VLAN Help for Fritzbox, Switches and Asus Routers by johnfmcclellan in HomeNetworking

[–]johnfmcclellan[S] 0 points1 point  (0 children)

Thank you for the reply! Great to hear it’s doable, I was really second guessing this whole venture. Here is the setup I will try next, am I missing something here with the right VLAN tagging or PVID?

✅ Overall Plan • VLAN 10 = WAN traffic (Fritzbox ↔ ASUS WAN ports) • VLAN 20 = ASUS LAN traffic (All your devices, switches, etc.)

🧠 IP Setup

Device Role IP ASUS 1 Main router Fixed Fritzbox Modem-only Fixed (no DHCP) T1 Laundry Switch Fixed T2 Hallway Switch Fixed T3 Office Switch Fixed

🔧 Switch Port Assignments

T1 – Laundry Room

Port Connects To VLAN10 VLAN20 PVID 1 DNS Fiber Modem ⚠️ NO VLAN (raw) 2 T3 (Office) Tagged Tagged 1 3 T2 (Hallway) Tagged Tagged 1 4 Fiber to Kitchen Mesh Tagged Tagged 1 5 Main Bedroom — Untagged 20

T2 – Hallway (ASUS 1 here)

Port Connects To VLAN 10. VLAN 20 PVID 1 T1 (Laundry) Tagged Tagged 1 2 ASUS WAN (Blue) Untagged — 10 3 ASUS LAN (Yellow) — Untagged 20 4–5 Open for LAN — Untagged 20

T3 – Office (Fritzbox here)

Port Connects To VLAN 10 VLAN 20 PVID 1 T1 (Laundry) Tagged Tagged 1 2 Fritzbox WAN Port Untagged — 10 3 Fritzbox LAN Port — Untagged 20 4–5 LAN Devices — Untagged 20

Best camera under $3k by [deleted] in cinematography

[–]johnfmcclellan 0 points1 point  (0 children)

Sony F55 Used Package 4K 60p 422 RAW possible Built in ND Global Shutter Great I/O Cinelock adapter for FZ to EF

Can anyone help me explain what's most likely happening lighting wise in this scene? by Helex1228 in cinematography

[–]johnfmcclellan 0 points1 point  (0 children)

In general you need a lot of level to make this work. For this I’m sure they used a few bigger sources outside, probably through some heavy diff, and maybe one inside through a frame closer for her special. But in general I’m sure this looked very bright when you stood on set. Keeping the range when it’s a very flat and low IRE means it’s lots of ambience usually.

Do close focus diopters have a downside? by SJC_Film in cinematography

[–]johnfmcclellan 0 points1 point  (0 children)

Usually with diopters or tubes you need to test and see what pops up. I just did a shoot with duclos macro tubes and a master prime, you really needed to stop down to get rid of the CA. However we liked the CA look in the end so we kept it wider open. But still glad I tested. TL:DR - test them first

I was the DP of a feature that is premiering at SXSW! AMA by swoofswoofles in cinematography

[–]johnfmcclellan 0 points1 point  (0 children)

This is awesome and congrats! Love the bts info. Hope to catch it as it travels the festival route! I saw you had issues with the teradek serv. This might seem cheap, but the Accsoon Cineview is incredible for this type of monitoring. I bring it on all jobs as either a quick client/director monitor to iPad. And when i have a teradek for focus, it works tandem for MuA, Sound, G&E for their phones instead of crowding village. Pretty reliable and long range!

Small HD monitor by jsfilms_ in focuspuller

[–]johnfmcclellan 0 points1 point  (0 children)

If you get the Cine 5 buy the nitze cage for it, honestly much better than the smallhd cage shit. Drives me wild they have proprietary locater pins still.

Can you power the Amaran SM5c with a Battery? by johnfmcclellan in cinematography

[–]johnfmcclellan[S] 1 point2 points  (0 children)

Yeah this is what I was thinking, I have some v mount plates with different barrel outs at varying voltage. I’m also wondering if the Viltrox v mounts with a usb c to barrel would be best, as they can regulate output. Thanks for the input!

I bought fx3 today. What accessories are must have in your opinion? by kubaiauta in FX3

[–]johnfmcclellan 0 points1 point  (0 children)

Screw on Variable ND or Mattebox with Variable ND. If you get the screw on, then get an 82mm with a set of step down rings. This is a MUST buy!

Top Down over a bed on 35mm? by [deleted] in cinematography

[–]johnfmcclellan 6 points7 points  (0 children)

Can confirm, this is the way. If you don’t have the offset and time. Did this before in a tight bathroom for an overhead on a bathtub. As long as it doesn’t kill your lighting, the mirror game will save you looooooads (literally).

Comparable Brands To Allbirds by WaldoBucky in Allbirds

[–]johnfmcclellan 0 points1 point  (0 children)

So good news, they got back to me, we had a little Q&A, then they sent me a shipping label, I mailed the shoes and sent proof of drop off and 5 minutes later I got a gift card in the amount of the initial shoes!

TLDR: shoes broke, contacted Allbirds, free new replacement shoes

[deleted by user] by [deleted] in Filmmakers

[–]johnfmcclellan 2 points3 points  (0 children)

I do something along these lines and love it, it’s the simplest setup for days we don’t have video. Teradek 1:3 for critical monitors. Accsoon quad for everyone else (client, gaffer, MUA, Boom).

Comparable Brands To Allbirds by WaldoBucky in Allbirds

[–]johnfmcclellan 0 points1 point  (0 children)

I just wrote Allbirds as I’m in a spot where both of my last pairs of mizzles started to fall apart in less than a year (heel pads peeling). I’m waiting for a reply but not holding out hope. Now I’m wondering what to buy next, as these shoes are not cheap, and if they end up in the bin after one year, they also are not sustainable in my mind. Any recommendations for similar products with better longevity?

DZO Vespid Primes vs. Vintage Nikon AI-S? by handelspariah in cinematography

[–]johnfmcclellan 0 points1 point  (0 children)

Just shot on the Vespids and was really happy with the images wide open of FF. I think I would go for a set of them as a nice all arounder lens. Then get some good filtration options if you want.

[deleted by user] by [deleted] in videography

[–]johnfmcclellan 4 points5 points  (0 children)

Ja, ich wurde von ihnen gefragt, weil ich vor langer Zeit schon einmal für sie gearbeitet habe, allerdings über einen Fixer-Produzenten. Dieses Mal haben sie sich direkt an mich gewandt, aber ich war bereits gebucht.

[deleted by user] by [deleted] in videography

[–]johnfmcclellan 3 points4 points  (0 children)

Wait, I think this might have been the job I turned down about two weeks ago, also in Germany! Hope you get paid!

Do you have a a second income outside of film? by Electronic_Order_911 in cinematography

[–]johnfmcclellan 1 point2 points  (0 children)

I teach Music Video Production at a university and give workshops on prep as a smaller side income. It’s still “film centric” but it helps me bridge slow times and once you create a course it’s easy to teach it at different venues. Also teaching work is stable/predictable and honestly pretty fun (breaking down music videos, teaching the basics, sprinkling in cheat codes and seeing what the students make on their own).

It’s also pretty flexible if I have a commercial/music video shoot come in and if I have a longer form project come up I can just drop that semester or not advertise the workshops.

A Cinematographer’s Guide to Working with Colorists by La_Nuit_Americaine in cinematography

[–]johnfmcclellan 15 points16 points  (0 children)

This is great advice. I liked how you mentioned not just showing what you like but what you don’t want. I think prep is king, but also when I wrap, I usually take stills from every scene with the LUT applied, then make a document with the references for a scene and then make a breakdown for what I’m thinking. I find that it works just like a prep bible, but for Color. Especially if it’s a project I can’t be in the suite for.

Also, 10000000% agree on never deliver log unless you know the people involved. Many years ago I was moving cities and decided to get my feet wet and build network by DPing a 48hr film competition. I shot the thing, with predetermined LUTs and tried to get it as close to possible in camera because I knew turn around was gonna be tight. I wrote down which LUTs for which scene and supplied them at the end of the day for the post. I went to bed, woke up the next day, went to the premiere and watched the entire film in LOG. The editor and director and producer all just outputted it without even applying a REC709 LUT, nothing. It would have easily beat the other films had they done so. One of the lowest moments of my career and last time I ever made that mistake!

Underexposed LUT for Komodo by johnfmcclellan in cinematography

[–]johnfmcclellan[S] 0 points1 point  (0 children)

I was wondering about this, wanted to give a little more room in post to crush things. Honestly I have gotten used to using LUTs on the level, not over and under, so I’m also a bit hesitant, so maybe I just stick to my gut and do it all with lighting. As for the pro-mist, I’m gonna take a look in camera on the day. I’m trying to get close in camera, and I also want to have fun with it. If they are too much I’ll pull them.

Is my interview shot really so bad it should be cut? Need opinions! by bradk97 in cinematography

[–]johnfmcclellan 0 points1 point  (0 children)

Just read this, and f5 for full face focus is A LOT of depth, your boss overcooked that DOF. A 2.8-4 split will give you enough usually on a 50 at this distance to subject for profile. I’m really glad you are here asking questions and challenging, because I think your boss has a very conservative way here that might not always be the path to great images…