u/Zerorezlandre

There's nothing complicated about making beef jerky that lasts at least ten years when vacuum sealed and frozen. Surprisingly, even after a decade, it maintains it's flavor quite well. It certainly didn't kill me or make me ill.

I've been using the same American Harvest Snackmaster to make beef jerky for about 25 years, the same Foodsaver vacuum sealer for about 16 years, and simple all natural ingredients for dry and wet marinades since day one. Rarely have I used off-the-shelf marinades other than Kikkoman soy sauce or Lea & Perrins Worcestershire but when I have, I've carefully read the ingredients to insure they're simple and all natural.

At the outset I, like many, thought the process had the potential to be fraught with deadly errors regarding temperature, thickness, fat content, and so many other factors "experts" warned about. I discovered that fat content is mostly about greasy jerky which is gross; rancid jerky is about a lack of common sense regarding storage -one doesn't leave butter at room temperature for weeks at a time. Drying temperature is another thing that often conflated common sense with rocket science; read a bit about how various indigenous peoples preserved their meat.

In the end I came to the conclusion that, on all fronts, simple ingredients and common sense make for the best beef jerky.

As always, YMMV, but after 25 years I've gotten a lot of tasty mileage out of adhering to simplicity and a relatively primitive approach.

Especially those who also have the non-S version and/or the GH7.

Adrian van den Broeck and Lave Diaz are why I chose to build my package around the GH7.

The M43 Night Walker kit covers EFOVs for 32mm, 48mm, 70mm, 110mm, 150mm but I'd like something considerably wider than a 32mm EFOV for establishing landscape shots. It would be nice to find something that is relatively easy to match to the Night Walkers. At the moment I'm looking at the Meike 8mm Mini Prime.

There's lots of kayak lifts out there but everything I've see so far are so specific to kayaks that they wouldn't work for a mixer. This is for a small hatchback. Any ideas?

There's lots of kayak lifts out there but everything I've see so far are so specific to kayaks that they wouldn't work for a mixer. Any ideas?

In early April I paid $196 for a "budget" CFExpress card that now costs $580. I found this out when looking to buy a 2nd card for my GH7. I can't find anything with the same specs for what I originally paid. The AI oligarchs are ruining everything.

https://preview.redd.it/288du862fn9h1.jpg?width=637&format=pjpg&auto=webp&s=aa4980927b9ec4558963693656b4f57aaf0f313d

https://preview.redd.it/kvr88a62fn9h1.jpg?width=1055&format=pjpg&auto=webp&s=fa21995799c9b53d9f64c4659d1b0adac442884c

Seems like a lot of people have 3-D printers these days. I'm wondering how many people also own the Profile Wireless.

When using the Profile Wireless as a handheld mic, the gaping hole in the side of the charging bar makes for a cheap and amateurish impression, IMO. I know that many, if not most, see these 2.4GHz wireless systems as "cheap wireless for amateurs" but there's no need to reinforce that idea. I know it can be positioned in the hand so as to hide the hole but a black dummy plug would be a more elegant solution.

If spare cold-shoe adapters can be made to sell for $10 a pop, I would think Sennheiser could manufacture a RX dummy plug to sell for $20. Especially since the design is less complicated than the cold-shoe adapter; a dummy plug is just a small hollow box. Till then... anyone with the Wireless Pro own a 3-D printer?

I was able to get Lumix Lab and Sync working but Flow won't connect. Flow keeps popping up a message indicating that the phone and camera are not paired even though Lab connects just fine. I've even gone so far as to pause

Having the screen flip while monitoring audio is more of a distraction than it is useful in some important instances. When the meter we might need to pay particularly close attention to suddenly flips, then flips again, during a camera move, it can be problematic. Auto flip is nice to have but not being able to choose and lock orientation should IMO be an option.

I've seen some comparison low light footage but would like some anecdotal insight.

I don't know how else to phrase the title.

It's a theoretical or academic question, or better still, a thought experiment, for the moment because I'm still working on whether or not the math is actually mathing.

https://preview.redd.it/pp42bw0o266h1.jpg?width=1920&format=pjpg&auto=webp&s=2fec74a4bab36ce520bba57935b14b9dfbeb1bb5

https://preview.redd.it/vbbn7x0o266h1.jpg?width=1859&format=pjpg&auto=webp&s=e78738a77695c1eb77c6f9d326e7237fc99a76d3

https://preview.redd.it/ruu3zy0o266h1.jpg?width=1836&format=pjpg&auto=webp&s=eaefbbfede491738aa3a6adcf3e3baf2071b6b72

https://preview.redd.it/f7ses01o266h1.jpg?width=2560&format=pjpg&auto=webp&s=aedefbf1cb8f192287603b248d18f97b56c6592f

Again, this obviously isn't anything professionals would be interested in but perhaps hobbyists and serious amateurs might find it interesting.

I posted this with non-professionals in mind: cash-strapped hobbyists, serious amateurs, students, retired folk, and any other would-be micro-budget "filmmakers", that might need/want to always have on hand multiple channels of micro-budget friendly audio that's modular in nature and, as a result, scalable.

Looking into how I could use the camera's headphone output to monitor several prosumer wireless lav kits that record onboard audio, I came up with the rig pictured above.

When only using 2 channels, a single Sennheiser RX can just be attached to the cage like normal. A second Sennheiser RX can also be attached to the cage when 4 channels are needed; the two RX outputs are summed to the camera's input using a splitter cable. Anything more than four channels, however, and a mixer of some sort is needed. Keeping in mind 1PB operation, I decided that a frankenrig was in order.

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The cost for audio kit, which includes a 2nd Sennheiser Profile Wireless not shown, was $695.32 ($86.92 per channel):
Four wireless 2.4GHz lav kits with external lav mics, mini monitor mixer, battery, and cables.

The rigging cost $70.39:
Rod clamp, two cheese plates, two magnets, two flat-head bolts, and two flange nuts.

I got two Saramonic kits on sale for $35 each while shortlisting several $200-300 kits I was budgeted for. This gave me an opportunity to get a sense of the 2.4GHz world that these prosumer kits live in (I'm used to UHF). I wouldn't choose the Saramonics over the Sennheiser but at $17.50 per channel they will certainly work as additionals.

The Sennheiser Profile Wireless and Rode Wireless Pro were the final two on my $200-300 shortlist but after testing out the Sennheiser I saw no reason to open the Rode box and am now waiting on a 2nd Sennheiser.

Again, it's obviously not anything professionals would be interested in but perhaps hobbyists and serious amateurs might find it interesting.

The cost per channel for this 6-channel solution worked out to be $79.88 per channel. Adding a 2nd Profile Wireless for a total of 8-channels would be $94.66 per channel (both figures include the cost of Sennheiser ME3 lav mics).

I've been looking into the feasibility of using several prosumer wireless lav kits for up to 8-tracks of audio (onboard recording) and how I might be able to monitor all of them through the camera.

I got enough of the parts in yesterday to start putting it all together and finalize the layout; I'm waiting on small adhesive magnets to affix the Saramonic RXs to the cheese plate, a 6" USB-C power cable for the mixer, and 6" 1/8" patch cables. Both cheese plates are tapped so marrying them was a bit frustrating; I suspect I was doing something incorrectly but it worked out in the end.

https://preview.redd.it/3iaqynk35w5h1.jpg?width=1213&format=pjpg&auto=webp&s=664c6f742e92e1412c7931fffe64f6ff7f59d768

https://preview.redd.it/0yh7a7uo6w5h1.jpg?width=1402&format=pjpg&auto=webp&s=21a7b75be7f29eef491e3d3a9c776887f00d441b

I have the MFT Panasonic Leica 12-60mm f/2.8-4 zoom. It loses speed right out of the gate when zooming so it's only 2.8 at 12mm.

Several online reviews have listed the aperture changes at the different focal lengths and are similar to the following:

2.8 - 12mm
2.9 - 13mm
3.0 - 15mm
3.1 - 16mm
3.2 - 18mm
3.3 - 20mm
3.4 - 23mm
3.5 - 24mm
3.6 - 27mm
3.7 - 29mm
3.8 - 32mm
3.9 - 36mm
4.0 - 52mm

Seems like it shouldn't be too hard to accomplish, just combine the outputs and send them to the camera's input.

Since the RWP can't accept TC it precludes the possibility of scaling up by adding additional units. The only thing the RWP really offers is the ability to sync the two TXs for your two primary sources.

So, numbers one and two on the call sheet get synched via TC but anyone else has to be "slip synced" via "waveform sync". Might as well just use "waveform sync" for it all.

Thoughts?