You are awesome man, I just learned that you're from Vienna as well when I shared your video about "Why NO ONE is Using Parabolic Soft-boxes on BIG Sets" with my friend Stefan Yazzie. He said that you came over to House of Bandits a few years ago so we must have crossed paths somehow. Thanks for the great content. Keep doing what you're doing my man. Seems like you're having fun and nailing the educational content at the same time.
Your audio sounds amazing as your narrate your setup! All I see is that wind and I am wondering how you got it to sound so good! Great breakdown and thanks for sharing your setup! :)
Damien, this is one of the best content I have ever consumed on TH-cam. Extremely detailed, great cinematography and all the information well broken down into biteable bits. Thank you and I am certainly signing up for your interview master class. Please when are we seeing the next WOW video on this Chanel? I hope am not asking for too much. Cheers.
Great Breakdown! I'm curious whether you did some comparisons regarding sliders. Specifically if you compared the Zeapon to any of the Edelkrone or Rhino sliders?
when using an external recorder, do you typically send a lineout into your camera for backup? In my case the zoom f3 lives on my cam rig but I would rather leave it off for easier mounting options and reduce bulkyness of my cam rig. Thanks!
HAhahahahahahhahahah , Super Clean Teeeeee....Well that's Karl K.... great stuff, Do you mind telling which light boom did you use, are you recommend the Manfrotto combi-stand? 420 I guess
As usual.... Truly Gem Video... one thing.. some items you mention.. Are Not Listed.. in your Video Description Section... SmallRig Tripod Detail or Link
It's an impressive gear setup! Thanks for sharing. You have to think about your budget for the project. You would need to be getting a minimum of $10k or more for interviews to justify that gear and crew as well as post-production editing. I'm not a fan of moving cameras for interviews. I tend to frame the shots a little wider in 4k and leave some room to zoom in on shots that need emphasis to achieve camera movement in post. I think too much movement can be distracting, and you feel like you in a Michael Bay movie. That is personal preference, of course, not taking away from what you're doing with your style. You can add b-roll that has plenty of movement to give you that balance and pacing. You were spot on with setting up the camera to film on the shadow side of the light source. The only time I don't do that is when the motivating light in a room forces me to do differently. I would also have your guy wear a light/medium blue shirt instead of green. Helps with the orange and blue contrast.
Hi there- sort of random question only bc I had an issue this week, your camera's frame rates were set to 25, with reds, what did you have your project time base set at? Do you always have to match that for talking interviews?
@@damiencooper It felt odd, in a way, not being able to hear the wind in the background along with your voice. Seemed like it was dubbed in during post.
Hi Damien, echt hammer content, verfolge dich schon seit den Anfängen von monkeypixels damals. :) sagmal hast du eine RF Adapterlösung mit speedbooster und Variablen ND in einem gefunden? :)
@@damiencooper tatsächlich in der Zwischenzeit eh deine anderen Videos einmal zum Full Komodo X Setup und NiSi Reviews angeschaut. Dann wirds jetzt wohl erstmal das NiSi Swift Setup, stell ich mir doch ein wenig leichter, kopakter und mehr Run´n´gun mäßiger vor als die komplette Mattebox Solution, da ich doch hauptsächlich die Rig im Rucksack auf irgendnen Berg hochschleppe... Danke dir auf jeden Fall für die ganzen Infos, gerne auch mehr zu Komodo X "Hacks", die steckt auch in der Pipeline.. :)
It's a lot of kit for this shoot, a bit overkill. Is it a matter of having too much gear and must somehow find a way to use it? How much of this gear was given to you and how much did you buy?
What exactly would you classify as overkill? I only used two lights. If you want three angles you also need three cameras and everything that comes with it. And if you want those angles moving there’s your setup. Can you do it with two static angles? Sure. But why not go big?
@@damiencooper Yes, it's nice to go big with lots of gear, but it's a bit difficult for most of your viewers who don't get free stuff. Don't get me wrong, I love it, but it's a lot for most of us "normal" content creators who buy our gear. How much of that gear did you purchase with your own money?
@@fritzroysmith8526 all cameras, lenses and grip gear. Most of the accessories and lights are sponsored. But before TH-cam I also had to buy those. But I also have interview breakdowns on my channel with a single BMPCC6K, sigma 18-35 and a single flex. light. I’m trying to keep it real for everyone
@@damiencooper Thanks for responding Damien, Just remember your fans don't have the quantity of gear you have, that's all. I am a fan just telling you how I feel.
really depends on what you need. I used it on a couple of shoots now with way heavier lenses and rigs but it's not idea. For interviews and smaller rigs the slider is amazing. For bigger things I would use a dana dolly or any other skater dolly
Love your videos. Maybe don't get your subject sitting their while you talk about tech stuff, he looked really uncomfortable and stole focus from you. And i wanted to know what his story was the whole time lol !!! still super useful video thanks a lot!!!
@@mpeg2000 me neither :D It’s burried deep down in the LUT settings somewhere so you’d never change this. But on the monitor it was there in plain sight
Cool setup, but unfortunately that amount of wind is incredibly distracting in an interview setting. Maybe for a broadcast on, "The Weather Channel" it would make sense, but I feel like that amount of wind in the background will distract the viewer from what the interviewee is actually saying. Thanks for showing the neat equipment though!
A lot of grumpy people in the comments. There are different levels for different productions. Some people are at a level where they need to use more gear. You’ll get there eventually and when you do, you’ll have this video as reference.
@@damiencooper The major advantages of Red cameras are Red Raw codec, global shutter, high resolution. None of these is critically needed for interview. But Red is considered a prestigious brand name, so this is an advantage. In 2007 when Red One was out, Red was like BM, a new company that nobody knew.
Pretty certain you could replicate this with no reds... Fancy tripods... Overkill lights.... With a better result. Maybe focus on 'how to' ... Rather than 'what with'
Should I rent less expensive gear instead of the gear I own? What’s that obsession with gear? Not once in the video did I say you need any of this to make this interview work. And a lot of the gear is pretty budget. The slider, smallrig tripod, lenses… I even said the key light is massively overkill
The interview is lit horribly. The key light just doesn't match the surroundings... you light something this way in a professional scenario, you'll be there a day maximum.
Not only that your background Is boring and much too busy. The character, the Star of the show, is supposed to be the money not the BG. he gets lost in the image. next time kill most of the light BG, buy some fishing line and hang some micro Christmas lights and rack them out of focus big time. next, poor choice of glass, much too wide, they don't call them portrait lenses for nothing.
Sorry but his face blows out on all shots... If we talk about cinematic light - we talk mostly about soft light. Get your light way softer before making a tutorial...Just some criticism - not hate...
Don’t blame me, blame the TH-cam algorithm 🤷🏼♂️ That keyword “unfortunately” gets you triple the views. However, cinematic is something that can/will be seen in a cinema… so
Check out the Interview Masterclass! damiencooper.store/b/interviewmasterclass
You are awesome man, I just learned that you're from Vienna as well when I shared your video about "Why NO ONE is Using Parabolic Soft-boxes on BIG Sets" with my friend Stefan Yazzie. He said that you came over to House of Bandits a few years ago so we must have crossed paths somehow.
Thanks for the great content. Keep doing what you're doing my man. Seems like you're having fun and nailing the educational content at the same time.
Well I enjoyed this. I like hearing how other filmmakers think. Nice length as well, not too short nor too drawn out.
Glad you enjoyed it!
Awesome break down, always interesting to see different setups
Love it, 3 reds, wow! Nice work as always
Your audio sounds amazing as your narrate your setup! All I see is that wind and I am wondering how you got it to sound so good! Great breakdown and thanks for sharing your setup! :)
Just a lav under my shirt. The shirt and the placement filters out a lot of the wind
Thank you so much for this! I love these breakdowns so much more than another cheesy product review ❤🎉
0:03 it's nice seeing Damien getting jiggy with it after all these years on TH-cam 😂 😂
If only I was able to transport that in front of the camera 😅
Whats the pro of having yout mic go into a f6, insteead of having it go in camera?
Damien, this is one of the best content I have ever consumed on TH-cam. Extremely detailed, great cinematography and all the information well broken down into biteable bits. Thank you and I am certainly signing up for your interview master class. Please when are we seeing the next WOW video on this Chanel? I hope am not asking for too much. Cheers.
Oh man, thanks so much! That’s some big words! There’s a lot of similar content coming soon!
Thanks Damien
Insane setup
Well done sir
Great Breakdown! I'm curious whether you did some comparisons regarding sliders. Specifically if you compared the Zeapon to any of the Edelkrone or Rhino sliders?
I love your content brou! So inspiring for younger generations🔥
You’re calling me old? 😂
Just kidding
Hahaha never! Keep creating, keep inspiring and I wish the Best bro
your guten tag caught me off guard was geeeeeeeeeht
when using an external recorder, do you typically send a lineout into your camera for backup? In my case the zoom f3 lives on my cam rig but I would rather leave it off for easier mounting options and reduce bulkyness of my cam rig. Thanks!
HAhahahahahahhahahah , Super Clean Teeeeee....Well that's Karl K.... great stuff, Do you mind telling which light boom did you use, are you recommend the Manfrotto combi-stand? 420 I guess
As usual.... Truly Gem Video...
one thing.. some items you mention.. Are Not Listed.. in your Video Description Section...
SmallRig Tripod Detail or Link
thanks man.. totally forgot: I added the tripod and the batteries!
@@damiencooperI got that Battery.. Amazing Features... i plan to buy more when i continue building my system...
@@tonysluna I currently have 5. Love them
It's an impressive gear setup! Thanks for sharing. You have to think about your budget for the project. You would need to be getting a minimum of $10k or more for interviews to justify that gear and crew as well as post-production editing. I'm not a fan of moving cameras for interviews. I tend to frame the shots a little wider in 4k and leave some room to zoom in on shots that need emphasis to achieve camera movement in post. I think too much movement can be distracting, and you feel like you in a Michael Bay movie. That is personal preference, of course, not taking away from what you're doing with your style. You can add b-roll that has plenty of movement to give you that balance and pacing. You were spot on with setting up the camera to film on the shadow side of the light source. The only time I don't do that is when the motivating light in a room forces me to do differently. I would also have your guy wear a light/medium blue shirt instead of green. Helps with the orange and blue contrast.
Hi there- sort of random question only bc I had an issue this week, your camera's frame rates were set to 25, with reds, what did you have your project time base set at? Do you always have to match that for talking interviews?
Also 25. You should, yes. I also so no reason why not to ;)
Man what mic are you using? Its very full and isolated!
Great Video!!!
Tentacle track e 😅
@@damiencooper It felt odd, in a way, not being able to hear the wind in the background along with your voice. Seemed like it was dubbed in during post.
@@justinuriahphoto I know. I was surprised at how little wind noise there was.
what lav are you using sheeesh
Sua conteúdos são muito bons!!!! Parabéns!
Hi Damien, echt hammer content, verfolge dich schon seit den Anfängen von monkeypixels damals. :) sagmal hast du eine RF Adapterlösung mit speedbooster und Variablen ND in einem gefunden? :)
Danke für den Support!
Nein, die Lösung gibt es leider nicht. Deswegen bin ich auf 100% Front Filter umgestiegen
@@damiencooper tatsächlich in der Zwischenzeit eh deine anderen Videos einmal zum Full Komodo X Setup und NiSi Reviews angeschaut. Dann wirds jetzt wohl erstmal das NiSi Swift Setup, stell ich mir doch ein wenig leichter, kopakter und mehr Run´n´gun mäßiger vor als die komplette Mattebox Solution, da ich doch hauptsächlich die Rig im Rucksack auf irgendnen Berg hochschleppe... Danke dir auf jeden Fall für die ganzen Infos, gerne auch mehr zu Komodo X "Hacks", die steckt auch in der Pipeline.. :)
@@dave_mcbain funktioniert auch super. Ist halt n bisschen unflexibler und du bekommst Probleme beim Weitwinkel. Aber sonst top
It's a lot of kit for this shoot, a bit overkill. Is it a matter of having too much gear and must somehow find a way to use it? How much of this gear was given to you and how much did you buy?
What exactly would you classify as overkill? I only used two lights. If you want three angles you also need three cameras and everything that comes with it. And if you want those angles moving there’s your setup.
Can you do it with two static angles? Sure. But why not go big?
You watch and documentaries lately?
@@damiencooper Yes, it's nice to go big with lots of gear, but it's a bit difficult for most of your viewers who don't get free stuff. Don't get me wrong, I love it, but it's a lot for most of us "normal" content creators who buy our gear. How much of that gear did you purchase with your own money?
@@fritzroysmith8526 all cameras, lenses and grip gear. Most of the accessories and lights are sponsored. But before TH-cam I also had to buy those.
But I also have interview breakdowns on my channel with a single BMPCC6K, sigma 18-35 and a single flex. light. I’m trying to keep it real for everyone
@@damiencooper Thanks for responding Damien, Just remember your fans don't have the quantity of gear you have, that's all. I am a fan just telling you how I feel.
Why does it sound like your audio is done in ADR?
Because it’s so nice and clean? 😂
@@damiencooper I guess so! Lol. MKBHD has this happen a lot too. If you’re using the super nice lav’s and shotguns it sounds almost fake.
@@DavisInDuval I was actually surprised to be honest. It was really windy and you could t hear any wind noises from my microphone
@@DavisInDuvalWhat makes it sound like that? Sounds kinda strange.
Do you think instead of buying a dolly, I could just use this slider?
really depends on what you need. I used it on a couple of shoots now with way heavier lenses and rigs but it's not idea. For interviews and smaller rigs the slider is amazing. For bigger things I would use a dana dolly or any other skater dolly
Love your videos. Maybe don't get your subject sitting their while you talk about tech stuff, he looked really uncomfortable and stole focus from you. And i wanted to know what his story was the whole time lol !!! still super useful video thanks a lot!!!
Haha, he’s just playin! He does that every time we film. He’s my friend and former employee. Although neither had to do with his story 🤫
did you find out why one komodo was darker?
yes.. EV compensation was set to -2
Did this accidentally on the portkeys monitor then switched it to the KX.
@@damiencooper ahh! good to know. i wasn't even aware of the EV setting.
@@mpeg2000 me neither :D It’s burried deep down in the LUT settings somewhere so you’d never change this. But on the monitor it was there in plain sight
#1 your key is about two stops too hot, it makes the camera look like its roll off sucks!
Cool setup, but unfortunately that amount of wind is incredibly distracting in an interview setting. Maybe for a broadcast on, "The Weather Channel" it would make sense, but I feel like that amount of wind in the background will distract the viewer from what the interviewee is actually saying. Thanks for showing the neat equipment though!
Well… it depends on what the interview is about! ⛈️🌩️🌪️
A lot of grumpy people in the comments. There are different levels for different productions. Some people are at a level where they need to use more gear. You’ll get there eventually and when you do, you’ll have this video as reference.
Exactly. I also Shot plenty of interviews for documentaries where the producer requested three red cameras.
Where did you hide your microphone? In the hat? 😃
Under my shirt 😉
well done! @@damiencooper
@@escapekayak thanks. There’s a full section on how I did it in the interview masterclass 😂 shameless plug
@@damiencooper Ha ha you are a true master of multi use of content Damien. Rock on!
Do you think if this is an overkill? 3 red for an interview?
I have shot plenty of interviews for documentaries where the producer requested three red cameras.
@@damiencooper The major advantages of Red cameras are Red Raw codec, global shutter, high resolution. None of these is critically needed for interview.
But Red is considered a prestigious brand name, so this is an advantage. In 2007 when Red One was out, Red was like BM, a new company that nobody knew.
Pretty certain you could replicate this with no reds... Fancy tripods... Overkill lights.... With a better result.
Maybe focus on 'how to' ... Rather than 'what with'
Should I rent less expensive gear instead of the gear I own? What’s that obsession with gear? Not once in the video did I say you need any of this to make this interview work. And a lot of the gear is pretty budget. The slider, smallrig tripod, lenses…
I even said the key light is massively overkill
The interview is lit horribly. The key light just doesn't match the surroundings... you light something this way in a professional scenario, you'll be there a day maximum.
Good work but cinematic has become such a cliche.
Agreed. Unfortunately it gets you triple the views on TH-cam 🤷🏼♂️
Not only that your background Is boring and much too busy. The character, the Star of the show, is supposed to be the money not the BG. he gets lost in the image. next time kill most of the light BG, buy some fishing line and hang some micro Christmas lights and rack them out of focus big time. next, poor choice of glass, much too wide, they don't call them portrait lenses for nothing.
Sorry but his face blows out on all shots... If we talk about cinematic light - we talk mostly about soft light. Get your light way softer before making a tutorial...Just some criticism - not hate...
I chose the ratio to have it motivated by the practicals on set.
What's cinematic about it? Can people please stop using cinematic about anything random
Don’t blame me, blame the TH-cam algorithm 🤷🏼♂️
That keyword “unfortunately” gets you triple the views.
However, cinematic is something that can/will be seen in a cinema… so
Algorithm worked perfectly! I'm subscribing now lol@@damiencooper