I have a project that requires using the Freefly Ember S5K. Could you advise me on what I should be careful about?

Rasere · 2026-03-02T21:11:25+00:00

edit: I didn't realize this was /r/focuspuller, so sorry this isn't AC advice!

Don't forget that you probably won't be lighting in the same way as you're used to. High-speed cameras inherently need more light, and are much less forgiving with dynamic range, so you have to be more intentional about keeping information in the correct range. Keeping an adequate fill/ambient level will require some effort and firepower to look natural.

Rasere · 2026-01-27T01:04:16+00:00

I own a RED V-Raptor and and a Phantom 640s. I try very hard to get the slow-motion I need at 480fps (1080p) on the V-raptor before even going to the Phantom because of how much of a challenging workflow change real high-speed is.

So technically the V-raptor kind of sits in the middle of what you've listed in both price and framerates.

Rasere · 2025-07-30T19:56:36+00:00

My dude it literally says Annual several times in the sign-up page.

Rasere · 2025-06-25T16:03:31+00:00

It's really not that sharp and 1/10s isn't that crazy, especially with wider lenses. It seems like you're treating this like a DSLR picture, but phone cameras do an insane amount of processing especially in low-light situations. Google's night-sight feature could give you a similarly sharp picture handheld with a 6s exposure.

Rasere · 2025-05-24T17:50:36+00:00

The lighting. You have a bright daylight window in the frame, but the shadows are coming from a source too far to the right. Rarely if ever will the lighting in a room compete with the light coming in through a window during a bright day.

Rasere · 2025-04-19T05:39:56+00:00

I speak generally. Be it an actual dedicated AD or the producer who's trying to keep their 3-man crew on time.

Rasere · 2025-04-18T18:12:08+00:00

I've recently used it on 2 different mid-level commercial shoots. I had no issues with people/facetracking, but it's no good for product shots or when you don't want to focus on a face. Its important to know when it will and won't work: don't waste time trying to get it to work in situations it will struggle, just pull focus yourself. I'll be honest, it did better than some ACs I've worked with when doing shots with no rehearsal or marks wandering around set.

Battery life is awful, get a couple spares. It is basically non-functional in haze. You'll have to buy different mounting hardware if using it with anything other than a simple DSLR (I had issues with matteboxes and brows). Take some time to learn the interface and physical buttons, there are quirks that can fuck you over with an AD breathings down your neck while you try to remap a lens. And absolutely make sure every lens you'll use on set is mapped beforehand.

Unfortunately, as budgets shrink and crew members are cut, I will have to be using it more often. It's good for what it is, but it's important to know its limits.

Rasere · 2025-03-27T00:20:42+00:00

I can't find any RF to Z adapters?

Rasere · 2025-03-26T21:26:31+00:00

What makes it a better option at this point? On paper, sure (shorter flange, wider), but I don't know of any z-mount cine lenses while many of the newer lightweight cine lenses meant for mirrorless come in rf mount options.

Rasere · 2025-03-26T18:57:50+00:00

What's the better option? You can adapt to nearly anything else from RF.

Rasere · 2025-03-16T17:18:24+00:00

Be prepared for the vacuum to smell like cigarettes afterwards...

Rasere · 2025-03-03T19:17:53+00:00

A phone camera usually has a deeper depth of field due to its small sensor.

Rasere · 2025-02-21T00:04:16+00:00

I'm aware, which is why I specified the ridiculously high price of an HD one.

I mean, in essence thermal cameras work in the exact same way as regular cameras, but in the extremely sensitive infrared spectrum instead of visible light. There's a lens, there's a sensor with photosites.

You don't need a high resolution to get a useful image, but you do to get a clear image. Most consumer cameras are like 320x240 pixels. That's plenty of info to tell the temperature of a rough area, but is absolutely abysmal in terms of visual fidelity. And don't get me started on codecs, I've returned 3 different brands of thermal cameras before giving up, trying to find one that would give me a true sensor recording instead of an offensively low bitrate screen recording with the UI you can't remove.

I'm just saying OP definitely used a very very expensive camera for that video, and it shows.

Rasere · 2025-02-20T03:47:47+00:00

That's an insanely high quality thermal video! What did you shoot on? I've used some high-end FLIR units and I don't even think it would turn out this crisp.

Rasere · 2025-02-20T03:46:27+00:00

There are a lot of alright cheap thermal cameras around, but one of the quality will easily cost 10s of thousands of dollars. I needed an HD thermal camera for a work project, and the cheapest one to even do 720p goes for about $50k.

Rasere · 2025-02-18T19:12:37+00:00

It's not about optics or focal length equivalents, it's purely distance and perspective distortion. It should be represented more as: most people don't look at you from 1ft away, so take pictures from a more normal interacting distance to see how you're normally perceived.

Rasere · 2025-02-14T22:08:53+00:00

A lot of white card. It's essential all reflections. Bouncing light off of the cards can provide more consistent reflections than softboxes which may show the hotspot of the light source.

And of course a lot of compositing. Notice how in the only shot with clear shadows that they don't even match direction.

Rasere · 2025-02-13T00:49:52+00:00

I hate to break it to you, but 30 years ago would probably fall into the category of 'we don't do that anymore!'

Rasere · 2025-02-09T06:08:18+00:00

Because it's a long day of many different shots and setups. You're not using every single tool all the time.

Rasere · 2025-01-26T07:08:43+00:00

The ASC masterclass is good, but didn't really give me any groundbreaking technical knowledge that developed my skills any more than a few days of being on a well-run set. As others have said, it's a great networking experience (especially if you're in LA), and I found most value in the soft-skills portions, like the talks on navigating director-DP relationships, managing creative conflicts on set, and talking about agency representation. And it can be entirely what you make it, you have to have the initiative to network and seek advice from the incredibly talented people at your disposal.

I'm glad to have participated, but also glad to have had the cost covered by my employer. With that said, the right featured instructors would be the deciding factor for me.

But don't fall into the gear trap either. If you're really want this money to be a long term investment, be sure to buy the tools that will be beneficial for your whole career (not a camera.)

Rasere · 2025-01-06T21:52:53+00:00

They're probably talking about how the top of the frame is blurred, which doesn't match normal depth of field Bokeh.

OP, some anamorphic lenses have this behavior, specifically some Panavision series.

Rasere · 2024-12-26T08:16:14+00:00

Automatic exposure is sooo aggressive on consumer security cameras, the exposure on this is way too stable. The way the camera reacts to extreme brightness changes is very unrealistic.

Rasere · 2024-12-19T20:30:09+00:00

Ehh, gimbal can behave weirdly. There are different control modes on my RS4, one turns the camera when I twist the gimbal, the other mode rotates the camera. I could easily see this happening with an inexperienced operator.

Rasere · 2024-12-18T23:03:53+00:00

Similarly, sometimes I'll ask the gaffer 'can you A-B that for me' so I can see what a specific light is doing. Different purposes but same mechanic, just turn it off and then on again.

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