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It isnt better or worse, its the same quality, it is only a difference in compression, H265 is smaller and all we export in

I dont use either, not sure what you mean.

I am in DR 19 and just tested two video files with 3 other sources of audio and it synched them, make sure you have every source on its own track.

@@WeddingVideographyForBeginners Interesting. I don't get that. Thanks!

@@timazevedo1428 It worked just fine, thats weird.

Sorry i am just seeing this, you might have better luck if you go into clip attributes (before you try and synch again) and have audio tracks 1 and 2 be the same file. So if receiver 1 is X and receiver 2 was Y, have only a stereo Chanel (on the video clip itself) set to Chanel 1 = X and Chanel 2 = X. DaVinci might be seeing both audio files and getting confused.

Or rereading what you wrote, open the multicam clip in the timeline, drag and drop that clip into it on its own video / audio track. Set everything like above and then select it and another clip with clean audio and try “Align clips based of waveform”

I never over exposed in SLOG3. In fact I don’t think you should / need too. All cameras have some noise and you will need to apply noise reduction to pretty much all LOG footage. That’s one of the cons of using LOG.

I haven't done any official test but...... I filmed in no PP in very low light and it looked awful in my opinion. Part of that is user error because I don't typically shoot like that but I thought the footage was unusable.

No they don’t and they should synch. Try making the audio clip stereo and then try synching again.

Yes we did I think it was 800 total for four lenses.

“sRGB stands for Standard Red Green Blue and is a color space, or a set of specific colors, created by HP and Microsoft in 1996 with the goal of standardizing the colors portrayed by electronics. sRGB is the most popular color space used today and the one used for Windows, most web browsers and most console and PC games, unless they’re HDR.” It became a standard in 1999 and is still widely used today. But it is the smallest color range compared to Adobe, DaVinci Wide Gamut etc. So it is better to edit in DaVinci Wide Gamut and export in something else, like sRGB.

That’s a little out of my wheel house. You can wirelessly transmit the feed to a box to broadcast, like YOLO, but that’s only a few feet. I’m not sure if you could do it to another city.

@@WeddingVideographyForBeginners Appreciate your response

That’s perfectly normal. Because you are editing in a 1080p timeline the software thinks you are up ressing the footage. But you aren’t bc it is actually in 4k. I see the same pop up every time I export too.

Thanks for explaining.@@WeddingVideographyForBeginners

I would recommend Casey Farris. Those are the ones I watched.

It’s just a template, so i know where things are. I hardly use all of those nodes at once. It just saves me time having everything up at once.

Hmm, you know I dont have a good answer for you. I have the base model everything Mac Studio and it flies. I haven’t needed proxies for anything since I got it. The only time it slows down is when the clip is color graded, so NR, primaries, glow, those nodes really slow it down. Other than that I edit in multicam etc. with no issues. I would reach out to black magic support. Just give them a call, their support is awesome.

If you are using only a cell phone to live stream and there is a DJ or band, they probably will how the audio from the microphones playing through the speakers and the music wont be during the ceremony.

Ok great thanks!

Id have to look but I think SLOG 3 limits that not Cine EI. That just determines your ISO values and what those are limited to.

Depends on the computer, for us it was USBC to USBC. The camera is USBC

We don’t actually use anything but DR 18.5 anymore. The synch inside Davinci works just fine for us now.

One of the crappy things with video is the all the new tech that comes out lol. Im going to start running our equipment into the ground before i invest in ew stuff. Our zoom F2 and wireless go II’s work great. Not saying the DL10 Pro isnt good, just not worth the upgrade for us right now.

If you are only creating proxy / optimized clips it wont effect anything but the strain on your machine. Just remember to set force to debater and highest quality in the export and it will bypass the proxy media and use the original.

Thank you!!

FX3!

Of course

Thank you!

Under decor I keep the reception space, tables etc. but B roll is everything else, maybe shots of the beach, trees, buildings, including establishing shots of maybe the getting ready location, the exterior reception space too goes in there.

@@WeddingVideographyForBeginners Thank you for sharing!

You will have to update in sequence but version 2.04 and 2.05 are on the version 3.0 download.

I never use the transmitter. I use the system as a backup anyways.

Well yes lol but explain to them how it works and then show them. I have never had an issue after I have plugged it in and they could hear / see it wasn’t doing anything to their gear.

@@WeddingVideographyForBeginners I’ve done it a few times when im picking up something weird in the audio. Often that connection is hidden deep in the core of their rig. They’re sometimes unwilling to access that part of the rig

@@hudsonfilmr910 Luckily I haven't had to have them dig to get to anything, but on the higher end most of the time they are handing me an XLR out cable before I can finish talking.

Thank you, feel free to reach out with any questions!

We dont have a rec for a cable, but…… we use it on the side of the light every time, our Apurture, that is. We use the flashpoint (knock off cheetah, stands. They work great and we have never had a problem.

Yes you do, that is what we were on. The package installer from Sony has both the 2.05 and the 3.0, you will need to do them in sequence.

That is a good point. Our A7IV can’t shoot in it obviously. We were having issues synching audio in post on the opposite side. The recorders are in 24 and the cameras were in 23.98. So this might alleviate that issue. In DaVinci I multicam synch using the wave form. Ill check it out tomorrow to see how it does.

@@WeddingVideographyForBeginners Thanks. Looking forward to what you report.

If you select 23.976 on the cam FX3 and use another b-camera (a7siii or even a7iv) so it should work? FX3: 23.976 and on the hybrid Cams (a7siii / a7iv) : 24fps.

@@matesowski I am pretty sure that the a7 IV and the a7S III shoot at 23.976fps, and NOT at 24fps.

@@marinrealestatephotography I know that. I was more interested in finding the right setting since 24fps on a a7siii is in real a 23.976fps. So if I use additional to a a7siii an fx3 cam so the FX3 would have to be set to 23.976. Right?

Once we updated and left the hdmi door open we have not had any issues with overheating, i have never seen the heat lamp come on and we shoot in 4k for about an hour during ceremonies. So if you are filming for an hour or less I can say we havent had any issues. Especially if you are indoors. Also, you dont need to have your timeline set to 4k to edit in it, we always work in 1080 and then export in 4k if we need to.

We used to run with 5 but have stopped that. We only use three now. Thats plenty for a ceremony edit.

@@WeddingVideographyForBeginners wow! Are they all high end cameras? I noticed the safe cam had a different color profile than the other 3 did, so I would assume that one might be different

@@uprootandadventure back then we used Panasonic. We had S5s and a GH5S. So thats probably the natural profile in the GH5S, we shot in VLOG for the others. Now we use FX3s.

@@WeddingVideographyForBeginners ughhhhh I want an FX3 so bad. I’m rocking the A7iv now until the upgrade can be afforded. Still working on the setup too. Next is an atomos ninja v for external monitor to plug a lut in and be sure I’m getting exposure right, and a focus motor

@@uprootandadventure We have an A7IV and I love it. it's a great camera. Use the zebras for exposure, if you are filming people have them set 70 and keep the skin tones under that, if you are filming decor set it to 90 and keep the highlights under that. Save yourself the money of the atomos.

Who’s confused?

Out of curiosity what are you filming that has hundreds of small clips to be synched with one master audio source?

@@WeddingVideographyForBeginners Wedding ceremony = hundreds of short clips, wedding day = thousands of short clips.

@@KosmatiBohem wouldnt it be easier to shoot one long clip for the ceremony?

@@WeddingVideographyForBeginners I waited this question. Answer = NO! Why full feature movies are not shot in feature long clips than? I could end up with freighter load of footage per day, taking a week to transfer, trim, convert, and consume petabytes of archive space for multiple backup's. Some parts of wedding day are endeed shot in whole clips with multicam, but that would mostly be one or two "failsafe" cameras or pilot cameras, that cover absolute must have angles and provide timeline. As full feature movies my end product is never realtime, but cleverly trimmed and overlapped, so end result is pleasant to watch and rich in all around impression of happening. We cand owerrun the place with 20+ crew guys, because of price and because of my main promise of being invisible. So few of cameraguys sneek around with camera and (re)place multiple small cameras, to get special angles and some of those might be good for just a shot or two; why than capture hour(s) long footage if I only need few seconds out of particular angle. Let say when bride comes in, there I have specific angles that are used only once. Guy than moves to different location. Recording 20 minutes of his movement just to save a minute for syncing that clip manually? I started this with BETACAM SP cameras that had tapes with 30 minutes!! You can't just record endlessly. Than there was DVCPRO / DV / HDV with 60 minutes! Still not abundance of time. And all those tape-based captures demanded SAME amount of time to aquire footage to computer - and TIME IS MONEY. In Betacam are there was linear editing and major time pit was loading and re/winding tapes to get clips. I mastered my photogfraphic memory. I slowly rewinded tapes, which took me 15 minutes per tape, but I memorized all the clips I need, so next time I could forward to timecode at fastests speed without image shown and that saved a lot of time in long run. Even now storage is not endless and it is expensive. Transfer times still matters when you end up with 30 memory card worth of terabytes of footage. It is just easyer to have 700 clips along two long whole hours clips and sync that. Some ceremony could take 2 hours ... most gear I used except the broadcast quality, drifts in long run. It is much easyer and not noticeable if 10 second clips are synced on myin timeline. I tryed long clips when HDD recorders came out and I left some cameras unnatended ... I ended up splitting the clips and correcting them. Mostly at drifted clips all automatic methods fail. I am able to sync a multiple thousand of clips from 10 sources in a workd day, MANUALLY. Having PluralEyes, that time was halved. It hlped a lot, but not ideal. In case camera is far away from main sound source, the sync will be so much delayed to be usless. It need to be corrected. Once I had bride that was famous singer and had her vocal lead at the fronf of church, but the choir was at the back of the church. There was 0,7 seconds of delay between sound sorces ... I had to do magic to separate each sources (clean of spill from other source) and than realign sound 1st, than glue image to that by lipsync. And there there are our traditional wedding that commonly take place on 5 location: At groom, at bride, legal procedure, church ceremony, wild party. And a lot of happening in between those locations. Bare minumum is to send 3 camera guys to this kind of wedding days. Ideally each one have dedicated soud-guy. Sound guy is important since HE CAN shoot one long clip; the sound take considerably less space, and ensure some non-planned speaches got covered. Camera guy could need up to a minute to be ready to shoot, if not already there with camera on standby. And than it is BATTERY consideration. We can't haul trailer of spare betteries, if I might afford the ton of batteries. A battery in camera last 2-3 hours. It charges 3x the time, so depleted batteris in the morning might be reused at the evening party. But thoughout the day we have to plan. Camera guy can't haul spare batteries especially if that were V-mount ones. The one reason SONY mirorless was joke for me; recording short clips, overheating and batteries that lasted 20 minutes. My demand for camera guy is to capture at least 3 usable clips per minute; I can get 6+ usable clips per minute of shooting since I already look around while hand are finishing previous clip blindly. For the recorded footage I demand 90% yield. So 90% or more of recorded clips are actually usable. When I see something will happen, I pres record and frame the scene. That might provide 2-3 seconds pre-roll and I leave a post-roll o a second or two. That is it. Editing is easy since I know when particular shot shows in multicam monitor, it is to be used. By the time it shows up and editor reacts and decided it just takes that 2-3 seconds pre-roll. But most of the time I never edit multicam, but rather have timeline where I manually trim clips, remove unvanted overlapping angles and shorthen the main time alltogether. Result looks like shot with 20+ cameras or in totally controlled movie set environment by the shooting book. That is my speciallity. But for the cheap services, I go myself, leaving 3-4 cameras at different angles, operating one or trwo cameras simultaneously, than just run though multicam edit and fix a problem here and there. For syncing 4 long clips I really NOT don't need any solution other my ear/eyes. It's 20 seconds.

@@KosmatiBohem I think we have two different philosophies on filming. When it comes to a wedding ceremony or toasts, having hundreds of small clips would slow down my workflow, even culling that sounds like a night mare. Between our three cameras we have about 500 gig of footage for the entire day, total. Just different ways of going about it.

I didn’t upload yet because I am making a much shorter version combining all three of them. Thank you for the kind words! Feel free to reach out if you have any questions.

I mean that will do it. lol

Positive mindset.

I have honestly never had to do that. All of our cameras from Panasonic to the FX3 have amazing low light capabilities.

They are always good for establishing and transitioning shots too, they fit well there.