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Here is a short video on how to "normalize" audio in Resolve.
 
In regards to the breathing and noise, I would guess that there are filters that can reduce that in Resolve, plus you can use eq and compression functions.  Here is a short primer.
 
Perhaps someone here who is more knowledgeable in audio could chime in with other tips.

Thanks Chris - yes, I think I will just have to accept defeat and go with a small consumer solution like that.  There were a few others previously mentioned that had slightly better geometry for me, but I think that's the general idea.  
I'll be running the risk I can't mount it to whatever they have if it's slightly larger in diameter, but I guess having a clamp that's slightly bigger teleports me to a different universe where people think I'll be destroying the universe if I mount an action camera on a sheet of drunk-person-proof and gale-force-wind-proof toughened glass!
I also saw some magnetic mounts that looked interesting too, so they might be worth a second look.

This is a pretty cool small solution - a clamp with the platform adapter and a ball head. https://digital-photography-school.com/manfrotto-super-clamp/
I feel your pain, I travel a lot and wind up carrying more support gear than needed, and something like a gorillapod just isn't very solid. I recently sold my 1kg Siuri CF travel tripod for larger, more sturdy setup that I can add a flat base video head to - and at times I really wish I would have kept the smaller one as well. So now I'm looking for another LOL!
Chris

The word "Black" in the filter's name refers to the tiny black particles embedded in the filter to absorb light that scatters sideways through the diffusion, thus reducing "glow haze" and "halos."
 
This black particle technique first appeared in Harrison & Harrison Black Dot diffusion filters.

Don't forget the articulating arm that gave it that extra flexibility and showcased my intricate gaffer taping work.

Here is a leaked photo of the EVF prototype, which employs an old Sigma loupe:
 

This scenario closely approximates the stresses of the rig that @herein2020 and I propose -- a tripod lightly leaning against the rail (or not at all), but with the added safety of earth and/or a tag line.
 
In contrast, most of the clamping rigs presented in this thread are analogous to standing the drunk people on top of the rail -- precarious and generating stresses for which the rail was not designed.
 
Also, anyone who shoves someone (drunk or not) toward a balcony railing is way too reckless to be rigging anything higher than one meter above the ground.
 
 
Yes, but (using your scenario) if you clamp someone standing to the top of the rail, the rail could fail and/or the person could fall.
 
 
I'd rather set a tripod on top of a balcony that is rated to hold 1000+ Kg, rather than clamp to a piece of glass that was designed to block people from moving laterally off of the balcony.
 
 
Oh boy...   I implore you never to rig anything above anyone's head.
 
 
A tag line is not intended to "catch" the rig if it falls -- it is intended to keep it from moving laterally so it doesn't fall.
 
Don't clamp anything to the rail that would create torsion or flex stress -- even if the CG is above the balcony (and especially if the rail is supported by a glass panel).
 
 
A balcony rail is not a door.
 
This "hook" is essentially 1/2 of a grip "trombone" or a Tota-mount.  Even though those two grip items are exceedingly more secure than your "hook," I wouldn't use either of them on a balcony rail -- especially if it were supported by a glass panel.
 
Furthermore, never use a single "hook" (such as the one pictured) with the CG above the "hook.
 
 
Yeah... don't set up a rig that generates that kind of stress on a balcony rail above people.
 
 
A light-weight Space Clamp with a small ball head would work on the rail shown in the above Bevo football photo, and the same rig would also work on balcony rails, but clamping to balcony rails is really not the best option.
 
 
 
If you don't even know the names of the grip items, perhaps it would be best not to attempt a hazardous rig and just use a small, light tripod and a length of tag line.
 
I have an inexpensive tripod that weighs 0.75 Kg with it's ball head, and it extends to a height of 1.43 meters.  Another advantage of employing a tripod is that you can use it to get other steady shots during your travels.
 
 
 
This is basically the creed of most professional grips and most professional set electricians.  It prevents damage and injury and avoids  liability.    Non-professionals would do well to heed this fundamental guideline.

I agree, all of these clamping solutions look like an accident waiting to happen or an expensive bill if you damage the railing of the venue. To get enough clamp force most clamps will damage any surface softer than their own teeth and hotels/venues aren't too happy with that kind of damage.  As you mentioned, glass is twice as bad. I go out of my way not to attach anything to anything I don't own if at all possible, so that's why I use the travel tripod; the tag line is a good idea, I might add that if I ever get to travel again. 
When I do a setup like that I have the camera lens literally inches from the top of the railing and my heaviest bag hanging from a hook in the center pole to lower the center of gravity as much as possible, as much as I don't like hauling around a tripod, I'd still rather that over one of these clamping solutions.
 
I do tend to use mine for more than just the balcony though, especially as it gets dark I can use it for longer exposures; when I travel its mostly for nature and landscapes so a tripod is pretty important; my biggest gripe usually is that I don't have a fluid head on the tripod for video but hauling around a good fluid head just makes hauling around the tripod even less like a vacation so I stick to a normal photography head. 

US$6500... ouch!

And the price was released too: U$ 6500

The 8K is 10-bit 4:2:0 (XAVC HS) according to the Sony website
 

LOL Indeed, I bought a couple of ASUS Zenfone 7 Pro units for less than 600 euros each ; ) Same 8K 30fps + 4K 120fps specs... :- )

US$6500... ouch!

These rigs on a balcony rail are scary.
 
I'm with @herein2020 -- use a small "safety'd" tripod gently leaned against the rail.  However, in addition to weighing down  down the tripod with a bag, also safety it with a tag line(s) attached to something solid (or very heavy) that is further in from the balcony.
 
Don't even think about clamping to a glass balcony panel or putting any kind of torsion/flex stress on a balcony rail supported by a glass panel.  It is probably a good idea to avoid raining shards of glass and loose camera gear/rigging onto hapless pedestrians below.
 
If you insist on clamping to a rail in lieu of using a tripod, definitely use one or more tag lines as described above, and don't make a hi-CG nor awkwardly offset rig.  Keep the rig light-weight, compact, low and well balanced above the rail.  That Dedolight clamp is a more expensive and less stable version of the original Tota-Clamp, which has a shorter baby pin that tucks into the clamp for travel.  That shorter pin is safer on a balcony rail and there are several compact ways to mount a tilt/ball head to that baby-pin.  Tota-Clamps can scratch surfaces if you don't tape the jaws.  The Camvate clamp with the ball head could likewise work, but the jaws might be to small (just like the Tota-Clamp).  There are other clamps not shown that would work better.
 
If you don't have a lot of rigging safety experience, it probably would be best to avoid complex grip solutions on the edge of a balcony.  Regardless, always use a strong tag line(s) on any gear on a balcony, and don't detach the tag line until the gear/rig is moved safely away or below the balcony rail.

Call me paranoid but in your situation I'd rather just take a travel tripod. I just can't imagine trusting my camera setup to something like a clamp. Induro, Manfrotto, and other brands like that make some great travel tripods that are very light and collapse using 4 joints instead of the usual 3 so they get really small. What I do is put the two front legs against the balcony, extend the third leg until the tripod is fully braced against the balcony, then I typically hang my camera bag or some kind of weight to a hook at the bottom of the tripod center pole.  I've shot quite a few time lapses like that and the nice thing is, I can also use the tripod for other things too like long exposures. Of course lugging around a tripod can take the fun out of any vacation, but travel tripods in my opinion are a reasonable compromise.

I bought an Atomos Ninja external recorder after reading a good deal on the internet, and watching a ton of YouTube videos that tell why 10-bit color depth is superior to 8-bit, how it makes a huge difference during color grading, etc. In theory, 10-bit gives each pixel the ability to pick from over 1 billion shades of color; compared to 16 million shades offered by 8-bit. This allows for smoother color gradations, avoids banding, etc. I got that part. But what about in reality? Does it make a noticeable difference?

I searched everywhere, for a side-by-side comparison of the same subject shot on 8-bit 4:2:0 internal vs 10-bit 4:2:2 external. I found none. Everybody explained why 10-bit is great, but offered no visual proof. At least nothing my eyes could spot.  

So I made these comparison tests myself, after getting the Atomos Ninja. Same test subject. Filmed using EOS-R. Three clips: 8-bit 4:2:0 internal H.264; 8-bit 4:2:2 ProRes external; 10-bit 4:2:2 ProRes external. All are 4K. All are CLOG.

On the first look, there's one obvious difference. 8-bit 4:2:0 CLOG internal footage looked noticeably flatter than the external CLOG footage (both 8-bit and 10-bit). I don't know if that's a good thing or bad. I'd expect CLOG to be quite flat. Why is the external recorded footage less flat? Is the ProRes codec used by Atomos Ninja playing with the contrast levels before recording it? Internal 8-bit CLOG recording, when viewed through waveform monitor, showed more room for brightness and darkness adjustments before clipping - compared to the external recordings! Isn't it supposed to be the other way!?! 

Other than that difference in flatness, I can't find anything else. 10-bit or 8-bit, both externally recorded clips didn't give me any additional leg room while color grading - compared to the 8-bit internal clip. 

What more, 8-bit and 10-bit external recordings looked exactly the same untouched, as well as after applying the same grades. No matter how hard I tried to look (zooming in, for instance), I can't find a difference. It may have to do with ProRes encoding everything as 10-bit 4:2:2 irrespective of the source bit depth. It is said that extreme color grading breaks apart 8-bit while 10-bit holds pretty good. This argument is backed by a strong theory. But if I can't see how much more better 10-bit is than 8-bit, what's the point with these external recorders? Is Atomos Nijna merely an overpriced monitor? (It does a good a job of that, for sure).
And, assuming 10-bit makes color graded videos have less artifacts, what happens when the edited video is exported using an 8-bit codec, and viewed on an 8-bit monitor?  

There may be rare cases where 10-bit is useful. But for most scenarios, I started to believe 10-bit isn't any better than 8-bit.  

What am I missing? I'd be glad if somebody could prove me wrong and confirm that 10-bit is worth it.

My monopod has a fluid head on it. 

Yes.  That is why I said this:
 

@kye isn't talking about undercranking though, right? He's talking about slowing down 24 fps. Speaking of Wong Kar Wai, didn't he use used the effect kye is talking about in Chungking Express? It's a nice effect for some scenes. I feel like it's used more for "impact" in action scenes as opposed to the "cool factor" or "rhythm" of normal slow motion, if that makes any sense.
Long ago on my GH3 I did that trick with the shutter speed, but a lot of digital cameras don't let you lower the shutter below the frame rate. The Z Cam E2 can shoot any integer frame rate from 1 up to the max, and as a bonus the shutter angle setting always behaves correctly. I did some "retro" tests with 16mm crop mode and a few C mount 16mm lenses, in 15 fps.

I've seen this configuration too a few times on sets. 
Basically you take a monopod, and stick the bottom of it into a little "pocket" (such as a very strong drink bottle holder) which is attached to a sturdy waist belt. 

Hi everyone,
Thanks for posting so much beauty from this camera (the classical challenge shots are amazing!!).
I got mine yesterday and plan to use it along with LOMO primes. I know that Ceico7 makes adapters for these, so that's the next step.
A few questions:
- Do you have any recommendations in terms of adapters? I know and trust Ceico7 stuff but have no clue about MTF, Photodiox, etc. ?
- I like it pretty run & gun/minimal/compact but how do you stabilize your shots? I don't want to go gimbal (artificially smooth) but some sort of support would be great. Are you guys using EasyRigs or something similar?
As I'm pretty tall, I can't really put cameras on my shoulder or everything will have that downwards look. I usually shoot at chest/waist level.
 
I'm looking forward to posting some stuff soonish 🙂

Depends on the project. John Woo used it a lot in Hard Boiled if I remember correctly. 

Definitely a nice image tho doesn’t have the latitude or dynamic range of an Arri.

Looks like a higher framerate. 30fps. The motion looks off. But def interested in figuring out why it looks so bad. It doesnt look natural it looks like theatre lighting, some shots have good contrast ratio but still looks cheap. The lenses are prolly too sharp. Some bad framing as well, and digital fx from the 80's. 

I suspect that it's the grade, or some part of the image pipeline.
Apparently the first one was shot on a Red Epic, which according to wikipedia:
"In 2010, Red released the Red Epic which was used to shoot The Amazing Spider-Man, The Hobbit, Prometheus, Pirates of the Caribbean: On Stranger Tides and The Great Gatsby as well as many other feature films."
I'm assuming that it was the earlier Epic, instead of later ones, but even then, I didn't think that those other films looked particularly thin.  I'd imagine that shooting with a Red you'd either shoot in RAW or Prores, so it would have been at least 10-bit.
For me, it was quite a difference between the two in terms of image thickness.
In terms of the creative effect, the subject matter of the first one is very digital/cold whereas the second one is more analog and human, so 'thin' and 'brittle' is a relevant and appropriate creative choice for the subject matter.