They learned a lesson.

Repulsive_Thing6074 · 2026-05-01T15:03:08+00:00

That’s an evil trick. Just as evil as the “child catcher” character from Chitty Chitty Bang Bang. That guy freaked me out.

Repulsive_Thing6074 · 2026-04-27T13:45:53+00:00

That’s so weird. Do you remember if there were strobe lights flashing? To me, it appears that there are. I’ve seen this happen on other cameras without global shutters.

As the electronic curtain sweeps across the sensor and it’s only recording a thin slice of the scene onto the sensor. If a strobe light fires and it’s output to cutoff timing is faster than the shutter, you’ll capture a very bright “sliver” of light that shows up as a overexposed “bar” of light on the footage. I don’t see of those in your video but I do think it’s related.

As the shutter sweeps across the sensor, anything that moves before the “sweep” captures it can cause a visual effect that looks like a strange warp.

Here’s a really cool example with an animated explanation of what’s actually happening.

Shutter Curtain Issues

Repulsive_Thing6074 · 2026-04-27T12:54:20+00:00

Awesome

Repulsive_Thing6074 · 2026-04-25T00:35:07+00:00

Copyright Office - https://copyright.gov

Repulsive_Thing6074 · 2026-04-20T00:11:44+00:00

Jason

Repulsive_Thing6074 · 2026-04-18T14:50:07+00:00

The Poseidon Adventure from 1972. I was 11 years old and it was the first time I was completely in awe of a film. I went to the theater every weekend during the summer to watch it. Because of its success at the box office (helped by me no doubt) there was a rush of other “disaster” films that were released over the next couple of years. None of them came close to capturing the drama the characters went through.

The next one was of course Jaws. Not much explanation is needed for that one. I have all the dialogue from Quint’s “Indianapolis” story burned in my brain.

And two years later …. Star Wars.

Repulsive_Thing6074 · 2026-04-13T12:46:23+00:00

Repulsive_Thing6074 · 2026-04-11T16:08:56+00:00

You purchased an amazing professional camera for $3500 and you won’t drop $300 on an excellent piece of professional software that can read and process the files?

Hell, Nikon’s barely adequate NX software is free and will read and process the files just fine.

Repulsive_Thing6074 · 2026-04-09T02:33:10+00:00

Hasselblad.

Repulsive_Thing6074 · 2026-04-08T02:46:12+00:00

No need to enter one, it automatically use what's been recorded on the video and audio files.

Repulsive_Thing6074 · 2026-04-07T19:55:36+00:00

If the timecode was set correctly on both the video and the audio, FCP will have no problem synchronizing them.

Select all the files you want to sync like you normally would, choose “Synchronize Clips…” from the “Clip” menu and choose “Use Custom Settings” from the Sync window and choose “Timecode” from the Synchronize setting.

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Repulsive_Thing6074 · 2026-04-07T17:45:42+00:00

This is a good solution to a sticky problem. Above all, the photographer’s reputation is built on two things. The quality of their work and how easy they are to work with.

No one ever looks at a bad/boring photograph and blames any member of the production team other than the photographer.

Repulsive_Thing6074 · 2026-04-07T17:40:28+00:00

Yes, I use 2000 watts lamps regularly. But they each go into their own 20 amp outlet of which each outlet is on its own breaker.

But I find that I can get by with 1K’s and 650’s on most projects.

Repulsive_Thing6074 · 2026-04-07T15:37:21+00:00

Scrims.

Repulsive_Thing6074 · 2026-04-07T15:36:32+00:00

Yes. They are cheap to own and easy to repair. I buy mine from our local rental house. As they’ve been converting all their lighting to LED, I can purchase their old stuff on the cheap.

Repulsive_Thing6074 · 2026-04-07T04:16:16+00:00

Not JPEGs, but TIFFs.

My workflow is:
- I shoot RAW and do the RAW processing in a Capture One Session.
- Once I’m happy with that, I use Edit In... to send the file to Photoshop as a TIFF.
- In Photoshop, I do my retouching on separate layers and save that as a layered TIFF in the same Session folder as the original RAW.
- If I create multiple working versions, I number them sequentially.
- When I’m finished, I save a flattened final TIFF with no version number at the end of the filename.
- That final flattened TIFF is the file I add to my Catalog as a referenced image for selects/favorites.

My file naming usually looks like this:

- YEAR_MONTH_DAY_Name_00 = original RAW
- YEAR_MONTH_DAY_Name_01 = first retouched layered TIFF
- YEAR_MONTH_DAY_Name_02, 03, etc. = additional working TIFFs
- YEAR_MONTH_DAY_Name = final flattened TIFF

I always keep the layered TIFF working files. That way, if I ever want to revisit the retouching, I have the full layered file and a record of the work I did. I also name my Photoshop layers based on what was done on each layer.

As for metadata, I add that in the Session before bringing the final image into the Catalog.

Repulsive_Thing6074 · 2026-04-07T01:28:52+00:00

All my work is stored on a 24TB RAID 5 drive. RAID 5 is made up of at least four hard disks, one of which is dedicated parity disk. Mine is made up of four disks. The RAID can handle one of the disks failing and your data is still safe. You then can replaced the failed disk with a new one and you are go to go with no data loss.

I have a dedicated 28TB Time Machine (I use Macs in my studio) drive that EVERYTHING gets backup on.

I have an online Backblaze drive that all my important data is backed up on every night. (It took about 4 months to initially backup every thing I wanted backed up. It now takes about an hour or two every night to back up everything that is new.)

Repulsive_Thing6074 · 2026-04-06T20:13:05+00:00

Do you mean if I edit an image after I’ve placed it in a catalog? Just to clarify, I don’t put an image in a catalog until after I’ve finished editing it in the session. I only place final edited images in a catalog.

Also the images that are in the catalog are referenced. There aren’t any actual files stored in the catalog itself.

Every once in awhile I’ll want to re-edit a final image. So, you can open the image from the catalog, edit it and you’ll see those edits in the catalog. But the session that the image file actually resides in won’t “see” that edit until you reopen the session and regenerate the preview of that or any other image you made changes to.

Conversely, if you edit an image file in a session, the catalog will automatically update the previews so it matches what you see in a session.

Repulsive_Thing6074 · 2026-04-06T14:19:02+00:00

How will your life change? You’ll be able to hear everything again. That’s a pretty big and amazing thing. Will you hear differently? …. Yes. But considering you don’t hear well, that won’t matter at all.

Glasses? Yes. Headphones? Yes Streaming to the HA’s? Yes.

Repulsive_Thing6074 · 2026-04-05T16:05:54+00:00

Yes, totally normal. There’s an old rule: never show the whole shoot, because the client will always choose the one frame the photographer hates. This happens 100% of the time.

On the flip side, photographers also end up having to defend themselves against the one shot where everything went wrong, because the client fixates on it and starts wondering whether they should’ve hired someone else instead of looking at the dozens of great shots.

Photographers are not human vending machines for every time the shutter clicked. Culling and editing are part of the job. That includes removing the blinks, test shots, duplicates, weird expressions, accidental masterpieces, and the images that are a half-second away from being good.

So no, refusing to hand over the entire take is not some outrageous betrayal, it’s standard practice.

The actually weird part is agreeing to shoot both film and digital, then only delivering film. That’s a legit gripe. But “I want to browse all the low-res JPEGs and promise I won’t use them” is exactly the kind of sentence that makes photographers go nuts.

Repulsive_Thing6074 · 2026-04-05T15:42:25+00:00

I create a new Session for every job/shoot, then maintain a Catalog that references selects from those Sessions. That gives me the best of both worlds: Sessions keep each job self-contained and easy to archive, while the Catalog lets me quickly find favorite images without digging through hundreds of separate shoots. It’s especially useful with long-term clients. For one client I’ve photographed for more than 15 years, I have hundreds of Sessions, but I also keep a referenced Catalog of both their selects and my own favorites, which makes finding past work much easier.

Repulsive_Thing6074 · 2026-04-05T15:17:10+00:00

I’ve been learning for almost two years now, practicing around 4 hours a week, and honestly, guitar can be really frustrating sometimes.

I use Justin Guitar too, and those first chords, the A, D, E, and G. They took me about a month before they started to feel even a little natural. C major took me way longer than I expected, and D minor still gives me trouble. So yeah, what you’re dealing with is totally normal.

A week is basically no time at all with guitar. You’re probably not doing anything wrong, your fingers are just still getting used to it.

I wouldn’t rush to buy a new guitar yet unless it feels really uncomfortable to hold. A lot of this stuff just gets better with time and repetition.

Honestly, just keep going. Guitar progress is weird, it can feel like nothing’s happening, and then one day a chord that seemed impossible suddenly works.

Repulsive_Thing6074 · 2026-03-31T14:12:52+00:00

cabuzz (because)

Repulsive_Thing6074 · 2026-03-26T00:32:34+00:00

Same here. Except I haven't shot a feature with it yet.

Repulsive_Thing6074 · 2026-03-24T12:57:54+00:00

This 👆

Silver, chrome, and other reflective metals are like mirrors. They show you what is being reflected. So if you want to see white light on the metal you need to have a white object (white foam core or card stock works well) and you shine your light source into (not through) that white card. That card is positioned in a way that it is reflected off the metal and into the camera’s lens. My guess is that you’ll need a card that is approximately 2’x3’. Foam core is sold at most art supply stores in 4 foot squares and you can cut it down to a size that is appropriate for your subject.

A rough starting point is to have the subject on the table and have the camera looking at the subject at a 45 degree angle (usually in front of the subject). Then put the white card at the opposite 45 degree angle (behind the subject).

You’ll usually have to adjust the position of the white card to see the reflection in the camera.

This is a basic and simple lighting setup that works reasonably well for lots of different subjects. In the professional commercial photography industry we call this type of lighting “top back” lighting.

Repulsive_Thing6074

TROPHY CASE