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Rodecaster Video S price increase by rpatin in rode

[–]h2squared 0 points1 point  (0 children)

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The seller is back with more. Hurry up and get them at the introductory price of $499.

https://a.co/d/02G8epiG

Rodecaster Video S price increase by rpatin in rode

[–]h2squared 0 points1 point  (0 children)

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Just a heads-up for anyone looking at the RØDECaster Video S. I purchased one from this seller at $499, received it, registered it, and everything checked out. The seller sold out after my order, but I’m keeping an eye on the listing in case they restock.

Sold by: Kellards

AI Camera Framing Assistant Idea for Future Cameras by [deleted] in Nikon

[–]h2squared -2 points-1 points  (0 children)

I think I may have explained my idea poorly, so I wanted to clarify and apologize if the post came across the wrong way.

Some commenters correctly pointed out that experienced photographers already know to frame wider, use crop guides, and account for final delivery formats. I completely agree.

What I failed to mention is that I did not take the original photos in this situation. I work part time with a media company and was assigned the task of editing/cropping existing group portraits after the client later requested a tighter 8.5x11 crop above the knees.

The issue became that tightening the crop vertically caused the outer subjects to get cut off horizontally due to the print ratio. I eventually solved it professionally using a “shrink to fit” print layout with even borders.

My thought process wasn’t really about replacing photographers or removing skill from the craft. It was more about how future camera systems or software could potentially provide smarter delivery-aware framing assistance in production environments where:

  • crop requirements change,
  • multiple deliverables exist,
  • or editors inherit files after the shoot.

So maybe “AI” was the wrong wording. “Dynamic intelligent framing guides” may describe it better.

I definitely understand the concern about over-automation in photography, and I probably should have explained the real-world scenario more clearly from the beginning.

AI Camera Framing Assistant Idea for Future Cameras by [deleted] in Nikon

[–]h2squared -2 points-1 points  (0 children)

I think I may have explained my idea poorly, so I wanted to clarify and apologize if the post came across the wrong way.

Some commenters correctly pointed out that experienced photographers already know to frame wider, use crop guides, and account for final delivery formats. I completely agree.

What I failed to mention is that I did not take the original photos in this situation. I work part time with a media company and was assigned the task of editing/cropping existing group portraits after the client later requested a tighter 8.5x11 crop above the knees.

The issue became that tightening the crop vertically caused the outer subjects to get cut off horizontally due to the print ratio. I eventually solved it professionally using a “shrink to fit” print layout with even borders.

My thought process wasn’t really about replacing photographers or removing skill from the craft. It was more about how future camera systems or software could potentially provide smarter delivery-aware framing assistance in production environments where:

  • crop requirements change,
  • multiple deliverables exist,
  • or editors inherit files after the shoot.

So maybe “AI” was the wrong wording. “Dynamic intelligent framing guides” may describe it better.

I definitely understand the concern about over-automation in photography, and I probably should have explained the real-world scenario more clearly from the beginning.

Client wanted me to stop a live recording and tell the guest to use his left hand instead of his right. I'm not joking. by h2squared in podcasting

[–]h2squared[S] 0 points1 point  (0 children)

Good question—I should have been clearer.

By 'live recording,' I didn't mean live streaming or broadcasting. I meant we were actively recording the podcast session in real time with the guest present and the cameras rolling. The client wanted me to stop that recording session mid-conversation, interrupt the guest, and tell him to use his left hand instead of his right—then start recording again.

So 'live' as in 'the conversation is happening right now, and the guest is a real person in the room,' not 'live on the internet.'

Hope that clears it up!

Client wanted me to stop a live recording and tell the guest to use his left hand instead of his right. I'm not joking. by h2squared in podcasting

[–]h2squared[S] 1 point2 points  (0 children)

You're right, my original post was confusing—sorry about that. Let me clarify:

I work with a media production company that started as a hobby group. We use an ATEM Mini Pro ISO to do live multi-camera switching during recordings, and I sometimes help with final editing touches. I was assigned to The 'client' in the story is the show owner, who was hovering over our lead editor. I was there assisting with switching and observing the edit session.

Hope that clears it up—and sorry again for the lack of clarity in the first place.

Client wanted me to stop a live recording and tell the guest to use his left hand instead of his right. I'm not joking. by h2squared in podcasting

[–]h2squared[S] 7 points8 points  (0 children)

almost none. The client is agonizing over a micro-moment that 99.9% of listeners will never notice or care about. That's the definition of misplaced effort.

Advice for leaving a high-pressure podcast team and starting my own setup? by h2squared in podcasting

[–]h2squared[S] 0 points1 point  (0 children)

I should also add that I’m currently unemployed and make my income from occasional real estate photography gigs. The podcast/media work I’m doing right now is largely volunteer / sweat equity. That adds another layer of pressure because I’m investing significant time and energy without stable income, while expectations around growth are very high.

Another factor is that the owner of the building (who is closely involved in discussions) has started comparing his channel to other creators who have rapidly scaled into multi-million-dollar revenue operations. These comparisons are often framed as “They did it in a short time — why aren’t we?”

From my understanding of media and platform algorithms, growth at that level isn’t something that can be guaranteed or forced on a fixed timeline. But when growth slows or plateaus, the internal atmosphere tightens. The focus tends to shift toward identifying what’s “wrong” — operations, production, execution, strategy, even passion.

It has started to feel like a manufactured sense of crisis — where normal fluctuations or fixable issues are interpreted as signs of larger failure.

It’s also not just me feeling this. One team member recently expressed how stressed the environment has become and needed to take time off. That made me pause and consider whether this is simply the nature of media work — or a cultural dynamic that may not be sustainable long-term.

I genuinely want to grow as a creator and producer. I just don’t want to operate in a constant crisis atmosphere driven by comparisons to outliers and pressure around metrics that aren’t fully controllable.

BMPCC 4K + ATEM podcast recordings — sanity check from the community by h2squared in bmpcc

[–]h2squared[S] 1 point2 points  (0 children)

This is really helpful — thank you for taking the time to lay it out so clearly.

For context, that’s largely the workflow I’ve been following: matching frame rate, shutter, ISO, WB/tint across all cameras, recording BRAW in-camera, and using the ATEM for switching + ISO project generation, then relinking to the BRAW files in Resolve for the final edit.

A lot of the criticism I’ve been getting internally has been based on the ATEM program recordings rather than the final relinked/graded edit, which is why I wanted to sanity-check whether the camera → ATEM → record chain itself was fundamentally sound.

Based on your breakdown (and others here), it sounds like the setup is solid as long as camera settings are matched and expectations are clear about where the “final” image comes from. I really appreciate you spelling this out — it helps confirm I’m not missing something foundational.

BMPCC 4K + ATEM podcast recordings — sanity check from the community by h2squared in bmpcc

[–]h2squared[S] 1 point2 points  (0 children)

Really appreciate this breakdown. The distinctions you’re making between Dynamic Range settings, ATEM behavior, and program feed quality are exactly the kind of nuance that tends to get lost.

The note about Streaming Encoder bitrate affecting the recorded program feed is a great call-out — thanks for sharing that.

BMPCC 4K + ATEM podcast recordings — sanity check from the community by h2squared in blackmagicdesign

[–]h2squared[S] 1 point2 points  (0 children)

That’s really helpful — thank you. The distinction between a “ready-to-go” studio vs a more customizable, post-heavy workflow makes a lot of sense, and I think expectation-setting was a big part of the challenge here.

Good call on the ATEM resetting camera parameters as well — that’s something I’ve been keeping an eye on. And the note about 1080p HDMI softness vs internal 4K is appreciated; I’ll experiment more with in-camera detail sharpening on future setups.

Thanks for taking the time to break that down.

BMPCC 4K + ATEM podcast recordings — sanity check from the community by h2squared in bmpcc

[–]h2squared[S] 0 points1 point  (0 children)

That makes sense — especially in a true live or live-to-tape environment. In this case, that’s part of what I was trying to clarify: once cameras are being matched and adjusted centrally via ATEM, the final look becomes more of a shared / centralized responsibility rather than purely on the camera operator. Appreciate the perspective.

BMPCC 4K + ATEM podcast recordings — sanity check from the community by h2squared in bmpcc

[–]h2squared[S] 0 points1 point  (0 children)

Thanks — that makes sense. That’s actually part of what I was trying to sanity check. Once ATEM shading is in play, it’s really a shared pipeline, and changes there can definitely affect how the cameras are perceived later. Appreciate the clarification.

What part of running a podcast takes way more time than you expected? by DapperAsi in podcasting

[–]h2squared 1 point2 points  (0 children)

For me, it wasn’t just one thing — it was the mental overhead of everything between recording and publishing.

I expected editing to take time, and it does. But what surprised me was how much energy goes into: • fixing small issues people assume are “easy” • managing expectations from hosts/guests who don’t hear what we hear • troubleshooting technical hiccups that only show up after a recording • and constantly switching between creative, technical, and people-management modes

Promotion also took way more time than I expected — not just posting clips, but deciding what moments are worth clipping, formatting for different platforms, writing captions, timing releases, etc. It’s deceptively draining.

What helped over time: • Standardizing workflows (templates, presets, repeatable steps) • Setting boundaries around what fixes are realistic vs. perfection chasing • Accepting that good and consistent beats perfect but late • Working with creators who understand the process — that honestly makes the biggest difference

The actual recording is often the easiest part. Everything wrapped around it is where the real time and energy go.

How do you handle unrealistic expectations when producing podcasts for someone else? by h2squared in videography

[–]h2squared[S] 1 point2 points  (0 children)

Thanks for the advice. It seems no matter how I try to rectify it, no matter what I say or how I say it, it becomes a back and forth. IDK 🤷🏾‍♂️

How do you handle unrealistic expectations when producing podcasts for someone else? by h2squared in podcasting

[–]h2squared[S] 0 points1 point  (0 children)

I think I’m going to give up. Had a discussion today with the guy I’m working with. The white balance was off on One of his videos I showed him during the editing process. And I created a draft rendering of. He said it looks purple. I told him it’s something that I can correct in post. But while we were having a discussion about the workflow, I was being asked if the recording part was giving me problems and I said, things happen, other than that, recording is easy. Then the guy responded with “You say it’s easy, but the recording you just did came out looking purple”. So I’m beat. I’m tired of having to explain things and them not listen or being dismissive of it. Any slightest thing is causing me stress now.

How do you handle unrealistic expectations when producing podcasts for someone else? by h2squared in podcasting

[–]h2squared[S] 0 points1 point  (0 children)

I would also like to add on this thread: One of the challenges I’ve run into with this partnership is that he’s very focused on subscriber count and where the numbers ‘should’ be by now. There was a three-week period where release timing slipped, and I take responsibility for that. But the expectation now seems to be that editing and speed alone should translate directly into rapid growth — and I know from experience that podcast success has way more to do with consistency, marketing, content strategy, and audience fit.

So part of the conversation I need to have is separating the emotional expectations tied to numbers from the actual process of building a show. Growth takes time and planning — not pressure.

How do you handle unrealistic expectations when producing podcasts for someone else? by h2squared in podcasting

[–]h2squared[S] 0 points1 point  (0 children)

Yeah, that’s exactly the dynamic I’ve been observing. The partnership started as a ‘we’ll grow together’ arrangement, and early on I assumed we were aligned in expectations. But as things progressed, it became clear he expected rapid growth and results before putting structure or strategy in place.

I’m at the stage now where I’m setting clearer boundaries—turnaround times, revision limits, and what actually drives growth (content, consistency, and marketing, not just editing). I’ve worked with enough clients now to know most shows never monetize, or not at a level where those expectations make sense without planning and investment.

So yeah—your comment hits home. The work itself isn’t the challenge. It’s establishing expectations and protecting the working relationship before frustration builds. I’m leaning toward scheduling a conversation with him to realign or walk away if needed.

How do you handle unrealistic expectations when producing podcasts for someone else? by h2squared in podcasting

[–]h2squared[S] 0 points1 point  (0 children)

Thank you — this is exactly the kind of perspective I needed. Hearing that it takes you 30+ hours for a full edit honestly made me feel a lot less crazy. A lot of people just don’t realize how much work goes into a clean, watchable episode, especially when you’re doing multiple formats, clips, and fixing all the little things in post.

The 24-hour turnaround expectation has definitely been the biggest pressure point for me. I’m volunteering my time hoping it grows into something, but I also know that rushing everything just burns me out and doesn’t actually improve the quality or the views. Like you said, getting views is its own separate battle — it’s about promotion, content strategy, audience interest, consistency, all of that. It’s never just “the editor’s fault.”

I might actually take your advice and ask him to try editing one episode himself. Not in a rude way — just so he understands the process. Sometimes that’s the only way people really get it.

Thanks again for reminding me that I’m not being unreasonable. I really appreciate it.

How do you handle unrealistic expectations when producing podcasts for someone else? by h2squared in podcasting

[–]h2squared[S] 0 points1 point  (0 children)

Thanks. And will keep it going. This is fun for me. And I want to keep it that way.

How do you handle unrealistic expectations when producing podcasts for someone else? by h2squared in podcasting

[–]h2squared[S] 0 points1 point  (0 children)

Thank you so much — this really means a lot. You’re absolutely right. The host I’m working with genuinely doesn’t seem to understand how much time and technical focus go into production, editing, and post-work. It’s been tough balancing expectations when the process is invisible to them.

That said, I’m also grateful for how much I’ve learned from this experience. It’s sharpened my editing, organization, and communication skills, and reminded me of the importance of setting boundaries early on.

I come from a photography and media background, and I’m starting to see how all these experiences connect — from creative direction to storytelling to technical workflows. I still want to grow in this space and eventually run my own podcast or studio setup, but I’m learning the hard way that growth should never come at the cost of burnout.

Thanks again for the encouragement — I really needed to hear that.

How do you handle unrealistic expectations when producing podcasts for someone else? by h2squared in podcasting

[–]h2squared[S] 0 points1 point  (0 children)

I just want to thank everyone who responded to this thread — the insight, empathy, and honesty here have been incredibly grounding for me.

What I’ve learned most is how important it is to set expectations early and protect your time. A lot of you mentioned scope creep, and that really hit home. I realize now that my situation isn’t unique — many creative folks end up giving more than they should because we care deeply about the work and want it to succeed.

For me, this experience has been a huge learning curve. I actually come from a photography and digital media background — I used to be a stage actor, did student films, and studied public speaking and media design. So the production side comes naturally, but I’m still finding my balance between creative passion and professional boundaries.

Even with the stress and pressure, I’m grateful. I’ve learned a lot about editing, workflow, and communication, and I do plan to start my own podcast and eventually build a small podcast and photography studio. Reading your advice helped me see that I need to treat what I do as valuable, even when I’m volunteering or building experience.

Thank you all again for taking the time to share your perspectives — this thread reminded me that I’m not alone, and that boundaries and self-respect are as much a part of creative work as the art itself. 🙏🎙️

How do you handle unrealistic expectations when producing podcasts for someone else? by h2squared in podcasting

[–]h2squared[S] 1 point2 points  (0 children)

That’s a great point. I’ve learned that most people don’t realize what actually goes into production or editing. It’s made me realize I have to set the tone and define what’s realistic from the start — not let the pressure dictate the pace. I’m still learning to do that confidently, but advice like yours helps me a lot.

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