newfoundmass

My fresnel attachment that I use on my Godox COB lights doesn't really do a good job in "full flood", though it works great when in spotlight (which is my primary use for it.) I imagine you'd get better results from a nicer one then? I'm not on major sets, just small commercial ones, and I've never seen a fresnel attachment being used with diffusion, so I find that interesting. I still feel like the op would be better off using more lights instead of a fresnel attachment. Not to say he shouldn't get one, as they're very fun to play around with and good to have in your kit, I'm just not sure that it's the solution he'd want to go with for diffusion?

I thought you meant an LED panel to use with diffusion, my bad.

Caleb reviewed one recently. https://youtu.be/EaYebQm3CpY

Yes, the bigger the light the better.

I don't think you'd get the spread you'd want / need since the light would be concentrated in one spot on the silk, though I've never tried it and never heard it being done.

SSDs have come down in price so I archive footage to SSD drives now. I'll only use an M-disc if I'm mastering a DVD or Blu-ray that I know I'll need to copy in my duplicator in the future for small distribution runs.

I was hoping to skip transcoding but looks like it's necessary for these files. 😞

Oh and still looking for any recommendations for this. I tried TSmuxer but the output files make Final Cut Pro chug slowly for whatever reason. Any help would be appreciated! 🙏🏻

I'm just confirming what all the others have said BUT these MacBook Pros are incredible. I got the 14 inch 10 core CPU/16 core GPU with 16GB of RAM and it cuts through 4K multicam with three camera angles with color correction like a hot knife through butter. Amazing stuff.

I have a client that, no matter what I ask, will upload spanned mts files separately and not the entire folder, so I have to merge them myself instead of letting the editing program handle it. On Windows I used TSmuxer. It wasn't perfect but it did the job to seamlessly merge the files, though I'd have to sometimes run the process a couple times to get it right. I think there's a version for Mac but I was wondering if there was a better option? I don't mind paid software as long as it's not too expensive and will be able to merge them seamlessly. My new MacBook Pro arrives Wednesday so I'm just trying to be ready for when it arrives 🙂

It was supposed to be released this year, so it made sense that they'd announce something for the 20th anniversary thingy. Seems unlikely they'll get it out by January, but maybe? Either way, it doesn't hurt to let people talk about it without being scolded. I mean it's in Japanese that's machine translated to English, so it's not weird that it would sound awkward. I don't think it's embarrassing that it's going to be late. There's a lot of supply issues right now, I mean things like the PS5 have been out of stock for an entire year at this point. My MacBook Pro order just got pushed back a month. It is what it is.

There's nothing wrong with people wanting more information.

Kudos to Nikon. This is the kind of stuff I like to see!

Indeed! Yes, those are the places where I get most of my used gear. I know they'll meticulously check everything over, grade it accordingly and if I'm unhappy with it I can return it, no questions asked. To me that's worth paying a little extra than buying it from someone I don't know on eBay or Facebook.

When it comes to cameras, it depends. My main camera I always buy new. People often tell me it's a waste of money but I always buy the extended warranty... It gives me peace of mind. I will entertain refurbished and open box deals as long as they come with a warranty. Every other camera though? I buy used with a focus on older cameras. My B-cam and C-cams are both used and were bought for under $400 each after I sold the lenses they came with. The G85 was about $350 and the GX85 was $250ish after doing that, and both are in excellent condition. Assuming I stay with Panasonic, the GH5 that I bought new will slide into the B-cam slot for whatever I buy new, assuming they are easy to match for by multicamera work. I don't see much value in buying newish cameras used unless I'm getting a good deal and know the seller, for the reasons @Mark Romero 2kind of gave. For the $200 extra I'd rather have gotten the ability to get the warranty and all the benefits you get from buying something new. That's just my preference though. Lenses though? I've bought one new lens in my life. I tend to stick to established sellers and people I know, but if I see a real bargain I'll take the chance. I've been very fortunate in that it has worked out well for me every time. I don't care at all about getting the new model of a lens unless there's a significant difference; gimme your old lenses as long as they work! 🙂 Well used/loved gear is a great way to build up your arsenal. I highly recommend it!

It depends on what you're filming, really. You can really see the difference when dealing with fast moving subjects. But if you're filming talking head or interviews there's not a ton of difference. Lighting also plays a part.

Panasonic broke my heart with the LX100ii. I would've bought one immediately if they'd given it a worthy update and got rid of the recording limit. So instead I got a used GX85 to be a c-cam/travel/stealth cam! I love it.

I have professional decks that I keep in tip top shape and I regularly need to work with older VHS and SVHS footage. 🙂

I just pre-ordered a 16 inch MacBook Pro. Question: what's the best, yet not extremely expensive, way to transfer old analog tapes to Prores on a MacBook Pro? I haven't had a Mac in 7 years and used to use a firewire device, but I no longer have it and, of course, computers don't use firewire anymore!

It's a niche but a growing one and big enough already to be a difference maker for people. I personally have little use for it, but as more anamorphic lenses get released the bigger it will get until it's run into the ground, like shallow DOF has been. All part of chasing the "cinematic" look. The A7iv will do most of what people need it to do, but it's not an S1H. And that's OK. It'll sell like crazy to the YouTubers that didn't already drop all that money on the A7siii.

One is a video focused camera, the other is a hybrid with good video specs. You can't say the A7iv matches the S1H when it can't do 6k, doesn't have as good IBIS, doesn't support anamorphic recording, doesn't have video focused features like timecode sync, doesn't have shutter angle, doesn't have nearly as nice of a EVF, has worse rolling shutter, etc. All the little things the S1H has that are meant for professional videographers and cinematographers add up.

It really doesn't match the S1H at all, nor should it be expected to at this price point. --- It's a pretty meh release, unless you're already a Sony shooter looking to upgrade from the A7iii, A7c, or one of their APS-C cameras. I guess if you need a b-cam for the A7siii it's a good option, too, though the rolling shutter is not great.

Yeah, I'm just not sure that there's a market for a fixed lens (I think it's fixed lens?) cinema camera. It's just a very strange camera.

The more companies that get into the market the better. With that said, I'm not sure who this camera is for.

Again that's silly. "If you don't need XLR on your wireless kit then why do you need XLR at all" is not a valid argument. If you don't understand why they're made the way they are and why those reasons don't apply to every other device then nothing I write will make you understand. Besides, as I stated, you can output to XLR if you choose to.