RSVIDEO.CA
videography &
video production
Cinema DNA:
Why the Sensor Matters.
In the world of professional videography, light is everything. But in the real world, dimly lit wedding barns in Wolfville or high-energy dance stages, light is often a luxury you don't have. That’s why I’ve built my workflow around the Sony FX3 and a high-bitrate RAW pipeline. It’s about more than just 'getting the shot'; it’s about having the data to make that shot look legendary.
All Hail The Low-Light King: Sony FX3
Low light is the ultimate "visual killer." While standard cameras start to fall apart and show "noise" (that grainy, fuzzy look) when the sun goes down, the FX3 is just getting started.
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The Science: The FX3 features a Dual Base ISO (800 and 12,800).
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The Result: Most cameras "fake" brightness by boosting digital gain, which destroys image quality. Because the FX3 has a dedicated high-sensitivity circuit at ISO 12,800, I can film in a candle-lit reception or a dark theater and produce an image that is as clean and crisp as if we were shooting at noon.
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Dynamic Range: With 15+ stops of dynamic range, I can keep the details in a white wedding dress while still seeing the texture in the dark shadows of a suit.
Color Science: The 10-Bit & ProRes RAW Advantage
I don't just record video; I capture data. I shoot in 4:2:2 10-bit color internally, and for high-stakes projects, I use the Atomos Ninja V to pull ProRes RAW directly from the sensor.
Why should you care about "Bits"?
Standard Video (8-bit) Captures roughly 16.7 million colors. This often leads to "banding" (ugly lines in the sky or on walls).
My Workflow (10-bit) Captures over 1 billion colors.
The Payoff:
This gives me the "latitude" in the editing room to perfectly match skin tones and create a custom "look" (color grade) that feels like a feature film, not a home movie.
The Secret Weapon: iPhone 16 Pro Max + Blackmagic
The best camera is the one that's ready, and the iPhone 16 Pro Max is a powerhouse when used correctly. I don't use the standard "Photo" app. I use the Blackmagic Camera App to take full manual control over the sensor.
By shooting in Apple Log and RAW, I can perfectly match the iPhone footage to my main Sony FX3. This allows me to get into tight corners, grab quick social "reach" content, or provide a secondary angle that looks indistinguishable from the main cinema camera in the final edit. I even apply custom LUTs (Look-Up Tables) on-site so I can see exactly what the final "grade" will look like before I even leave the set.
To keep the iPhone footage stable, I use a dedicated Zhiyun Smooth 5 gimbal.
The Anamorphic Edge: 1.33x Wide-Screen Magic
Sometimes, a standard "flat" look isn't enough. For projects that require a true "Hollywood" feel, or for wide stages like those at Elite Dance Productions and House OF Eights, I deploy a Freewell 1.33x Anamorphic lens.
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The Vibe: This creates those iconic "blue streak" lens flares and a wider field of view without distorting the subjects.
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The Utility: It allows me to capture a massive dance troupe or a wide landscape while keeping that intimate, cinematic focus. It’s about giving your story a sense of scale that standard lenses simply can’t match.
