I edited Sony FX5 XOCN RAW on the cheapest laptop Apple makes, a fanless M5 MacBook Air. DaVinci Resolve handled three stacked RAW tracks without breaking a sweat, Premiere Pro came close, and Final Cut Pro could not open the video at all.
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Sound design, not your camera, is what makes a wedding film feel cinematic. Here is the exact layering method I use to build the audio for a reception exit.
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I put the Deity PR-4, Zoom F3 and Tascam FR-AV2 head to head on size, screens, Bluetooth, timecode, storage, batteries and audio quality. Here is which one I would actually buy, and why it was not close.
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The FX5 and the S1 II both record RAW internally, but they split hard after that. Here is every category each camera wins, and the one I actually bought.
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The FX5 brings 16-bit internal RAW, 5K open gate, a third base ISO and over 16 stops of dynamic range. The FX3 is still legendary though, so here is which one I would actually buy.
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Instagram compresses your Reels, but a lot of the time that is not Instagram’s fault. Here is every Final Cut Pro setting that actually matters, plus the one final step that unlocks higher quality playback.
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