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I have the Sony UWP D11 and it's been working wonders for me. Upgraded from the rodelinks after a few weeks lol. @IronFilm But I'm also a big believer in audio gear. I believe I spent more on audio gear than anything else this year. A video with bad audio is a bad video, no way around it.

Imagine this as your b cam and the Fran 8k as a cam ?? #setgoals

pocket 4K in stock.

The thing is that for photo I can understand shooting at these type of apertures like 1.4 because even if you get 1 out of every 2-5 photos in focus it is ok. There is no continuity in photography, you can do 10 out of focus image, if you get one it is ok, more so in our digital world where you can take hundreds if not thousand of photos during an event. While in video you need continuity, you would need at 5 to 10 second for every scene , and unless you are shooting static subject it is near impossible to keep your subject in focus during those take, more so when using FF. For example I do interviews at least at F4 with FF at about chest level and it is still problematic. The person just has to move some cm in front and the focus is gone, so he just as most people move little bit in front or back as he is talking and gets out of focus. If it is only for some fraction of second it is ok, but if half your interview it is the case then it is a big problem. The second thing is what I would translate as subject attachment to his surrounding. Just after the large sensor revolution with the 5d ten years ago there was that craze to use very shallow death of field that your subject is like floating in an abstract universe that was completely blurry. That's why sometime I think that cine 35 mm was perhaps the rel best medium, because it gave you enough shallow DOF for subject separation and nice bokeh, but not that crazy that it becomes artificial.

I've used it with a key to beautify skin a few times, but I'm not sure that it's the best way to go as I haven't compared it to other methods. Also worth checking out is the Sharpen and Soften OFX plugin which gives you independent sliders for small, medium and large textures so you have more control, and it let's you sharpen some and soften others so it's powerful for skin tones. If you want to use a dedicated sharpen or blur tool you can use the Edge Detection OFX plugin (I think that's what it's called) in the mode to display the edges and then connect the main output from that to the key input of the node with your effect in it. This gives you the ability to apply any filter to edges (and presumably also the inverse) in a very controllable way. There are so many ways to get the job done in Resolve!

better build quality (metal vs plastic), headphone jack built into the receiver for when i'm using a camera without a headphone jack, and significantly smaller body back. Only thing I liked about the Rode link was that there was no protruding aerial/antennae.

It seems it. I imagine it becomes really impressive when you’re doing power windows and secondaries but even for a self-proclaimed lazy colorist like myself, it really adds a punch to the image. Nice use of the tool. Thanks.

@androidlad If half of the "leaks" you've posted are even close to the truth, I'll be absolutely floored. So it's going to be a 60 megapixel camera that shoots a full readout downsampled to 4k 60p, outputting RAW to the AXS-R7 recorder utilizing a quad-base ISO? Oh yeah, and the E to E mount focal reducers. You are saying that Sony--who lost the 10-bit photo/video hybrid race to Panasonic, Nikon and even Canon--and who currently maxes out at a 100 Mbps codec--is going to release a camera that leapfrogs the market, logic, and physics itself. If any of these are true, I'll be the first to admit you were right. But to say I'm skeptical is an understatement.

I disagree with this. I would most of the time prefer an f4 zoom to an f2.8. Weight and size are important things. Even if I had unlimited money. I often prefer f1.8 primes to f1.4. I don’t know what other people do, but I hike a lot. There is no way I am carrying that huge heavy glass for a bit more light. I’d rather put those grams into a tripod than carry a super fast super heavy prime that gives me marginally more capability (nothing compared to said tripod). Fast primes are for the ability to get an extra stop or so when hand holding or needing a fast shutter. Or sometimes if the background is terrible and you want to blur it out (although in my experience this should be avoided as much as possible since the background often tells the story). Thats why I find Canons R release of first lenses very strange. I’m sure the optics are beautiful but it’s incredibly rare that the tiny bit of extra light is worth the huge weight. Talk about diminishing returns. The little 35 they released is not top quality L glass, unlike the Nikkor 35 & 50 “S” (for super) f1.8. Some are confused and seem to think these lenses is like your 150$ plastic f1.8. Not the case. I applaud that I get the option of slower, but still top of the line quality glass. I hope that continues and I hope we get top quality 800-1200$ f4 or even f5.6 primes. Along with the fast stuff for those who need it. IBIS does not replace fast glass, but sure does replace the need for it some of the time.

One of the most popular tools in Resolve, which is why it has a dedicated dial in the Blackmagic micro studio panel. Great for adding some "grit," beautifying, or any other time you need to emphasize or downplay the appearance of fine detail.

The only time i really used it was when i had a single outdoor shot between two indoor scenes. The outdoor shot was very busy with high frequency detail, especially in grass and leaves. The indoor shots had almost no hi frequency patterns. So i reduced midtone detail on the outdoor shot a little bit just to soften it, and make it stand out less.

CVP have actually got the semi mythical official cable set in (limited) stock https://cvp.com/product/blackmagic-bmd-cable-ccpoc4k-dc-cable-pack

the OP was after cheap solutions 100-150 euros, you can get a decent lav for that but not a wireless system that's worth using

if you work with sliders, gimbals and other forms of stabilisation, you don't need to get the OIS lenses. If you want a zoom, I would go for the 16-55mm f/2.8, even though it has no OIS. if you are recording audio near camera, don't go for 35mm f/1.4, 18mm f/2.0, 60mm f/2.4 those are loud to focus I also wouldn't recommend 23mm f/1.4 and 56mm f/1.2 since you can hear those too. Optically even the cheaper lenses are very good, so you can't go wrong.

Yeah - a clips like that was the reason that YouTube had 25% of all music listeners online coming by. And YouTube earning money from commercials at the same time. No wonder the labels went for YouTube’s head

This nifty thing showed up a couple of days ago. Have been playing with it today and I really like it. Its sweet to have it pretty much permanently sitting on the tripod. That way Im never to lazy to bring along a slider. Did a quick revive as well.

Of course. It is so funny certain comments... Well, I shoot for two, three decades now and I can tell you quite frankly: This is the easiest and best camera I've ever shot with. Period : ) Don't believe it? Stay at the dark side then. Your loss... Not of many others who are getting fun from there. BTW, solid manufacturers like Canon, Panasonic, Sony, Olympus and so on should learn with these guys how to set up an intuitive and PRO menu like these Aussies. My hat : -)

LOL! The long time relationship Sony has with overheating mirrorless cameras carries on.....

A little secret: this happens a lot more often than you think....... just this one time Fstoppers let the curtain slip and you got a peek inside. Often execution is more important than ideas.

Insta360 ONE X for $319 https://www.joybuy.com/600463705.html

Number 1 Rule of Thumb for Audio: get the mic closer! * (Note: with some minor exceptions, like if a mic has a strong proximity effect, or if the actor moves a lot and the boom is locked off. But honestly most audio newbies would do less harm if they ignored these exceptions and just followed Rule #1 to the max) Rule #2 is: kill any competing noise sources! (fridges/traffic/talking crew/background music/etc) Faster and less fuss. The number of times the interviewee will get up and walk off while still wired is many (creating at worst risk of damage to your audio gear and even camera it is wired to, and at best creating embarrassment/nuisance) Plus with wireless you can wire up the next person before they even sit down. On any commercial shoot it is foolish to compromise like this to save a few pennies by going with the cheaper wired option, not unless you're some ultra ultra ultra low budget OPC social media shoot. Yup. For long interviews of single subjects then have a locked off boom overhead with a lav as a back up.

When I was shooting work for a client with an FS7 I always had a backup cam, just in case. Anything can happen at any time. Always be prepared.

Gets done all the time. Is very normal. This. I'd put the RodeLink though into the category of a "cheapo" one. But if I was generous, only borderline so. It is "ok ish" for some people, but it can be easy to outgrow it. Thus it feels like false economy to buy a RodeLink when a Sony UWP-D11 is only a couple of hundred bucks more.

That's not been my experience at all (and I am very much an amateur when it comes to sound!). There's not much in it, but the directional nature of the mic vs the omnidirectional nature of the lav creates better separation of the subject from any background noise. True the lav gets closer to the source, but I still hear the shotgun mic delivering better precision. Also, clothing adds an unpredictable element to the recording with lavs if you want to hide them. I can usually get good sound in the end but have to EQ back in the higher frequencies. I boom over the top (slightly forward) of my interviewee, using a Rycote suspension mount. No basket. I'm aware of the phase cancellation problem with using shotgun mics indoors, but honestly, I've gotten perfectly fine results with it so far, and never noticed any degradation of the audio. It's true that something I'm not noticing might be going on, but the point is - I'm happy with the results. That said I have it in mind to upgrade my audio equipment, which lags far, far behind my camera and lighting (and editing) equipment, which shouldn't be the case at all really.

Well it is like someone already said on here. Don't steal music and you will have no problems. How hard is that. This isn't some new concept. If you have dumbass directors that falls on your shoulders doesn't it. This is why being a business owner sucks ass, why you lay awake at nights. YOU are responsible for Everyone that works for you good or bad, now or years ago.

Ofcourse are needed, and we all have a few fast primes. Personally, I was reffering to zoom lenses, and I explain further. EF 70-200 2.8f = 89x20089x200mn and 1500gr 4f =80x176mm, 780gr and 1000€ less (which is a lot of money in Europe). A lot of people can, and do choose, the second option, saving 700+gr in the bag (and their back), 1000euros, and cheaper and lighter tripods, e.t.c.

Why not get one now and then put it on Ebay and make a quick profit! https://www.ebay.co.uk/itm/Blackmagic-Design-Pocket-Cinema-Camera-4K-NEW/143010786216?epid=20025419302&hash=item214c1b6ba8:g:kw8AAOSwHjtb6ZPB:rk:3:pf:1&frcectupt=true

Some things never change. https://www.sonyalpharumors.com/sr4-sony-a7siii-has-new-stacked-sensor-and-will-be-on-market-by-early-2019/ The development of α7sⅢ has been postponed because of heat issue.