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Beautiful! Well done on filming the bees like this - I've tried and it's no easy task. Also, don't apologise for posting your own stuff, assuming it's relevant to the conversation.. It separates you from the people here who don't shoot anything and just talk about film-making without actually doing it 🙂

Sorry to post my own stuff again but here's my latest pandemic lock down piece. Confined to my backyard.🙄 The FP continues to inspire.

I have one and can edit the 8k ipb and ipb lite files on a 16in macbook pro. Anything higher and its a struggle.

Would that might make an 8K workflow achievable without a super computer? I saw comments from the YT crowd that they couldn't edit the RAW files from the R5 even with their $30K+ Mac Pro computers. Does anyone here even own an R5?

Very strange they didn’t update the design a bit. The off centered battery causes tons of mounting problems, the screen isn’t that bright for $1600, and no SDI is very strange since these are basically raw recorders now (which wasn’t entirely the case when the first Ninja V came out). Pretty lazy upgrade.

According to cineD, Alexa has a 1-stop increase in dynamic range over the c500ii or c300iii. What is everybody crying about? First, what are you doing, shooting the sun all day? Second, your audience almost certainly won’t see major differences between these cameras in properly shot scenes. If you see horrible clipping, that’s an exposure error. Or a poor creative decision. Somebody is getting fired. Some of you think if you only had an Alexa, everything you shoot would look like roger deakins’ work. Sorry, a major reason why Alexa footage looks so good is that professionals know how to light and expose - for any camera. This is why we use dimmers on practicals, sheers on windows, and use lighting to control levels and contrast. The differences among arri, red, and the best Sony and canon cameras are quite small on set. Yes, currently Arri’s highlight roll off is a bit nicer and has a bit more reach in the highlights, but nothing really changes the way we shoot with any of those cameras. The truth is most of the current top cameras look very similar - properly exposed. Sure, you can stress test some cameras to show weaknesses - arri and red included, which would struggle in extreme low light. This is why these aren’t common for run-and-gun documentaries. If Canon produces new technologies (very possible) that ends up capturing more dynamic range than the Arri, I wouldn’t be surprised. Also, I wouldn’t consider the Arri trash for having a stop less of dynamic range.

The 4K on the S5 is the same as the 4K on the S1, as far as I can tell. I am surprised at 150Mbs h.264 how "pushable" the files are in post. Also, I have zero issues with shooting at ISO 4000 in 4K and delivering in 1080p. Whatever noise is in there isn't really a problem and the dynamic range is still quite good.

I don't like being unfriendly, but the anamorphic store is the pinnacle of everything that is wrong in the scope and diy world. I'd stay away from this dude for as long as possible. As for larger scopes, I've seen lots of good stuff coming from them, the issue is what kind of rig do you work with to support it.