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Did you hear of the man who tried to clean every last spec of dust from his Hasselblad? He’s dead now. But he has a cautionary tale from beyond the grave… Read the full article

Interesting article, I can see the connection the film writing prompts post you make. There is one thing I noticed and and would like to clarify if I am understanding you correctly. As I read it you are stating that a 56mm full frame equivalent lens on a medium format camera will give you more compression than a 56mm equivalent on a smart phone due to the longer focal length of the medium format. That is not the case, compression is a function of perspective which is purely defined by the physical position of the camera nothing more. Focal length only affects other characteristics like DOF, lens distortion, etc... This will be the case with all traditional lenses with maybe the only exception of some really odd ones like the reversed perspective lens I saw posted a while back.

regraded again - to make the Ursa Mini Pro look better. Also something I learned - exporting from Resolve at DATA levels keeps the blacks better for h.264 compression on Vimeo and YT. It seems that Vimeo and YT both raise the blacks significantly for uploads. Maybe because of mobile? Anyway curious if post houses do this as well? I read somewhere advising against it. But, you know, opinions on the internet, man.

I don't know if anyone saw the presentation, but this guy went on and on about how absolutely amazing the face recognition was, how neither masks nor face models (clay/ silicone?) could fool it, how they had like 1 billion faces scanned etc etc. And then he tried using his face to unlock the phone ... And it FAILED. Hahahahahahahahaha He went ahead and punched in a security code number in, and pretended nothing happened.

C'mon @BTM_Pix, overheating is a feature...An important innovation, helping shooters to plan their takes carefully. It simply doesn't make sense nowadays to shoot Godfather IV in a single, continuous take. Overheating warnings are nothing but artistic reminders...

I guess I can't relate to the genius part, but otherwise I know what you mean. Fwiw, a no budget short can get attention. I've seen it happen. Little projects that are very modest by this site's standards getting people signed to CAA, etc. and resulting in seven-figure feature deals almost immediately. I've been very interested lately in what online communities in past years have birthed significant mainstream talents. YouTube has launched a host of actors but fewer filmmakers (which makes sense given the platform). Vimeo has launched a few filmmaking careers, but even fewer than it seems. Vimeo is sort of the new festival scene: very cool to be part of and show off on, but deceptively hard to leverage toward getting in somewhere lucrative unless you're already in somewhere lucrative through other means and just need to manufacture visibility. But with YouTube, by the time you're Markliplier or Pewdiepie, by the time you're being begged to produce your own show you're already making millions a year... and you can get to be those guys organically. YouTube is the stronger platform. By far. For in front of the camera talent, not directors, though. :/ Where do directors go to shine? I haven't seen a lot of new talent emerging from Reduser, etc. though there are some established all stars there already and great discourse. Communities that existed earlier than that are very interesting, though. A lot of directing talent emerged from dvxuser, though many of the users there were behind handles and didn't publicize their success so much once they went mainstream or their connection to that site was since forgotten. But a number of very slick visual filmmakers started there. Not slick by this site's standards, but hey, they were shooting on minidv. Super talented people. The other community that launched a ton of talent is Channel101. They were big on dvx100s, too, but the production values there are poor by comparison. Intentionally so. But the writing is GREAT on that site. Better than on most commercial content. A lot of incredibly talented writers and comedians started their careers there with content that was messy and cheap but brilliantly written and conceived and with amazing storytelling. Of any community, that was the most impactful. None of these talents started rich. What does this say? That if you have all the money in the world it doesn't help unless you can create something great. So if you have a great eye or are a great writer, pretty soon someone with all the money in the world will hire you! It also says that storytelling is the most important talent of all, but technical skill is useful, too. And if you're rich, hire the best of both, collaborate. It's the tried and true method... Which gets down the bigger point: both of those communities started around narrow goals: make something that looks good or make something that's funny. Commercial content is usually made by people with unbelievably narrow aptitudes. Like, someone who just shades fur but who shades fur REALLY well. Or someone who edits a certain kind of scene in a narrow subset of a genre. A guy who lights cars. But REALLY freaking well. Even the hottest directors are those with known and inimitable styles. And they're all working together in a slow, inefficient, but highly effectively system nonetheless that combines all their talents into something greater than the sum of their parts (ideally). That's why people get signed to CAA for their short films: either they show they can do something no one else can do or that they can mimic what someone else can do that there's a supply for. That's it. Again, narrow skill sets. Used to create a bigger product. This site doesn't cater to that kind of person. This is a site for people who want to know how to do it all. And do it all for cheap. This site is for punks. For rebels. And no surprise it's harder to launch a brilliant career on that, even if "that" includes a skill-set encompassing many potentially lucrative careers, if narrowly applied. So the question is, why do we think this way? Why are we thinking with so many brains when all we need is one good one? Broad as our interests get, they always begin with one dream. One thing we want to communicate. One idea that would be impossible to realize due to money, due to narrow-minded investors, due to how slowly commercial sets run, due to how big or slow older cameras are or how outmoded productions technique can be. Conventional wisdom says it's impossible. But we're still dead set on learning how to make it possible. So we learn and learn and learn. We post here. Read here. Post elsewhere. Read elsewhere. Absorb tech. Absorb culture. See where they meet. We're the Steve Jobses (or Kanye Wests), seeing where technology and culture are heading and where they intersect and ignite. We see the big picture no one else sees. But we're also very cursed. Cursed because we can only show other people what we see by painting it ourselves. And yet we're getting caught up squabbling over which brush to use. This site is where we explore our interests, sure. But it's those interests that brought us here in the first place. They don't emerge from this community. You know what you need to do now because you knew before. That's the problem with resources like this: passions trickle down into tangential debate. That original passion is diverted into tribal politics, when we should just be taking information as information and opinion as opinion. You like a GH4, I like a C300. Our opinions vary and so do the goals that led us to be so passionate about such silly things as that. We didn't get started because we liked GH4s or C300s. We got started because we had big, brilliant, original goals. And those goals aren't silly. What if Steve Jobs got stuck on a messageboard debating what brand of a certain component to use in the Macintosh instead of making the Macintosh? There are hundreds of thousands of GH4 users out there (I'm guessing). There's only one you. And you picked the camera up because you wanted to do something with it. It's not about the camera. It's about you. This website brings people together but it distracts us from what brought us here in the first place. Its strength is the talent and motivation of its members; its weakness is that same passion being wasted on bickering and self-doubt. There's a wealth of information, and we came for that. Let's take it and leave the rest behind. The other brains. The other voices. In moments like these I think we need to ask ourselves: what, exactly, do you want to do? Why did you get into this field in the first place? What do you need to know in order to do it. Find out. Then do it.

Can't believe how 'robust' the 4.2.2 10bit files are - even in V-LOG they are virtually unbreakable (Blue skies remain banding free) even with very heavy adjustments. Coming from a Sony A7s and A7r2 where skies band without any processing this is nothing short of a miracle how Panasonic have done this with a 150mbs codec. Still prefer Cinelike-D for most scenes unless they contain huge contrast ranges as the highlight roll-off is smoother and light shades have more tonal detail.

I would say if you want a A7s3 then just wait for it...you are offering both sides of the decision as to why or why not you should buy the GH5...just use your NX1 until you can get the Sony...how can any other member know, whether you should buy a GH5 or not...I bought one, and will certainly get another body...your needs will of course differ from mine!...your choice to make though.

There is definitely conservatism involved - and there has to be due to time and budget pressures - but I'd definitely argue the point about a lack of creativity to be fair. We're dealing with live events that we have zero control over in terms of positioning and light etc let alone action but we HAVE to get something worthwhile and that means you often have to be creative just to get SOMETHING. We're also dealing with trying to operate cheek by jowl with competing photographers - scores of them - all of whom you know WILL get a shot by hook or by crook and quite literally step on your toes to do so. So getting something different enough to stand out to a picture editor when he's receiving literally hundreds of images a minute from the same event demands a certain degree of creativity. It also demands creativity to keep yourself interested in trying to create something fresh of Cristiano Ronaldo for example when you and everyone else has shot a gazillion frames of him over the years in his various permutations of joy, sulk and pout I'd dispute we don't need the latest and greatest but, yes, we do only truly value them in quite a small range of specific areas like high ISO, AF and networking. Wide DR is something elsr that we do value though as we deal with a lot of uneven light in stadiums in both daylight (huge areas of dark shadow under big stands) and floodlight where the difference between the goal area and the rest of the pitch can be much bigger than expected. If you're struggling with exposure you have to go fully manual and continually ride it to stop even the best metering system making the wrong (often catastrophic) choice. As we deal in JPEGs rather than RAW we have to have it as right coming out of the camera as possible so more DR to be a bit more forgiving is important to us. I'm not being a defender of the faith for Nikon and Canon but we do need someone to come up with a package that can better than what we've already got if we're to jump ship. The trouble is people like Sony and Fuji keep turning up to a gun fight with a knife. Even when they bring a gun they seem to overlook the bullets. I have never seen any sports photographer pet their camera and declare undying love for it. On the contrary, most of the time they are being cursed so its not a fanboy thing by any stretch of the imagination that keeps us with them. Its just a fit for purpose thing. And its on them to make something fitter for purpose rather than us to try and work round it. Creatively or otherwise

OliKMIA you pretty much described my gear journey to a "T". I started with the Canon HV20 and then later the Canon 7D because that's what my employer provided. When it came time to buy my own camera I got the Panny GH1. At the time mirrorless micro-four thirds cameras weren't taken very seriously. I'd show up to gigs with my adapted Voigtlander, Pentax, and Sigma glass and get mocked because I didn't have a 5DMKII + Canon EF 70‑200mm f/2.8L. Apparently I couldn't be a "real" filmmaker or photographer unless I had red lining on my lenses and a hefty battery grip. I contemplated going with Canon if only to secure steady work as the bias for them runs deep in our industry. Then, the Driftwood hack happened and in the words of the Canadian studio poet Drake "Nothing was the same." As the years went by it became more and more clear that DSLR video wasn't a top priority for Canon. Their increasing price points coupled with lackluster features kept me from jumping on the brand-wagon. I've seen less and less postings on gig boards specifically requesting Canon gear and more being open to overall camera capabilities. Now years later I'm ready to buy my first true pro-cine camera. The Panny EVA , Sony FS7, and BM Ursa Mini Pro make up my shortlist. It's not that Canon C series cameras don't provide adequate results but rather that my trust in Canon as a brand is a bit tarnished. Partly because of how Canon die-hards treated me early on, and partly because of how little I've seen them innovate versus their competitors.

I was at B&H over the weekend and they have a few of the new Sachtler tripods on display with various heads. Its definitely a cool mechanism, just grab the top of the legs with your hands wrapped around them - and under the large levers - and you can drop the extensions to your desired height. Collapsing is even easier, just pop the levers and let gravity do its thing, then you just snap them down and you're off. The wide/flat legs are nice to throw over the shoulder, these would be much more forgiving if you have to lug them long distances. I couldn't do any twist/flex tests outside of just gnashing around with it for a few minutes, but it felt solid. The guy behind the counter popped the newer Panasonic 4k camcorder with the see-through red plastic on one of the tripods and it was pretty nice. Its real easy to change heights or just to setup at interview height in a flash. If I were in the market for new sticks, these would be at the top of my list. I just don't need new sticks but once every 10 years or so and have no reason to replace my current setup other than gear lust. For me lenses and lights have higher priority. But the ENG types that have to repeatedly deploy the sticks all day every day will love these.

Not me.

Inspiring images are inspiring images, no matter what the medium. What we deal in as photographers, cinematographers or whatever we call ourselves is essentially the same - we seek to distill human experience into visual form in such a way that the viewer can connect with the subject matter - emotionally, intellectually and aesthetically. So take a look at this, a website devoted to the two Fujifilm 35mm lenses, the 1.4 and the 2.0. I honestly haven't come across a website crammed with so many inspiring images in a long time. It just makes you itch to get out there with a camera straight away!: http://www.fiftythreemm.com/ Quick edit to mention that the 'X-PERT 53 INTERVIEWS' is particularly wonderful.

I have used Hasselblad with a non live view Phase One digital back, and it's interesting how easy it is to nail focus the first time, even for product photography where I had to recheck focus in Capture One anyway (shooting tethered).

It would be cool if you could set up say the 1DX II, a Sony with the Kippon MF focal reducer, and the H3D using equivalence math (and same distance camera to subject) for a comparison. To show the differences in the available optics for the different formats, their character, and the differences in sensor and color performance. Maybe even the GH5 too with something like a Voigtlander F.95 etc. In that way you can match perspective, bokeh, and compression (as best as is possible with available lenses and camera settings) so the lens and sensor characters can more clearly be seen.

Yep, the defining factor in "facial flattery" is how close you physically stand from the subject. There are other factors like @dhessel mentioned, but ignoring quality of build in a lens, a person's face would look the same on a M43 shooting 25mm as the 645 shooting 80mm if you maintain the same distance from the subject. The reason medium format has its "look" is really more due to the fact that to get the equivalent DoF of 2.8 you'd need an f/0.8 to match, in this case. I'd like to add though that there are certainly other factors such as light gathering ability and overall dynamic range that larger sensors certainly have an advantage for. Just trying to clear up the compression thing.

I disagree the Nikons seem to do better than the Samsung NX1, I am talking APS-C sensor cameras at the same time of release, the Sammy seem to loose a lot of dynamic range at higher ISO's, yes its got good ISO performance comparable to most cameras but the colour accuracy seem to suggest that dynamic range at higher ISO's had to be sacrificed, you have to consider that in order to capture more light you have to make it extract less information of course the NX1 has a BSI sensor on the top of that which suggests that without BSI it would suffer even greater, the Nikons at the time does not have BSI but they do have lower megapixel count, 24 compared to 28. Cramming lots of pixels on the sensor will also mean its less light sensitive as more pixels need more light hence why Sony A7s is only 12 megapixels, less pixels on a large sensor usually means brighter images. Not that I am complaining that much, but it reminds me a little of the CCD days, I just wish the dynamic range did not drop so rapidly when hitting 800 ISO.

Yea pro's actually can't focus at all, they need to outsource that to a focus puller

So I took the camera out in the nature when there was a lot of light hitting the Foveon censor thinking that this behaves a lot like old CCD sensors, if you do not feed them enough light they start to suffer. As someone suggested I took these at F5.6 to give them both fair chance. Both the Samsung NX1 and the Sigma SD Quattro are shot at ISO 100 and same lens range, same everything including standard picture profiles, nothing is touched on in Photoshop just cropped. turned off Sigma PhotoPro 6 noise reduction when exporting X3F RAW files to JPEG. And as I suspected, the Foveon was not getting enough light, the Sigma F2.8 lens is definitely nowhere near the premium glass of Samsung F2-2.8 16-50mm S lens. The Sigma absolutely destroys the Samsung in resolution and I noticed how the Sigma seem to get more in focus than the Samsung does, straight out the bat the colour resolution seem to be superior on the Sigma but if you turn up colour vibrancy on Samsung raw files they start to match very closely, amazing technology for Samsung part but again CMOS weakness shows, green bias and lack of details in red colour spectrum. LEFT Samsung NX1 - RIGHT Sigma SD Quattro LEFT Samsung NX1 - RIGHT Sigma SD Quattro LEFT Samsung NX1 - MIDDLE Sigma SD Quattr - RIGHT Samsung NX1 Photoshop Match This is by no means scientific tests but they are field tests and I always believe that field tests show more in practicality than some lab room tests but the Sigma SD Quattro in the right hands and in the right conditions is a superior camera however its not versatile and the NX1 will destroy it in multi use from low light to harsher conditions and so on. Still, its a real fun camera to use, its like shooting film, you just have to breath in and have patience the AF system is pretty slow too and its pretty hard to pull focus on the awful sets of display units you have at your disposal. Someone mentioned the Fujifilm FinePix S5 Pro, one of the last DSLR's with a CCD sensor, like Foveon these tend to provide a more organic image than CMOS. I been looking to acquire one, they go for pretty good prices on eBay and in pristine condition from Japan. Just like Foveon though they have shit low light performance and are only good when there is lots of lights or at lower ISO's, the FinePix is suppose to deliver amazing colours however, of most CMOS sensors I think Samsung has the nicest colours however you still notice its CMOS because the way it handles greens and reds and how clinical it is at times.

The big question we have however, is this the new norm or will we be returning to the average. So will the hectic pace of the last couple of years keep up and will it spread to other areas in location audio? I suspect the answer is probably no and no. :-/ Sadly. Because it really is just in recorders that we've seen so much progress in the low end over the last couple of years. But in other areas such as microphones / boom poles / cables / wireless / shock mounts / blimps / etc... technology is moving forward relatively slowly and prices are not coming down radically. (although yes, progress is still happen, look at the new Rycote Cyclone!!). With one key exception: time code boxes, we've also seen some breathtaking advances here over the last couple of years or so. Now, with recorders, the questions are: 1) are we going to see Tascam / Roland / Behringer (???) / someone else / etc respond with a product of their own? Unlikely, I wouldn't hold your breath (although I heard rumors Tascam is developing something. And who knows if some wildcard might come in and surprise us!). 2) Will Zoom or Sound Devices release another sub $1K device soon? Very doubtful. Sound Devices certainly will not within the next half decade or so, probably even longer. I wasn't expecting the Zoom F4 from Zoom so quickly after the F8, maybe they'll surprise me again? Personally I'd rather see Zoom concentrate on improving their little family of recorders they now have of the F4/F8, plenty of firmware updates they could still bring to them. And just generally make the ecosystem around them work better together with the F4/F8. For instance they need to update their Zoom EXH-6 accessory. And work with other companies such as Movie Slate / Time Code Systems to get integration with their products (like Sound Devices has done). Plus releasing a superslot equivalent would be cool too! 3) Will Zaxcom / Sonosax / Aaton / etc be releasing a sub $1K recorder/mixer as well? I'd say the odds respectively are: very very unlikely, very very very very very unlikely, and next to impossible. Was a massive surprise when Sound Devices did it! Very strongly doubt any of those other similar tier brands will be following along and doing it themselves as well. But who knows, never say never? So what will be seeing in the future as technology moves forward? Here is my optimistic expectations for happening within the next five years: We'll see more technology integrated into smaller packages. For example, we had automixing included in the 688, then there was the big update for the 633 when it got Dugan too! :-o Maybe sometime in the coming years there will be a firmware update for the F8 which has this too? One can wish and hope! Another possible example is the amazing new product at NAB this year, the CEDAR DNS2!! Will this also get included into recorders/mixers too just like Dugan has been too? Doubt it will happen soon, not even in the next release of 600 series from Sound Series, but hey maybe in the next generation after that?

I did say you'd have to get familiar with cleaning the sensor

Depends on what you want from an image. My thought is that people should consider that brands/sensors are sort of akin to the ancient art of choosing a film stock. It's all pretty good these days, you just gotta decide what works for you in the context of your needs. Artistic and financial. I must admit, I'm surprised that folks are still going in circles regarding this consideration of film production. I guess for me, since it's all quite advanced in 2017, I just can't get excited enough about the sensor tech side to put those considerations as a top priority. So much more important things to fret about. I mean, like casting...holy shit....casting... Anyway, those things that jonpais is talking about with the GH5 are a more pragmatic consideration, but you probably know what you're wanting to accomplish. If it were me I'd just keep going with the NX1 (nice camera) unless you're doing run and gun that you really want or need IBIS'ed.

Great post, @HockeyFan12. Like an arrow to the core. I think we've all gravitated to this site because many of us are in similar boats. We have big, beautiful dreams but on our quest for knowledge we get caught up in the nitty gritty of tech hoping for some panacea (read: magic camera or lens combo) that will solve the heartache of the long and daunting road we have all chosen to stomp along. It's nice not to be stomping alone, hence why this punk's outpost survives in the wilderness, but it's important we don't lose sight of our goals. And if we don't have a goal it's important, like you said, to spend time working out what that is. My goal is to get my work on the silver screen. Something I've written that maybe I can direct too. 6 years ago I setup a videography business to take a step towards that inevitability, scraping a living for many years, and I most certainly got swallowed alive by the tangible allure of tech, until I realised 5 years had gone by and I had bought and sold more cameras and lenses than I had written words. I was pissed with myself to say the least. So for the last year I've been working hard on priorities and most importantly of all building a daily habit of writing, akin to a daily habit of exercise and eating well. It's work in progress, as is life, you never really solve it, you just get up each day and continue the fight. You need laser beam focus and steely determination to achieve your dreams, and as each day passes we have one less day to achieve it. I feel at peace on the days I have written, and that's all the indication I need that that's where I need to keep my focus. Of course I have bills to pay too so this is where the 80/20 rules comes in. 80% of time working on your current business and 20% of time working on the business you want to be in. Great work, Tim. I'm sorry the film was a turkey but that's not your fault. Are you still writing? I hope so. Thanks for sharing, Andrew. Right, I've done my 80% (editing bloody weddings!), had my break (EOSHD and a cup of tea), I'm off home to write for 3 hours!

I agree. Face ID seems like a gimmick and actually a downgrade in terms of practical functionality. Apple has been almost as frustrating as Canon the past few years.

Wish I had an S4! I'm still using a Samsung J2! Ha I'm using it for my casual vBlogging, but honestly a potato would do better at filming me than the J2's camera!!

i feel like the creative writing part of my brain is very much separate from the nuts and bolts production/budget side.... like they need to have a meeting to reconcile writing something you can produce frugally is extra tough for this reason imo i feel like: Kaylee, since you dont have the money to produce your feature yet, if youre such a genius why dont you write a little no budget short to get attention? easier said than done

Interesting: Sony just announced the new RX10 IV bridge camera (fixed lens F2.4-4.0), capable to shoot high bursts - 24fps per second with a buffer of 249 images, even in RAW. That means 10 seconds of RAW video. Great!

Will there be an iPhone 9? Or straight to 11? Im confused.

Makes sense for those who go to Apple church. Myself... now, I just don't share the same mentality and philosophy. Like, Windows isn't all that great from an OS perspective. But from the perspective of possibilities it's just not something I'm willing to give up on, there's just more I can do with the platform than I would with a Mac. Smartphones all the same. I like Android and you can set it up the way you see fit. Just, for a lot of people, that's too many options, it confuses them and scares 'em off. Instead they just want one ecosystem that's familiar, intuitive and pre-chewed spoonfed. I get that. But, that's just not me. I like choice. Speaking of which... where's your iPhone dualSIM options? Where's the microSD expandability? What if you want it equiped with a headphone port, etc. Atleast with Android there's many manufacturers and you can mix and match your wishes with devices that are availlable out there. And because of the competition out there prices have to be competitive too! Same for laptops and desktops... there's just much more choice and much fairer pricing going on. But you know. There's a certain crowd that's just better off with a whole Mac ecosystem. I have no need to be an Apple hater. Just go and use whatever works for you. That's the most important thing, not what another person does, but what you do and you ending up being happy with that.

Most Truth is found in Paradox.

I wasn't being entirely serious. And yes, 10 seconds can seem like an absolute lifetime for a lot of things.

I can't help but suspect the Hydrogen will be a gimmick. The iPhone is going to help drive some innovation, and I like that. Mobile moves much faster. Can't wait to see how Android answers the new iPhone.

Intentionally or is that just the point at which it stops because its overheated like their other cameras?

I'm excited about the one that is supposed to cost £1000 as it lessens the "how f***ing much? for a f***ing phone?!"impact from the other half when I tell her I'm ordering a RED Hydrogen

Thanks for the compliment. But do you really think 10 bit was such a hard feat for a camera as large as the 1DXMk2? Remember the GH4 could output 10 bit 4k from the HDMI port.

I am not a electronics engineer but I am pretty sure high ISO performance and color rendition are not connected in that way. Meaning the camera designers do not get to make the decision to sacrifice the one for the other. The NX1 performs great (for its age) at high ISO's. Remember this is almost a 3 year old camera at this point. If you look at the cameras that came out around the same time it performs competitively except against the a7s but that is an unfair comparison as the a7s was built with the sole purpose of having high ISO performance.

Much more excited for the new 4K HDR AppleTV.

I agree. Everyone applauds Canon for their colors, but my NX1's colors look way more natural and pleasant than my Canon 80D's colors.

Got the app, will be installing soon. Android only for now but iOS app coming October. I noticed the phone battery drained from 95% to 0% over night because I left the LukiLink plugged in to the USB port... They could do with fixing that in the final version. Remember, my hardware is pre-production!

Hours spent trying to figure it out and not once did I think to update... Your suggestion was spot on. Thank You

Don't know about that, I find rocks far more stable About 10^-12 fps.

Vimeo is as bad or worse than YouTube in my experience, so I don't agree with the "you get what you pay for, and YouTube is worse than Vimeo because it is free and Vimeo is not." I have the PRO account on Vimeo, and EVERY ONE of the videos I uploaded to Vimeo turned out to be similar to or worse than on YouTube, so I just don't get what you guys are talking about. To be sure, there are other benefits (no ads, can replace video, have custom links, etc.), but WRT to picture quality I don't see any benefit. If you guys can show a single example of the exact SAME FILE uploaded to YouTube and Vimeo, with Vimeo generating better PQ, I'd love to see it.