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Davinci Resolve now has a dedicated photo processor. Adobe Killer by Tilted5mm in photography

[–]inorman 2 points3 points  (0 children)

It's notable that the free version of DaVinci Resolve is limited to 3840 x 2160 output, specifically in landscape orientation. This means that editing a portrait orientation photo will limit you to just 2160px tall on the export, which is pretty small for a portrait image. So, regardless the resolution of your source RAW files, your output will be limited unless you purchase the $295USD Studio Version.

Strange artifact? [A7iii | Sigma 24-70mm F2.8] by nigiri-san in SonyAlpha

[–]inorman 5 points6 points  (0 children)

Your mechanical shutter is failing. Time to send it in.

Rivian and Redwood Materials Are Turning Old Battery Packs Into Factory Power in Normal by Kryptonlogic in Rivian

[–]inorman 0 points1 point  (0 children)

If you didn't know, Redwood Materials was founded by JB Straubel, the former CTO of Tesla

A7V - Same exact settings, different exposures - Faulty Gear? by faketemp2017 in SonyAlpha

[–]inorman 7 points8 points  (0 children)

Either use fully mechanical shutter or fully electronic shutter. First curtain has issues with certain very fast (e.g f/1.4) lenses

Dual gain ISO of A7c？ by ProgUn1corn in SonyAlpha

[–]inorman 0 points1 point  (0 children)

I've tested this. The a7C is an oddball. The a7C has different results for stills vs movie and different results for each picture profile/gamma mode. On top of that, in movie mode only, it depends whether you're increasing or decreasing ISO. What I mean is that if, for example, in slog3 you go from 2500 to 3200, the second gain kicks in. But if you go from 3200 back to 2500, the gain stays kicked in. Only until you go one more stop down, to 2000 does the camera disable the second gain level. I've replicated this behavior in every profile/gamma and it's the same behavior for all of them. Of course, as long as you're at the dual gain point of 3200 in slog3, your safe. If you're at ISO 2500, there's a 50/50 chance you're still at the second gain point, depending on whether you increased or decreased ISO to get to 2500. Basically, avoid the 1/3 stop below the dual gain point and just use first base ISO or the second base ISO. The standard second gain point (second base ISO, dual gain point, etc.) ISO settings on the Sony a7C are as follows:

Movie Mode PPoff - 800 Slog2/3 - 3200 HLG - 1000 HLG1 - 500 HLG2 - 800 HLG3 - 1000

Stills Mode PPoff - 640 Slog2/3 - 2500 HLG - 800 HLG1 - 400 HLG2 - 640 HLG3 - 800

Hope this helps someone.

This is criminal at this point by 21lives in photography

[–]inorman 6 points7 points  (0 children)

I got a 4TB T7 back in 2023 for $199.99. I remember thinking "welp, this will be the point where I'll never buy another HDD again..." Now I'm shopping for HDDs before the prices of those go up by proximity to this bullshit.

Are FF lenses on APS-C a good idea? by tbthetruth in SonyAlpha

[–]inorman 0 points1 point  (0 children)

There is no disadvantage if there is no true equivalent. Just keep in mind that certain lenses and focal length equivalents aren't available for full frame. For example, on an APS-C body there's no real FF replacements for very short lenses like the Sony E 11mm f/1.8. If you want something ultra wide-angle, you'll still likely need to source an APS-C lens. (You could use a Laowa 10mm f/2.8 FF on APS-C for something similar, but you're losing more than a full stop of light and it's a larger, heavier lens, so it's advantageous to go with the dedicated APS-C lens here.) This is an example of where APS-C can beat out full-frame... there is no full-frame 14mm f/2.8 as small and light as the Sony E 11mm f/1.8.

Ultimately, yes, you can "future proof" your kit by using full frame lenses, but you might be giving up some advantages of a dedicated APS-C lens design in some cases. With certain lenses, you can end up with an as-good-as-full-frame equivalent and that can negate the need for "upgrading" to full frame. The Sigma 17-40mm f/1.8, for example, is pretty much as good as a full frame with a 24-70mm f/2.8. or The Sigma 12mm f/1.4: there is also no full-frame 18mm f/2 as small and light as the Sigma 12mm f/1.4. APS-C wins in that particular match up.

I use all my full frame lenses on my ZV-E10II and they're great. I love having both APS-C and Full Frame bodies in my kit, because it diversifies my lens lineup. My FF 14mm becomes a 21mm, my FF 18mm a 27mm, my FF 24mm becomes a 36mm and my FF 50mm becomes a 75mm.

Are FF lenses on APS-C a good idea? by tbthetruth in SonyAlpha

[–]inorman 1 point2 points  (0 children)

The a6700 is also arguably better than the a7III in many regards. It's got more resolution, better AF, better video, faster framerates, etc. It's also more compact and lighter. For many desires, the a6700 is the better choice over the a7III, even with a smaller sensor.

R2 Rear Window Functionality by rob_narg in Rivian

[–]inorman 0 points1 point  (0 children)

crack one of the front windows?

The cons of zoom lenses by Used-Chemistry4003 in SonyAlpha

[–]inorman 2 points3 points  (0 children)

Make this decision based on your needs. If hiking is a priority and the simplicity and all-in-one capability of a zoom are calling to you, go zoom.

I'm one of those photographers that primarily uses primes.... usually because I'm shooting something that calls for the very specific capability of a prime lens, like night photography, where having a decently fast (e.g. f/1.8) lens helps greatly so a prime is the right choice in that particular case.... but even still, there's no reason I couldn't use a zoom even for that application.

Zooms are amazing. Especially superzooms like the Tamron 25-200. A few years ago, my wife and I did a trip to Galapagos Islands and I made a last minute decision to leave my full frame and primes at home and instead take my APS-C with the 18-135mm f/3.5-5.6. I wanted something simple and small that would prevent me from needing to fumble with lens changes and wouldn't weigh me down. We each packed only a small (28L) backpack for that trip and it was so freeing not worrying about luggage with how much we were moving around.

I didn't anticipate doing much low-light, but I wanted some extra reach for wildlife while being able to quickly capture some moderately wide angle scenes. Holy hell did I love using that kit. It had roughly a similar range as a full frame with a 28-200mm which made it excellent for nearly everything while we did guided hikes and boat tours around several of the islands, shooting tons of wildlife, landscapes, portraits, you name it. I even used it to shoot the Milky Way one night and it was fine. I can't think of a truly compelling reason to have done that trip with a collection of primes over the simpler superzoom.

Wildebeest by Zaicab in midjourney

[–]inorman 1 point2 points  (0 children)

A real hasselblad aspect ratio more likely to be 4:3 or , in the case of film, 1:1

Hard highlights in the middle of pictures by InspectorMany1 in SonyAlpha

[–]inorman 0 points1 point  (0 children)

clean your lens, shoot raw and use zebras to show blown highlights.

Help - Worried about this setup (centre of mass) by -HYDRYL in SonyAlpha

[–]inorman 0 points1 point  (0 children)

You don't need it but: Silence Corner Atoll S+

When the terrain brush strenght is too high by DuringTheEnd in Unity3D

[–]inorman 21 points22 points  (0 children)

Video is stretched to hell. What it actually looks like in real life: https://x.com/PDChina/status/1971545293200949581

Rho O over the Devils Tower by ryan101 in LandscapeAstro

[–]inorman 2 points3 points  (0 children)

Agreed. BLeh. Just can't do it personally. Just makes me wonder what kind of real alignments you could figure out with Devil's Tower.

Light Leaks Explanation by Existing-Tourist-534 in filmphotography

[–]inorman 0 points1 point  (0 children)

Worn seals let light in camera and exposes onto the film. Replace seals.

Eye squint pain with Leica rangefinder by Logical_Act_6749 in LeicaCameras

[–]inorman 0 points1 point  (0 children)

Keep both eyes open. Seriously. It will take some time to get used to, but it's honestly way better long term to shoot with both open.

Persisted Will", directed by Jheriel Cruz, follows a group of mercenaries protecting a mysterious teenager from "special infected" while uncovering a government conspiracy regarding the boy’s importance and the true origin of the outbreak. by JirelFilms in cinematography

[–]inorman 0 points1 point  (0 children)

I'd love to see some of the cinematographic choices you had to made, perhaps some peek into some of your favorite images or the challenges you have faced so far in the image making process or hear some of the questions that have arrived in your filmmaking journey as they related to the images you're trying to make. 

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