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I need to build a large, evenly lit light source. I own plenty of paper, cloth, silk, etc, but I need something that will make for very uniform diffusion. Objective is to make a backdrop that can be rear lit with RBGW strips to dial in any color. Currently using hard lights with gels but can’t shoot larger than 2 feet without hitting massive light fall off. And when I try to diffuse my lights I lose intensity big time. Ideally I require: - 3 x 3 feet or larger - Neutral, no color casts - minimal light loss - rigid, no tooling marks, uniform translucency when lit dimmly I believe what I’m after is some sort of acrylic sheet, like the panels used in fluorescent lighting, but I don’t have any experience with these types of materials. Anyone have any advice?

No SDI-out is a shame. Also no positive lock MFT mount is sad. Would be awesome to use the few m43 lenses that have proper mechanical focus. I still think a Kinefinity Terra is a better entry level cinema camera: you get RAW and ProRes at 160fps in 4K. The Terra is just way more expensive now. Z-cams have a mishmash of framerates and codecs. Annoying in post.

There's a few big budget movies that have used a 360° shutter, Public Enemies comes to mind:

@Oliver Daniel go all out with the nanlite stuff. I own quasar crossfire tubes, aputure 120ds and lightstorms, and, nanlite pavo tubes. The nanlite products have more features, are often better built and cost less. Only thing nanlite doesn't make are the tiny credit card sized panels. I use aputure amran al-mc (RGB) al-m9 (bicolour) Edit: though they do make a mini RGB tube, pavotube ii 6c

Does face registration work in movie mode? https://support.d-imaging.sony.co.jp/support/tutorial/ilc/ilce-6400/en/17.php

Awesome price! Bit they're refurbs and there's only 2 at that price.

@Video Hummus The Laowa Argus lenses will be primes. @Stab There are a few longer S35 zoom lenses: Sigma High-Speed 50-100mm T2 Angenieux EZ-2 15-40mm T2 Angenieux EZ-1 30-90mm T2 Fujinon Premier 14.5-45mm T2 Fujinon Premier 18-85mm T2 Better off using a focal reducer with a full frame f/2.8 zoom lens. You get almost equivalent depth of field, longer zoom ranges, many options and much lower costs.

https://www.provideocoalition.com/hidden-flexibility-of-blackmagics-ursa-broadcast-a-s16mm-camera/

8K is great for content creation. I would rather have a 60” 8K monitor than any multi display setup. And when sitting just a foot or so away, the high DPI works well.

You’d be putting the same amount of water in a larger bucket. No increase in detail, only an increase in file size.

@Geoff CB has yours shipped? So much for an October launch.

@Andrew Reid That’s too bad. Even Canon has a 22m f/2 for their crop mirrorless. Now I’m even starting to miss the EOSM for photography lmao @IronFilm At this point, anyone but Sony has more attractive native small-fast primes for their crop ILCs. Oh well, thanks everyone. I’ll just keep using an adapted Sigma 18-35.

Thanks @BTM_Pix, shame they are manual focus, need to take pictures with the a6500. Can't believe I actually miss m43 for photography lol. Lots of good lens options.

Are f/2.8 pancakes really the fastest available for emount? Panasonic 20mm f1.7 would be like a 25mm f/2 equivalent.

This is about RED litigating against companies using ProRes RAW. RED went after any company adding ProRes RAW into their product, they didn't litigate against Apple directly. Petitioning the USPTO to invalidate a patent is basically the cheapest, least risky way to fight a company. Unless some sort of agreement comes about, the likely second round to this fight is: RED sues a company for using ProRes RAW, Apple would then file a brief claiming it has the right to intervene because the company licensed ProRes RAW from Apple. RED doesn't have the capital to go multiple rounds in court with Apple. Apple probably doesn't want to risk losing this kind of case. tldr; Some sort of licensing agreement will be reached between Apple and RED.

If Apple isn't interested in paying royalties, next step is fighting a lawsuit filed by Red. Hopefully this happens though likely won't.

Pretty sure the only faster than full frame, medium format lens is for the Fujifilm G-mount: Mitakon 85mm f/1.2 Full Frame equivalent is 67mm f/0.9

VFX industry is wholly subsidized by tax credits, you'll be crossing lots of borders chasing work. Your employment is also measured in months. Save your tuition for airfare and the lean days. It's a lot of fun if you're nomadic. If you want to work in the camera department, I'd suggest interning at a rental house / production services. You can earn a wage, learn the basics and get noticed. Eventually, if you're good and bust your ass, someone will remember your name and give you a call when they are short.

The patent system in the US is broken. Amazon was granted a patent for photographing objects on a white seamless backdrop. Seriously. The cost of a patent trial is several millions of dollars. So a company like Red, with deep pockets, can bully the shit out of smaller companies. Like this. They can also force large companies to settle. Is it worth the risk of going to court to try and invalidate a bullshit patent? What if you lose? Sony settled with Red out of court in July 2013. Cheaper and safer to license and pass the cost off the the customer. Good for them. Can’t blame Red for a broken patent, legal and economic system. They’re simply trying to run a business. And now they have the honour of being on the receiving end of getting fucked by a company with infinitely greater resources. No sympathy.

I preordered too, rep told me they get stock Oct 27.

Please, please, please; Sony better not have some bullshit archaic licensing scheme for this. Im going to scour the net tonight to see if anyone interviewed Grant or some rep confirmed any future cameras getting added to the supported list. The new 7” VA is the only thing I seriously want to buy this year. I’d still keep my 7Q for slomo, but BRAW is just some much easier to handle than CDNG.

Wow, fingers crossed for Sony cameras to get BRAW.

@mercer You can generate a LUT from Lightroom grades with this program: https://generator.iwltbap.com/ Kinda convoluted. You make a HALD file, apply you Lightroom preset, save it, then use the program to export a CUBE file. The LUT only affects color, so no texture, clarity, denoise, etc.

Nvidia lied about much more than vram.

I'm recording RAW to an Odyssey 7Q and fortunately CD has been releasing firmware updates to support newer SSDs. But my fear is that they drop support without releasing one final firmware to unlock all SSDs.