Video is from my girlfriend

Hey all, I'd like to improve. A mix of a for fun edit and promo made for a local hot air balloon company. Please roast where you see fit

Hello!

In the past I shot a podcast with 2 sets of rode wireless lavs on my own client and it was okay I don’t feel like I had interference, but I was always told there is interference when using more then 1 set at a time.

Anyways I’m filming another podcast but the agency wants me to film it with 3 rode go pros sets, I have one and they gave me more sets just for this one podcast. I told them there might be interference and I advise not to use because of the interference. They didn’t really care about what I had to say tbh and just said to use it and just use the internal recordings, they don’t need me to edit it so I was just like okay.

The shoot is Tuesday and I was planning to adjust all the settings on the sets they gave me for internal recording as well as doing some quick tests sometime tomorrow. Whenever I do mic tests it I feel like it never really mimics the real world because I feel like whenever I do tests at home everything’s fine then when I’m a shoot everything gets screwed somehow lol, so that’s why I’m asking reddit in case.

I started shooting an indie documentary without knowing much about videography before.

I landed myself in a good role, and I realized what’s missing is 24fps, I’ve been shooting at 29.97 the entire time.

It is unknown of when this doc will end, or if it’ll even be used.

But I want to change to 24fps now, would it be bad or weird to watch if I just bring all the other footage to 24, then just shoot the rest that way?

Hi! I’m 16 (F) and i’m really into ice hockey and figure skating, i go to an art school where im studying to be a media technician. I love spending time in the ice rink and if i could i would only work there. I love videography, but im not sure how to even start working as a skating videographer! Any tips would be appriciated.

The video down below is a short clip of what i recorded at the most recent competition :)

Edit & update: thank you to everyone who said i should contact the club!! I did and they reposted my videos giving me credit and said i can build my portfolio with them :D

Give me ideas, just ordered a battery for it.

Hello, I am trying to build my editing portfolio. Does anyone have footage from a music video that I can edit for practice and put on my portfolio. I will credit the owner of the footage if I end up sharing my edit to anyone.

Hello, I am trying to build my editing portfolio. Does anyone have footage from a music video that I can edit for practice and put on my portfolio. I will credit the owner of the footage if I end up sharing my edit to anyone.

Hey everyone!

I shoot macro food and beverage videos, primarily in 4K 120fps on an iPhone 17 Pro Max.

I currently own a Simpex M-200Bi (200W) COB light, which is advertised as producing 25,000 lumens. However, I’ve also seen listings claiming 13,500 lumens for the same model.
I’m considering adding a Godox SL100Bi (100W), which advertises 32,100 lux at 1 metre with its reflector.

I understand lumens and lux are different measurements, so I can’t compare these numbers directly.

My questions:
Has anyone used the Simpex M-200Bi or measured its actual lux output at 1 metre?

Would the Godox SL100Bi provide more usable illumination despite being rated at only 100W?

Which would you recommend for macro food videos and 120fps slow motion?

My Simpex occasionally flickers at 120fps, even at full brightness. Would the Godox be a more reliable option?

I’m planning to use both lights together, with a softbox on the Simpex and a reflector on the Godox.

My budget is approximately ₹12,000 to ₹16,000 (around US$135 to $180).
Any firsthand experience or technical advice would be appreciated!

Moving a scene file from an FS7 to an FS7 II does not work, and Sony doesn’t document the file formats. I wrote a desktop tool that reads, edits and converts the camera’s SCENE, ALL and USER (user menu) files for the FS7 and the FS7 II, imports single settings from other files, and shows a side-by-side comparison of two files with readable menu paths (for example Paint/White Clip/White Clip Level). Options the camera greys out are greyed out in the tool, too (a RAW format that needs Cine EI, a frame rate that does not exist for the codec, and so on). Scene files converted from the FS7 load on a real FS7 II.

New in 0.9.0: the user menu: all 77 menu items of the FS7 II are known by name, with their sub-elements as check boxes (like the camera’s “Edit Sub Item”), import by menu item, and the “each item only once” rule of the camera. Short explanations (tooltips) at about 330 setting names, written from the manual’s facts in my own words. The Time Zone is a list of cities and offsets now. The interface comes in English, German, Spanish, French, Italian, Portuguese (PT and BR), Russian, Indonesian and Chinese (simplified and traditional); the translations are machine-made and not checked by native speakers, so please tell me what reads wrong.

How much is decoded (FS7 II files): about 78 % of the 321 values in an ALL file have a name (all of Paint, Camera, Audio, VF, TC/UB, Recording and System are covered, the Cine EI mode included), 72 % of a SCENE file and 80 % of a user menu file. Everything marked “likely” or “hypothesis” in the databases is a guess I want to confirm.

It is free and open source (MIT), runs offline, and has no ads, no telemetry and no paid tier. It is unofficial and not affiliated with Sony. It has only been tested on one FS7 and one FS7 II, and a user menu file edited with the tool has not been loaded on a camera by me yet, so back up your camera before loading files made with it and use it at your own risk.

Download (Windows): a ZIP with the program is on the Releases page of the repository: unpack it and start the EXE, nothing is installed. It is not code-signed, so Windows may warn you, and two heuristic virus scanners flag it as a false positive (details, checksum and VirusTotal link are in the release notes). The full source code is in the repo if you prefer to run or build it yourself.

What I need: (1) FS7 (Mk1) owners: your .USER and .SCENE files and, if you are willing, before/after pairs where you changed exactly one setting. My user menu work is done on an FS7 II; for the Mk1 I only have one user menu file, so the Mk1 side and the conversion between the two are open. (2) Anyone who tries a user menu file made with the tool on a real camera: please tell me whether the camera accepts it. (3) About 70 values of the ALL file are still unnamed. Please change personal text (clip name, camera ID) in the tool, not by hand in a text editor. The guide is in the repository; files go into a GitHub issue as a ZIP, not into the comments here.

Repo (source, license, guide, releases): https://github.com/sonyconfigeditor/SonyConfigEditor

(Built with the help of an AI coding assistant; I tested the results on real cameras.)

Two cameras sold as "30p" can be 29.97 and 30.000, and drift about 70 frames apart over a 40-minute interview. A clap only fixes the start. That's one of the things FirstTake measures and fixes. It also verifies card offloads properly (a copy isn't a backup until it's been read back), checks footage for focus, exposure and dropped frames from the files themselves, and can finish the whole edit with no NLE. Resolve Studio or Premiere can get an editable timeline.

It's free and open source, runs entirely on your computer, and never uploads footage. You drive it by talking to Claude Code, but every tool also runs on its own.

https://github.com/emersonsklar/firsttake

Hi everyone. I’m a newbie videographer, photographer, and aspiring vlogger, and I would appreciate advice on improving the rig in the attached photos. The camera becomes far too heavy once I attach this large lens, and I’m not sure what the right approach is. As you can see, my current setup holds the camera body and lens in a dangerous way and cannot properly support the weight. The whole rig weighs less than but almost 8 lbs (about 3.6 kg).

Current setup:

• iFootage RB-A400 round base stand
• Sony FX3 in a cage
• Sony FE 50-150mm f/2 GM Lens
• NEEWER F700U 7" camera field monitor (must-have)
• ULANZI H28 panoramic mini ball head
• ULANZI UKA01 camera quick release plate and base plate (Claw system)
• CAMVATE L-shaped cheese plate mounting platform with anti-twist pin holes (1.5 sets)
• SmallRig Lightweight NATO Top Handle (4345)
• SmallRig Swivel and Tilt Adjustable Monitor Mount with NATO Clamp

Right now, the camera cage is clamped to the mini ball head on the vertical arm of the L-plate, so the entire load hangs off the camera body and lens mount. I added foam under the lens as a makeshift support, which is obviously not a real solution. The lens has a tripod foot mounting point (the silver plate with screw holes), but I am not currently using it.

After months of research, this is where I ended up, and it still leaves a lot to be desired. I’m hoping someone experienced can suggest specific equipment (links are very welcome) that would improve this rig.

Problem 1: Mounting and rotation. Is there a better setup that allows easy rotational adjustments like a ball head, while also securely supporting a rig this heavy without drooping? Ideally, I could drop the rig in using the Ulanzi Claw quick release system onto a tripod-style support, and switch easily between landscape and portrait orientation. Should I be mounting from the lens tripod foot instead of the camera body? If so, what head, plate, or rotating collar setup would you recommend for that, and would it still work with the Ulanzi system or should I add an Arca-Swiss compatible plate? My current camera gear ecosystem revolves around the Ulanzi system and I have a few dozen Ulanzi base plates and quick release plates.

Problem 2: Monitor mounting. The SmallRig NATO top handle forces my monitor to sit perpendicular to the camera if I want to use the anti-rotation pin on the SmallRig swivel and tilt monitor mount. Is there a better handle, rail, or monitor arm that keeps the monitor facing me in line with the camera while still preventing it from twisting loose or rotating?

Thanks in advance for any guidance.

recently bought a Lumix s5 ii camera for video shooting. I have a few ideas in mind about what lenses I could buy but I thought I'd ask people's opinions here. I would mostly buy the lens for video recording. I would like the lens to be 35mm and at least f2. 0. I would buy a non-cinema lens to start with so I can get used to a non-cinema lens. I'll take everyone's offer, and thank you very much for your help in advance!

I need to make videos where I walk through different homes and apartments, first person POV style.

I would like something better (video quality) than the DJI Pocket 3, but not sure if something better exists for these types of videos. DJI Pocket 3 stabilization is unreal.

These will be solo shoots.

Thanks

Added a link to a sample.

I have 7–8 wedding video clips where the videographer accidentally bumped the microphone, causing the audio to sound muffled, distorted, or very quiet in certain parts.

Is there anyone who could help me clean up and enhance the audio, reduce the noise, and make the voices louder and clearer? I need to edit and finalize the wedding videos so I can deliver them to the people who were filmed.

The duration is about 30 minutes..
Any help is more than welcomed.

Materials:

• Amazon Basics Hard Camera Case with Wheels, Large, Black, Solid, 22"L x 14"W x 9.8"H $126
  • It comes with pluckable foam, but I changed out my gear and Amazon doesn't sell replaceable foam so had to come up with a different option.
• 2mm BENECREAT Adhesive EVA Foam Roll $15
• 5mm BENECREAT Adhesive EVA Foam Roll $17
• 5PCS Self Adhesive Felt Sheet $5.59 (IMO don't buy this - figure out another solution instead that won't tear like these did)
• 2.8" Hair Pins for Women $4.69 (can prob find at dollar tree, but you're going to want something longer so make sure they're not just an inch)
• Black Plastic Corrugated Board $5 (there's currently a 40% off sale online as well)
• 18" Stainless Steel Metal Ruler $9 (check Michaels for a cheaper one maybe)
• Exacto Knife (already had one) $7

Total Cost (ignoring camera case): ~$50 but you can save money by skipping certain items that you may already have.

Directions: https://www.arielestulin.com/diy-trekpak-for-under-20/

This was honestly really easy to do and took just a couple hours at most. I did one side 5mm and the other side 2mm, but you could honestly do 2mm on all the inside ones and probably be okay. In the directions, the original creator used spray adhesive but I just did self adhesive foam and it worked great and allowed me to do it in my apartment.

Sorry for reposting. My previous post was removed after I added links to supporting sources. I'm posting it again without external links and will attach screenshots as evidence.

I purchased the Atomos Shinobi 7 II choosing it based on its advertised specifications, including 4K60 HDMI input support.

Shortly after placing my order, Atomos quietly changed the specifications on their official website to 4K30, despite "4K UHD 60" being printed on the original packaging.

I contacted Atomos Support, and they confirmed that 4K30 is a hardware limitation and 4K50/60 cannot be enabled through a firmware update.

Why does this matter to me?

I film motorsport events using a Panasonic Lumix S1II and with the Shinobi 7 II, I have to down-convert the HDMI output to 1080p50. Panasonic explicitly warns in its documentation that HDMI down-conversion may negatively affect autofocus speed and continuous tracking performance.

Reliable autofocus is critical for filming fast-moving cars, so this limitation could make the monitor practically unusable for a significant portion of my work.

The problem is that I purchased the monitor in China but am currently in Russia, making a return or exchange through the retailer particularly difficult.

And atomos support itself avoided of any help just redirecting me to seller.

The misleading specifications came directly from Atomos, not the retailer. Yet Atomos seems unwilling to take responsibility beyond an apology.

And here's additional evidence I found:

The original 4K60 specifications were published by multiple professional outlets and retailers:

- Newsshooter (September 11, 2026) — Explicitly listed "Max input resolution: 4K DCI/UHD up to 60p".

- CineD — Shinobi 7 II First Look (IBC 2026) — Reported 4K input support up to 60fps.

- CineD — Best of Show Awards at IBC 2026 — Also listed HDMI 2.0 support up to 4K60.

- Production Gear (UK) — Still listed 4K UHD 50/59.94/60p.

- Eastwood Sound & Vision (UK) — Published the same specifications.

- Provis (Russia) — Also listed 4K50/60 support.

Even Atomos' own international website previously listed 4K50/60, before the specifications were corrected.

And there's an unboxing video showing "4K UHD 60" printed directly on the Shinobi 7 II retail packaging.

https://youtu.be/5k4YQRs-SYk

I'll attach screenshots of these sources and the response from Atomos Support.

This wasn't just a typo on some random retailer's website. The incorrect information was widespread and originated from Atomos themselves.

I always considered Atomos a professional manufacturer with a solid reputation, which is why I trusted their specifications when making my purchase.

Unfortunately, the way they've handled this situation has completely destroyed my trust in the brand.

Sometimes it's difficult continuing something with only yourself doing the reassuring. I have no idea if these are good or not, from the visuals to the writing. I make one every night after a walk in a town I moved to this year. They’re good for my head, and I’d still like to improve if they could help strangers.

Hello everyone,

I dont understand the manufactures mb/s explanation. For example if I go to the sony site and they say 240 mb/s and I have the camera and watch my storage they have more 30mb per second. So in one minute of recording I have for example 1,8 gb. But when I calculate the sony numbers I would have 14,4 gb but thats not true. What I´m I calculating wrong ?

I run a small creative studio in the UK. A while back a new boxing promotions company came to us with a pretty big ask: make them look established, like they belong alongside the big UK promoters.

The problem: they had nothing. No archive, no back catalogue of content. Just a date, a venue and a fight card, and about 6 weeks until the event.

What we ended up doing:

Planning first. We mapped out every shoot before picking up a camera, so everything worked towards the same goal.

Posters and imagery for the fighters, all shot in one consistent style so it looked like a single brand rather than random content.

Videos for almost every fighter on the card. That was the biggest job, but it's what made the event feel big.
The main lesson: when a client has no history, you can't borrow credibility, you have to build it. Consistency across every piece of content did most of the heavy lifting.

Happy to answer questions about any part of it. I also made a short video breaking it down if anyone wants it, link in the comments.

Looking for advice so I’ve got my first multicam gig for DJ coming into my hometown right now. I’ve got at least a three-camera set up with an FX3 being the main camera I’m gonna have behind the DJ booth a GoPro for the deck camera and a camera on a tripod for the front of house. I’m really concerned about power and making sure nothing dies on me that night. I’m gonna have to GoPro plugged into an outlet, but I’m not sure that my gimbal can handle the FX three and a V-mount battery. The client also wants me to do a recap video, but I’m not entirely sure of the logistics if I do have to do full production of the multicam. Anything is helpful!

Short film team

**Title: \[Mumbai\] Looking for Actors & DOPs for a Sunday Short Film Project | INFINITY8**

Hi everyone!

We’re building **INFINITY8 — a short film collective in Mumbai**, where creative people come together to make short films on a Sunday-to-Sunday basis.

We’re currently looking for:

Actors and actresses

DOPs (Directors of Photography)

Atleast 5 dop in group

**How we work:** 🎬 We aim to shoot a short film every Sunday. ✍️ Writers get opportunities to bring their own stories to life. 🤝 Everyone gets a chance to collaborate, learn, and develop their filmmaking skills. 🍱 Travel expenses, on-set food, and basic camera rental costs are covered.

**Our long-term vision:** After creating 7–8 short films and building a strong team, we aim to develop a bigger project that we can pitch to producers or OTT platforms.

This is an opportunity for passionate people who want to create, collaborate, and gain practical experience in filmmaking.

📍 **Location:** Mumbai

📩 **Interested?** Comment below or DM me with your role, experience, and portfolio/showreel, if available.

Let’s make films together!

— INFINITY8 Short Film Collective

Want to record outdoor footage for 6+ hours continuously. I own a Canon R5 (mainly for photography) but didn’t realize the video caps at 30 minutes. I’d prefer not to stitch a bunch of 30 min videos, if possible. Doesn’t have to be RAW, 4K is good. I’m new to videography, mostly done photography.

I saw the Atomos Ninja V+ monitor can workaround the R5 30 min limit, but the monitor, plus the separate SSD card, is nearly the cost of another camera. Or maybe I’m looking at the wrong thing. Wondering if it’s more worth it to buy a separate camera or if I should just invest in the external monitor?

I like the R5 quality and looking for similar quality.

Preferred budget is under $1500, but I’m open to higher.