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@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.

@kaylee Yeah, my competition makes low quality videos. So the idea was to make cinematic content. And yeah, it’s hard enough to get people to leave YouTube to visit a website so I skip on ads to up my chances. I also agree with you. If you make videos that people will visit for years to come, you’ll get a steady trickle of money from Adsense. Product reviews have a limited shelf life. I may start to enable ads on my older content at some point. I think a cool idea to make affiliate money income could be done with film making tutorials / BTS stuff. Basically: use a gimmick to get a cool shot (special light, specific lens, brushless gimbal, drone, smoke machine, whatever.) Play the finished video at the beginning, show how you achieved it and then give a link to a website showing more photos, a write up, and a product list of the stuff you used. add affiliate links to the products.

Last year my main channel made about 60k USD. No YouTube ads, strictly affiliate pay from having viewers click a link to my site and then from there visit a merchant like Amazon, Walmart, etc. Here’s my deepdive answer: I make product reviews in low competition niches. The videos have ridiculously high production value and tend to outrank any competitors for ~2-3 years on search and autoplay list. So on average I make about 4K a month, but that doubles or more around November and December. This year revenue is down as my older videos lose rank and I’ve been slowing down on producing more content. I could wind up making half of what I did last year if I don’t start uploading more videos. Today I build sets and furnish them using free stuff I get from kijiji or craiglist. I made modular flats with double sided walls (tile one side, wallpaper other side) and can build a room with windows and a door. I have props for a kitchen, bathroom, office and workbench. I can also kinda make a living room. I currently use an FS5.2 and A6500 with Sigma 18-35 and 50-100 glass. I use a 5-axis Kessler Crane Second Shooter for camera control. Lighting is mostly from Aputure: C120Ds, LS1Ss. I also have a number of Quasar tubes with Kino housings. I shoot 4K raw at either 30 or 120fps and upload 4K30. Edit using DaVinci. Motion graphics are done on After Effects. Sound and VOs are captured on a Blue Yeti with me covering myself with a heavy blanket while sitting on a super thick carpet. Voiceovers are heavily processed in Audition. I wrote all the code for the website myself. The only expense is paying for the domain name. Each niche subdomain is hosted on a Google App Engine project which reduces my overall traffic and allows me to squeak by on the fee tier. YouTube is used for the video hosting. The web scrapping is done on a free tier Google Compute Engine project. I use Sikuli to grab prices from websites I don’t have API access to and google search cache as a backup. Google Sheets is used as a GUI for the database, which a python script accesses to generate a flatfile DB and then is uploaded to the appropriate GAE project every 24 hours. Long story short, I don’t use Wordpress with plugins. I use Google servers with custom code to have a lighting fast website, so people are more likely to use the website and click my affiliate links. WAY TOO MUCH INFO RIGHT? But more importantly: Is this a viable route for you to make money on YouTube? Sure, I guess. At this point 7ish years in, I’m bored of making these videos. It took probably 4 years to turn a profit with my most recent gear purchases. I’ve spent a lot on equipment to keep my interest. Lately it’s way too much fucking work. It was nice proving this could work but I work a full time job that pays me way more money. There’s no way for me to replace myself and earn a revenue as whoever I teach will inevitably just strike it out on their own. I tried to help my last GF to make her own content: makeup, handbags, etc... big mistake. I don’t recommend mixing work with friends.

Also the 240fps uses lineskipping. Lots of aliasing. Basically useless for deep focus. Their cameras are not without their issues but offer great value for money. I'm glad they are embracing positive lock lens mounts. If they add SDI next generation, their cameras will end up on a lot of productions.

Exactly, who cares about quality or ripoff products? I mean, is it worth the difference knowing you paid the creators instead a Chinese company that simply stole the design? It’s not like the guy who designed the optics that were copied even posts in this forum. Everything should be as cheap as possible, especially the work you do, you should strive to deliver at lower costs. @Brian Caldwell

Seinfeld was shot on film and looks awesome remastered. FUN FACT: If you're watching a 16:9 HD version, you're actually seeing parts of the frame that were originally matted out! NSFW example.

It's shocking how shit my old FHD footage looks upscaled on a 43" UHD panel. Even on YouTube the difference is obvious.