Tuesday, June 23, 2015
Later on today I'll work on part 2 which is a lot more and will probably take a couple of days.
I also worked on the CGI head explode that I'm going to have to create since the prosthetic didn't work. It's currently at the mediocre state(after working on it for about 6 hours). It's better than a lot of the internet head-explode videos you see that try to teach you how to do it. I'm using a combination of Andrew Kramer tips plus stuff I've learned over the years.
It's doubly-tough because I didn't actually plan to do it, so didn't really shoot what I would have had I known I was fucked on the practical effect. Anyway, will spend more time on it.
In other news my SHITTY web provider--who is ipower.com for the record and I hope they read this blog--decided to charge me $324 without asking me in order to renew my "IPowerPro Hosting Plan".
Now let's consider--I've been with them for over ten years. Last time I renewed the hosting plan it cost $135 for 3 years. You're telling me it's almost THREE times the cost now? And I'm not using a ton of bandwidth or disk usage.
I told them--I'm leaving, then. I can get plans for under $3 a month from about a million other web hosters. I also gave them the option to renew me for $3.95 a month because THAT'S WHAT THEY OFFER ON THE FRONT PAGE OF THEIR WEB SITE.
They said they can't do it--they lose money at that rate. Meanwhile I've renewed the domain names(I own three of them) through them at additional cost every year.
So fuck them. I've already paid for three years through ipage.com, at a total cost of $81. That's right, a savings of $243. Sure I now have to upload all my web page files there, but with the speed of ftp that's really not a giant problem anymore.
Just a little hassle. Meanwhile, did I mention to AVOID IPOWER.COM if you don't want sucky service? (and this isn't the first problem I've had with them--there have been quite a few over the years but because I'm lazy I put up with it)
In other news, I'm having a hard time sleeping lately. The enormity of what I have to accomplish in the next couple of months is weighing on me. If I had nothing to do but finish T-tory it would look like this:
Finish Prowler--this is Mark's. I have to tighten it and then figure out just how fucked the audio is, and let Mark know what he has to get looped. I ain't doing that shit.
Finish Jack--there's some minor color correction still to do and I have to fix a couple of shaky composited shots.
Finish Siren--still have the pickups to do, then put them in, then make all the sound good, then color correct the whole thing. (btw, did I mention how fucking AWESOME Premiere CC's new built-in color correction stuff is--man, this update ROCKS)
Do tests for the wrap-around. Cast the wrap-around. Get the FX built for the wrap-around. Do the shooting script. All the other little things involved. And then shoot/edit the thing.
Find two more filmmakers who want to make a short to go in this thing. Scratch that--two more COMPETENT filmmakers. Get them to get their shit done and to me so I can edit the whole thing into a movie.
Do the credits for the movie, front and back. Get the flick scored.
This is just the stuff for T-tory. This does not take into account the holiday book I have to finish by late August. The screenplays I have to finish. The other shit on my to-do list. The year is almost halfway gone.
Fuck I don't wanna talk about James Horner dying. That sucks. My plan is to convince myself now that Alan Silvestri did the Aliens score so that I don't have to think about Horner dying every time I watch the movie now.
Gotta stop here. Drugs are kicking in. Yep, that's how I'm going to sleep today.
Monday, June 22, 2015
I'm pretty happy with it. I'll tighten it, and put the pickup shots in, maybe replace a few shots with some new takes we do. I have to do some Visual FX work, fix the sound. Long way to go.
As for editing, I edit a bit different from most people. It's just the way I've always done it so it's the way I work.
Most editors that I know use the method of editing where they go through their footage and set in and out points to send the pieces to their timeline. (They will typically color code the clips depending on how good or bad they are--a step I skip completely) Then they rearrange them on the timeline in the order they want and go from there.
What I do is drag every clip I've shot onto my timeline in their entirety and then go through each clip one by one. I want to see every piece of every clip. I never delete a whole clip--there's always a useable piece that may save my ass down the line.
I go through and find the best performance of each take and bring those down the timeline to the front and begin to arrange them the way I want. But at the end of the timeline is always the other clips I can re-inspect and perhaps use in case I change my mind.
It can quite messy to someone not used to it, as you can tell from the pic above of my desktop. That's what the Day 2 footage timeline looks like.
It's not until I'm nearly done that I delete everything at the end of my timeline and remove unused clips.
Once I have a rough I'll go through and start tightening it, making it better. Every time an edit catches my eye, that's an edit I take another look at. How can I make it flow better? Why did it catch my attention.
A lot of editing is simply trial and error. Putting shots together, trying other shots. Sometimes shots you think will go together simply don't, while other shots that shouldn't work end up beautiful together.
One of my best-edited films, HH, was only as good as it was because I had to edit the entire movie three separate times. I lost the hard drive I was working on twice, and had to start from scratch. But each time the movie got better.
Anyway, there's a glimpse into my editing suite.
Also on the T-tory front, am thinking about asking my composer Chad to do the score for the whole flick. Originally I wasn't going to since I was only going to have directed about 25 minutes of the full movie. But now that I'll have directed half of it I'm thinking it would be great to have him back.
Not sure if he can/will for the little I can pay him. Heck, he just did orchestration for Jurassic World and did the full score for Lego Jurassic Park video game. He's a busy guy. But I'll ask, see what he says.
Anybody watching Wayward Pines? It's about a dude who wakes up in a town with no idea how he got there. The inhabitants of the town are all acting weird. He tries to escape but he can't because there's a wall blocking the town in, and dangerous creatures out in the woods.
I know, right? Like my flick GOH. I don't pretend they're stealing from Luke and I--hell, we're all basically just stealing from The Prisoner with our little slants. It's just funny to see the resemblances.
Shows not bad though. Keeping my interest.
Sunday, June 21, 2015
Ryan venturing into the woods, shot by my brother Mike
I'm smoothing out some of the rougher edits and I have the last 90 seconds or so to edit. I haven't done any sound work other than to sync the lapel mics. I didn't sync the boom mic, but I figure I'll go through and do that later since I'm using the lapel mic for all of the dialogue.
Anyway, wanna see what I mean about shots not matching due to sun? This is an example of back to back shots that I gotta make match.
I'm going to have to selectively light shots in a sunlike fashion in shot 2. Since I wasn't on a tripod I'm going to have to motion stabilize it first, precompose it, then go in and pick a bunch of spots that look hot in the first shot and make 'em look hot using curves or levels, probably color correct them a bit.
I already took a mailbox out of one shot early in the flick. Turned out to be easier than I expected even though we pan right through it.
Experimented with the head blow up scene. I think I'm gonna have to CGI it. Didn't want to, but I'm not sure how much more work I want to attempt on it just to have it not happen. Hey, we tried, right? (and I can prove it with plenty of video)
Have a shot list of the things I want to pick up. It's getting bigger, but shouldn't take very long. Gotta figure a day to do it when I can get Ryan back.
We still need some kid arms, and I'm not sure my kid can sit still long enough for the mold to harden. Gotta figure it out.
Thursday, June 18, 2015
- Things get done quicker. Knowing the shot I'm looking for, I don't have to communicate to the D.P. how I want something shot, or use storyboards to illustrate it. None of these shorts would be getting done in a weekend if I wasn't D.P.ing them.
Things I Don't Like About Being My Own D.P.:
- Far fewer good surprises. Sometimes a D.P. will come up with ideas or shots you hadn't thought of. Collaborating with a good D.P. can be a great thing.
- Nobody's watching my back. A good D.P. keeps frame sides and eyelines in check for you in case you get a little lost.
- Sometimes I get caught up in the shot, not the scene. I'm watching composition and focus, when sometimes I should be paying more attention to the performance. Also, as I'm quickly finding out on this short, I should also be paying attention to the script. We didn't have a script supervisor or continuity person to keep an eye on the script, and as such we missed some lines.
The above was brought about because the other good/bad thing about being your own D.P. is that you know when shit's going wrong. There's a scene involving a backpack in this short, and I knew it was a mess when we shot it.
The action wasn't consistent and I was having a hard time figuring out how to make it happen with the shots I'd conceived. And now in the editing room I'm seeing how disjointed it is.
In addition, the spatial problem I knew I was gonna have is rearing its massive head. I tried to get the wide shot but we were running late and the sun was flaring so I knew the wides wouldn't match. Couple that with the continuity of where the bag and shotgun are, and it's a mess.
So I'm planning some pickups. I'm going to have to work some magic though because I'm not bringing Meadow back. That means on this wide I'm going to try to pick up(that wasn't on a tripod cuz I was standing in weeds and right on the edge of a stream) I'm going to have to composite Ryan and the bag/rifle into the shot somehow(which will mean I have to take him OUT of the original shot to composite him in). All without a clean plate.
I'm moving to the scene where Ryan gets a stick through the leg. It's gonna be the best scene I think.
Long post. We need some cleavage.
Wednesday, June 17, 2015
That's me with my favorite cheap shoulder mount. I have the two handled one, but I gotta tell ya for my money this is the best. You can even mount a shotgun mic and a zoom right to it(which I did for Bounty).
Anyway, I didn't discuss the night of day 1, did I?
I came home and immediately got to prepping for Day 2. Which is:
Dump the cards, audio and video. Recharge all batteries. Then I decide to go the hard route--instead of starting at 9am we're going to start at 7am, head over to the eastern shore and pickup the scenes we missed, then back to the meadow to resume the schedule, albeit one hour later.
I text everybody involved to see if they're all good with it. They are. It's gonna mean not much sleep, but better we get it done with now than try later.
I don't need any drugs to go to sleep. I get about five hours, and then its--
Zig and I get up. I skip the doughnut run since pretty much nobody ate them. To the eastern shore!
We bang out the shots pretty fast. We get the truck stuck in the mud briefly, but push it out. We're just about on time for the revised schedule as we head back to the parking lot on the other side of the bridge.
I fucked up and forgot to tell Melissa we were meeting an hour late. Then Meadow calls and says she's feeling unwell but she's coming anyway, will be like a half hour late.
We're falling behind, so I grab all the guys and say let's go set up base camp and Melissa can bring Meadow over to it.
We do it. But as we're dragging the cooler through the parking lot a fucking wheel falls off. Can't be put back on. So I carry this fucking cooler full of ice and water and tea to the camp site. I am sweating like a fucking pig by the time we're in place.
We start rolling through some shots. It's going well. The meadow is pretty shady which means I don't have to stop down to f16. Even so, using the 14-42mm lens keeps a lot in focus.
We run a little late but we break for lunch. Meadow wants to go with my brother to pick up lunch, since she's got gluten issues and doesn't know what she can get to eat from the sub shop.
This is where a little glitch comes in. It takes a solid hour for the lunch to come back even though the sub shop is about two miles away. There's nothing we can shoot without Meadow.
This picture shows, from left to right, Stewie, Ryan and Zig.
Finally she comes back and I tell everybody to shovel the sandwiches down cuz we gotta get moving. Time for shotgun fun.
I shoot all three cameras at Meadow, then we move her out and bring in the dummy head we want to explode. It's dicey getting it set up cuz Meadow was close to a tree and we're using a tripod to hold it up.
Finally my brother takes a shot with his revolver using shotgun shell. The head flinches but doesn't explode. On closer inspection the nose is indented and there's a slash on the cheek. Our second shot gets the same result.
So we pull out the actual shotgun and load it up. Paper/scissors/rock for who gets to shoot it. My brother gets to do that too. First shot and the top of the head head DOES explode, but it also spins around and the wig flies off.
Mark resets. We do it again and get a very similar result. Not sure if I can make it work with the whole head/shoulder swivelling.
Gotta move on anyway to the last scene.
Ryan needs a latex appliance on his face but it's so fucking hot and humid that we're all sweating. The appliance doesn't want to stay. Meadow's artificial fingernails are falling off too.
We hear approaching thunder. We gotta get this shit done. It's only like five shots but I've allocated like three hours for it because I'm not sure how the FX are gonna look. But now that we're behind schedule with a storm approaching we may have barely an hour.
But we do get it done. Not sure how it'll look but the important part is that we got every shot/scene needed except for an FX shot we simply couldn't do this weekend. Great news is that we can get it just about anywhere. It's a CU insert.
It starts pouring as we're loading out, but we get the important equipment in the car before it gets wet. I dump the water/ice, but the cooler still has a bunch of cans and bottled water in. I carry it out, nearly having a stroke due to the two big hills.
NOW UPDATE: Spent most of the day syncing the day 2 audio, of which there was much more. Will do some edits tomorrow. It's looking very nice for the most part. Probably will be the best segment in the film, though my wraparound could give it a run for the money.
Which reminds me--now I gotta start breaking that into a shooting script and do some tests on how to get good results in low light with the GH4.
Tuesday, June 16, 2015
(But big thanks to Ryan, Zig, Stewie, Melissa, Meadow, my brother Mike, and Cutting for coming out and enduring the brutal heat)
By that I mean a lot of work. All went pretty well though. The picture above shows Melissa who came in to help with costume and makeup, and that's Meadow who's playing the title character of this segment.
Anyway, let's get to the weekend! (and please don't repost any of these pics of the shoot)
Took a drug and went to bed at like 10:30pm, up at 5:30am to hit the eastern shore. We're over there shooting, stuff's going relatively well. Some dog walkers show up at the first location, which is CRAZY, because it's in the middle of fucking nowhere and it's 7:30am.
I told them I was shooting a video for my kid. They asked more questions, and I lied some more, but they stayed out of the way.
We ended the eastern shore shots ahead of schedule(I THOUGHT...more on that later) and headed back to the woods.
My plan on day 1 was just to walk the trail my brother and I had location scouted and get the shots we needed. We didn't take a ton of gear but some was heavy so I'd brought my kid's wagon. We strapped the shit on that and Stewie gamely pulled it.
We got a couple of the shots/scenes, and before long the fucking front wheel on this wagon has bent because it's a GIANT PIECE OF SHIT.
At a slope we decide to give Stewie a break, leave him at the wagon and go up to where we can get the last couple of shots on this side of the woods, then we'll come back for him.
We do that. I also jog the ladder the rest of the way to the meadow and throw it in the weeds. We'll get it the next day when we're shooting in the meadow.
We head back. It's hot, humid, and I'm sweating up a storm. But so far things are going pretty well other than the fact that the slider's center hole is too fucking big for my tripod(should have checked but I figured it would be standard).
There ARE standard holes, but they're on the ENDS of the tripod. So we strap the big tripod to one end and then just lay the other end on my other tripod. The slider belt seemed a bit loose but I wasn't sure how to fix that--I will inform you now that on Monday when I prepped the gear to send back I discovered a hidden pocket in the slider case that has tools to tighten it. AWESOME.
Anyway, we're late for lunch but we go grab some subs and chow down, then head for the woods on the other side of the meadow where Ryan will do his big fall down a hill, plus he discovers where the Siren came from.
I have no complaints. We get done about an hour late, then head to my house for the shot where Ryan gets home and sees his kid. We're going to use my kid, I hope. Not sure if he can do it or not, I mean, convincingly.
I shoot Ryan's side of the shot, then spin and get my kid to do his stuff. Turns out he's pretty good. Bad news is I'm not sure their eyelines match up. I think Ryan was looking low, and my kid came out and didn't come down the steps.
And I was either too fried from the all day work/heat/nervousness about my kid that I didn't realize it until my sister's husband(who knows NOTHING about making movies) asks how they're going to look like they're LOOKING at each other.
I'm like...good question. But by then my kid was off to the beach for the rest of the weekend.
And somewhere in there I realized that I missed the two short scenes at the end of the script that take place on the eastern shore...
I had made a note that said shoot scenes 1,2,10 and 11 from 7:30am-10:00am, but I just skipped past that and went right into shooting. My fuckup.
This is a long blog post. Will do Sunday's rundown in the next blog.
But hey, here's a picture of the deathtrap tree that refuses to come down. See how far I cut it? Why isn't it falling?
Will tell ya later about how I edit versus most people.
Thursday, June 11, 2015
That sound like a good idea to you?
Anyway, got it started and then cut into that tree some more. I cut it so far that there was only about 4 inches of tree left of the original 16 or so inches.
AND IT STILL DIDN'T FALL.
I should have taken a picture, but the whole fucking thing was miserable. It's muddy as fuck out there. Mosquitoes were attacking even though I put on bug spray. It was hot.
I'll take a pic when we're back out there on Saturday.
I could have cut through the tree entirely but there are two issues with that: 1) If the tree falls completely into two segments, the one piece will be lying flat on the ground. I don't want that. I want it to break and still be attached so it forms a triangle with the ground.
2) The tree's leaning a little in the direction I was standing while I cut. I cut the notch into the tree on the other side, but if I made it all the way through there was a chance the whole thing--which is about 30 feet tall--comes right down on me. I might have taken that chance if someone else was out there, but it was just me.
Am moving the shoot a little farther up away from the meadow. It's not so overgrown there, and it's also shaded a little. Since the other site would have had sun for part of the day but then would have lost it, continuity could have been a nightmare.
This way the lighting should be fairly consistent the whole time.
I'm still undecided on the look to shoot. CineV, CineD or the Natural with my modifications? Clearly CineV looks best right off the card. How much grading do I want to have to do?
So I'm leaning toward CineV, and then maybe I'll just go in and do some mild color work. I'm going to have enough shit to do as is, since it's pretty clear I'm going to be editing every short in this film, putting them all together, and then color correcting so it's sorta consistent.
(and I'm sure there will be a ton of fun considering just about every short was shot with a different camera...)
I did a new shooting script for day 2 today. Am making a list of things to not forget to do on the day of.
Am watching Zombeavers on Netflix. It's pretty goofy, but not terrible. It's as goofy as you'd expect a movie called Zombeavers would be.
Tuesday, June 09, 2015
Also went over and spoke with one of the other filmmakers and checked out his partially-shot short. His is one of the one's we're probably going to abandon. It just didn't turn out very well. I got all the footage from him and told him I'd take a look, maybe do my own edit and see if it can be salvaged.
It's pretty cheesy. Will have to think on it.
Know any talented graphic guys who could design a custom-made map like you find in the beginning of fantasy books like The Lord of the Rings? Someone who's just interested in credit in a feature film? Send 'em my way, I could use 'em.
Tomorrow I go out to rent a chainsaw and cut that tree down. On my own. So if you don't hear back from me, it's because the tree fell on me and I'm dead. Don't feel bad--it's actually a best-case scenario. Good news is I'll be filming it so you'll have some great footage to watch.
Thursday I go out and buy all the food/drinks/batteries. Here's a list of the stuff I rented from lensrentals for four days:
Kessler CineSlider $115
lensrentals HD $79
Panasonic 35-100mm f/2.8 X OIS $69
Manfrotto 502HD Fluid Head $27
Tiffen 58mm ND filter $21
It comes tomorrow(theoretically) so I'll have two days to mess with the stuff. Gotta send it back out on Monday. The fluid head is for attaching to the slider so I don't have to pull my head off my tripod every time I want to use it.
Rain is threatening but at this point I think we're just gonna make it work. I don't wanna waste the $350 I'm spending on equipment, and much of the shoot is under deep canopy where I don't even think the rain will hit.
But hell, if it's gonna rain I'd just as soon it rain the whole time for continuity's sake. I did order two rain covers for both cameras. Not sure what I'll do about the mics.
Sunday, June 07, 2015
Boom, had a lot of plans for today. Had to go to a birthday party for my wife's niece. Then run out of that party to head to a graduation party for my nephew.
Then ran out of that party, cuz I had plans to go cut down that mutherfuckin' tree. I also figured hey, let's take a watermelon out there and shoot it with my brother's revolver that shoots shotgun shells, and see if it will explode it. I figure if the watermelon explodes, then the fake head will too.
My big problem is that I have no chainsaw to cut down the tree. Everyone I know owns an electric chainsaw. Home Depot wants $65 to rent one for the day and while it doesn't sound like much, I bristle at the fact that I can BUY one for only three times that amount. But I don't wanna buy one.
My dad owns a saw and an axe so I just figure I can use those. The tree's gonna be dead anyway.
Out to the woods!
We get to the meadow and I immediately see the rain of the past few weeks is fucking me in the ass. The meadow used to be a meadow, but now grass has grown to like two feet. Big weird plants are sprouting all over. It's starting to look like a fucking jungle.
I try to ignore that. I'm there for the tree. But the tree I wanna chop down turns out to already be leaning a certain direction. Even if I cut it in the proper spot it's still gonna fall the wrong direction.
So I pick another tree that looks like it might fall in the right place. It's not QUITE so dead, but it has no big branches coming off of it.
We start sawing the tree. We take 90 minutes sawing. The tree is more than halfway cut through, with a big notch on the side we want it to fall but IT. WON'T. FALL.
Look, the timelapse my brother shot:
It's kinda comical when viewed like that, right?
I got frustrated and my arms hurt, plus it was starting to get dark. So I tell Mike let's go blow this melon up and then come back.
We moved farther into the woods and set up the melon. I ended up getting a honeydew since it was closer to head size than the watermelons I saw.
I set up my camera to shoot slow mo. Here's what happened on shot 1. (Note, I color corrected the first part of this clip--the 2nd part is slowed down even more in Premiere and I just left it un-corrected.)
For those with a GH4 wondering how I have audio, I used a mini Zoom recorder at the same time, and just slowed it down and put it with the video.
So awesome. The lone bright spot, because we went back to the tree and sawed some more and couldn't get it down.
I went back to my dad's and he helped me turn the L-bar into something that can attach to the slider and the camera, so that's another thing down. I also printed up new releases for the actor and actress.
I don't know what this is. What is this and why does it exist?
Wednesday, June 03, 2015
And yeah, when they went to the CC suite I was pretty skeptical. I don't like not owning my software. But after trying it I was sold. It's pretty impressive.
There was a new update recently. I don't know if it's the problem, or if this is just the first full test of using the GH4's 4K video, but I'm getting little glitchy things in the exports.
Wanna see one?
Watch the first 5 seconds. See that crazy weirdness that happens for like 4 frames at the beginning? What the fuck is that? It happens in another video I made also.
I have no explanation, and I'm sure it'll be one of those things the Adobe techs will ask for a million stats on my computer, and then have no idea what caused it. I don't have time to fuck with it, so rather than re-export the whole video I did the old half-ass way.
Make a five second patch, import the full render and the patch, then export a new copy. Seems to have worked, so it's not like that glitch is repeatable(which would make finding a fix easy, because it would mean the problem has to do with what's going on in that exact moment on the timeline).
Things I did in prep for Siren today:
- Got the L bar, have to machine a way to attach a quick release head to it. See, I have this crazy idea that I can use the slider we're renting to do crane shots by attaching the L bar, then mounting the camera sideways. When we tilt the slider vertical the camera should be level. Then you slide up and down rather than right/left, and you get a 36 inch crane. Not much, but I'm not looking for any big crane shots on this.
- Got the wig for the Siren head. Only have one, so I'm not sure how much blood/gore is gonna get on it for our second try. Not too worried either way.
- Got a new XLR Y cable. I discovered while doing our fun commentaries the other night that my XLR splitter that goes into the Zoom is glitchy. If it gets pulled too hard a wire must go loose inside, and bye bye sound. Problem solved with a new one.
- Go out and chop down the tree and position it to where I want it. See, I don't own a chainsaw and turns out that I don't know anybody who does. So I either have to go out there with a fucking saw or an axe, and chop this tree down. And it's got a diameter of like two feet.
- Once it's down and in place I will finalize the shooting script/shot list for that day. But until I know where the tree's gonna be I can't visualize those shots.
- Need to get this wig cut into the haircut of the actress. Right now it's super long. She has short hair.
- Gotta figure out what I'm gonna do about the truck the character's supposed to be driving. I was gonna use my dad's--he's got a big pickup truck that's perfect for this guy going hunting. Only problem is that my actor doesn't know how to drive a stick shift. My current workaround has me guilting Stewie into using his truck. It's not perfect, but neither are my movies so that's cool, right?
- Gotta get all the bullshit stuff for the shoot--snacks/drinks, bug spray, sunscreen
- Gotta figure out the "costume" the actress is gonna be in. I really need to find some girl who's into makeup and costumes, who can come out and be on set with us, and just fix the actress up into something cool, and make sure she stays looking good through the day. (and also have her robe or whatever handy for between takes, cuz I don't want the actress sitting there naked all day--I'm sure someone will wander by and report us for shooting a porn)
- Gotta double check all the FX to make sure it's gonna work on the day of. Also gotta figure out a way to do the body parts/head in the book bag because we don't have any kid body parts, and no time to cast them.
Long as there's no rain it should be good. Day two is worrisome though...
So a bonus pic because she makes me feel like everything's gonna be all right.
I guess I could mention that I got offered a shooting job next week. $500 a day, expenses paid. Would be gone from Monday - Thursday in my least favorite state New Jersey.
If I didn't have the T-tory shoot(and gear coming in Thursday that I'd like to experiment with), then I would totally jump on it. Sounds like an easy shoot, with their camera(that I'm not at all familiar with but let's face it--I've shot on so many goddamn cameras in my life I could probably pick it up quick, especially since it's a Panasonic(HCX 1000 4k).
Told 'em to hit me up next time for sure. I'm trying to find them a replacement.