Cameramoto

You can edit a 8k film with a 1000$ laptop. Just import your originals in 8K, make 1280p prores LT Proxies on a 1280p timeline to edit en send reviews. Now that you're happy with the cut export a XML cut list to grade in Resolve on the 8K original from the edit only converted to prores 444. Then grade on a 8K timeline previewed in 1080p or 4k. Then export in 8K master prores HQ or DNXHR. You can stay in Resolve for all the steps and make proxys and optimised medias along the way. it's 300$. Far cheaper then a 5 000$ system you ask for.

Even if you get a dedicated cpu or gpu decoder, you will need to encode proxies as a side car to edit h.265. It's been like that for as long as I can think. Original media like Red raw and many compressed media don't play well with the reaction time needed in an editing session. You need tack sharp stop and play from your editing software. No frame skipping, no lag, no audio out of sync. So don't bother trying. As soon as you will build a fast pace edit with multiple clips of ony a few frames on the beat of the music, frame skipping will occure. That's why Final cut X and Avid creates de facto optimized medias.

I am eager to know how you're going to resolve this because I'm a xt-3 user and would benefit from an external recorder. Can't you set the x-t3 to running time code like the the hours of the day and then give it via hdmi to mix-pre 2 so that it's jammed to it and the disconnect them? Also, you could make a lame hdmi out from the shinobi to the mix-pre ii. I wonder if you would get the start recording marker sent in pass trough so the mix-pre ii starts recording at the same time? Even if it's a wire cluster fuck, it could be interesting. You might get a little delay from the hdmi loops but you could probably offset it in post. also the good old sync via waveform could be a last resort since you send a perfect match in the camera. Last thing could be to buy a tentacle sync device. That would also give you the opportunity to be wire free for a sound guy to boom, etc.

I would stick to lights that aren't divided between the head and a huge power brick. The old godox where one unit. The nanlite fs series is one light unit. It's just a lot more practical. Think about it, for 3 lights you need to drag 6 devices and 6+ cables. What a mess to setup! No I want to replace my old fresnels with an easy solution.

I own a mac with a nvidia card and the latest IOS platform doesn't support nvidia drivers anymore. Basically, program obsolescence is a problem for many mac owners. I don't see myself with a mac in the near future. I also have a PC, all the pieces can be replaced. For a environmentally friendly workflow, it makes more sense to repair and reuse. Mac is in the philosophy :" Buy expensive product every 5 years and throw away via there buy back option and start again."

I never heard of it, but I must work like color match I guess.

Nobody in the industry works on final cut sadly. Broadcast is on Avid. Then the indie filmmaker is on Adobe Premiere. For colour most indies will work on Davinci or wing it on the basic tools of premiere for corporate crap made with stock footage. And by the way Arri Alexa generates Prores 444 files. The commercial industry and the cinema industry has been working in Prores for ages. There's no way it's going to change. So I don't think closing yourself in a weird isolated workflow isgoing to help your cause. Stay compatible with others workflow and the industry's standard.

I wonder if It would be a nice alternative to V-mount battery setups on the lights to simply use a portable battery like this one: Portable Generator 666Wh/185200mAh it's cheap compared to the 28 volts batteries required for let's say a Forza 300 or Apurture 300D II. It's the price of one battery.

On Aputure website they claim the Amaran 200d brightness: "Up to 65,000 lux @ 1 meter with Hyper-Reflector." Nanlite specs for the FS-200 are as follow on their website: Lux @ 1m w/55 Degree Reflector 5600K: 36730 lux" Nanlite specs for the Forza 300 are as follow on their website: "Lux @ 1m w/55 Degree Reflector 5600K: 66300 lux" The only references I collected from the independant review from Gaffer and Gear on Youtube is as follow for the 300 watts Apurture and Nanlite. These are real tests by a gaffer, so they are exact. Apurture 300D II : 3080 lux at 3meters Nanlite Forza 300: 5040 lux at 3 meters Arri Pocket PAR HMI: 3480 lux at 3meters So I don't think the Apurture Amarand 200d claims on the brightness are right. In fact I think they are rigged. If I where you I would wait for Gaffer and Gear to make a real test before you buy. His channel: https://www.youtube.com/channel/UCOgN351K45vTrozaadFPXlA

I don't know but it seems brighter then the Forza 300 by a fraction. So they are putting powerful leds in there. And they will probably release a FS-500. So 2021 will be a good year for LEDs. And for us, indie filmmakers!

When the Forza 300 came to market one or two years ago I was quite impressed by the reviews for color accuracy. For a daylight fixture to be at that time in the range of 999$, it seemed like a good price, but it was still a little much for my budget. Still, I wondered, because the LED market evolves so fast, where we would end up in a couple of years on the LED offerings. With the FS series from Nanlite, now you get a stronger beam and without a huge ballast to mess you up in your setup. I guess Nanlite is really onto something that will be quite attractive for small crews. You essentially get a 300watt LED daylight for 1/3 of the price of usual Aputure, etc brands. God, I can't wait for the other front runners to bid and offer models in the same range. LEDs are going to get CHEAP! nanliteus.com/collections/fs-series

You might need that 60p 4K from the fuji. I found it quite useful in my line of work. For shallow deph, I got a Fujinon 35mm 1.4 and a 50mm 1.4 Zeiss canon. And for the recording I stayed with the internal recording. I didn't get any problem in Davinci as of yet and I grade heavily. So, all good with the H.265.

Dynamic range look great on your footage.

I have a great deal of fun in Davinci grading F-log footage. The 10 bit files are really flexible. And most of all, since it's a 6k sensor downsizing the image to a 4k size, THE DETAILS... Just Jaw dropping. So until now it's been a great weapon. Technology moves so fast. It's kinda ridiculous to be working with such a small body. But whatever. I just need to slap a mattebox and a cage, a mic and VOILA! It's client friendly!

I made this short for the holidays. Using primarily the stock IS 17-55 lens. Only the first shot is on gimbal.