Have been needing THIS VIDEO for years! Seriously thank you so much for putting this together. So much complicated info about these lots finally cleared up in a short video, great visuals, literally 10/10 production thank you!!
Hi, is it possible to have presets for different focal lengths? And eventually would be possible to switch between them while recording? I'm thinking about cine zooms in this case, and the possibility to zoom while recording and quickly set the right focal length. Tnx
My memory cards were giving me a cannot record at this frame rate or data rate. Then I formatted them in camera and they stopped doing that for the most part. I still get it if I try to record 4K60 with a slower card but it seems to record fine it's weird
I have a brand new i9 with a 490 and it was still struggling with long GOP. I ended up getting a warranty replacement from Intel and it is a little bit better now. Sometimes I still transcode and make proxies for big product projects. PTSD long GOP
Cool info thanks, i just came here to say that you should definitely try rechargable AAs in your devices. Eneloop whites for longevity, blacks for peak performance.
Thank you for once again being the follow manfacturer instructions unless it's canon guy on the youtube! One thing I didn't love about Theos when it launched was the "assumed knowledge" the company took with their very minimal user guides, and like you, I had a lot of trial and error with my set and the c70 before I got comfortable bringing them out on a project. Edit - In regards to the Theos vs other 2.4ghz systems, it's also an image thing. I'm a fan of the DJI mics, I have 3 v1's and the 2 pack of v2 - they are overall great to just throw on a someone or if you're shooting in risky situations like the out in wilds... But for almost every corporate or industrial project I've worked on, having a full kit like the Theos is like building out your camera with rails, extra monitor, cine lenses, etc...
I've heard a lot of people complain about noise and clipping with the Theos. Its bad on two fronts for Deity to design the transmitters so they clip like that and then to give people the wrong gain staging information. With Deity you get a better "value" but the downside is their products have issues like this. Theos has lots of features but I find it to be overly complicated. I also think they must have cut corners with the amplifiers in the transmitters and receivers. I also agree about monitoring instead of relying on non monitored internal. Too bad Zaxcom lawsuit I guess because Deity is in the USA they don't want to be sued while Rode and DJI are outside so they record and transmit.
Thanks so much for making this video! Just about to pull the trigger on the Deity Theos. Didn't realise there were any potential issues with the C70, so you've just saved me so much time troubleshooting it myself in a week or so.
Thanks for all the testing, Eric! I'm a huge fan of your channel. I've been using the C70 since it became available, but I still bought your course a little over a year ago. And I don’t regret it-it's probably the best out there. With all your tests, comparisons, and getting into the nitty-gritty, you’re really saving your fellow filmmakers a lot of time. Thank you for that!
I'm in Cambridge. You don't explain why one should set the camera to LINE instead of MIC. A LINE level is post amplification (pre-amp) of the microphone's output which is a very, very small voltage/current. A LINE level can be quantized (digitized), a MIC level cannot (because it's too weak). It's easy to experience clipping because the microphone transmitter/receiver has ALREADY pre-amped the mic signal. If you put it into the camera as a MIC you are adding another "preamp" to the signal. By setting the camera to LINE you have only ONE pre-amp applied to the mic signal. You control all the pre-amp at the mic level. The first amplification "prepamp" is where you select what pressures (voltage) of the mic you can to focus on. You can't go back once you've preamped it. NO AUDIO RECORDER RECORDS in 32-bit float. Sorry for all ALL CAPS. 32-bit float is 24-bit data with an 8-bit scaling. It is data saved in segments (mantissa and exponent) which are put through a formula. All MIC outputs (voltages) are linear values. They have no inherent scale. Any manufacturer that says it is recording directly to 32-bit float is lying; rather their marketing people are lying to get people to buy new equipment. It is PHSYCIALLY impossible. I wrote an article on Medium that goes into the weeds, you can find it by searching: microphone clipping, the three types explained. The reason you probably can't listen to 32-bit float is the latency of converting 24-bit back and forth from 32-bit float. It is all done in the device. Again, a mic cannot be recorded in 32-bit float, it must first be recorded as 24-bit then rescaled to 32-bit float.
@@SoundItOutFilms It took me years to figure it out by reading technical literature and thinking it through. It saved me this morning. I was using a Portacapture to pre-amp an RE20 to a Sony A7S2. But I couldn't barely get the levels low enough by setting the rec volume to 1. Because I understood the LINE out was ~1 volt, I went into Portacapture and looked around, thinking I'd set the pre-amp to 0 at lowest gain but found a setting for "CAMERA" or "LINE" out. I picked "CAMERA" and was good to go.
It's wild that I have never even *GOOGLED* the difference from MIC and LINE (which I also have on my FX3). I just set it to MIC if I'm running lavs or a shotgun and ignore it. Also that first interview setup looked sweet.
Ain't using the IS in camera gives more shake than turning it off? Base on my experience it doesn't have help the stabilization but only jitters more when panning is introduced
Or some way to have L mount lenses connected to L mount cameras with the tuner inbetween. Thinking of the 35-150 Samyang with autofocus and ibis data fed to a Lumix and a Module 8 tuner (For example)
Or some way to have L mount lenses connected to L mount cameras with the tuner inbetween. Thinking of the 35-150 Samyang with autofocus and ibis data fed to a Lumix and a Module 8 tuner (For example)
I believe this lens uses a "reverse-zoom" design, similar to the 15-35mm f/2.8, and the EF version of the 70-200mm f/2.8. That was done so that the lens hood would be effective both at 24 and at 105 (in the case of this lens) otherwise you would see the edges of the lens hood at 24mm. This is one of those compromises in the design. The next RF 70-200mm f/2.8 which I believe will be internally-zoomed as well, will show the same characteristics. The 70mm will be towards the front, opposite to what one would expect.
