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BonoMan
Feb 20, 2002

Jade Ear Joe

Disgruntled Bovine posted:

I'm using a GH5. When you say an actual stabilizer what do you mean?

Something like this gimbal (this is just a first googled one... no idea about this brand): https://www.evogimbals.com/products...AiABEgKgVvD_BwE

In that configuration you'd probably still get vertical vibrations, but if you mount it horizontally, then you could potentially offset the vertical shocks/vibrations.

Anything else should be able to be minimized with a warp stabilizer, etc.

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Disgruntled Bovine
Jul 5, 2010

I don't think a gimbal would work for me. I tend to shoot the train approaching, then quickly pan around and shoot it receding. A Gimbal would still be catching up after the pan and I'd have to cut more of the video out as a result. I'm leaning towards the wire rope isolators, but I'm concerned that they will be too prone to tilting. Really what I need is damping of major excursions in the Z axis, with only very minor damping in X and Y. Most of the ground shaking is Z axis. Ultimately if I could put a wire rope isolator on each foot of the tripod, with a rod through their center holes to prevent much movement in the X and Y axes that would probably be ideal. I haven't figure out how to make that work yet though. I think if I mount the isolator between the head and the tripod, or the head and the camera, I'm going to have issues with rotation about the Z axis on fast pans.

BonoMan
Feb 20, 2002

Jade Ear Joe

Disgruntled Bovine posted:

I don't think a gimbal would work for me. I tend to shoot the train approaching, then quickly pan around and shoot it receding. A Gimbal would still be catching up after the pan and I'd have to cut more of the video out as a result. I'm leaning towards the wire rope isolators, but I'm concerned that they will be too prone to tilting. Really what I need is damping of major excursions in the Z axis, with only very minor damping in X and Y. Most of the ground shaking is Z axis. Ultimately if I could put a wire rope isolator on each foot of the tripod, with a rod through their center holes to prevent much movement in the X and Y axes that would probably be ideal. I haven't figure out how to make that work yet though. I think if I mount the isolator between the head and the tripod, or the head and the camera, I'm going to have issues with rotation about the Z axis on fast pans.

I'm not sure a gimbal is going to be that slow catching up. At the very least you could just rent one and try it.

ExecuDork
Feb 25, 2007

We might be fucked, sir.
Fallen Rib
I've never had a problem with fast pans on a gimbal. I've only ever used my (cheap, knock-off) gimbal head with my 500mm f/4.5 supertele but I can swing that thing around pretty quickly, I think.

\/\/\/ Thanks! Yeah, I'm thinking of a different thing.

ExecuDork fucked around with this message at 22:15 on Mar 22, 2018

powderific
May 13, 2004

Grimey Drawer
The last few folks are talking about gyro stabilized, motorized gimbals typically used as a steadicam replacement kinda thing, while I assume you're talking about the gimbal head things people use for long telephoto lenses which are a different thing.

theflyingexecutive
Apr 22, 2007

You can adjust the auto (follow) and manual pan speeds on the motorized gimbals or just lock it and manually pan.

chitoryu12
Apr 24, 2014

Lessons I learned from my first day of filming:

* Know exactly what the scene looks like in your head. You can film a whole minute of footage in less than an hour if you’re prepared before arriving and only shoot what you need because you already visited the site and decided what looks good.

* If you need a dolly shot on a road without a dolly, roll at 2 MPH with the camera out the window and use Adobe Premiere Pro’s image stabilization whan you get home. The results are incredible.

* Before sound mixing, edit action footage into your rough cut with the sound muted. Your brain interprets the jump in background noise between shots as a rough gap between shots, and muting it lets you see how the transitions will look after final mixing.

chitoryu12 fucked around with this message at 04:37 on Mar 26, 2018

Disgruntled Bovine
Jul 5, 2010

So I'm still exploring the idea of using wire rope stabilizers on the tripod feet. Haven't pulled the trigger on them yet as I haven't found a good source that sells the individual units for a reasonable price directly to consumers.

Here's an example of the type of shocks/vibration I'm trying to eliminate.

https://www.youtube.com/watch?v=yhaYuA4eI9w&t=438s

I have experimented with using warp stabilizer (not on this clip) and it does help. I think part of the problem was also the frozen ground, as with things warming up this week the vibrations aren't as bad. These Miller carbon legs are definitely worse than my smaller aluminum Manfrotto when it comes to transmitting these shocks to the camera, but it would be hard to give up the superior performance against wind-induced vibrations.

BonoMan
Feb 20, 2002

Jade Ear Joe

Disgruntled Bovine posted:

So I'm still exploring the idea of using wire rope stabilizers on the tripod feet. Haven't pulled the trigger on them yet as I haven't found a good source that sells the individual units for a reasonable price directly to consumers.

Here's an example of the type of shocks/vibration I'm trying to eliminate.

https://www.youtube.com/watch?v=yhaYuA4eI9w&t=438s

I have experimented with using warp stabilizer (not on this clip) and it does help. I think part of the problem was also the frozen ground, as with things warming up this week the vibrations aren't as bad. These Miller carbon legs are definitely worse than my smaller aluminum Manfrotto when it comes to transmitting these shocks to the camera, but it would be hard to give up the superior performance against wind-induced vibrations.

Looks like rolling shutter isn't helping on that either. My vote is still for a handheld gyro gimbal unless it just absolutely has to be on a tripod.

Kenshin
Jan 10, 2007
Forgive me if you've already tried something like these, but:

https://www.bhphotovideo.com/c/product/233741-REG/Meade_07368_Vibration_Isolation_Pads.html

They're meant for a bit of a different purpose (dampening vibrations on telescopes and spotting scopes) but I would imagine that vibration reduction for telescopic/telephoto would translate to some pretty decent vibration reduction for wide angle as well.

StuntKid
Dec 10, 2003
We just won for Best Cinematography, Best Editing, and Best Sound Design at a local 48 Hour Film Contest.

Shot on an Alexa with Cooke anamorphics. DOP was a friend of mine who works professionally in the commercial world as a cinematographer.

We managed to bang off some incredible production value, however, I could use another shot or two for the ending, it is way too rushed, and lacking the magic needed to end this story properly.

Anyways, enjoy!

https://www.youtube.com/watch?v=bRfLQ-70XxU

keyframe
Sep 15, 2007

I have seen things
Hey guys is there a good Sony A7III for video guide anyone knows of?

keyframe
Sep 15, 2007

I have seen things
DJI just released the Crane competitor , Ronin-S

https://www.newsshooter.com/2018/05...ially-released/

melon cat
Jan 21, 2010

Nap Ghost

keyframe posted:

Hey guys is there a good Sony A7III for video guide anyone knows of?
I'm seeing a lot of photo-video guides on YT, but nothing specifically for video. Was there something specific that you needed to know? Just wondering if a Sony shooter like me might be able to give you some helpful info.

keyframe posted:

DJI just released the Crane competitor , Ronin-S

https://www.newsshooter.com/2018/05...ially-released/
This really caught my eye. If I could get the Ronin's better motors in a smaller, single-handheld package I'd be really happy. I've found that the Zhiyun Crane's sucks at turning/pans (very jittery), and the Ikan Beholder (I just put together this review video for the DS2-A, which has an angled motor similar to the Ronin-S). Early reviews say that the Ronin-S is decent, but very heavy to carry.

melon cat fucked around with this message at 19:55 on Jun 6, 2018

keyframe
Sep 15, 2007

I have seen things

melon cat posted:

I'm seeing a lot of photo-video guides on YT, but nothing specifically for video. Was there something specific that you needed to know? Just wondering if a Sony shooter like me might be able to give you some helpful info.

This really caught my eye. If I could get the Ronin's better motors in a smaller, single-handheld package I'd be really happy. I've found that the Zhiyun Crane's sucks at turning/pans (very jittery), and the Ikan Beholder (I just put together this review video for the DS2-A, which has an angled motor similar to the Ronin-S). Early reviews say that the Ronin-S is decent, but very heavy to carry.

Phew I thought this thread was dead.

I am basically going full on sony with a fs5mk2 and a a7iii and was wondering about the best resources for shooting with slog2 and 3. I have a 5 min documentary style interview coming up in a month and I am trying to do as many tests as I can between now and then and see if I can match the footage of the two cameras in grading.

melon cat
Jan 21, 2010

Nap Ghost

keyframe posted:

Phew I thought this thread was dead.

I am basically going full on sony with a fs5mk2 and a a7iii and was wondering about the best resources for shooting with slog2 and 3. I have a 5 min documentary style interview coming up in a month and I am trying to do as many tests as I can between now and then and see if I can match the footage of the two cameras in grading.
I don't see any specific guides for the FS5mk2/a7iii yet (and even the "current" guides are pretty terrible and made by people who don't know what they're doing), but there is this Slog2 guide by YouTuber wolfcrow. His videos are long, but he knows his poo poo. And you should be able to adapt some of the practices from this video to your newer Sony cams.

VoodooXT
Feb 24, 2006
I want Tong Po! Give me Tong Po!
I've shot with Sony cameras extensively (Sony F5, F55, and F65) and my advice is to always shoot Slog3 with SGamut3.cine. Slog3 because the exposure curve mimics the D log E curve of a film stock; Slog2 is pretty useless as it's packing the majority of data in the highlights, which the majority of image information won't be. SGamut3.cine because you're sort of in the largest color gamut possible, except the cine flavor of it which actually narrows the gamut a little bit to make coloring easier. As for ISO and exposure, it's highly recommended to rate the sensor slower than what Sony recommends. For example, Sony will tell you the native ISO of the F5 is 2000 ISO and the F55 as 1250 ISO; it's a little bullshit so you're better off rating it two thirds to a stop slower than what Sony tells you.

spookygonk
Apr 3, 2005
Does not give a damn

keyframe posted:

Phew I thought this thread was dead.

I am basically going full on sony with a fs5mk2 and a a7iii and was wondering about the best resources for shooting with slog2 and 3. I have a 5 min documentary style interview coming up in a month and I am trying to do as many tests as I can between now and then and see if I can match the footage of the two cameras in grading.

I work in a corporate AV team and our new senior manager wants us to all get Sony A7iii cameras for our main run-and-gun cameras (and MacBook Pros for editing anywhere). Not going to say no to that.

keyframe
Sep 15, 2007

I have seen things

spookygonk posted:

I work in a corporate AV team and our new senior manager wants us to all get Sony A7iii cameras for our main run-and-gun cameras (and MacBook Pros for editing anywhere). Not going to say no to that.

It is an amazing camera really. I am using mine with a smallrig cage/handle and a shogun inferno on top for recording (will be moved over to fs5 when I get it and replaced with a ninja V on the a7iii). It is just amazing what it can do for the price. I would recommend getting an external recorder because the sony codec is hell for editing with.

melon cat
Jan 21, 2010

Nap Ghost
I need help with making a briefcase look like it's filled to the top with money:



I'm doing a video where there's a big reveal of a suitcase full of money. Except... the suitcase that I have is quite large, and I wasn't able to buy enough fake money to make it look like it's filled to the brim with money. It turns out that fake money (I went to local Chinatown and bought the realest-looking joss paper that I could find) is surprisingly expensive. About $1 per wad. And I bought 12 wads. But my money only fills the bottom of the briefcase. I'd probably have to buy triple that amount to really "fill" the briefcase.

How can I make the briefcase look "fuller"? Ideas I was considering:
  • Get some cut-out foam, and line the bottom of the briefcase with foam, then place the wads of money on top
  • Fill the bottom of the briefcase with shredded paper to add volume
  • Take all of the bank notes out of the wrapper, and toss them about and mess it up to give it the illusion of being "full" (my least favourite option).

The money will appear on-screen fairly quickly and won't get ruffled around. Just the big reveal, a "whoh" moment, then the briefcase get snapped shut.


keyframe posted:

It is an amazing camera really. I am using mine with a smallrig cage/handle and a shogun inferno on top for recording (will be moved over to fs5 when I get it and replaced with a ninja V on the a7iii). It is just amazing what it can do for the price. I would recommend getting an external recorder because the sony codec is hell for editing with.
How's the colour science on the A7iii? Because I've done a lot of shooting with the A7S Mk1, FS5 (which I sold) and the a6500 and never liked the colours that it produced. So grey. So green.

melon cat fucked around with this message at 13:20 on Jun 10, 2018

chitoryu12
Apr 24, 2014

melon cat posted:

I need help with making a briefcase look like it's filled to the top with money:



I'm doing a video where there's a big reveal of a suitcase full of money. Except... the suitcase that I have is quite large, and I wasn't able to buy enough fake money to make it look like it's filled to the brim with money. It turns out that fake money (I went to local Chinatown and bought the realest-looking joss paper that I could find) is surprisingly expensive. About $1 per wad. And I bought 12 wads. But my money only fills the bottom of the briefcase. I'd probably have to buy triple that amount to really "fill" the briefcase.

How can I make the briefcase look "fuller"? Ideas I was considering:
  • Get some cut-out foam, and line the bottom of the briefcase with foam, then place the wads of money on top
  • Fill the bottom of the briefcase with shredded paper to add volume
  • Take all of the bank notes out of the wrapper, and toss them about and mess it up to give it the illusion of being "full" (my least favourite option).

The money will appear on-screen fairly quickly and won't get ruffled around. Just the big reveal, a "whoh" moment, then the briefcase get snapped shut.

First option should work, or cutting up pieces of paper in roughly the shape and size of banknotes to act as filler on the underside. If you have access to an office paper cutter, that shouldn't take very long and paper is cheap as hell.

keyframe
Sep 15, 2007

I have seen things

melon cat posted:


How's the colour science on the A7iii? Because I've done a lot of shooting with the A7S Mk1, FS5 (which I sold) and the a6500 and never liked the colours that it produced. So grey. So green.

It is much better than it was on a7sii.

Frogfingers
Oct 10, 2012

melon cat posted:

I need help with making a briefcase look like it's filled to the top with money:

Get some cut-out foam, and line the bottom of the briefcase with foam, then place the wads of money on top

This, except take a photo of the money as it looks in the case now from the top down, make a printout of that and sit it under the notes after you place the foam in. It should add some depth to the case and will look good enough to get away with if the shot is quick enough/captured from a distance.

keyframe
Sep 15, 2007

I have seen things
Got my Ronin-S in the mail today. It is heavy but amazing build quality and features. I balanced a a7iii with the 24-70 on it and it worked great. Had a Crane v2 before and I prefer the ronin in pretty much every way.

bring back old gbs
Feb 28, 2007

by LITERALLY AN ADMIN

keyframe posted:

Got my Ronin-S in the mail today. It is heavy but amazing build quality and features. I balanced a a7iii with the 24-70 on it and it worked great. Had a Crane v2 before and I prefer the ronin in pretty much every way.

Sweet! My buddy just sold me his Crane-M so he could put the money towards a Ronin-S. I just have a Canon m100 and a few GoPros so it's overkill for me but his A6500+lens was just a bit too much. Super happy with it so far even though it's a budget solution.

keyframe
Sep 15, 2007

I have seen things
I just got my FS5 ii today. I just don't know how I lived without that variable nd before this. :allears:

VoodooXT
Feb 24, 2006
I want Tong Po! Give me Tong Po!

keyframe posted:

I just got my FS5 ii today. I just don't know how I lived without that variable nd before this. :allears:

Having internal ND is such a godsend, I couldn't live without it. So much easier than dealing with 4x5.65" ND filters and matte box filter trays.

keyframe
Sep 15, 2007

I have seen things

VoodooXT posted:

Having internal ND is such a godsend, I couldn't live without it. So much easier than dealing with 4x5.65" ND filters and matte box filter trays.

Yea it works amazingly well in auto ND mode too. I did a test shot where I walked outside from inside and the transition was seamless.

Excited to try shooting some prores raw test footage tomorrow.

melon cat
Jan 21, 2010

Nap Ghost

keyframe posted:

Got my Ronin-S in the mail today. It is heavy but amazing build quality and features. I balanced a a7iii with the 24-70 on it and it worked great. Had a Crane v2 before and I prefer the ronin in pretty much every way.
How's the turning/pans on the Ronin-S? Because I've used pretty much every gimbal out there and the only one that had a smooth pan was the Ronin-M. The Zhiyun Cranes (from the V1, to V2, and 2) all have a jerky, unreliable pan. I was even considering learning how to use a Glidecam because of how annoying every single hand-held gimbal has been with their pans.

melon cat fucked around with this message at 21:00 on Jun 24, 2018

powderific
May 13, 2004

Grimey Drawer
I think freefly has much better movement in their majestic mode than DJI but it’s a pretty penny to get into that world. Usually I just rent a movi if I need something even though I could have paid for a ronin if some kind at this point.

keyframe
Sep 15, 2007

I have seen things

melon cat posted:

How's the turning/pans on the Ronin-S? Because I've used pretty much every gimbal out there and the only one that had a smooth pan was the Ronin-M. The Zhiyun Cranes (from the V1, to V2, and 2) all have a jerky, unreliable pan. I was even considering learning how to use a Glidecam because of how annoying every single hand-held gimbal has been with their pans.

Still learning the modes and haven't changed any settings yet but initial impression is it is much smoother and better than my crane v2 was in every way possible.

keyframe
Sep 15, 2007

I have seen things
Sorry for multiple posts but I picked up a easy rig minimax today and used it for the first time. I have never been so happy to spend money in my life, it is a life changer.

I am wondering if there is anything I can do to use it with the ronin s? I wonder if some kind of stick out attachment in the back would work.

melon cat
Jan 21, 2010

Nap Ghost

keyframe posted:

Still learning the modes and haven't changed any settings yet but initial impression is it is much smoother and better than my crane v2 was in every way possible.
That's really great to hear. Do you think the follow-focus is good enough to compensate for cameras with autofocus issues (like my GH5)? Asking because the only reason why I've been keeping my a6500 around is for its AF capabilities for when I need gimbal shots. Otherwise I'd much prefer to sell it and throw my GH5 onto the Ronin-S.

As for the Easy Rig- I don't think there's any way right now to hook it up to the Ronin-S. They do have plans to release additional accessories, but I don't think the single-handed gimbals are meant to be used with the Easy Rig (the Ronin MX/M are better-suited for that).

powderific posted:

I think freefly has much better movement in their majestic mode than DJI but it’s a pretty penny to get into that world. Usually I just rent a movi if I need something even though I could have paid for a ronin if some kind at this point.
Yeah the Movi ecosystem is great. But I also live in an area where rental options are pretty awful. We only have 1 or 2 stores that rent gear, and their gimbals are always in such terrible shape that I'm better off just buying one of my own.

melon cat fucked around with this message at 21:38 on Jun 27, 2018

keyframe
Sep 15, 2007

I have seen things

melon cat posted:

That's really great to hear. Do you think the follow-focus is good enough to compensate for cameras with autofocus issues (like my GH5)? Asking because the only reason why I've been keeping my a6500 around is for its AF capabilities for when I need gimbal shots. Otherwise I'd much prefer to sell it and throw my GH5 onto the Ronin-S.

As for the Easy Rig- I don't think there's any way right now to hook it up to the Ronin-S. They do have plans to release additional accessories, but I don't think the single-handed gimbals are meant to be used with the Easy Rig (the Ronin MX/M are better-suited for that).


I have no idea how good the follow focus is because it doesn't support sony cameras yet, I think currently it only works with the GH5. On the A7iii you only have control over start/stop recording.

Disgruntled Bovine
Jul 5, 2010

BonoMan posted:

Looks like rolling shutter isn't helping on that either. My vote is still for a handheld gyro gimbal unless it just absolutely has to be on a tripod.

Old callback here, but I've found that the use of a set of Celestron vibration supression pads (https://www.amazon.com/Celestron-93503-Vibration-Suppression-Pads/dp/B0000665V7) and the detailed analysis options on warp stabilizer has made a pretty big difference for my vibration issues. Rolling shutter is still a problem, but I can't afford a global shutter camera so I'll just have to live with it.

On an unrelated note, does anyone have any opinions about how to get better color out of the GH5 at night? It seems like no matter what I do my shots end up with an ugly orange cast to them, and I don't seem to be good enough at color correction (or 150 mbps 4K60p doesn't leave enough room to push it) to get the colors looking natural.

I'm generally shooting at ISO 1600, which is pretty much the limit with the GH5 without unacceptable levels of noise, and I know that hurts dynamic range and color accuracy as well. I have one LED light panel, and I've ordered a second, but it's difficult to light a subject as big as a train with small portable lights so I am generally reliant on ambient street and security lighting which is usually very orange. I've tried compensating by pushing white balance way down but it still comes out more orange/yellow than the lighting appears in person. Maybe this is a question for the editing topic, but I thought maybe there would be a better way to get accurate color balance in-camera that I'm not familiar with.

bring back old gbs
Feb 28, 2007

by LITERALLY AN ADMIN

Disgruntled Bovine posted:

Old callback here, but I've found that the use of a set of Celestron vibration supression pads (https://www.amazon.com/Celestron-93503-Vibration-Suppression-Pads/dp/B0000665V7) and the detailed analysis options on warp stabilizer has made a pretty big difference for my vibration issues. Rolling shutter is still a problem, but I can't afford a global shutter camera so I'll just have to live with it.

On an unrelated note, does anyone have any opinions about how to get better color out of the GH5 at night? It seems like no matter what I do my shots end up with an ugly orange cast to them, and I don't seem to be good enough at color correction (or 150 mbps 4K60p doesn't leave enough room to push it) to get the colors looking natural.

I'm generally shooting at ISO 1600, which is pretty much the limit with the GH5 without unacceptable levels of noise, and I know that hurts dynamic range and color accuracy as well. I have one LED light panel, and I've ordered a second, but it's difficult to light a subject as big as a train with small portable lights so I am generally reliant on ambient street and security lighting which is usually very orange. I've tried compensating by pushing white balance way down but it still comes out more orange/yellow than the lighting appears in person. Maybe this is a question for the editing topic, but I thought maybe there would be a better way to get accurate color balance in-camera that I'm not familiar with.

This isn't GH5 specific but you could start carrying a neutral grey card around and shoot that for a few seconds before shooting your subject. This should give you the ability to correct perfectly no matter what your conditions were. Not just any grey, there is a specific type of card you want, they will probably have a few color boxes on them as well. Photography/video stores should have them.

powderific
May 13, 2004

Grimey Drawer
Sodium vapor lamps are like 90% yellow light so they're always gonna be tough to correct. Can you set a custom white balance with a white card on the GH5? That'd probably get you closer at least.

edit: sorta beaten, but also you can just use a white piece of paper if you don't care that much about perfection.

Disgruntled Bovine
Jul 5, 2010

powderific posted:

Sodium vapor lamps are like 90% yellow light so they're always gonna be tough to correct. Can you set a custom white balance with a white card on the GH5? That'd probably get you closer at least.

edit: sorta beaten, but also you can just use a white piece of paper if you don't care that much about perfection.

I can set a custom white balance yeah. The main issue I think I'd have is I'm usually shooting a decent distance from my subject (at least 15-20 feet) and the lens I use at night is a 17.5mm prime, so it would take something the size of a bedsheet to white balance off of near where my subject will be. I guess that wouldn't matter if the lights are behind me, but that's not always the case. I'll try getting a large white card and experiment a bit.

The other thing I tried was an expodisc, but I find it really doesn't work at all at night.

Edit: Or, you know, I could just walk my camera over to where I'm trying to set white balance haha.

Disgruntled Bovine fucked around with this message at 23:37 on Jul 26, 2018

powderific
May 13, 2004

Grimey Drawer
The big issue is that low pressure sodium vapor lamps only really output the orange-y lights so there literally isn't any other colors of light available. It's not like tungsten lights where there's the most intensity towards the yellow end of things but you have lots of other color light too.

You can make the orange look more blue or less saturated but the other wavelengths aren't there to give you color differentiation. High pressure sodium vapor bulbs have some extra elements in them to help balance things out, but it's still the some of the worst possible light for photography. With raw files and a good sensor recovering some color info isn't as terrible, but it's gonna be tough with normal video files.

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Disgruntled Bovine
Jul 5, 2010

powderific posted:

The big issue is that low pressure sodium vapor lamps only really output the orange-y lights so there literally isn't any other colors of light available. It's not like tungsten lights where there's the most intensity towards the yellow end of things but you have lots of other color light too.

You can make the orange look more blue or less saturated but the other wavelengths aren't there to give you color differentiation. High pressure sodium vapor bulbs have some extra elements in them to help balance things out, but it's still the some of the worst possible light for photography. With raw files and a good sensor recovering some color info isn't as terrible, but it's gonna be tough with normal video files.

Good point, probably explains why trying to fix it in post doesn't really work.

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