gt3rs

Why not use the Manfrotto 2909 Super Clamp with 2907 Reversible Short Stud 2909 (bhphotovideo.com) I use them everywhere from Basket, Hockey Nets, Stadium rails to Balcony. Long exposure mounted on a balcony rail: Long exposure mounted on a wood pier: Mounted on the hockey net

The Delkin 2 TB does not slow down the startup. Startup is basically immediate as with the SandDisk 512 GB. I only use CFExpress so I did not incur on the active slot issue... For the posted frame goal was both video and photo. With sports you can get away with higher shutter speed so you get both in one take. Advantage of using continuous light is that you can get the perfect frame either at 20fps or 30fps if doing video (so no need to do multiple try for the same trick that they hate), disadvantage is that they are way less powerful than strobes, only ok for late afternoon and no sun....

I did sell one of my 512 GB SanDisk and brought a Delkin 2 TB for 880 usd. So far so good, I used a few times for over 1 TB each of 8k RAW and 4k 120fps 10bit with no issue at all. 8k RAW screen grab, 24mm at 2.8, Godox VL-200

This is not true in Resolve, you don’t have enough gpu vram and you cannot render 8k no matter whatever proxy strategy you use.

What camera are you using? R5? If yes you will not have hours of 8k as it cannot do it anyway. Then buy a 2 tb delkin card, shoot raw (as raw is way faster than h265 to edit) set camera raw to half resolution in Resolve basically working on 4k raw, do all the edit on a 4k timeline then before final render change to 8k and full raw and render. Basic grading will work complex stuff that requires tons of gpu ram it may fail. No proxy or transcoding needed... My notebook is 2600 usd i9 10980hk gtx 2070. For 1h of 8k it will work for months of 8k no way so it depends a lot on what are your real need... 2 to 10 min final video it works as it is what I normally do. A 2600 usd desktop will be much better if you can live with a desktop

In theory the new ice lake and tiger lake CPUs have hvec 10bit 4:2:2 HW encode and decode: https://github.com/intel/media-driver/blob/master/README.md Not sure that there are already notebooks with GPU with 8 GB Vram and these CPUs... also not sure Resolve already supports it. But it seems a matter of time and you will have h265 10bit 4:2:2 on intel too....

What software do you use? Do you want to edit and render 8k or use 8k on 4k timeline? 8k timeline in Resolve needs ideally 24 GB VRam. For 4k you need 8 GB VRam. My notebook is an i9-10980hk, 2070 and can edit 4k h265 10bit 4:2:2 at 30 fps but at the limit so not ideal. Problem is 4:2:2, 4:2:0 are HW accelerated in the GPU so no problem. 8k timeline is a no go with 8 GB VRam in Resolve. 8k Canon RAW on 4k timeline works quite well and this is most of my footage. You can work on a 4k timeline and render 8k but some of the gfx will not work. All the video I saw so far they show m1 8k on a 4k timeline....

Dongle is a pita and a thing of the past get a license key. You can have two active and if you add one more it kicks out an old one simple and reliable I moved from dongle to key as soon as they made it available years ago and never look back.

Imo the best is the Aputure Mk II versions head plus controller/power. It allows you to power with battery and reduce the weight and heat on the head. All in one they lack battery support and they become very heavy on the stand.

If you need a battery powered light currently Godox VL 200 are discounted at BH to 349 USD so you can basically buy two for the price of a 300 watt light. Amaran 200 is interesting but if you want to use battery it will be 299 + 179.... advantage is that on mains you don't need the battery control box.

The Godox LV150 is measured by Gerald at 60'000 lux at 1m with the reflector (the 120d on the same test same reflector 27'000, 300d 44'000 and VL300 78'000) but again reflector and cob design and position makes huge difference but once is in a softbox things are more even kind of matching the watts. So if you use the reflector a lot then the numbers kind of matches but if you use a lot on a softbox then they are almost meaningless.

In theory from 200 watts to 300 watts is 1/2 stop. Again pure theory a 600Pro should give 1 more stop than a 300 II The reflector and the cob position and size play a key role on the advertised lux at 1m.... this is why the 200d is brighter than a 300 II and the godox vl200 even more. Put a sofbox and then everything changes. the fs300 is main only the 200d can be powered by battery through an optional "balast" type of accessory but requires a small power supply to run via mains. To me it seems a more flexible desing.

4k 120fps is not different than 4k 30fps as is conformed. My gaming notebook can play both realtime ... (all done in the CPU). The challenge comes when you want to conform it back to 120fps as you want to have speed ramp or just no slow motion from one section then is a no go. What I do a generate optimize media just for that section. The above solution seem a bit ridiculous then is better to batch convert.

In theory CLog2 will give you more DR and based on C series test it gives a bit more DR than RAW mostly due to NR. But not so sure CLog2 will come. But happy to take CLog3....

From cine 5d test around 10.8 stops in CLOG and around 12 in RAW. CLOG3 if it will ever ship should be similar to RAW.

Did you run in to overheating or just afraid based on the huge fuss about it? Do you feel that your audience will see the difference between HQ and non HQ mode, maybe an A/B test? As I did not encounter the overheating issue yet.... I feel that having the non HQ mode is more than enough in case it happens. My usage is probably different than yours so it could possibly be that the R5 is not good for you. To me it does not make too much sense to buy an R5 for using it with an external recorder. You buy an hybrid to have a small package. I would get the camera fixed or replaced anyhow.

CR3 rumors are normally spot on so it seems same as c300 iii dlo, 4k raw and 4k 10bit but no 4k 120.... question is RF or EF?

Are you shooting RAW with Log on (highlight protection)? As with Log on you start at iso400 you need very strong ND on daylight if you want to use F1.4 lenses and I have the feeling that AF start to suffer a bit with such strong ND like 10 stop.... There is also more noise but then better highlights roll off but did not do an A/B test....

For sure I do every time since years. I change the timeline res from FHD to 4k and back. Since I have the 1Dx III so R16 my workflow is timeline set to 4k dci for video editing and at the end I switch to 5.5k to grab stills. What you cannot do in Resolve is changing the framerate once you added a clip. Maybe you are referring to this. Not sure you can change the frame rate on R17beta2....

Pure speculation mine but I think Canon did not route the heat to the back of the camera because people put their face there if they use the EVF.... a great solution for getting sued for burns. On the bottom seems safer. Or maybe the C90 would have a nice integrated cooling fan a la C70 with R5 internals.....

Not sure is relevant with A7S III files but with the R5 h265 10bit 4:2:2 in Resolve lgop plays more smoothly than all-i. Scrubbing seems the same to me. This is strange but I tested in 3 different machines.

My bad I had Zebra set at 100 and in Log mode it will not reach 100. Is in the manual. 95 works. The confusion comes that in RAW I disable Log so there I saw the Zebra but in 10bit Log on not. Stupid me. I was really thinking why it would not work with Log.....

At least since v10 7 years ago you can change the timeline resolution....

Rent a R5, test it and take your own conclusions. There is so much bla bla bla just to get viewers.....

Not sure what you are reading? R5 does not overheats in 4k 30 LQ and 4k 30 APSC, there is no LQ in APSC..... The above table is correct. R6 is not surprising is there since day one.....