A 32-bit float recorder small enough to hide on a bride’s dress, now with a real button, USB-C, Bluetooth, and timecode. Here is my review of the Instamic Pro Plus C from a wedding filmmaker’s perspective.
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A full frame zoom that holds f/1.8 across its whole range, with an internal zoom that makes it a gimbal lens. Here is my review of the Sigma 28-45, including the two complaints everyone had about it.
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30 hours of battery, a full color screen, a Sanken-modeled lav in the box, and the easiest timecode ecosystem going. Here is my review of the Deity PR-2, including why the US version is crippled.
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The same APS-C sensor as the a6700 and the FX30, in a 99 body. Here is my review of the Sony ZV-E10 II from a wedding filmmaker’s perspective, and an honest look at what Sony removed to hit that price.
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Every piece of audio gear I use to film a wedding, walked through in the order you will need it, from the getting ready room to the last toast. Six recorders, three cables, and a lot of backups.
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Color management is the easiest way to get amazing colors in DaVinci Resolve, and it genuinely takes one click. Here is how to turn it on, how to tell Resolve which log profile you filmed in, and whether you still need LUTs afterward.
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