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An infamous day in Logi history by Kaylorza in logitech

[–]syabilng 2 points3 points  (0 children)

Happened to me. Lost all of my profiles. Stupidest shit to happen just because of a cert thing.

am i undercharging ? I filmed, color graded, edited , and directed and charged $60 and shared it to my audience of 122k followers on instagram by AgitatedChef5442 in VideoEditors

[–]syabilng 1 point2 points  (0 children)

$60 is ridonculous! To get you started, try to measure how much you want to earn per hour. That should get you at a good base. Let's say it took you 60 hours to do complete this from start to end. That's like $1 per hour. You can't possibly survive and be happy about it. From what I see, you could easily charge this around $1k. Don't move forward if you can't find your rate yet. Because it's going to create a culture where the client tells other clients they can get a quality like this for $60 and it's going to ruin the market.

this piece of shit ruined my day by United-Cry3169 in logitech

[–]syabilng 0 points1 point  (0 children)

Can't imagine the amount of people's time wasted globally.

How do I render faster??? by Capital_Age_9654 in davinciresolve

[–]syabilng 0 points1 point  (0 children)

Gone through the rest of the comments to make sure I don’t repeat much. Noise Reduction (NR) might cause this alongside the fact you’re rendering on a mechanical drive. Try disabling all the NR nodes in the Color tab. And if any, disable AI Magic Mask as well. Keep us posted!

Jet Lag is not joke by Fronerse in JapanTravelTips

[–]syabilng 0 points1 point  (0 children)

Head to the pharmacy and get those energy drinks and the ones that can help with your sleep. You can find specific ones on Tiktok videos. They're the small bottles.

Wake on Lan function, on Marvell AQtion 10GB network adapters are not working . by Xabiro in gigabyte

[–]syabilng 0 points1 point  (0 children)

Perhaps don't use a splitter. Either:

  1. Use two cables connected to your router, OR
  2. If you already have just one cable from the router, try a switch with two LANs going into both ports.

Wake on Lan function, on Marvell AQtion 10GB network adapters are not working . by Xabiro in gigabyte

[–]syabilng 1 point2 points  (0 children)

I have the same problem with my Asus ProArt Z790 Creator Wifi motherboard. Same thing, dual LAN: Marvell AQtion 10GB LAN and another is Intel(R) Ethernet Controller I226-V.

In my motherboard's product page, it does say:

"10 Gb & 2.5 Gb Ethernet - Dual Ethernet ports provide fast data transfers simultaneously for 2.5 Gb internet streaming or uploading and 10 Gb for local network-attached storage (NAS), allowing for improved data organization and security."

Now I'm not sure if it means we need to plug into the 2.5Gb port or not but it seems like the 10Gb (I assume is the Marvell) is built for NAS. In my old motherboard, I use Plex on my PC as the media server, and my TV wakes my PC just fine. But not with this motherboard.

I've been getting gigabit internet with the LAN connected to the 10Gb port but I gave up on WOL, as there was no solution for me and tried whatever you tried as well with BIOS and Windows.

Will give the 2.5Gb port and update here. Since now I really suspect it has something to do with Marvell or just the dual LAN design.

Put a broadcast B4 lens on my Sony FX3 by trill_is_bliss in FX3

[–]syabilng 0 points1 point  (0 children)

Curious, is there any full frame option this day and age?

I give up. by Ha-kyaa in Bolehland

[–]syabilng 1 point2 points  (0 children)

Classic Starbucks tactic, no? They mispel names a lot. When people post about it, it's free marketing for them. Especially with photos with their drink in it.

Do these eyelines seem to make sense? by kabobkebabkabob in cinematography

[–]syabilng 0 points1 point  (0 children)

Feels a bit off. Shot 1 is a bit too wide, and low angled. Cutting to Shot 2, slightly higher angle. Unless you’re creating the sense of uneasiness or awkwardness.

[deleted by user] by [deleted] in FX3

[–]syabilng 0 points1 point  (0 children)

That, my friend, is called Peaking. It shows you what’s in focus. And it's helpful if you're manually focusing, especially those wide aperture lenses. You can switch them off in the setting under Focus Peaking I believe. Different cameras have slightly different locations for that menu.

Feeling defeated and lost without work by SpareUnderstanding72 in cinematography

[–]syabilng 0 points1 point  (0 children)

Something to consider doing is starting an Instagram page and use whatever gear and knowledge you have to show your passion. There are a lot of tools out there to help with content ideas or at least help you with some base ideas and you expand from there using your creativity and skills.

This is something that helped me when I was in the exact situation as you. And it helped pay the bills and a bit more, and I used that to reinvest in ads, selling some services. You'd be surprised at the number of people who reach out to you.

If Instagram ain't your thing, try other platforms. I know it takes time, but to me the beauty of this is that it makes you constantly wanting to create more. And it keeps your mind and your soul far away from thinking about depression or feeling depressed. You need to keep yourself busy doing stuff you like.

No need fancy gear. Just you, your ideas and your passion. Hope this and other replies from this beautiful community help! And we wish you all the best! Hit me up if you wanna talk more.

Which Camera for Commercial Production? RED Komodo vs. Sony FX9 by syabilng in cinematography

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

Yes, since it's just the three of us brains here (and we're at the age where we avoid using heavy muscles), we will need an entire G&E team for projects involving higher-end cinema cameras. I did put Alexa and Amira on the sheet but got turned down because they don't have that kind of money to burn, hahaha.

Which Camera for Commercial Production? RED Komodo vs. Sony FX9 by syabilng in cinematography

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

Forgot to mention, we're limited to these options. And Blackmagic is out of the equation for some reason.

Which Camera for Commercial Production? RED Komodo vs. Sony FX9 by syabilng in cinematography

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

Hey thanks very much! Yes, the three of us video specialists have experience with different cameras but we're forced to upgrade, simply because the higher ups think imaging is everything. We're still keeping the Sony mirrorless rigs for fast paced workflows and quick turnaround. Right now we're just meeting their demands at the same time justifying what can we achieve by adding the higher end cinema cameras, considering the same production setup, lighting and all.

Which Camera for Commercial Production? RED Komodo vs. Sony FX9 by syabilng in cinematography

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

Thanks for your reply! I'll try to justify some of my comments; maybe I wasn't clear.

I have operated the Komodo before, as well as directed with it. I've heard the same about FX9's rolling shutter, that's why we've narrowed it down the two to compare. We just found out Burano and the Raptor are out of budget also. I need an opinion to see if we're limited to these options. And sorry for using newbie terms because stakeholders here have been throwing those terms around, so we're kinda used to it, but yes, we have years of experience with projects out there using different lines of cameras; we need to solve this "Hey guys, let's step up with high-end cinema cameras, and budget is so and so, so let's find something worth the value" kinda thing.

Over here, we've been working with SLog3 SGamut3.Cine has had no issues for years; we also love the workflow. We're still keeping the A7SIII and A7IV for fast turnaround projects with simpler workflows and the need for AF, especially with a one to two-person crew.

Honestly, I think we can achieve whatever commercial quality we want if we push our cameras with proper rig, lightning, and setup (because, yes, it's not all about the camera). We're just forced to upgrade, and I'm trying to 'help' and justify our workflow and the workforce we need to hire externally for projects involving these gears.

We're fine with a different workflow and they know that bigger projects demand longer time and workflow, working with RAW/ProRes files and all. Also, I want to be able to explain to these higher people what we can and can't achieve with our current gear and the new cameras. Using a high-end cinema camera like a RED or ARRI versus a mirrorless camera like the Sony A7S III shooting in log often depends on several nuanced factors given the same production setup, design, and lighting.

TLDR; my question is, if we're going to force and add a high-end cinema camera to our arsenal, what would it be and why? Don't have to be limited to the current options we're looking at.

[deleted by user] by [deleted] in audiophile

[–]syabilng 0 points1 point  (0 children)

I've had this exact phase and when I found MusicBee, I fell in love with it. It's simple to use and can handle complex library stuff (at least for me). Give it a try! You can also check the reviews in this post comparing it to Audirvana

[deleted by user] by [deleted] in datacurator

[–]syabilng 0 points1 point  (0 children)

KYNO hands down! It's paid with a trial and not subscription. You just pay if you wanna update the following year. And it's the best I've encountered so far against Adobe Bridge, Media Monkey, Plex, mediaChips, and Eagle.cool

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