Just found your channel, it's very interesting! I shoot a lot of Premier League football in England with a Sony FX9 and 200-600 lens. But here you get given a position and you cannot move from it. Love watching the NFL Films, would be great to shoot one of the European fixtures.
Thanks Simon! That would be pretty challenging not being able to roam the sidelines. I’m assuming we will see a lot more NFL games in the UK and Europe in the future.
Really appreciate all your info and I really love your work! Hoping to shoot for NFL Films at some point in my career and will definitely study these videos in the meantime.
Interesting that you like shooting a game on the opposite side of the sun! Wouldn’t back lit create more of a silhouette look? Sure, you can correctly expose those shadows, but now you have a blown out sky or background. Would love to hear your thoughts!
Ty Rogers good point. The blown out sky really isn’t an issue because in most cases your shooting into the stands, as opposed to the sky. Because the monstrosity of these NFL stadiums, I rarely every reveal the sky in a shot. And if I do follow the ball into the sky, this is where the Amira’s 14 stops of dynamic range come to the rescue. 😂 I guess if the stadium is smaller, with a low upper bowl, this could cause issues. The LA coliseum has a pretty low seating bowl, but that is also one of the only stadiums to face East to West, so the sun never backlights a bench area. Keep killing it Ty. Love your work!
1-On the first 2 minutes of the video ,when you say that you are behind the line of scrimmage up to the 50 yard line or so, are you on a hi hat or on a shoulder rig ? 2- I tried to shoot a hi school game last night on a hi hat (benro 100mm bowl with video head and red Komodo rig) and carrying the camera package with a hi hat was not easy , especially with so many people on the sidelines ) . Trying to understand how is the dynamic there between shoulder mounts and hi hats shots. Or if you use the hi hat only for stable line of scrimmage shots and details etc.
When I made this video I was solely speaking about handheld, shoulder mounted camera positioning. But some of the same concepts make sense for hi-hat usage too. I primarily shoot off a hi-hat if I'm only shooting 24fps assignments. I'll shoot all handheld for slow motion assignment, with some exceptions.
When you film in the field, you use zoom in and out for follow the play and get closer to QB for example and zoom out to WR? Or you always go with more wide shoot and do it in post? Because sometime I not control a lot the following ball..and lose the action. Any council?
Hey just discovered this channel thankfully! I’m a film graduate who does a lot of sports utility and audio for college and I just applied for a camera position and they won’t give me a shot because I haven’t done it before even though I build cameras and have a small idea of sports shooting. Any ideas on how I can break into a camera position or convince them to give me a shot? Also I would love to talk to you more so that when the next opportunity comes around to work camera I can confidently go after it. I get why they are hesitant but I don’t know any other way to learn them to just get out there on something less risky like a sticks cam position and learn.
Sounds pretty frustrating. One possibility would be to work with a college athletic program. Most have a smaller streaming broadcast crews that mostly shoot basketball, volleyball, soccer, etc. These camera gigs would potentially give you more camera reps and connections to get on the TV broadcast crews as a cam op when they come to town. That’s one way I can think of. Good luck!
Hello im new here thanks a lot for this video ❤ Just a small question i have canon 5d mark 4 and 24-70mm can i cover a mini footbal game (just photos )
Most photographers I see on the sidelines use a 24-70 for their wide shots. Most also carry a 70-200 and a 400mm prime as their football 3 lens set. Check out Brett Carlsen's page for sports photo content www.youtube.com/@BrettCarlsen
Hey man great video! I have a question regarding exposure. What would you correctly expose for when using the amira when you are in a stadium that is split with shadow and sun? Would you correctly expose for the shadows just enough so that when you turn on false color you are not showing red for your highlights? Also if you are recording in log, is it better to check false color in log-c since you can see what information is actually being recorded instead of rec709 where everything is crushed?
I use false color religiously. I'd expose favoring the shadows. So if I see even yellow appear on the false colors I'd stop down to preserve more highlights. That has worked for me. The primary football lens I use is the Fujinon 23x ENG lens which has a sweet spot at 5.6. So I usually dial in ISO and ND to stay around a 5.6 the entire game.
Best place to film a football game is at Fresno State on top of the scoreboard in the endzone...as long as you don't mind being surrounded by 3 inch deep pigeon poop on every surface.
Love this series Dom! Definitely got a keeper with the tip about staying on the QB, definitely going to be trying that out eventually!
thank you so much for sharing your knowledge!!!!!!!
This is great, thank you!
Such underrated video quality
Absolutely great!!!!
Thanks for sharing, it was very interesting.
Big fan, what an amazing job!
Very Informative!
super solid info im going out with a crew of 3 in 2 days this info was needed, well done my soul brother
Really interesting stuff. Great vid!
Just found your channel, it's very interesting! I shoot a lot of Premier League football in England with a Sony FX9 and 200-600 lens. But here you get given a position and you cannot move from it. Love watching the NFL Films, would be great to shoot one of the European fixtures.
Thanks Simon! That would be pretty challenging not being able to roam the sidelines. I’m assuming we will see a lot more NFL games in the UK and Europe in the future.
Glad to see you back, and congrats on new gig! What fps do you normally shoot at for these games?
Thanks! Standard “slo mo” is 48fps & 60fps. “High speed” is 120fps. “Sync sound” is 23.98fps.
This is awesome all spelled out! Very helpful. Thanks Dom!
Great stuff! Good to see you on TH-cam & great interview with Tyler.
Much appreciated!
Crazy to hear you mention Kaline - I worked with him on a shoot recently doing media management. Great guy!
I don’t even shoot sports, but this was super interesting. Thanks for putting in the time! Subscribed.
Wow, this is great information. Helpful regardless of what you’re shooting. Thanks 🙏
Great episode as always, love the content!
Really appreciate all your info and I really love your work! Hoping to shoot for NFL Films at some point in my career and will definitely study these videos in the meantime.
Thank you!
I'm the 900 subscriber
Interesting that you like shooting a game on the opposite side of the sun! Wouldn’t back lit create more of a silhouette look? Sure, you can correctly expose those shadows, but now you have a blown out sky or background. Would love to hear your thoughts!
Ty Rogers good point. The blown out sky really isn’t an issue because in most cases your shooting into the stands, as opposed to the sky. Because the monstrosity of these NFL stadiums, I rarely every reveal the sky in a shot. And if I do follow the ball into the sky, this is where the Amira’s 14 stops of dynamic range come to the rescue. 😂 I guess if the stadium is smaller, with a low upper bowl, this could cause issues. The LA coliseum has a pretty low seating bowl, but that is also one of the only stadiums to face East to West, so the sun never backlights a bench area. Keep killing it Ty. Love your work!
@@DomTheDP Love the BTS keep it up!
1-On the first 2 minutes of the video ,when you say that you are behind the line of scrimmage up to the 50 yard line or so, are you on a hi hat or on a shoulder rig ?
2- I tried to shoot a hi school game last night on a hi hat (benro 100mm bowl with video head and red Komodo rig) and carrying the camera package with a hi hat was not easy , especially with so many people on the sidelines ) . Trying to understand how is the dynamic there between shoulder mounts and hi hats shots. Or if you use the hi hat only for stable line of scrimmage shots and details etc.
When I made this video I was solely speaking about handheld, shoulder mounted camera positioning. But some of the same concepts make sense for hi-hat usage too. I primarily shoot off a hi-hat if I'm only shooting 24fps assignments. I'll shoot all handheld for slow motion assignment, with some exceptions.
When you film in the field, you use zoom in and out for follow the play and get closer to QB for example and zoom out to WR?
Or you always go with more wide shoot and do it in post?
Because sometime I not control a lot the following ball..and lose the action.
Any council?
All in camera. Since I don’t edit my footage, nor do we currently shoot in 4K, everything needs to be captured in camera with my lenses.
I’m trying to change change from broadcasting into video and need some suggestions
Hey just discovered this channel thankfully! I’m a film graduate who does a lot of sports utility and audio for college and I just applied for a camera position and they won’t give me a shot because I haven’t done it before even though I build cameras and have a small idea of sports shooting. Any ideas on how I can break into a camera position or convince them to give me a shot? Also I would love to talk to you more so that when the next opportunity comes around to work camera I can confidently go after it. I get why they are hesitant but I don’t know any other way to learn them to just get out there on something less risky like a sticks cam position and learn.
Sounds pretty frustrating. One possibility would be to work with a college athletic program. Most have a smaller streaming broadcast crews that mostly shoot basketball, volleyball, soccer, etc. These camera gigs would potentially give you more camera reps and connections to get on the TV broadcast crews as a cam op when they come to town. That’s one way I can think of. Good luck!
Hello im new here thanks a lot for this video ❤
Just a small question i have canon 5d mark 4 and 24-70mm can i cover a mini footbal game (just photos )
Most photographers I see on the sidelines use a 24-70 for their wide shots. Most also carry a 70-200 and a 400mm prime as their football 3 lens set. Check out Brett Carlsen's page for sports photo content www.youtube.com/@BrettCarlsen
Hey man great video! I have a question regarding exposure. What would you correctly expose for when using the amira when you are in a stadium that is split with shadow and sun? Would you correctly expose for the shadows just enough so that when you turn on false color you are not showing red for your highlights? Also if you are recording in log, is it better to check false color in log-c since you can see what information is actually being recorded instead of rec709 where everything is crushed?
I use false color religiously. I'd expose favoring the shadows. So if I see even yellow appear on the false colors I'd stop down to preserve more highlights. That has worked for me. The primary football lens I use is the Fujinon 23x ENG lens which has a sweet spot at 5.6. So I usually dial in ISO and ND to stay around a 5.6 the entire game.
Best place to film a football game is at Fresno State on top of the scoreboard in the endzone...as long as you don't mind being surrounded by 3 inch deep pigeon poop on every surface.