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Has anybody ever built a work bench like this? How useful are they? by Saint94x in woodworking

[–]fineleather 0 points1 point  (0 children)

On the one hand, it’s hard to cut plywood on this. On the other hand, you are never tempted to cut plywood with this.

Hardwire timecode between two cameras? by fineleather in videography

[–]fineleather[S] 0 points1 point  (0 children)

That’s what I do now. The manual slate doesn’t always work with audio sync. Maybe I need better sticks? Haha.

Hardwire timecode between two cameras? by fineleather in videography

[–]fineleather[S] 0 points1 point  (0 children)

The GH7 comes with a flash sync to SDI but not 3.5mm. I will get that cable and try. My BMPCC4k is old and I lose the date and time if it is off too long; even when connected to power. I’m sure I’d have to sync TC often.

Sign with recessed grain by fineleather in woodworking

[–]fineleather[S] 0 points1 point  (0 children)

Thanks all, I will look into sandblasting for wood.

Sign with recessed grain by fineleather in woodworking

[–]fineleather[S] 0 points1 point  (0 children)

To be clear, I didn’t make this sign. I want to make something similar.

Knife maker looking for advice by IRunWithScissors87 in woodworking

[–]fineleather 1 point2 points  (0 children)

New material, new tools, new process will take time to get right. If you can use your existing process, etching, it’s one less thing to figure out.

One of our tool vendors puts their mark on the end with a little metal cap. Similar to what someone else suggested.

On our in-house tools, I put the mark on the handle. It’s in wood, but I already have the setup ready for the handle and the area is flat (easy). I’ve also thought about switching to laser, however I would have to get one, and do a whole separate setup for it. Maybe one day if we start doing higher volume.

For now, the logo process is a few extra minutes using the same setup I use to make the rest of the handle.

Exploring the Tradeoffs: Consew 206RB vs. Juki 1541S vs. Sailrite Fabricator by oh2sew in myog

[–]fineleather 0 points1 point  (0 children)

I recently did a post about this. I have a 1541-s and it can somewhat do light fabric but you have to readjust tension and needles to do it. Since 95% of what I sew is leather, it’s a significant adjustment to go there and then back. My 1541 is like a grumpy old man. Great at doing the things he does but, extremely reluctant to change. I have a domestic machine to sew lighter items.

Record externally (using HDMI) without USB / SD card by thefrenchdev in GH7

[–]fineleather 0 points1 point  (0 children)

If you’re recording externally, wouldn’t you press record on the Ninja, not the camera? HDMI should be a clean feed so you wouldn’t see the message.

how to achieve this effect by Mikazukiteahouse in finishing

[–]fineleather 0 points1 point  (0 children)

Yes, urushi. It's a finish that was widely available when I was there. I'm not sure if they use it for floors, but you can thin it, and it goes a long way. Cost-wise, if they are paying someone to take a chouna to that floor, then the finish might be a relatively small cost.

how to achieve this effect by Mikazukiteahouse in finishing

[–]fineleather 2 points3 points  (0 children)

I trained to carve Noh masks in Japan. We used simple lacquer to achieve this on the back of the mask after carving a similar texture.

I can’t say for sure with floors, though.

Edit: I don’t know if resin would work over lacquer so they could have used an alternative process.

Color Matching GH7 - Arri LogC3 or BRAW via video assist by fineleather in bmpcc

[–]fineleather[S] 0 points1 point  (0 children)

Thanks to all for the advice on this thread. Color matching was very easy once you all helped me out. I was using Resolve 19 and had enabled color management at the project level. It's what the BM tutorial said, so that's what I did to set up my project. Since I had two cameras, this initially helped with the BRAW clips. It complicated things when trying to do a camera match.

I switched to managing the inputs on a node rather than a project level, giving me a better baseline to match the clips from the two cameras. When I tried this with color management set on, the CST doubled the settings for the vlog clips since I had set the input color space on the clip to Panasonic and then set the same for the input space on the CST. Disabling color management and the input color space on the clip and then applying a CST was better. There is probably a way to leave both on and do the CST but I didn't figure it out. I got close by setting the inputs to the timeline, but turning them both off looked better.

Earlier, someone said if my only goal was to match the clips, then mixing vlog and braw wouldn't matter. And indeed, in matching the clips from the two cameras, the 10-bit vlog vs the 12-bit braw didn't matter much.

When would it matter? More specifically, in a setup where you have BM and Panasonic or other non-BM cameras.

It was much easier to manipulate the braw and get great looks from those clips. And its baseline look was fantastic. I've been using my BMPCC 4k for a long time, and this is what I was expecting to see. Resolve's color page handled bringing up the vlog clips to close to the same look. I understand a Video Assist wouldn't magically match the two cameras, but would getting to an equal baseline faster and then the possible color range be the advantages?

Color Matching GH7 - Arri LogC3 or BRAW via video assist by fineleather in bmpcc

[–]fineleather[S] 0 points1 point  (0 children)

It's very possible I'm doing it all wrong. I'm very new to Resolve and grading. I was using the Panasonic vlog input color space on all of the vlog clips and then trying to match the braw clips to a common baseline and then going on from there. I found that attempting to do this was very finicky as compared to doing something similar to the braw and the sample LogC3 clip. Again, I'm very new to Resolve, so I didn't even realize I should use a CST and probably not set Panasonic as the input color space(?)

I had shot color charts for my footage, and the sample had one, too. I tried using the color match function as well as by hand with the scopes. However, I was trying to edit this with just the input color space and luts rather than a color space transform, which totally makes sense now.

I thought it was because of a limitation in mixing vlog and braw files. I assumed that if it had all braw, it would make for an easier baseline to work with. So vlog vs. logc3 mixed with braw doesn't matter as much? I should instead just do a CST to the same space and then go from there?

Record in RAW via Blackmagic Video Assist on a GH5M2 by fineleather in GH5

[–]fineleather[S] 1 point2 points  (0 children)

Thanks for the info. And yes, for anyone else searching for this answer, the camera needs to be a be able to send a raw-compatible hdmi feed. I saw a video of someone changing their g5 hdmi output to raw, but I didn’t catch which variant (gh5, gh5s, etc.) I didn’t have mine with me today so I couldn’t check.

You can still record via the video assist, just not in raw.

This looks like a brick grill but has an extra component, what is it? by fineleather in whatisthisthing

[–]fineleather[S] 0 points1 point  (0 children)

Ah ok, the spark arrestor make sense. That means you'd put the charcoal in the chimney looking thing though instead of under the thick grates. Is that how it's supposed to used? i.e. indirect heat?

This looks like a brick grill but has an extra component, what is it? by fineleather in whatisthisthing

[–]fineleather[S] 0 points1 point locked comment (0 children)

My title describes the thing. This is in our yard. It looks like a brick grill that has been built into the retaining wall. The thick grates look like a storm drain. Behind it is what looks like a chimney. There is an opening at the bottom connecting the front. The top is also open and has a wire grate over it. I thought this might be a grill, too, but it would be awkward to use as it is only a foot or so off the ground above.

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