Mmmbeats

I'm happy with my Sigma 18-35 Metabones combo. Any reason why I should be considering this lens? (not that bothered about weight or AF capability).

Not 8K. (latest L5 Rumour) https://www.l-rumors.com/l5-the-new-panasonic-l-mount-cine-lumix-camera-will-not-record-8k/

No, once it gets 'smart' it will try to take over the worm ?.

Another matter to consider is if you're really managing to be present at all these amazing experiences with your family if you're juggling so much equipment. Of course that's entirely a matter for you in the end, but I would be concerned about trying to capture everything instead of actually living it.

The point at which you're operating two cameras yourself is the point at which you're bound to end up with a certain amount of crappy footage. Wouldn't it be better to just pan to yourself occasionally, or have another family member wear a small body am or something?

Good luck focussing on club subjects at that aputure and sensor size. Extremely difficult task.

Fragile masculinity much? Also looks horrendous to use.

It does seem really odd that focus assist is not enabled during recording on the GH5. I know it might be a hardware limitation, but that just seems really hard to believe. The omission of this feature is what leads me to rig up a monitor most of the time.

People not impressed with my budget EVF then?

I recently put together a Zacuto EVF and Z-finder - that's the original EVF that predates the Gratical stuff - for quite a reasonable price. The resolution is low in comparison with contemporary camera EVF's, but it's sufficient for nailing focus, and the device is exceptionally well-featured (False Color, 1:1 pixel zoom, even Anamorphic de-squeeze!). I don't know if these are still in production, but there are still brand new items available in the wild. I got the EVF Flip brand new (clearance discounted) for 369 Pounds ( 480 US $), and the Z-finder Grade A ex-demo, with an additional mounting plate for 246 Pounds (321 $), which is not bad overall. Probably someone like SmallHD is gonna make a great budget EVF to make me regret my purchase, lol.

A foldable Galaxy bar could have it's uses, but I reckon the hinge bit would have to be made out of Curlywurly, and I'm not so keen.

Another thing to consider is that filters apply the effect to the actual light entering the lens. Post effects are added to the heavily compressed data you end up with in your edit codec. Even the most efficient codecs are massively compressed when you also consider chroma subsampling, debayer, etc. The physical filters have a considerably greater amount of 'data' to manipulate.

Quick snippet from Griffin Hammond:

This episode of Go Creative Show (which I love) is pretty relevant. I wouldn't pay the several thousand dollars the guest charges for his courses personally, but he does seem to know marketing in this sector very well. https://gocreativeshow.com/mastering-the-production-and-filmmaking-business-with-paul-xavier/

What date is the presser, out of interest?

SmallHD Focus, which is a very good monitor, I would recommend replacing the mount, which is very well designed apart from the cold shoe connector which has come loose on me a few times (and I'm reading, others as well).

Most likely I think is an L-mount mini-cinema camera, priced just below the EVA1 (as per a rumour). Too soon for EVA2 I feel. ETA: Might be a bit of wishful thinking on my part, though ?.

EVA1 price dropped today - now $6495 US list price.

I prefer intermediate codec to proxy workflow myself. Never had any problems using CineForm. Of course transcode is the pain in that workflow, but done and dusted at the start of the process, and surely less extra procedures than proxy anyway? Of course proxy has its advantages, I just prefer inters.

I edit in Cineform rather than h.264, which I think really helps performance. Media Encoder is also very good, I find. Some other notes: Dynamic link (Premiere <--> After Effects) is quite a system resource hog. I tend to only use it if it's going to really benefit the project workflow. For quick stuff I just use the old-fashioned render-out method, which is rock solid. In addition to the above, I have had some render issues with complex projects. I have had to mitigate this on occasion by rendering out in high-quality chunks (or layers), recombining on a timeline and then re-rendering. So that's another big minus point - but that's only been occasional, when working with massive files on particularly complex timelines.

I have had a pretty crash-free and bug-free experience with creative cloud personally. After Effects is completely stable as far as I'm concerned. I've had some minor niggles with premiere, and one serious problem - occasional hangs on using 'save as', which is annoying but can be mitigated with a workaround. Audition roundtrip works a treat. Photoshop and illustrator integration and stability are great. All in all is a fantastic suite, though whether the pricing is fair, I'm not sure. Certainly as a professional the price is easily worth paying.

Ah, interesting. I remember ProRes fondly from back in the day, but maybe I'll do a comparison with CineForm before making a decision. Thanks for the heads-up.

I highly doubt that any professional shooters simultaneously operate a monopod and a shotgun mic on a boom. If they do, and do it well, I hope they get paid a grand an hour.

I imagine that will depend on whether you are shooting all-I or not.