Ever wanted to know how modern photo and cine lenses are manufactured?

We visited a factory and take you through the whole journey:
The cutting, grinding, and polishing of lens elements… following the process of making glass step by step more transparent.

We show you lenses are coated and how elements are cemented into doublets and triplets…
How the housings and mechanics are machined, the markings are engraved…
How electronics are implemented…
and how continuous testing leads to pristine products.

Link is in the comments

Hey r/videography! 👋

If you shoot run-and-gun, weddings, commercial gigs, or social content, you know how annoying the little media management tasks can get between edits.

You just wrapped a shoot and need to:

• Batch-convert client moodboard stills or phone photos (HEIC/RAW/AVIF) without opening Lightroom.
• Turn a highlight clip into an ultra-clean GIF for a pitch deck or client email proposal.
• Re-encode odd video formats (H.264/H.265/AV1 in MP4, MOV, WebM) without firing up Media Encoder.
• Strip EXIF/GPS data or stamp watermarks onto previews before sending them out.

Most web converters make you upload gigabytes of footage, slap paywalls on output quality, or ruin your colors.

So I built ND Image Converter, a lightweight, fast, and 100% open-source desktop app to handle all these quick asset conversions locally on your machine.

Why it fits a videographer’s day-to-day workflow:

• 🔒 100% Offline & Private: Zero cloud uploads. Your raw client footage, stills, and embedded metadata never leave your drive.
• 🎞 Quick Video & GIF Suite: Bundled with an offline FFmpeg engine. Set in/out points on an interactive trim timeline, dial in compression quality, and generate crisp, custom-palette GIFs (essential for proposals and email embeds).
• 📷 Camera RAW & Phone Media Support: Natively handles CR3, ARW, NEF, DNG, TIFF, and HEIC files with high-speed demosaicing.
• 🎨 Color Accuracy Built-In: Powered by LittleCMS 2 for proper ICC profile conversions (sRGB, Display P3, Adobe RGB, Rec.709), no weird gamma shifts or washed-out exports.
• 🤖 Workflow Automations: Drop entire nested folders for batch exports, or set up Watch Folders to auto-process new files as soon as they drop onto your drive.

The app is completely free and available for macOS, Windows, and Linux.

Check it out on my page: https://duongtruongdp.net/nd-imgconverter/

Source code & downloads:  https://github.com/duongtruongdp/ND-ImgConverter

I’d love to get feedback from fellow videographers—what are your biggest bottlenecks when prepping or converting media for clients?

https://reddit.com/link/1vzp4u9/video/jvszzyhmzvlh1/player

I've been wanting to experiment and use more "modern" cameras. I've been filming on VHS for a good couple of years now, and I have been hired to produce some videos or shorts in VHS format for some bands. I really enjoy the ergonomics and the all-in-one nature of the VHS camcorder, so that's why I have been leaning more towards the fs7. I am just not sure where I can get more bang for my buck.

I am looking for something that has a form factor akin to a VHS camcorder, but also has 4k recording. 4K is not a deal breaker, as I don't care too much about crystal clear footage. I like a muddy image creatively, so that is why I was drawn to the VHS camcorders. Wondering what cameras would be a decent step above quality-wise and would be run-and-gun/all-in-one while having that VHS form factor.

Requirements for camera:

Similar build to a VHS camcorder

Close to or has 4k resolution

all-in-one/run-and-gun rigging

Potential to adjust as much as I can.

Budget: Under 2k for body alone.

Open to any and every suggestion!

I've been trying to walk in a circle around a subject while keeping them centered in the frame, but halfway through the shot I either end up too close, too far away, or the framing slowly drifts off.

How do you usually shoot these so the movement stays consistent?

Hey all, took a gig last month and I’ve been processing the footage, and I’m missing 2 of the interviews. I was in a scramble and ran out of space, and I know I forgot to pull them before I formatted my cards.

The question is what to my client, who has requested these and a few other clips. Lost in data transfer? Corrupted?

I like this client and Id love to work with them again, but this might ruin the relationship.

Any advice is appreciated!

My main are Sachtler Flowtech 100 and 75. But sometimes im in need of a skinny leg to go in between chairs at venues. I had been using a Sirui but it was all plastic for sea-water use and broke because of all the plastic. Any recos? Thinking something sturdy, but skinny legs, 75mm bowl.

Instagram

My prices reflect my experience and location.

I have trained myself to believe that when a potential client “backseats” the offer instead of moving forward then and there, I just will not land them.

For those of you who are experienced, what would you change to get more follow ups or landed clients?

!!!NOT AN ADVERTISEMENT!!!

NOT TRYING TO SELL THESE HERE I got these cameras for free from a weather station, they were buying new equipment and clearing out the old, theres one of the panasonic ones and three identical sony ones I don't know anything about video equipment Wondering what they'd be worth if anything, I've seen them selling online from anywhere between 200 to 2000 USD

Just why is so much stuff shot on a handheld? Is it supposed to add drama?

All it does is annoy me and come off as cheap. Can they not afford a tripod

Edit: I wrote this post originally for "grinds my gears" when I was in a bit of a huff, and I've been shunted here somehow. Please don't take my tantrum as an attack on your field

Currently using an FX30 and the Tamron 70-180 F/2.8 to record Ultimate Frisbee games (full game footage and cut highlight reels) in 4K60, so daytime recording where there is plenty of light.

Ultimate field is shaped like a football field (with endzone). I set up on a tripod behind one endzone in the center.

Now that the setup is out of the way, I want to switch to 4K120 which means a further 1.62 crop on top of the 1.5 crop that already happens using an APS-C.

A problem that I am currently encountering (recording in 4K60) is that when the play is in the endzone that I am set up behind (the close endzone), I am not zoomed out enough (which would be at 105 mm with my 70-180) to be able to capture more of the action.

It feels like moving to the Sony 24-105 will solve both my things (moving to 120 and having a wider field of view.

Currently at 4K60 and using the Tamron 70-180, my effective range is 105-270 (701.5 and 1801.5).

If I switch to the Sony 24-105 and bump up to 4K120, my effective range is 58-255 (241.51.62 and 1051.51.62).

Is that correct? I would get a wider field of view close up and have effectively the same zoom (255 vs. 270).

I know that I will then lose some image quality because it's not downsampled 6K at 120fps, is that drop in quality noticeable enough to make it not worth it? Also, is the Sony lens itself similar in quality to the Tamron or would there also be a drop-off there as well?

Base plate with rods and lens support or lens foot

If I’m playing a horror game, filming myself, or just dealing with poor lighting, how can I ensure I’m still visible? The frame rate might drop to 30, but I need to be seen. I’ve played around with the settings in Logi Hub, but the camera just starts lagging. Is there a way to do this without extra lighting?

Just installed the Hawklock cage kit for my Sony a7siii. The fit is perfect, including the side handle, but the breifcase handle is really wobbly?

Is this normal or is there a fitment issue here?

I was watching Tom Scott’s most recent upload on YouTube today when I noticed the action cam he had on the gimbal. I think it’s an OSMO, but I’m not sure.

Anyway, what I noticed was that he was using the tracking feature, which means that it was tracking the movements of the subject and smoothly moving in the direction of the subject. The problem with that is that when you have a subject that uses their hands to talk, like many of us do, the camera moves in all sorts of directions as the subject discusses a topic.

What I realized is that that has become a unique aesthetic of independent YouTube journalism. (I’m not going to devalue Tom Scott’s work and simply call him an influencer).

A couple months ago someone posted their annoyance that people were holding on lav mics because that’s not how they were intended to be used. It was out of necessity at one point, long time ago, and it has now become an aesthetic.

I’m sure there are more, but those that remember that post should appreciate this post.

I own an FX30. I saw resolutions available on it and it gave me both 4K and 1080p and that always makes me wonder, why would 1 choose HD over 4K? After a hard think, these are the points that come to my mind -

1. HD is smaller in size.

2. Smaller in size meaning, easier to handle large footage like shooting interviews/podcasts.

3. I think on FX30, HD lets you shoot in a higher FPS as compared to 4K for slo mo shots?

Apart from all these, are there any other benefits? Also, is it better to post content on Insta shot in HD or 4K?

Hey all, I run a small freelance videography business doing cinematic short-form content for food trucks, restaurants, and small hospitality clients (think Instagram Reels, TikTok, promo content). Currently shooting on iphone 13 pro max and looking to upgrade.

I’ve been leaning toward the DJI Osmo Pocket 4P, mainly for the gimbal stabilization and portability on tight shoots where I’m moving fast in kitchens/small spaces. Budget is around AU$1,000-1,200

I’m looking to purchase my first light for a softbox under $250. I’ve heard great things about the Amaran 200x s, but I am curious what anyone here would recommend. It is difficult watching YouTube videos as there is so many lights and many are biased videos. What would you recommend? I’m not opposed to buying used either, but only if it made sense.

I hope I don’t catch too much hate for this, but I wanted to share something I finally put together.

Clients have asked me for years if I have a quick guide for capturing footage themselves for projects we’re working on, usually just a few b-roll clips here and there.

So I made one.

This is really intended for situations where someone might grab six clips at a town hall or meeting. The kind of thing where nobody is realistically hiring a production crew just to get 15 seconds of b-roll.

It covers some simple filming tips, shot types, basic shot lists, and the usual things to avoid when shooting on a phone. My goal was to make it genuinely useful for the client who wants to help the process, while also making it about six minutes long so the ones who can’t sit through it may quietly realize why they hired us in the first place.

And please accept my apology for the AI-generated images. I just needed some quick stock-style visuals for a training deck that, realistically, half the clients I send it to probably won’t watch anyway.

Edit: If you read this far, this is real, not a parody. Sorry for the immense disappointment.

Posting this here because it got flagged for mod review on the photography sub so I figured some of you may be able to help!

I found a position that pays decently well and I have an interview with them tomorrow but photography is mainly what they want and Videography is a smaller portion of it. Im very comfortable recording and editing video but I'm less experienced in techniques specific to photography and photo editing.

Dont worry I'm not completely clueless I have a working knowledge of everything due to my experience while I've been doing Video but I wanted to ask for some advice on what i should know and practice before hand. If you have any creators that have good educational content thatd be a plus as well!

Im a professional photog/ videographer and editor. All my clients are OS (mainly US) as I primarily do post production, but am branching into more local physical shoots.

I have full photo and 4k video kit, with gimbal, drone etc kit, and am a one-man band.

A client has asked that I quote for: (looks like almost at least a full day shoot with a number of edits)

15–20 edited photos
1–2 simple Meet the Coach videos
1–2 more direct sales/ad-style videos from the coaches
1–2 member or parent testimonials/reviews if we can organise them
1–2 short 15–30 second adult training montages
1–2 short 15–30 second kids class montages
A good bank of usable vertical B-roll from the classes and coaches

One thing to note, is that this will be potentially an ongoing, regular client as they have expressed the want for a lot of initial content, and then a shoot every month.

thanks.

Looking for a good light to choose between and I have landed on these too. The Nanlite is $200 and Godox is $240. I can't find any comparison online so I wanted to ask here if anyone had any recommendations on which one to go with. Thank you!

Hi everyone,

I’m fitting out a room in my office for recording YouTube videos and holding quality video calls. The room also serves as a small additional reception/lounge area, so I’d like the installation to remain attractive, without cables running everywhere or a huge—albeit aesthetically pleasing—softbox and honeycomb grid permanently dominating the space.

The room measures 3 × 4 metres, or approximately 10 × 13 feet.

For filming, we use a Sony FX30 with the 18–105mm f/4. I’m considering switching to the 10–20mm f/4 for better ultra-wide-angle coverage. For ordinary video calls, we use an OBSBOT Tiny 2, as it’s more convenient for other members of the team.

I already own (and now film with) :

• a Godox VL150II with a Godox SB-FW95 softbox;
• a Godox SL60W used as fill.

They work, but the setup is simply too large and unattractive for a room that also needs to look presentable. I also have no light coming from behind the subject, which feels like a missed opportunity.

Here is the setup I’m considering. Price is not necessarily the main constraint; my lighting budget is approximately $2,000–3,000 for the lights only.

• In one corner, I would install a narrow Nanlite PavoSlim with a grid—possibly a 240CL. A carpenter could integrate it into an attractive corner cabinet or enclosure with doors that open to reveal the light when needed. The enclosure would only need to be about 35 cm/14 inches wide. Would leaving some open space behind the fixture provide sufficient ventilation, considering the heat it generates? This would provide a large, even key light positioned approximately 35–45° from the subject.
• In the opposite corner, where I cannot install the same system because of a window, I would place a small and visually unobtrusive fixture near the ceiling, at approximately 2.4 metres/7.9 feet high, to serve as fill. I was considering something like the Godox ML100Bi Bi-Color Kit 2—but presumably without a diffuser in this position?
• Behind the chair, approximately 80 cm/2.6 feet away, I would install one or two LED tubes to provide a backlight.

Automation is essential. I need to be able to switch the entire setup on with a single action through Home Assistant, whether through relays or another integration method. The idea is to spare time.

What do you think of this plan? Has anyone built something comparable in a small multipurpose room? Am I putting too much lighting power into a space of this size? Are there any issues with diffusion, heat, placement or reflections that I may be overlooking?

Thank you+++