are my favorites, which are the Stella lights from Light & Motion.
These are 5,000 lumen LED lights, which have an internal battery,
they are waterproof and they are super small
and that way you can tuck them away anywhere you like.
They’re also super bright, 5,000 lumen, as I said before.
You can also add different mounts on here, such as barn doors or Fresnel mounts, etc.
Just really amazing!
The next one is Aputure!
This one right here is the 120D,
there's nothing in the box
and that is because we have them set up here in the studio,
we use them all the time.
Price/quality-wise I think one of the best lights out there.
However, they do come with some adapters and cables and everything,
which is why you don’t like to break them up.
Anyways, we have them standing over there but also over here.
Let’s check this one, here it is, the 120D in action
which comes with a nice soft box which can be detached as well from the lighting.
It has this balance mount which is pretty standard so that means you can
find all kinds of different accessories for this lights.
I'll dimm that light.
All possible with this thing, the 120D super-powerful lights
and a lot of youtubers as well use these.
The Spekulars from Spiffy Gear!
I really love to work with them because they have something special,
a unique design, they do take a little bit time to set up
with all these cables and adapters but it basically comes with these bars of light
and you can connect them together to create any shape that you'd like.
That's why we usually use these for special effects lighting,
but also for practical lighting, for example in a hallway,
and you wanna have the ceiling lights, you can just stick these to the wall
and just make them act like they are part of that hallway practical lights.
Let’s have a look at the last lighting which is the Aputure LS-1.
They are empty, that is because we’ve got them also set up over there,
let me just quickly grab one.
Here we are, the Aputure LS1!
which is a great LED panel.
I’m out of breath.
Let's take 5.
Okay, let's continue.
So right here we've got the Aputure LS-1, a 1,000 LED super-bright light,
which is really cool to also bounce against ceilings,
you get this overall fill light, but also to wrap the soft filter over this light
and that way you have a very bright softbox, so, pretty cool lights.
Also coming with us to the short film!
And last but not least, the smoke machine.
This is nothing fancy, it actually just costs 20 bucks,
but it can do a lot, we've been having this for like 4 or 5 years
and it still does its thing.
This also comes with us.
It kind of adds this extra effects, more depth to the lighting.
So that's it for all of the lighting stuff.
The next thing I'm gonna dive into is support
and I'm gonna start off with the tripods.
This one right here is our small tripod which is also called hi-hat tripod.
It's one from Benro which has very small legs,
if you want to make these low angle shots, then this one right here is perfect.
This right here is the Sachtler FSB 6 which is an amazing tripod,
it is more expensive but I'm super happy with this.
The mid-spreader kind of broke,
but this is not a big cost so I definitely have to repair this
before we start shooting the short film.
Let’s check out some more exciting stuff than tripods.
This right here is the slider from Syrp, an amazing professional slider,
definitely great for our RED camera to make these very smooth movements
in our shots, I really love this slider.
It is also motion-controlled with this extra accessory right here,
you just put this on there, attach these ropes over there
and have it motion controlled.
This slider also can be changed in size,
you can detach the rails from here, take it apart like that
and just add extra pieces to it and make a slider as long as you want to.
However, having such a long slider it's not really user friendly,
so that's where the dolly comes in, let’s check out the dolly.
Follow me into the secret space of Cinecom.
Okay, there's no real secret here, there’s just junk everywhere.
Everything that we use in our episodes is stored here.
The dolly is a 6-meter track I’m not sure how much that is in feet,
or in ankles or noses or ears,
but it's 6 meters, just look it up for yourself how much that is in the American thing.
A pretty cool dolly, you can actually stand on it,
we have some stock footage of it right here where I was shooting a music video
and here you can see where I actually stand on top of the dolly,
someone else pushes it and that way
you have more control over the actual camera movement.
[Music]
Now, let's talk about the DJI Ronin, my love/hate relationship with DJI.
I think anyone who owns a DJI product could definitely relate to me when I say
that they are pretty awesome.
However, I've had problems with the Ronin, I've had problems with the DJI Mavic
two times in a row, and I've got bad experience with their support so far.
First of all, they didn't want to take back my drone, the Mavic,
which was broken under warranty.
After many e-mails back and forward they finally made an error mine,
so I was able to send back my drone under warranty and they fixed it.
For this Ronin right here they charged me over €1,500 just to fix it,
and the problem lays within the cable.
So that is why I bought the Ronin MX which is in that bag over there,
which is actually cheaper than the repair cost of this gimbal right here.
However, if I wanted to mount the RED inside this gimbal
it’s going to be a lot easier to do it in the normal Ronin than in the smaller MX,
so I am going to try and just fix it myself today.
So let's see where we end up.
[Music]
To use the RED on a gimbal we're going to have to strip it down all the way.
There we go, a bare-boned RED!
Which is only the brain, we got the memory card,
we got the interface on the back so we can power it
and, of course, the lens, that is it.
Let's now mount that into the Ronin.
For safety issues I'm going to detach the monitor cable,
and you'll see in just a moment why that is.
There you go, it's doing nothing.
But if we play around with this cable here at the bottom
it will kick in action, and that’s where the $1,500 bucks comes from.
I’m just gonna have to twist this cable a little bit,
before the gimbal can kick…
There it is!
You see, that is the issue!
And it's only that stupid cable.
So, now the gimbal, as you can see, it's just kinda…
That is $50,000 just rolling there.
It's a lens, it's okay, it’s a stupid lens anyways.
The stupid thing is that you can't purchase this cable separately as a part
so you can fix it yourself.
No, you have to send in your gimbal and let it fix for 1,500 bucks!
Thanks a lot DJI!
Alright, that was it for his video,
this is the gear that we're bringing onto our shoot for the short film.
I hope I also gave you some ideas and a nice look into our gear arsenal.
There's probably one last thing that you guys are here to see,
so, let's just do this.
You’re ready, Lorenzo?
-Oh, yeah.
-Okay, let's do this.
-Jordy, I think the image got away.
-What?
-The image got away!
-What the image got away?
-I don't know but it's not working.
-Oh, yeah, and as always, Stay Creative!