Great video. Did just want to say if you're using a wireless mic you can still distort with 32bit float on the recorder. I've met many people who don't know about signal chain and that clipping before you get to the 32bit float device is still irrecoverable clipping so felt it was handy to point out
The phrase “32-bit float can’t distort” is like saying “RAW video can’t blow out”. 32-bit is only a portion of your signal chain which means you can still under drive a mic and end up with 32 bits of self-noise, or you can over drive the mic capsule and have a beautiful 32 bit recording of a distorted mic. It can bail you out once in a while when sound levels veer into the unanticipated. At the same time it can leave you with files that can’t be turned over directly to a client which can create extra time spent in post normalizing screwy audio. It’s one of the most overrated features in video work.
Also most people don't seem to realise the bitdepth has to do with dynamic range mostly. I myself record in 16bit and have perfectly good audio. The less bitdepth, the less dynamic range, the less forgiving it is when you dont set your levels properly.
I'm confused by people who are confused by the S9. Right now, vlogging is still very popular. And Sony has been answering that call for sometime now. LUMIX came along with the S9, which reaches out to the vlogging and travel community. The best time to release a product, is when there is a demand for a product with certain features. So, the S9's release actually makes perfect sense for the price and its target. People who want an S1Hii are in a completely different market. The S1H is a $4,000 camera. Users of the S1H want an S1Hii, but, will they actually switch to it when it comes out? Depends on what the S1Hii offers. And at a cost of $4,000, you're not exactly looking at a large group of users compared to people who are looking for a sub $2,000 camera. According to LUMIX, the S9 is flying off the shelves sales wise. I would like to see more about the Canon C400. Even though I'm looking at the S5ii, I always like to see what's happening with other brands. Thanks for your commentary. I always look forward to your next video.
Yeah, I got the S9 and the amount of weirdness around this camera is just unhealthy and plain odd. I wonder if people don't realize they're getting a Full-Frame 6K Open Gate, IBIS ready machine in a compact body with faster accessibility workflows that also takes amazing pictures for $1,499 ......how can it make so many people mad? Is beyond me.
@@lfcruzsierra I think it's because most people wanted something different in that form factor. I.e. a viewfinder, mechanical shutter, hot shoe, maybe a flash etc. I think it's because they wanted a L-mount Fuji X100vi competitor. That group didn't need (or wanted?) 6k open gate, the super duper ibis and most of the features the S9 is packing. They did not get the features they expected but got some they didn't ask for and don't need. That's at least my explanation.
@@luisneumannp2748 Well, makes sense since this not a professional photography camera, that's a job for the S5II - S5II X The S9 is more video oriented and most of those features are not deal breaking. Did you know that Sony will announce the ZV-E10II with LUTS on July 10 for $1,000+ -APS-C Sensor (no 6k, no OG) -No IBIS -No EVF -No Mec.Shutter
Hi Resolve Cinematch Filmconvert user…in multicam brand cross shooting. Cinematch release a HDR pipeline workflow which imho is great specially for mixed cameras. I usually put every log of my cameras in Arri log C3 since 3 years and this new HDR pipeline using a mix of CST and Cinematch plugin is making a huge difference It use DaVinci wide gamut and Intermediate plus the compagne sensor match calibration. Maybe it could be interesting for you and you could save some time in grade at least it save me time. Just an idea Yours Fil
19:00 bmd cloud and workflow like that keeps failing for us. It ends up duplicating files and folders endlessly. Syncing to cloud, cloud store, local nas, local drive it gets so messy. How are you doing it?
I’m confused, I thought the 32 bit float was only if the new XLR module is attached and only through that, I didn’t understand that it was in the camera without the module. So could you answer this question? Do you need the new xlr module for the 32 bit float or is internally in the camera without it?
Great video. Did just want to say if you're using a wireless mic you can still distort with 32bit float on the recorder. I've met many people who don't know about signal chain and that clipping before you get to the 32bit float device is still irrecoverable clipping so felt it was handy to point out
The phrase “32-bit float can’t distort” is like saying “RAW video can’t blow out”. 32-bit is only a portion of your signal chain which means you can still under drive a mic and end up with 32 bits of self-noise, or you can over drive the mic capsule and have a beautiful 32 bit recording of a distorted mic. It can bail you out once in a while when sound levels veer into the unanticipated. At the same time it can leave you with files that can’t be turned over directly to a client which can create extra time spent in post normalizing screwy audio. It’s one of the most overrated features in video work.
I wouldn’t say it’s overrated, but it’s certainly misunderstood.
Also most people don't seem to realise the bitdepth has to do with dynamic range mostly. I myself record in 16bit and have perfectly good audio. The less bitdepth, the less dynamic range, the less forgiving it is when you dont set your levels properly.
S9 Walking Footage 😮 Nice 👍🏽
Purchased your S5 II Setup Course, Good Stuff…. Down to support you Brother. Stay at it.
I'm confused by people who are confused by the S9. Right now, vlogging is still very popular. And Sony has been answering that call for sometime now. LUMIX came along with the S9, which reaches out to the vlogging and travel community. The best time to release a product, is when there is a demand for a product with certain features. So, the S9's release actually makes perfect sense for the price and its target.
People who want an S1Hii are in a completely different market. The S1H is a $4,000 camera. Users of the S1H want an S1Hii, but, will they actually switch to it when it comes out? Depends on what the S1Hii offers. And at a cost of $4,000, you're not exactly looking at a large group of users compared to people who are looking for a sub $2,000 camera. According to LUMIX, the S9 is flying off the shelves sales wise.
I would like to see more about the Canon C400. Even though I'm looking at the S5ii, I always like to see what's happening with other brands. Thanks for your commentary. I always look forward to your next video.
Yeah, I got the S9 and the amount of weirdness around this camera is just unhealthy and plain odd. I wonder if people don't realize they're getting a Full-Frame 6K Open Gate, IBIS ready machine in a compact body with faster accessibility workflows that also takes amazing pictures for $1,499 ......how can it make so many people mad? Is beyond me.
@@lfcruzsierra
I think it's because most people wanted something different in that form factor. I.e. a viewfinder, mechanical shutter, hot shoe, maybe a flash etc. I think it's because they wanted a L-mount Fuji X100vi competitor. That group didn't need (or wanted?) 6k open gate, the super duper ibis and most of the features the S9 is packing. They did not get the features they expected but got some they didn't ask for and don't need. That's at least my explanation.
@@luisneumannp2748 Well, makes sense since this not a professional photography camera, that's a job for the S5II - S5II X
The S9 is more video oriented and most of those features are not deal breaking.
Did you know that Sony will announce the ZV-E10II with LUTS on July 10 for $1,000+
-APS-C Sensor (no 6k, no OG)
-No IBIS
-No EVF
-No Mec.Shutter
Hi
Resolve Cinematch Filmconvert user…in multicam brand cross shooting.
Cinematch release a HDR pipeline workflow which imho is great specially for mixed cameras.
I usually put every log of my cameras in Arri log C3 since 3 years and this new HDR pipeline using a mix of CST and Cinematch plugin is making a huge difference
It use DaVinci wide gamut and Intermediate plus the compagne sensor match calibration.
Maybe it could be interesting for you and you could save some time in grade at least it save me time.
Just an idea
Yours Fil
Excellent Vlog man!
Appreciate it! Keep killing it bro 🙌🏼
Great video! Thanks for the inspiration and I can tell a lot of creativity went into that commercial. Well done!
19:00 bmd cloud and workflow like that keeps failing for us. It ends up duplicating files and folders endlessly. Syncing to cloud, cloud store, local nas, local drive it gets so messy.
How are you doing it?
I really appreciated your advice on your last vlog. I keep hearing it in my head with your awesome accent "groggiest frogs to the top" lol
Please tell me that your drone is not labeled 'OB1' 😂
Hi...give you like cause u deserve one....
Keep the channel growing, good content
I’m confused, I thought the 32 bit float was only if the new XLR module is attached and only through that, I didn’t understand that it was in the camera without the module.
So could you answer this question? Do you need the new xlr module for the 32 bit float or is internally in the camera without it?
The xlr module is required indeed. He must have connected the Hollyland Lark 2 microphone receiver to the xlr module.
@@AgustínAA-c4o oh okay, because he didn’t specify so it got me a bit confused, in any case thanks 👍🏾
THIRTY TWO BIT FLOAT, YOU HEAR ME???
That stair shot on the GH7 is smooth