AFLW Chelsea Randall – The Break Through

Chelsea Randall AFLW

AFLW's Chelsea Randall - The Break Through

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Project details

Conduct a 2 camera interview with AFLW Crows Player Chelsea Randall. Discussing her recovery from a major injury. Film b-roll of Chelsea on the oval in Adelaide.


Chemist Warehouse / Bastion Films

What we did

Adelaide based pre production support, film interview & b-roll.

Lot’s of new gear! CMA Media Video Equipment Update

New Video Production Camera Equipment.

Over the past few months we have took the plunge on some shiny new video equipment that is helping us to capture some stunning images as well as make certain types of projects easier and time efficient. From cameras to monitors to iphones, here is a list of some of the new production gear that we now have in-house. 

Sony A7S3 Mirrorless Camera

Well it was a long time coming and I couldn’t be happier with this camera. Using it over the past few months has been a dream, incredible stabilised 4k 60p video when used in conjunction with the DJI RS2 Gimbal. Filming 2 camera interviews has been fantastic as the picture profile, sensor and 4k image creates a very close match with the Sony FS7 camera

Using the Sony A7S3 on location
Using the A7S3 underground at a recent shoot.

DJI RS2 Gimbal

Back in 2013 I bought the Glidecam HD4000, it was my first foray into using camera stabilisers and it definitely brought a lot of value to productions i was working on. Flying that with the old FS700 with the vest and arms was, (although a pain to balance and ‘suit up’) a joy to use. It brought silky smooth pictures and i had a lot of fun learning how to fly a Steadi-cam. I used this setup on the Dubai Travel Series I shot back in 2016.

I ended up selling the Glidecam in 2018 as I hadn’t used it for a while and was doing more directing work. In May 2020 I bought the DJI Ronin-s, it was a whole new world to learn. I struggled a bit a first to remove micro shakes in the pictures and master smooth gimbal shots. The Gimbal itself was well made and enabled me to quickly get smooth walking shots and walk-throughs. 

It was slightly annoying how I needed to re-balance the gimbal every-time I used it and when changing locations on shoots throughout the day i did find myself strapping the Gimbal into the passenger seat of the car so i didn’t have to re-balance at the next location. Not ideal as it bashed up the equipment a bit (and probably wasn’t super safe either!).

2 months ago I sold the original DJI Ronin-s and bought the updated version, the DJI RS2. After using it for a few months, I can honestly say it’s a very good upgrade, the steadiness of the pictures coming off this Gimbal are amazing, it’s lighter than the original and I don’t need to re-balance every time i get to a new location. 

I have been flying the A7S3 on this gimbal, and when paired with the 4k 60p images in the s-cinetone colour science. It’s just been an absolute joy to use! I recently used this new video equipment combo when creating a quick social video for Anytime Fitness

OneTake Only Teleprompter / Autocue video equipment

Teleprompter Hire Adelaide

With the events of 2020, the way video was produced around the world changed. Remote interviews became more popular than ever as well as live streaming due to the need for social distancing.

I have completed many projects of the last year that involved talking to camera such as community announcements, CEO announcements and Zoom ‘look-a-like’ calls where the person is looking down the lens like in a Zoom call but the camera on the other end is a professional video camera instead of a desktop camera.

After renting teleprompters for specific projects over the years, it was finally time to purchase a teleprompter / autocue for in-house use.

Dual client monitor setup with Ipad / Phone & Monitor

Two Camera Client Monitor
Dual camera directors monitor on a recent shoot

I have been providing a client / directors monitor for setups for a while now and i have found it’s been a great asset to have on set. The (minor) problem I had was when doing multi-camera setups in a studio or an on location interview, I was only able to give a live feed from the A camera to the client or director. 

I decided to create a rig where i was able to provide 2 streams (or 3 if necessary) to the client / director. It needed to do two things: 

  1. Both screens needed to be on one rig / cage for ease of setup and keeping as light a footprint as possible.
  2. Modular so that when the monitors are not sitting on a light stand in a controlled interview situation, they can be moved around or held by the director in his / her hand around the set.
Testing a dual camera directors monitor with a SmallHD 702 bright and an Ipad

I bought an Ipad tripod mount and an Iphone mount and hooked them onto a Noga Arm. I tested out the idea on an interview shoot a few weeks ago and it actually worked quite well! 

Two live camera feeds wirelessly to two monitors. The A cam was using a wireless HDMI transmitter and receiver using the system I built last year and the B Cam (Sony A7s3) was using it’s built in Wifi to send the video feed to the Ipad / Iphone.

Hire Paulfor your next video project

Paul and his team of trusted video crew are available for day rate hire or project rate hire in Adelaide at local rate, Australia wide or Global at very competitive rates.
Camera kits can be built for custom jobs. See full kit list here 
Get in touch for availability and rates

Anytime Fitness Australia Promotional Video

Anytime Fitness Featured Image

Anytime Fitness - Gym Promo Video

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Project details

Produce a short & sharp promotional video for Anytime Fitness. We follow our subject from the start of his session to the end whilst also seeing what other gym goers are up to!


Anytime Fitness

What we did

Produced entire video (Produce, direct, shoot, edit & deliver)

Sony confirms the A7s iii will arrive ‘later this summer’

Sony A7s iii coming soon

Will the sony A7s iii arrive soon?

I’m not usually one to write about rumours and upcoming releases but the possible release of a Sony A7s iii i admit i am a bit excited about. VP and Senior General Manager of Sony’s Digital Imaging Group, Kenji Tanaka revealed this week in an interview with DPReview that finally the successor to the ageing Sony A7s ii will be coming ‘later this summer’ (or Winter) if you live down here in the southern hemisphere.

This is a pretty solid confirmation from Sony and that we will see a new camera from the A7s line in the coming months. The jury is still out as to what the specs maybe but Tanaka did promise that the camera will have ‘supreme’ performance and a completely redesigned camera.

“I can confirm that a successor to the Alpha 7S II will be coming, later this summer. Right now we’re focused on the launch of the new camera, and it will be a complete redesign of the whole system, including the image sensor. Everything is new. We hope it will meet and exceed the expectations and requests of our customers. I’m very confident that our new model will meet their demands.” – Kenji Tanaka

the specs would i like to see on the a7s iii

4k with a 60p frame rate

Recently i’ve been filming a fair bit of architecture content on the main camera (Sony FS7) on 4k / 25 & 60p and then using a Ronin S Gimbal for a bit of b-roll of the presenters walking around etc. So, (and i know this is a bit predictable) the first thing on my list would be 4k/60p to match the tripod based b-roll i shoot on the FS7. Being able to shoot 4k/60p on the Gimbal with the A7s iii would be fantastic with matching the aesthetic.

3 recording streams

Using a b-cam like the A7s iii on a gimbal would be great. But having a wireless signal from the gimbal to a directors monitor / client monitor is currently not possible with the A7s ii as the camera can only output 2 video streams:

  • 1 stream to the card for recording
  • 1 stream to the viewfinder on the camera (for operator viewing) 

If the new A7s iii has 3 recording streams built in, i could then have:

  • 1 stream to the card for operator viewing
  • 1 stream to the viewfinder so i can shoot on the gimbal
  • 1 stream to HDMI output for wireless signal to the monitor receiver.

 This would be great! I’m not holding my breathe for this capability, but i would be very satisfied if it could!

*Note if you have found a way to do this, leave a comment below!

10-bit 4:2:2 recording

Same reasons as the above, having 10-bit on my b-cam DSLR would mean an exact specs match on the main camera. I would also feel a lot more comfortable when directors / clients ask me to shoot in S-log. Shooting s-log on an 8-bit b-cam is always a little risky in harsh or low lighting conditions in my opinion.

Recap & ‘nice to have’

No 30 minute recording limit

This would be useful for shooting 2 camera interviews and not having to cut recording half way through the interview. Murphy’s law is at 29 minutes and 40 seconds the subject is always in the middle of a great sentence or statement! Having this be a thing of the past would be great.

Other specs and ‘nice to have’ specs

What specs would you like to see in the new Sony A7s iii? Leave your thoughts in the comments below.

Hire Paulfor your next video project

Paul and his team of trusted video crew are available for day rate hire or project rate hire in Adelaide at local rate, Australia wide or Global at very competitive rates.
Camera kits can be built for custom jobs. See full kit list here 
Get in touch for availability and rates

How to catalogue all your raw video footage for offline access


Note: I am in no way affiliated with any products mentioned in this post, i have not received any financial reward, it is purely my opinion.

1. why is it a good idea to catalogue raw video footage?

To catalogue your raw video production footage in an easily accessible way can save you hundreds of hours of productivity over the course of a few years. 

When it comes time to refresh that showreel or find specific shots a client is requesting, finding those specific shots from the last few years over a range of external hard drives can be painful and very time consuming. Having an organised footage library that has searchable keywords will make finding that shot much more manageable and claw back those valuable minutes in each day.   

As a freelance DOP / camera operator, I produce hundreds of hours of raw footage over the course of a year. During my career, i have produced 1000’s of hours. From day one, my video footage has been slowly filling up external hard drives, sitting in the office collecting digital dust in the form of ones and zeros. 

I have been fairly meticulous in my organisation of client projects, labelling the folders and sub folders in an identifiable way so that i can find them within a few minutes… Ok that was a bit of a white lie, sometimes i found them in a few minutes, but most of the time, finding a specific shot could take anywhere between 5 minutes to 2 hours – not ideal!

As time went by and more and more video projects were archived and backed up, the organisation was not what it was in those early years. So i decided to get on top of things and catalogue my raw video footage. I wanted to be able to do the following:

2. Video catalogue app research

Finding a suitable app that was geared to video wasn’t as easy as i initially thought. There are quite a few apps out there that will scan the files on your external drives so that you can still search them even when the drive is offline. This is where i first started. Speaking to an editor friend, he recommended that i download Disk Catalog Maker

After downloading, i scanned my 10 external hard drives and voila! I was able to search and see every video production project i had created content for over the past decade or so. I then copied the drive database that the catalog maker created and uploaded it to my google drive storage. 

Now i can access all of my footage for reference purposes on my laptop or desktop. This definitely has some value and did save me a ton of time when i needed to access an archived project.

It still wasn’t 100% what i was looking for though, ideally i wanted to be able to see thumbnails of all of my footage and be able to search for specific shots via keywords.

I continued my search to find an app that would do just that, i spoke to a few industry friends and was finally pointed towards NeoFinder

Disk Catalog maker is great for viewing what files are on your external hard drives when they are offline

3. how to catalogue your raw video production footage with neofinder

Just like the Disk Catalogue Maker app i mentioned above, NeoFinder scans all of your external hard drives (as well as your local drive if you want) and indexes them in a database. The free version allows you to catalogue up to 10 drives which is very good, if you need to catalogue more than 10, the paid version is around $40 which in my opinion, is worth the money.

Once you have downloaded and installed the app on your desktop or laptop (for reference, i used an Imac), I would recommend doing the following:

  • Decide if you would like to sync the catalogues across your desktop and laptop via the cloud. If your answer is yes, before cataloging your first drive / volume, go to the NeoFinder preferences and change the database folder location to your cloud storage space such as Adobe Cloud, Google Drive, Dropbox etc.
  • Make sure you have the necessary software on all your machines to read the raw footage of the camera you use. 

NeoFinder will natively generate raw footage thumbnails on .mov, .mp4, .avi, .divx, .m4v, .qt, .flv, .mpg, .mkv, .dv, .wmv, .3gp, .webm, and .EyeTV file formats. 

As i own a Sony FS7, i shoot primarily on .MXF format, i quickly realised that i needed to do some additional work to generate thumbnails. I downloaded the ffmpeg driver and pasted the file into the /Users/yourname/Library/Application Support/NeoFinder/ folder. 

The next time i opened up the app, there it was, thumbnail images generated for Sony Raw Camera files in the MXF wrapping as well as MPG, M2V, M2TS, MPV, MTS, TS, WEBM, FLV, and even VOB.

Note: If you have r3d camera files from a RED camera, you will need to have REDCINE-X PRO Software installed on your machine to see thumbnails of your footage.

The NeoFinder interface displaying raw FS7 footage thumbnails after installing ffmpeg

3. Cataloging your raw video footage

Once you have downloaded the app & installed the necessary drivers, it’s time to start cataloging your drives / volumes. to do this, go to File > New Catalog from Volume. Select the drive you want and click ‘start’.

Depending on how big your drive is, it can take a 20 minutes or so to catalogue raw video footage. My advice is to catalog all your drives first before starting to keyword the footage.

By default, NeoFinder will read all the files on the drives (including non video files) so a handy tip is to right click on the volume > find > All media files in this item. 

By now you should be able to see thumbnails of all your raw video footage in a list with thumbnails! Ahhh! 

You can sort these by Name, Size, Creation Date, Modification Date, Path, Kind, Rating, Comment, Label, EXIF date or duration. 

You can sort your footage with a range of options.

4. key-wording your raw video footage

Here comes the time consuming part: Key wording! I’m not going to lie, this took me a while! About 3 days in total as i had thousands of raw video footage to wade through. One important tip is you need to have the drive online and connected to NeoFinder to save keywords as these are appended to the file metadata itself, not the NeoFinder database.

For key-wording your raw files, i recommend sorting by ‘creation date’ as i am generally shooting a similar genre / type of video on a specific day which makes it easier to bulk keyword. To enter keywords, click on the video file you want (or select multiple files) and type in the ‘Tags’ section of the ‘get info’ tab on the right hand side.

I key-worded my footage into various genres with the main idea of making the footage easily assessable when it comes to re-doing my showreel and making additional showreels such as drone, slow motion etc.

The keywords you use will probably be very different to mine but as a start, some words i used were ‘sport shoots’, ‘corporate video’, ‘branded content video’, ‘TV Series’ ‘TVC’s’, ‘Architecture’, ‘Automotive’ etc. 

You can enter keywords / tags in bulk by selecting multiple clips

5. catalogue raw video footage - additional benefits

Find Duplicate Footage

I’m still exploring more feature as i use it but at the moment, the app is doing what i set out to achieve above. Another feature that i plan to use is ‘find duplicate footage’. This is great for making sure i don’t have triple and sometimes quadruple backup copies of old freelance projects. 

Movie Contact Sheet

The movie contact sheet can generate more than one thumbnail for each video file. This is especially useful for longer clips. You can also generate added meta data. To generate a movie contact sheet, right click the file in NeoFinder or right click the file in Finder (on a mac).

Video Playback When Online

The heading pretty much explains this one itself, when the volume that the video file is stored on is online, you can play the video files from within NeoFinder. I probably won’t use this feature much but it’s good to know!

Advanced Raw Footage Search Of All Hard Drives

Once you have catalogued all your hard drives / volumes, you can quickly do advanced searches of all your video production footage such as Size, Duration, Keyword, Path, Video Codec, Image Codec, XMP & Name. These can also be combined. For example, search all travel (keyword) footage shot on .r3d file format.  

5. conclusion

I’ve been meaning to catalogue my raw video footage for a long time and key-wording the files did take a bit of work (being able to bulk keyword did help a lot!) But now that it’s done i am already seeing the time saving benefits. In the coming months i plan to create mini genre based showreels and now that the ground work is done and the assets are organised, i will be able to find specific genre based shots in a flash. NeoFinder seems like a pretty powerful tool and i’m looking forward to trying out the more in-depth features. 

Hire Paulfor your next video project

Paul and his team of trusted video crew are available for day rate hire or project rate hire in Adelaide at local rate, Australia wide or Global at very competitive rates.
Camera kits can be built for custom jobs. See full kit list here 
Get in touch for availability and rates

Habitus | House of the Year | Pacific Region

Habitus | House of the year | Asia pacific region

Project details

Habitus house of the year series searches for the most remarkable homes know for their architecture and interior design within the Asia / Pacific region. Broadcast on Channel 7 Australia.


MWC Media | Habitus

what we did

DOP – Paul Moses. 
Shot in 4k S-log3 on Sony FS7

Australia by Design Interiors

Australia by design - interiors | Season 2

Project details

We travelled around Australia in search of the countries best interior designs. Show broadcast on Channel 10 2020


MWC Media | Channel 10 Australia

what we did

On location director | script writing & story angle for presenters

Paul Moses 


Paul is a seasoned professional and amazing all-rounder. A great director and experienced camera operator – his output is always of the highest quality and he works extremely fast. Nothing ever rattles Paul, making him a valued calm, level-headed member of the crew. I’ve worked with him for 2 years and he’s always been super reliable. Plus he’s just a downright good bloke.

Dominique Smith

Series producer , Australia by design

Heart Research Institute TV Commercial

Heart Research Institute - TV Commercial

Project details

DOP a cancer awareness campaign for the Heart Research Institute Australia. Broadcast Australia wide.


DTV Group | Heart Research Institute

what we did

DOP – Paul Moses

Peter Mac Institute | Melbourne

Peter Mac TVC | Melbourne

Project details

DOP a cancer awareness campaign for Peter Mac institute in Melbourne. Broadcast Australia wide.


DTV Group | Peter Mac

what we did

DOP – Paul Moses

Krispy Kreme TVC

Krispy Kreme TVC | Adelaide

Project details

Shoot the TV commercial for Krispy Kreme, Dive Into Delicious campaign. 
Light and DP studio green screen scene & on location scene at the restaurant.


Visualizm | KWP

what we did

DOP – Paul Moses