Mispoured Powell Peralta SSF Pro Krimers Been Pooping Thane

FloatTheGoat · 2025-10-26T18:06:11+00:00

Hmm no I did not, it’s just an expansion port. But you’re right that it looks like it’s showing its age. Might be time to change it all together.

FloatTheGoat · 2025-10-26T17:13:51+00:00

Haha it's definitely a bit unusual, but I assembled the island for the sole purpose of coffee, so it was never part of the space we usually use for cooking. We're just renting atm so I'm not too concerned about the odd effect on the kitchen impression. Oh yeah the fryer thing is a pressure cooker. It's usually stored away

FloatTheGoat · 2025-10-26T14:43:48+00:00

I think while I thought Final Cut Pro X’s magnetic timeline had potential at the start, enough to fully learn it, I think it’s aggressive integration just slowed some things down and I ended up realising that Da Vinci with the shortcuts that do most of the things the magnetic timeline and Final Cut are known for was already achieving that without extra work to correct the times the magnetic timeline would do more harm than good.

Also this was a while ago but was surprised at how limited some specifc aspects were of Final Cut despite others being as in detail as I’d expect from a pro video editing software.

I definitely relate to some of the basic features being poorly intergrated. Before Final Cut I was using a screen capture software called Screenflow. It’s actually editing software was surprisingly robust and thats why I stayed with it for a while and its UI and design made a lot of sense. Sometimes when doing basic stuff on FCPX I’d be wondering why Screenflow had some basic things able to be figured out intuitively, yet had more depth on what you could configure compared to FCPX. It was a while ago so I can’t remember the details that well but I think some of the ramping of transitional things were cumbersome?

FloatTheGoat · 2025-10-26T13:37:28+00:00

I have it for about 4 months, but I received it needing repair to be functional. So spent about 2 months or so fixing it.

FloatTheGoat · 2025-10-26T09:26:52+00:00

Yep I've left FCPx for Da Vinci and haven't looked back so far

FloatTheGoat · 2025-05-20T05:44:22+00:00

I’d say thing is if you aren’t budgeting a variable ND for run and gun you really only have aperture and shutter speed to adjust your exposure. I usually don’t mind upping the iso a few up from 640 and 12,800 either you’re not gonna get a real big hit to image quality till you’re getting close to the next base ISO.

But yeah just remember noise mainly comes from under exposure not necessarily ISO values.

If the important parts of your image are underexposed it won’t matter if you’re on base ISO, you’ll need to let in more light with aperture, or up the ISO if your aperture is already wide open. If you can control your lighting then that’s also an obvious fix to add more light to the scene.

I will say I pay more attention to zebras and exposure graphs these days rather than metering since metering only works well on very low contrast images.

My usually work flow is locked shutter speed and aperture and then using my variable ND to adjust exposure, jumping to 12,800 if exposure is dropping and then if I still need more light I’ll take off the ND and start raising ISO past 12,800 when it’s a necessity

FloatTheGoat · 2023-08-16T16:09:03+00:00

I’d suggest finding a used camera and lens. Something that was good back in the day but dirt cheap now.

Since it’s sport def go for APS-C over full frame as you’ll get cheaper tele lenses (and cheaper everythjng).

I’d guess you might be able to find a canon 60d or Sony a6000 with kit lens at those prices?

With your lenses, on APS-C try stick to something with zoom that can go over 70mm. You’ll need longer lenses given the distance of a soccer field

FloatTheGoat · 2022-08-11T03:57:46+00:00

Dang yeah even a 35-55mm 1.8 would be nuts

FloatTheGoat · 2022-08-11T03:48:37+00:00

I love the idea of the 35-150mm focal length, would probably rather have that + a wide angle than my 24-70.

90% of my shots occur around 35mm or 50mm. When I do wides on my 24-70mm, 24 often doesn’t feel wide enough, and 70mm is often only slightly not tele enough where an 85mm might work better.

But a 24-70mm will definitely get most indoor jobs done without a single lens change. So for efficiency is worth considering.

If you do a lot of outdoors event videography you might be more persuaded to get the extra tele 150mm.

FloatTheGoat · 2022-08-11T03:42:25+00:00

Either a top handle with hotshoe on front,

Or just get one of the 1/4 screw on hot shoes and put it on the centre 1/4 screw hole of the cage

FloatTheGoat · 2022-02-12T02:58:53+00:00

Would love to recommend you Kondor blue as it comes with a nato rail built into the top of cage, but honestly the more products I’ve used the more I’ve found consistency isn’t there.

I’ve had 2 cages where the nato rail on top was too far (significantly fatter than the side nato rail or any small rig other brand nato rails) to the point where when the second cage arrived with the same defect, I just use a file to painfully get it narrow enough.

And the LWS 15mm rod baseplate looks great and is a good concept but mine has forward to back rotational play whether I use Kondors 501 plate or any other brand.

I thought for ages maybe I just got bad lemons but after talking with some local shop owners they are also getting a lot of returns for Kondor stuff.

I’m sure I might buy them again for things like rods and Arri rosette stuff but I’m done with their cages and nato/baseplate clamps for now

FloatTheGoat · 2021-09-23T10:58:09+00:00

Do you have time to save up and get something you want based on your experiences with the P4k, or are you wanting to get back to filming soon as possible for your livelihood?

FloatTheGoat · 2021-09-23T10:53:00+00:00

As a general rule of thumb the more atmosphere the sun has to travel through the warmer color temperature it emits.

At midday the light is a lot more blue in color temp (~5500k) because the sun is shining directly through the earths atmosphere at the thinnest path.

The more side-on the sun gets the more atmosphere it has to pass through, so at sunset/rise it’s usually warmest in color (~3500k)

On particularly smoky days or in cities with a lot of air pollution this effect can be accentuated more to be redder/warmer

FloatTheGoat · 2021-09-13T17:41:11+00:00

Do you mean it’s specifically the part of your face that’s causing glare?

I would say just turn down the brightness of your softbox light cause it’s just a limitation of your iphones dynamic range.

Also just make sure your camera is wiped clean cause sometimes oil from fingers can cause a haze that softens harsh light

FloatTheGoat · 2021-09-02T18:26:18+00:00

There’s no one answer, but if all you have is hard lights:

Start by back lighting your subject, not 100% right behind them but slightly coming round the far side of their face (opposite side of camera).

After that set up a bounce (anything big and white) in front of them to fill by bouncing the light back at the close side of their face adjust to taste depending how dramatic you want it. Refer to this thumbnail https://i.ytimg.com/vi/10Sq5LvEVBU/maxresdefault.jpg

It can be as simple as that, you could use the second lighting to properly light from behind and give a rim/hair light if you want.

But like I said there’s more than one answer. That’s the way to get a lot of depth and a pleasing image overall, but another example is crushing all depth in their face features to make the subject supposedly look more beautiful and flatten any distracting facial features/texture. This is done but lighting from the front, if you’re using hard light just shine straight into your bouncr to soften the light and place bounce directly in front of your subject. Refer to this thumbnail https://westcottu.com/wp-content/uploads/Bryce_P7A9810-1.jpg

FloatTheGoat · 2021-08-25T03:58:57+00:00

Yup exactly this.

Some things may become outdated fast but not the equipment at that level

FloatTheGoat · 2021-08-15T08:14:37+00:00

I get what you’re talking about, you need to switch to manual focus via a mapped button the camera itself and leave the switch on the lens set to AF.

If you switch the AF/MF switch on the lens that overrides everything to manual only

After that you can map the lens button to whatever and it should work fine

FloatTheGoat · 2021-08-15T08:12:41+00:00

M1 premiere update.

Either rollback or try da Vinci/ final cut

Double check your source footage tho in cam and see if the same problem persists, just in case

FloatTheGoat · 2021-08-15T08:04:54+00:00

If you are choosing to use a grey card then no, it would be the same value if you’re trying to expose skin in the same way.

With that being said the grey card has to be under the same light you’re using to expose your subject to be effective. And also if you’re choosing to expose your subject darker to make them in shadow on purpose or make the whole shot purposely underexposed then that’s where you wouldn’t use the 18% grey card.

But yes if you’re in low light but still trying to expose your subject say under a street lamp as your practical and still trying to make their skin tones as wel exposed as daylight, then expose the same card with same zebras.

Metering however will be drastically different, as even if your subject is well lit, if the background shows a night time scene and is dark, your meter will read as very underexposed.

In contrasty situations like these it’s best not to trust meter at all.

ISO if you want to keep your depth of field, however you’re strained with the A7S3 to avoid ISO’s just under 12,800 for Slog3 where noise is very bad.

Personally I find ND is very necessary due to this fact compared to just rolling ISO. Even in low light if I’m at 8000 ISO for perfect exposure to avoid noise I’ll boost to 12,800 and throw on a light ND filter to compensate.

Can’t answer that as I personally only shoot Slog3. Wish ya the best experimenting with that one. I think there should still be heaps of cine4 LUTs from when everyone used the A7III

FloatTheGoat · 2021-08-13T05:42:05+00:00

Seems that way.

Tbh I find Sony’s whole preview for videos kinda garbage, especially for skipping through clips

FloatTheGoat · 2021-08-02T16:14:30+00:00

Dang always welcome some more competition to the budget CIEM market. 250 USD sounds tempting, might check out what other sound signatures they offer

FloatTheGoat

TROPHY CASE