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Just did a quick recording test. At 6ft away using C300D II as baseline, hyper cardiod mic pointed directly at front of fan. Gain to my voice set at -12dB (standing next to light). In post raised levels by 30dB and used Audition's average RMS reading for the scanned selections and noted the difference. Also tested at 1ft. Of course the closer in you are, the larger the difference will be. 6ft /1ft FS300 Stock ~ +12dB/13.6dB 6ft/1ft FS300 Noctua 1300rpm ~ + 1.2dB/3.6dB So in real life, with your light anywhere from 3-9ft away, with the mic pointed away from it and much closer to subject, you probably won't add too much noise using the Noctua 1300 rpm fan (guessing less than 1dB). If you put the mic right next to the lights and closeup, then the F300 with the noctua is like 4dB louder. Gotta love the marketing for the FS300 "A real asset in sound-sensitive environments, the FS-300 employs fan cooling for quiet performance." ... 12dB louder than C300D II...

I had a similar experience with the external 2K. Solutions are: (a) shoot in 4K with the Shogun series, or, (b) use the Odyssey7Q recorder which has a internal down-scale function to take the 4K raw feed and scale it to HD for Prores recording. The problem is that the 2K Raw stream uses line skipping, whereas the internal HD is scaling down the full image for a cleaner result. The 4K Raw/prores image is fantastic though using an external recorder. I looked back at some of the stuff I shot about 2 years ago and it looks amazingly good for a 2012 camera.

Well if you do and are interested in buying a used 24-105 in mint nick, let me know...and postage from France to Espagne is cheap 🤑 Nothing wrong with it, just no place in my kitbag and it’s gathering dust. The only reason I still have it is I need to exchange my Sigma 28-70mm at some point due to the ghosting issue and I have been holding on to the Panny zoom for that eventuality, but it’s not critical.

Great shots, Andrew!

Really nice Parker. What anamorphics do you use? I'm now working on a software that will integrate all steps (WB, Exp, ABL etc) to vastly simplify the workflow (and make other things possible)

Emotive Color V5 'SPECTRUM' The V5 'Spectrum' update is ready. The V5 emails are going out now (let me know if you haven't received it). It is the culmination of four years of engine development, and I hope you enjoy! Emotive Color Component ('EC709') EC709 component (Full/Theatrical) rebuilt with new engine, allowing accurate, uniform far gamut projection of Arri display table Arri Rec.2020 now used as the color target (projected within EC709 envelope); results in deeper saturated red and blue that are otherwise clipped in Arri's Rec.709 High Scale is now Full Scale (unlabeled); a direct replacement for LogC+Rec709, with notable advantages (aesthetics and gamut preservation) New Classic 'Soft' and 'Hype' variations (like V3-era 'Soft' and 'Main') Refined natural saturation model Core LogC Fully realized uniform far gamut projection from known lower saturation samples (solves issue that caused saturated orange to twist towards red) New rolloff math; allows grayscale reconciliation of high saturation brightness values (only available for interpolated .cubes; not achievable in Matrix) Added final, fourth calculation pass (post-smoothing), which allows absolute accuracy to known sample points in final render (while retaining smoothness) Corrected an issue that allowed smoothing algorithm to clash with a 'safety lock' on grayscale hue, that could result in red-green banding near the grayscale (especially with 33x under Trilinear Interpolation); now fully smooth regardless of grayscale Misc. New Ceiling Modifier [POST] files; allows variable highlight compression New 'Natural' profile [PRE] for GH5 (shares settings with Cine-D: -5 Sat, 200 Iso) Remade all PREs (picture profiles / exposures) Revised Pdf; Important: DaVinci Resolve - Enable 'Tetrahedral Interpolation' under Project Settings > Color Management > Lookup Tables (allows 65x performance with 33x cubes; complete gradient smoothness - FCPX has this as default) Remade Premiere PREs with new measurements (to reflect 2021 Premiere's improved codec color); no 8-bit VLog or Cine-D PREs needed Significant revision to Premiere Pdf guide; Advanced layering section is no longer relevant, use Lumetri's luma curve (improved significantly) Gradient Test is now 16-bit png (compatible with Premiere) rather than tif Entire Matrix PowerGrade now printed directly from the engine (complete reverse-engineering of .drx format): Precise values entered directly into the curve interfaces, at maximal point density Improved engine gamma accuracy enables significantly improved base matrices New LogC Exposures feature (true exposure gammas extracted from sample data) New 4200K PowerGrade variant If you have any videos or stills you've made that you can share, I'd love to see them! -Alex