Every piece of audio gear I use to film a wedding, walked through in the order you will need it, from the getting ready room to the last toast. Six recorders, three cables, and a lot of backups.
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Color management is the easiest way to get amazing colors in DaVinci Resolve, and it genuinely takes one click. Here is how to turn it on, how to tell Resolve which log profile you filmed in, and whether you still need LUTs afterward.
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Sponsored by Nikon. Here are the exact video autofocus settings I dial into a Nikon Z6 III for filming people, for animals and vehicles, and for tracking a moving subject while the camera is moving too.
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The Z6 III takes internal 6K RAW and the autofocus from the Z8 and Z9 and puts them in a smaller ,500 body with a flip out screen. Here is my early review from a wedding filmmaker’s perspective, including a Texas summer overheating test.
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The free version of DaVinci Resolve won’t play 10-bit 4:2:2 footage, so your clips import as audio files and the viewer goes black. Here is the free Handbrake fix that saves you the $300 Studio upgrade.
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Internal ProRes RAW, 32-bit float audio recorded straight into the video file, a fan, dual card slots that actually dual record, and 39 internal LUTs, for $2,200. The GH7 checks every box I have ever had.
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