Leaderboard

Two frame delay between FX30 screen and WiFi to iPhone 11. Useful when rigging camera in hard to reach places. App gives live image (as you can see) and full control of pretty much all camera setting.

No, I'm referring to NVIDIA/AMD. I just did a test for you. I have a Lenovo Legion 5i Pro laptop with an i7-12700h CPU and a 3070Ti GPU. I loaded a 2160p 4:2:2 HEVC F-Log clip to Resolve, added a LUT and some tweaking. With hybrid mode enabled (that is Resolve can use both internal GPU and the dedicated one), I get smooth 25fps playback with low CPU usage and rendered out the clip with the H.265 Master preset in 18 seconds. Now if I switch to dedicated GPU only mode, I get 21-23 fps playback and high CPU usage and the clip rendered out in 41 seconds. So basically with 10th or higher gen Intel CPU I get 4:2:2 support in addition to what the GPU already offers, no need for a Mac (for this).

After playing with it for a few hours.....I don't think the FX30 should really be compared to hybrid cameras as that's not it's focus. It's a video camera (or 'cinema camera' as they seem to be called these days!). I think it's closest competition is the Pocket 6k or Canon C70. It's much more like a video camera to use, which to me is a good thing. Has proper Audio and timecode capabilities, not likely to overheat as it has a fan, supports 4 channel 24bit audio recording, doesn't have the 30min record limit many other cameras have when shooting 10bit codecs etc etc. These conveniences when used in a professional environment are invaluable and well worth the asking price. Sure, If you have no need for them then they are kinda pointless but this is why you shouldn't compare this to many hybrid cameras.

Ha, that really rolls off the tongue....how do you pronounce MILVC? 😉

Better sound. It was a no-budget movie and while we had good equipment, we didn't have people who knew what they were doing. I don't fault them for messed up sound since they are just friends we handed the gear off to. I've been paid to do sound on other people's projects so I know what I'm doing there, but I was focused on directing and shooting. The best sound was from the times where I just put the mic on a stand and monitored the audio myself. I should have just done that the entire time. Script-wise there were things I wish I had kept in the script, but what's int he final film isn't bad. The original ending was more climactic and scary I think. There are a lot of little things that annoy me, like some of the sign replacement VFX shots, but they were done for free, so I can't complain too much, and it's better than what I could have done myself.

Yeah fair enough. I already had a Speedbooster and using it, I get 4k 50/60p FF (no crop) which the S5 can't do. When it comes to lenses, apart from cine lenses, I was more referring to electronic lenses which support Sony's AF. Plenty of good aftermarket lenses coming out for E Mount. The FX30 is not a hybrid so yeah, get the S5 if you want more photo functions. For what it is, the FX30 is extremely well priced though IMO. I got $450 AUD off RRP (with Audio Grip) with my supplier making it even more attractive. That's only $500 more than an S5 body here and the S5 doesn't have XLR

With the benefit of five years of hindsight, what might you have changed if you were to go back in time?

I updated the FW to 1.6 as soon as it came out, it froze 2 days later on a photo shoot...shutter button stopped working until I restarted it; back screen and everything else kept working, just shutter button wouldn't do anything when I pressed it....not exactly confidence inspiring. Yes the EVF delay for photos is in all mirrorless cameras but it seemed excessive to me so I opened a ticket with Canon and paid $150 to ship it to them and they returned it saying nothing was wrong. The R7 has the same delay, if a person blinks while taking their picture, in the EVF their eyes are still open, when reviewing the image their eyes are closed, runway shows are the worst for me, the front foot is on the ground in the EVF, in the captured image they have already picked it back up, little things like that are decreasing my keeper count.....definitely making me miss my OVF especially since I typically have a flash setup so I can't just spray and pray; and yes I have tried the higher FPS mode for the EVF. I had a ballerina jumping and doing twirls for a photo shoot....that was the worst, I was ready to throw the camera out of the window, there was literally no way to do anything except just hope for a few keeper shots; I had multiple flashes setup so again...no spray and pray option due to flash recycle times. The R7 is quirky too....sometimes the hotshoe doesn't trigger the flash, I know it is not the flash because it is the same flash I have had for years. Also, pressing the record button while it is recording doesn't always stop the recording, requiring multiple presses. After stopping the recording there's a delay of approximately 3-5s where you can't record again as if the buffer is clearing out or something like that; the S5 did not do that. I really think Canon's cameras have become so complicated that they have all the sophistication of modern computers along with all of their intermittent issues. So yes, when I am on a photoshoot I just don't trust the R5 it is that simple; I don't want the photo side of it to lock up or have an issue because I was off shooting some b-roll video since I value reliability above all else. I got used to a dedicated photo camera with the 5DIV's rock solid reliability (its video was unusable), so after those issues early on I will treat the R5 the same way. Ironically, I trust the R7 more as a hybrid than the R5. But back to the R6II 🤣 I noticed another feature they brought to the R6II that the S5 had in 2020.....the big red recording box. This is a great feature to verify that it is recording (and another feature that could be brought to the other cameras via a FW update). I couldn't tell from the CVP video if the box stays on or just shows when it starts recording. I absolutely hate proxy media because of how much time it takes and because of my particular workflow (I only import the exact clips that I need for the project, so I would need to create proxy media each time mid project). Instead, what I do is scrub through and find the piece of the clip I want, then cut it up and add it to the timeline then use optimized media since it is much faster because it is creating a proxy of just that part of the clip. It still stutters during the initial review process; mainly on 60FPS media. I am still waiting to see if the NVIDIA 4000 series video cards can accelerate 10 bit 4:2:2 media, for some reason that information is impossible to find and I search about once a week or so. I suppose I could email NVIDIA and ask them. It is very disappointing that in 2022 PC users still have no video card options for 4:2:2. What you will discover with the EF 70-200 adapted is the same thing that I discovered; AF is the least of your problems. The real problem is the weight of the lens making your camera feel like it is going to tear itself apart. With the EF 70-200 lens on the R5 plus the adapter the whole body was flexing, the adapter and the lens mount was making weird noises, and it really felt like the whole thing was going to fall apart.....vs the 5DIV where the two fit together like a glove. The flexing and sounds were so bad I ended up getting the RF 70-200 since it is my most used portrait lens; actually, it is my most used photography lens of all time due to runway shows. So yes.....YT reviewers really gloss over a lot and you don't learn details like those until you actually try to use it. I think it is both the length and weight that make the combo so bad, I assume there are RF lenses just as heavy but not as long.

Try me

I finally finished and released this film yesterday. 5 years late is better than never, right? I was dissatisfied with it for a while, and there's a lot I would still change, but I've come to appreciate it. Now. So here it is, at last: The film has been given a makeover with FilmConvert Nitrate. I'm pretty shocked at how good this a6300 short looks and how much I could recover from overexposed shots. There are only a couple of shots with sorta mushy compression.

I just got back into film photography. Last month I did an Evil Dead inspired horror photo shoot. This is the first time I've done a conceptual photo shoot with a model. I resurrected my old 35mm Canon Rebel and bought a couple of lenses. This is shot with the Canon 28mm 1.8 (all wide open) on 35mm with Kodak Portra 800. I have some more horror themed photo shoots set up, and some pinup style shoots as well. I also recently got a Yashica Rookie TLR camera and some 120 film.

Mister read the freaking title! It's a color thing - not me trying to cut videos for free🤌 Good luck though and please send some framegrabs for me to color if you feel like it😘 Since nobody wants to share anything yet (I get it - this forum is mostly about fetichising equipment - which I totally dig - I was just trying to create, like a teambuilding exercise or bonding opportunity or whatever) I took the liberty to dig through the posts and go right at it. Whatta ya' think? And _please_ give me all the shit you feel like, as long as you post your best shot at it. Or not. It's the internet and I'm not easily offended. I feel like this could be a fun little competition that doesn't have to involve the effort of leaving your (and my) mothers basement in order to participate😮‍💨😮‍💨😮‍💨 Much love

I have a backlog of 12 client wedding films to edit from scratch if you are that bored? 😬

Recently posted over on reddit what is the best prosumer wireless on a budget, which is the Sony UWP-D21, and why. Thought I'd reshare it here as well, should others here be interested as well: --------------------------------------------------------- If someone can't afford pro level wireless (i.e. a receiver such as the Wisycom MCR54 / Lectrosonics DSR4 / Sony DWR-S03D / Sound Devices A20-RX / Shure ADX5D / etc plus the appropriate matching receivers) then going instead with the fourth generation Sony UWP-D is no brainer decision! (although, I'd recommend 2x UWP-D21 over 1x UWP-D27) This choice is so easy it isn't even close, as the 2nd best choice comes a long long way behind Sony. Sony gives you: True diversity receiver (no other prosumer UHF wireless has this) Has a digital compander (avoiding the issues that say for instance the Sennheisers have with their analogue compander, giving you better quality audio from the Sonys. Essentially, the Sony wireless transmission behave more comparably to how Lectrosonics Digital Hybrids do, using the same mix of digital + analogue for transmission) A slot receiver (again, no other prosumer wireless does this! Although, sadly not unislot, you'd need to get the Sony DWR-S03D instead. Hopefully Sony will bring out a UWP-D receiver one day in the future with unislot compatibility) An option of using the smart shoe on Sony cameras to feed it audio directly, skipping doing another D/A conversion, along with numerous other benefits such as being able to add more audio channels than otherwise or being able to go cableless with the receiver or not needing to do battery changes either for the receiver (these are all features entirely unique to the Sony wireless) Sony UTX-P40 Wireless Plug-On Transmitter supplies phantom power. (the Sennheiser EW100 G4 plug-on transmitter does not) Headphone output (but yet again, the standard Sennheiser G4 doesn't have this) An option for a dual receiver (again, the Sennheiser G4 doesn't have this) An option for getting it in the 941 to 960 MHz frequency range (again, the Sennheiser G4 doesn't have this, Usually only pro wireless offers products in this frequency range) Backwards compatible with all past UWP products. Just a few of these reasons would be enough to make a strongly compelling case to buy the Sony UWP-D21! (especially as Sony is priced similar to or cheaper than the Sennheiser competition) But add them all up together? Sony blows away all the competition. There are literally hundreds and hundreds and hundreds of options for lav mics for the Sony wireless just merely listed on the one B&H website alone: https://www.bhphotovideo.com/c/products/mini-microphones/ci/3779?filters=fct_compatible-with_744%3Asony%2Cfct_connector-type_745%3A3.5mm-mini-plug|3.5mm-mini-plug-locking There are zillions of accessories for the Sony UWP-D system, such as these (would you like for instance a battery pack for your Sony transmitter so that you can run it for over 24 hours? You can do that!!): https://www.hlaudio.de/sony-pro-audio/wireless-zubehoer/ Unfortunately when people hear "Sony" they think of "cameras", not audio. What most people don't realize is that Sony's name itself comes from the latin word for audio: "sonus"! Sony originally started out as purely an audio company, and has been making wireless since the 1950's.

The album approach is a tricky one these days Kye as I serve the destination wedding market and successful sales regarding this kind of thing are done at 2 stages: Prior to and after the event. In person. That opportunity was lost to me the moment I moved out of the UK to France. For UK weddings with UK clients, the album included approach worked very well. I replaced it with the hybrid multi-day coverage approach instead and this season for instance, only 1 of 33 did not have video in addition to stills and only 4 couples have had single day coverage. I do provide a tangible element and tick that box, but not with anything they are expecting or included in the package, but a surprise bonus delivered direct to their door. First year I have done this so we’ll see where it goes… Re. the tech. Oh I am interested, but interested as you say as in what it can do for me rather than tech for tech sake, ie, any upgrades or purchases I make are for very considered purposes. The reality doesn’t always work out but it mostly does. 8k for 8k sake does not interest me for instance. Providing productions in 8k most definitely not unless a client says can you deliver me in 8k and I’ll book you…but no one even asks for 4K or even mentions resolution. Ever. I am not even interested in it for cropping sake. I’d rather select the right focal length and composition in the first place. I am interested in it for pulling off stills however and at some point, this might be my future direction as in stop shooting stills altogether and just focus on the video capture knowing those moments are there. But a subject to be explored when my 8k camera turns up…