UncleBobsPhotography

The viable options for improving performance in Resolve from cheapest to most expensive are pretty much: 1) Get an eGPU 2) Get a desktop computer (Might be more expensive than option 3 if you get the cheese grater) 3) Get a new laptop (15" MacBook Pro if Apple) Option 1) is cheapest and most portable, so it's definitely a sane choice even if it might not give the highest performance. The other options will be at least twice as expensive (and 4 times as expensive if you stay with apple).If an 570/580 is good enough, then go for it. The question is whether or not it's good enough. When it comes to computers, it's better to buy cheaper for what you need today than to buy expensive in anticipation for what the future might look like.

Is it any good? I have the impression that many of these solutions are quite light weight. It's currently possible to run Adobe Premiere on Azure Cloud/AWS, but I doubt it would give any real performance advantage at the moment.

For those of us who are already editing from an external SSD, it's not really any different to plug the SSD into a desktop computer than it is to plug an eGPU into your laptop computer. It's more of a reverse docking. I keep all auxiliary files in my dropbox folder which are synchronized between my laptop and desktop, so the process is more or less seamless. But I get it that some people don't want to have 2 computers, especially if they're Apple users. Lately I've been toying with the idea of doing all of my editing remotely by running Premiere on my desktop computer and casting/remote desktop it to my laptop. What would have been even better would be to use a public cloud for editing. Should be possible, and should be able to give performance much higher than what we would get on our personal computers, but I haven't heard of anyone using it or anyone providing good cloud editing solutions.

I was looking into getting an eGPU, but the cases were expensive and I didn't trust that it would give the full potential of the graphics card. I ended up just getting a desktop computer instead. I figure it cost me about twice what an eGPU system would cost, but also gives me a much faster CPU, RAM and more disc space. If I want to be able to edit on the go I simply keep the whole project folder on my Samsung T5 and I can easily switch between the two computers.

Wouldn't 50i only read half the lines on the sensor for each interlaced frame? If so, that can be done at twice the speed of reading every line.

I can recommend SWIT cm-55c if price is more important than brightness. I don't have any input on 1000+ nits monitors

You can find the latest firmware here: https://av.jpn.support.panasonic.com/support/global/cs/dsc/download/index.html I could download version 2.4 fine from that page.

I am a bit of a Matt Workman fan (the creator of cine tracer) because of his old YouTube channel where he explained the lighting for famous movies and music videos. Unfortunately it was taken down because of copyrighted material. When it comes to Cine Tracer, it looks very promising with ray tracing. If it works halfway decent I think I'll get it. I'm used to making maps for old shooter games and the process seems similar which should make it rather fast as soon as you're familiar with the tool.

The * comments in the bottom left of the picture is written in broken English, which makes me think it's fake

HBO Nordic stream in 5Mbps while Amazon Prime is supposed to have considerably higher bit rate. My HBO subscription is through a 3rd party which relies on HBO Nordic. They have never released an episode on time, and for the second episode it seems like they completely forgot about it because it was a public holiday. In other words, I don't trust them to provide an ideal viewer experience, and the 3rd episode was a dark porridge on my screen. It's a shame they're investing so much into visuals when the last leg of delivery ruins the results, but I also partly blame whoever decided to only use 20% of the histogram for the entire episode. Maybe we need video codecs that normalizes the gamma and adjust it after compression, a bit like how GIF chooses the colour palette based on the picture. EDIT: I downloaded the 5GB version of the episode now, and that version is perfectly fine as long as you ignore the banding and watch it in a dark room. It's completely different from whatever I streamed the day after release.

If you can't make beautiful videos with the XT3, GH5 or A73, the camera is not the problem. When it comes to the differences, I find the GH5 a bit more robust and user friendly than the A73, while the A73 has some spec wise advantages. No experience with Fuji.

Push the joystick left for 3 seconds to enter the menu. It should be under "Celibration lut". I am very happy with the monitor. I just realized how much more dynamic range you get with HLG. According to the monitor histogram it looks like you gain 25% over Cinelike-D. I have loaded the Leeming LUT onto the monitor and with the latest firmware it accepted it without having to convert it. Most of the time the picture looks just the way I want it on the monitor as I'm recording. With the GH5 the lag is noticeable but minor. Using 4k input I get some issues with "white" noise in shadow areas. If I switch to 1080p the issue disappears. I believe it's a problem with the bandwidth, but I would expect it to work since I use the cable that comes with the camera. However, with the GH5 it's easy to down convert it in camera anyway. The monitor feels plastic, but it's also quite light, which is more important to me. The ON-OFF button feels really cheap, and doesn't click when I switch it. Cable management can get a bit messy, especially if I try to power it over USB, but I guess that's hard to avoid. Overall I think it's the best video investment I've made since my GH5.

I guess the important part is how easy it is to match the clips afterwards and not necessarily how much of a colour cast each filter has (even though the two obviously correlates). Lack of sharpness, contrast and uneven exposure (X-pattern) would be harder to fix than a -200 magenta adjustment. Assuming those factors are taken care of, does anybody have any tips on how to match clips with different filters?

This thread does indeed attract a certain type of people. I'm also 34 and I've got a PhD in algorithms. (I am hardly as knowledgable about wedding photography, as my username suggests). Maybe we should band together to make an end of manual wedding photography and create Skynet

Only until AI is able to represent feelings better than actors. If we can automate the screen writers as well, we'll be able to make ourselves obsolete

The first step will be for automation to let 1 person do a 3 person job. If they really put the resources into it, I don't think it would be difficult to make AI track subjects and cut between frames better than we do, but the videography/photography industry is not as attractive as self-driving cars, so I'm not certain how much real innovation is going to happen in the short term.

PewDiePie breaks half of those rules each episode, yet he's the number 1 youtuber. The rules makes sense, but sometimes it works just as well not to follow them. I agree with webrunner5 on this one.

I am not sure if you're sarcastic or not... In South Korea they have wedding halls that run one wedding every 30 or 60 minutes. The whole thing is so repetitive and since the same format is used 10 times each day, it would easily be worth the investment to put cameras on rail in the ceiling for every viable angle. I haven't been to a wedding in 6 years, so they might very well have implemented it already. Western weddings are a bit more disorganized, but I still think a large portion of the shots could be automated.

They also changed it to using floating point instead of integer values. For those not familiar with computer science, a floating point is a number which is divided into 2 parts. The one part has a certain amount of bits to represent "how many zeros" there is in the number (or the exponent), while the rest of the bits are used to represent a certain number of decimals. An example: The number 1234567890 would usually be represented just as it is. In floating point it could be represented by 1.23456*10^9 by only storing the 7 first digit and the exponent 9. If they use 24 bits to represent the precision and 8 bits to represent the exponent, they will get the same precision as with normal 24 bit recording, but they would get the same precision whether the number was small or large and they would get a much larger value range. For more info: https://en.wikipedia.org/wiki/Single-precision_floating-point_format How well using floating point numbers works in reality is a whole other matter, and the only way to find out is to test it.

I wish they would release the lumen values so that I would actually be able to compare the total light strength.

You need a license to be a photographer in some countries? That's insane. I live in a nanny state, but even here you can earn up to €1000 tax free legally as a hobby photographer, and up to €5000 before you have to start paying VAT. Above that you start paying VAT as well, but there is still not any kind of licenses. And you have to have a physical space as well? Where is this? It's perfectly legal to run a business from your home in Norway (where I'm from). Photography is not exactly bridge building or heart surgery.

It's not a mentality, it's the definition of the word.

I'm one of those guys ruining the market. Because of my regular job, I don't need to make any profit from my video work. Still, I enjoy spending 20 hours a week doing video projects whether I get paid for it or not, which means the quality of what I'm producing is steadily improving. Not quite professional level yet, but good enough for most. Should I refrain from low-balling projects if that means I don't get to work with what I like? On the other hand, I would never do 10 weddings in a row or 20 corporate interviews simply because I would find it immensely boring, so it would only ruin the market if there are a lot of people like me.

The G95 has been released now (as I imagine many has already noticed). It seems like an excellent budget camera, but as far as I can tell, it doesn't really have any significant feature the GH5 doesn't have. No 10 bit option either, so I wonder how that's going to work with VlogV: https://***URL removed***/news/1749743183/panasonic-lumix-dc-g95-g90-features-a-20mp-sensor-weather-resistant-body-and-built-in-v-logl This was the most informational video I could find so far:

When the video ended with "Large Format Cine Lenses Premista" I thought it had to be an April's fool joke. Then I went to their website and found Fujifilm's definition of Large Format: *The large format refers to image sensors that measure 43.2-46.3mm diagonally. They are bigger than the Super 35mm sensor, which is a standard format in cinema cameras.