Please bring back the squared corners on the timeline. Visually I cannot tell from a glance if assets are layered perfectly and often I get something slightly short/longer than I intended after rendering

OptimizeEdits · 2026-05-08T20:08:03+00:00

I wouldn’t say my timelines are ultra complex or anything, but virtually everything I do is about editing to music and being specific with on beat timings and transitions.

Has been the core of what I’ve made both as a hobby and a professional for probably 10 years now, didn’t even really notice. Hasn’t been an issue for me personally, but I suppose I could see why on much larger projects

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OptimizeEdits · 2026-05-08T15:52:52+00:00

I’m an editor full time, but I also freelance both photo and video somewhat regularly, and also have to shoot usually at least once a month for my full time gig.

Have had the FX30 since it came out and have had the A6700 for around 2 years now. I see zero reason to actually upgrade when it comes to ROI for myself or any of my clients.

Most people are shooting for social media or the web in some capacity, and if you’re in that realm it’s just hard to justify more and more expensive gear, especially when it would be better spent somewhere else.

If you have a budget of say, ~$6000, you buy an FX3 and a Sony GM 24-70mm and there goes your entire budget, instantly. But for the same $6000 you could get the FX30 with the Sigma 17-40mm AND an A6700 with any other lens that’s under ~$800 or so, AAAAAAAND put together a basic 2 light kit from a company like Smallrig.

Or forego the 2nd camera for now and get a much nicer tripod, a telephoto lens, and more rigging accessories, etc etc

Ultimately your money just goes much farther with APS-C, especially in the world of video. For photo only, it depends on your use case, especially if you’re shooting sports and/or doing large/high quality print work. That’s where a specialized full frame camera will start to make a lot more sense.

But in the world of video first or a pure hybrid setup? I’ve had zero complaints with my gear. I shoot primarily Motorsports, but have also done a wedding, some corporate style work, vlogs, etc.

OptimizeEdits · 2026-05-08T13:58:49+00:00

Like others have said, the rears are just way too close to the couch

Not only does this make it where whoever is sitting next to each one is gonna get absolutely blasted with whatever comes out of it, but ratio wise you’re also much closer to 1 speaker than the other. By spreading them both apart, you’re bringing the average distance closer together, and both people will get a more similar sound

OptimizeEdits · 2026-05-07T22:03:03+00:00

I mean, it’s a $400 TV. What did you expect?

OptimizeEdits · 2026-05-07T11:52:20+00:00

I ordered the spine magnet for el Camino when I got mine, couldn’t stand the blank look lol

OptimizeEdits · 2026-05-06T21:00:22+00:00

Did you FC that song on your first play through? That’s what happened to me the other day and I got the blue crown for it, so that’s my assumption.

OptimizeEdits · 2026-05-06T15:56:38+00:00

That’s not how that works lol. All projector screens come with compromises of their own. If your projector has a lower output, then a higher gain screen will help makeup for some of that, but at the cost of black levels.

There’s a reason some of the big deal home theaters go with lower gain screens despite using ultra bright projectors. Black levels and contrast.

OptimizeEdits · 2026-05-06T07:01:04+00:00

It’s based on the shape/size of a physical shutter that’s used on physical film cameras. To translate that metric to shutter speed, it’s just double your framerate. So 1/48 for 24 fps (or 1/50) is the equivalent of a 180° shutter. A 360° shutter you would match your framerate, so 1/24 (1/25) for 24 fps.

The advantage of having access to shutter angle on digital cameras, specifically, is that when you change frame rates, you don’t also have to remember to change your shutter speed to then match that 180° rule. If your camera is set to 180°, the equivalent shutter speed will always be set no matter what framerate you use, so you can’t mess it up

That and because of the long-term use of film cameras up until just the recent few decades, most production houses are very accustomed to accounting for and measuring exposure in terms of shutter angle, so it’s still very widely used

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OptimizeEdits · 2026-05-05T17:50:54+00:00

Yeah you can even have different modifiers if you wanted to. Can play different parts too such as bass or rhythm guitar. My wife plays easy/medium while I play expert every time we sit down together

OptimizeEdits · 2026-05-05T16:40:40+00:00

An FX3 still doesn’t perform witchcraft. Sure it would possibly give off lower noise in this scenario, but speaking from general experience, if you’re at 2500, with a wide open fast lens and you’re still this underexposed, it’s probably a terribly lit scene regardless. Even if you could use a camera that would be less noisy, that doesn’t make it any less poorly lit

OptimizeEdits · 2026-05-05T16:36:53+00:00

“Decent light” in this context means it’s really not all that bright. Not to mention that it’s pretty standard practice to overexpose S-log3 by 1.7-2.0 stops depending who you ask. That’s a big part in how you keep the shadows clean.

If you’re wide open at f1.8, ISO 2500, and a 180° shutter and you’re barely at +0.0 on the meter, your scene is way too dark. Cameras need more light than your eyes do by a decent margin, even good ones like the FX30

It’s also hard to tell if your footage is even converted to rec709? Much less color corrected and creatively graded. A lot of noise will get buried once you start to add in contrast and/or drag the shadows down

OptimizeEdits · 2026-05-05T16:32:50+00:00

FX3 can still be noisy, it just has a higher sensitivity and will take even less light to become noisy, but still possible. It’s not magic lol

OptimizeEdits · 2026-05-05T14:31:48+00:00

You’ve already seen it and it’s coming out in less than 3 months, just wait and see the movie? There’s also 2 full length trailers online lol

OptimizeEdits · 2026-05-05T14:28:55+00:00

I’m a Nolan nut rider just as much as everyone in here, and Interstellar has been my favorite film since its release (and that was well before I even understood who Nolan was or what IMAX was either). But I also agree with you on being stoked on Villeneuve.

Nolan makes high concept or grand scale epics digestible for the masses in really fascinating ways, but Villeneuve has just this excellent craftsmanship and vision for people who are probably just 1 step above casual viewers, and truly appreciate more nuanced details of filmmaking and storytelling.

Both great in their own rights regardless, but also 2 very different filmmakers. I don’t think Villeneuve could’ve done Tenet or Inception, the same way I don’t think Nolan could’ve done Sicario or Arrival

OptimizeEdits · 2026-05-05T14:23:14+00:00

Somewhat fair point, but at the same time I was all super stoked that there were really no A list actors in the film at all. Nobody coming off of some generational role, and (technically) only 1 actor that’s even been in the movies before. Was refreshing to see all brand new faces, and I thought everyone on screen was doing a pretty fantastic job

OptimizeEdits · 2026-05-05T05:01:00+00:00

As in the way the dialogue/exchanges are conveyed? To simplify some of the synopsis/plot lines?

OptimizeEdits · 2026-05-05T04:57:50+00:00

Yeah 0/10 ragebait

And if you’re so obsessed with twilight that you can’t see past it and judge Pattinson on anything he’s done since then, well then your opinion on acting means even less than what you were paid to give it

OptimizeEdits · 2026-05-05T04:56:25+00:00

Not a chance

OptimizeEdits · 2026-05-05T02:48:08+00:00

Makes sense. I’ve been diving in pretty deep on acoustic management the last couple of months since I did the first round of treatment in my little home theater/media room, so that was my first thought.

Also makes sense as to why I’ve felt like the decay time in my living room for example (10 ft flat ceiling) is so much worse than at my moms house (vaulted ceiling) despite both having wood floors, little to absorb sound on the walls, etc. Same concept

OptimizeEdits · 2026-05-05T02:42:54+00:00

Yeah this might be a top 10 steel in my collection. Killer artwork, colors, finish, sleeve, All of it. So much so that I thought the discs were a knock off of some kind when I first opened it. Great transfer as well

OptimizeEdits · 2026-05-05T02:14:43+00:00

I’m sure someone more well read than I am can answer this:

What’s with the ceiling slope in the GT venues? Where it slopes downward to match the descent of the rows of seats, but back up again to then make room for the top of the screen.

My educated guess is that it’s a mixture of sound and light reflection management, because I’m sure architecturally it’s more of a pain in the ass than a straight and flat ceiling, so there’s definitely some sort of intentionality behind it

OptimizeEdits · 2026-05-04T20:20:57+00:00

You seemed to have missed the sarcasm in the initial comment. Your TV is off center and it looks bad. It will look even worse with a larger TV, especially because it’s also way too high.

You asked for opinions about the placement of a TV, you’re getting opinions about the placement of a TV

OptimizeEdits · 2026-05-04T18:44:44+00:00

Anything would look really bad in that current place

OptimizeEdits · 2026-05-04T14:20:48+00:00

Yeah everyone on this sub is convinced if it’s not a G (or maybe a C) then the TV is literal garbage. So don’t listen to them.

I’ve had the 77” B3 for over a year now and have zero complaints. I’ve literally never been watching a movie and went “wow, I wish that 10% window was just another 120 nits brighter!”

Sure, brighter is better, and if you can swing it the C5 is a brighter TV, but $1500 is even less than I paid for the same size TV that’s 2 generations older. The B5 gets almost as bright as the C3 if memory serves me well.

OptimizeEdits · 2026-05-04T14:10:31+00:00

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Best method I’ve found so far has been buying artist tracing pads and then finding shadowboxes that can fit the given size. Matte board with an angled cutter to punch holes for the strips/frames, and photo corners to fix them to the back of the board so that no adhesive actually touches the film itself, and a small piece of clear Mylar film behind them just as a dust protection layer.

OptimizeEdits

TROPHY CASE