like this here. This this is a pro

technique of cleaning your lights. Yes.

If you don't clean your lights, they

don't reach 100% maximum

[Music]

output. All right, NAB 2025, let's check

out some

stuff. Okay, so here we are with the

very coveted GFX Aterna. Um, there's

been so much hype surrounding this

camera and you know I'm obviously

interested because I am a user of the

GFX100 Mark II. Like I love that camera.

Absolutely one of my favorite stills

camera and so it's interesting because

there's so much hype surrounding this

camera but the camera's already out. So

people can just buy the GFX100. It's

interesting because this is obviously a

much nicer form factor, but like images

are technically already out because

they've basically just traded a lot of

how the GFX100 was built into the

Eterna. So, it's got the same sensor.

It's got the same image quality, but

there are some new things that we have

learned just from here at NAB. From what

I've been told, I think there is plans

to do some sort of EVF option. On this

unit right here, we see like a 5- in

kind of LCD screen. you kind of really

need an EVF if you're doing any kind of

handheld shoulder work. So, it's kind of

really crucial. And so, we've all come

to know and love the uh default EVF

that's from the GFX100. And so, one idea

that I had and and from what I've been

told is that they want to just somehow

integrate and port that to be able to

use this on this body because I love

that EVF so much. I always compare it to

like a little IMAX screen for my

eyeball. So, another thing I think is

really interesting right now is the only

audio in right now is currently a 3 and

12 mm on the back, which is nice to

have, and from what I've been told, I

think there's going to be some sort of

integrated top handle XLR solution

similar to like an FX6. So, I don't

know. In my opinion, it just kind of

seems like in the same way that the FX3

relates to the FX6, it's kind of pretty

similar to the GFX100 and the Eterna

because what are the main reasons that

you would choose an FX6 over an FX3? A

big one would probably be internal

variable NDs. This has internal variable

NDs up to two to seven stops. So, one

thing I really did want to flag is that

since the majority of this camera has

just been straightly ported from the

GFX100, one kind of concern I had was in

regards to the ISO because normally on

the GFX100 when you're shooting Flog,

you can't go below base ISO. Like, you

can't rate downwards to 640, 500, stuff

like that. So, I am hoping I'm assuming

that since this is more

cinem. But the whole idea is that like

this would be a great A camera and then

people would use their GFX100 as a great

B camera. But if this is able to change

its ISO and go downward and the GFX100

can't, it's like, okay, now I have to

come up with some other solution and

then use NDS on my B camera and it would

just be nicer if just across the board

if I'm shooting an F-OG, let me just

write my my ISO downward. So quite

possibly what I think is one of the

biggest draws for a lot of Fujifilm

cameras is the film emulations. I

they're probably my favorite and I love

the GFX100 so much because when I'm

shooting with a film emulation in RAW,

that same film emulation carries through

in my editing software. So, but one

thing that's also being discussed is

that when you're shooting an F log, um,

being able to use those same emulations

as a 3D L, because currently with the

GFX100, you can only use those film

emulations when you're baking in your

color profile, which obviously doesn't

really suit a lot of video production.

So, currently when you're shooting FLOG,

there's only some kind of generic kind

of RECX 709 L. So, um, that's one thing

that I'm interested in in seeing how

they navigate is just being able to use

those more. more so as 3D LUTs as you're

filming emulation. So, another thing I

find really interesting about this

camera is that they've actually included

the stock GFX 100 battery in here. So,

you could actually use that same battery

and obviously it's you're going to have

a pretty limited recording capability

with it. We don't know exactly what that

looks like yet, but the theory is is

that you can leave a battery in there

and then, you know, power it off your

regular gold mount Vmount battery and

that brick battery will charge the

internal battery. But what that does is

is you're able to now hot swap batteries

and just have a one fully charged GFX

battery in the chamber essentially. And

so that way you can just rip your

battery off and it's kind of cool. It's

kind of a really cool feature for a kind

of an cinemmaentcentric camera just

having a very very kind of short

internal battery. Another thing that I

thought was kind of uh an interesting

decision were the card slots. So, I

would say 95% of this camera is the same

as the current GFX100 all the way down

to the card slots, but I don't know if

that's necessarily a good thing. I think

I would have rather preferred two CF

Express cards rather than one CF Express

and then one SD card. I think that one

SD card is obviously for proxies, but it

looks great. It's a beautiful body. So,

I'm excited to see. We don't know

pricing or availability yet. From what

I've been told, it'll be this year.

It'll be under a million dollars and

looks really interesting. All right, we

got Jerel. Times up. Brandon here.

What's the coolest thing you've seen

this week at NAB

85

Orus T14? Incredible latest. Looks

beautiful.

Uh, most of the stuff I've been looking

at is boring because it's live stream

related, but I guess for other people, I

think the autofocus on Blackmagic is

going to be pretty cool. It's going to

be uh helpful. All right, you heard it

here first. Brandon is hopping on the

Blackmagic train. Super excited. Yep.

Cuz uh they asked me am I shooting red

and everything's a red so we're

together. Okay. So I first saw these

batteries last year at Core and these

are the Snaps and they finally given me

what I wanted which is basically a 98Wh

hour version of the Core. So personally

I really love this whole platform and

I've been using these a ton. Whether

it's for auxiliary power just having a

personal battery bank or leaving one of

these on a director's monitor. They're

just so versatile. I just got these new

plates. So, these are great because you

can just adapt the core platform to an

existing Vmount or gold mount. So, I'll

leave one of these on my director's

monitors. And so, whenever I really

quickly just need to swap batteries, I

can just latch them on together and then

power passes through. No cables, no

fuss. And whenever I need to swap, I

just pull it off. It's great. And so

obviously I've been really excited just

for kind of a more standardized

capacity. And the really cool thing

about these, obviously they're a little

bit bigger, they're a little bit

heavier, but you can attach them to the

plate and they also now lock. So no

matter what I do, it's it's fully

secure. It's on there. So it just does

that with these little teeth that kind

of bite into the plate itself. So that

way you have full confidence and

security that this battery will not fall

off. And then from there, if I wanted to

lock this one and then for instance add

on another 98 watt hour and lock this

one, now I essentially have what's a 200

watt hour battery that's fully secure

and locked off. And then if I just need

to pop it off, I can just pop it off.

For me, a big selling point of the whole

Snap ecosystem is that you're able to

stack as many as you want and then

charge them all via USBC and then I can

just charge them all and the power

passes through each battery and makes it

super super convenient, especially when

you're traveling. So, I love this whole

platform. I've been meaning to do a

video on these also, but I'm super glad

I held off, honestly, because the whole

ecosystem now feels a lot more complete

with the new 98 watt hour Snap Extreme.

So, I'm super excited about this one.

So, another new product from Core and

sort of building off the Snap platform

are these new Snap M. So, they're

basically the brick style batteries, um,

BPA, BPU, NPF, um, those style of

batteries, but with the whole Snap

ecosystem in mind. So here we have, you

know, BPA, BPU. You can kind of line

them together with magnets here and

again charge them via one USBC cable and

it passes through the entire stack. And

the cool thing is is that you can have

different uh a different mix of

batteries. So even if you have all

different battery styles, you can just

charge every single one um all the way

through with one USBC cable. So again,

the versatility with this kind of

ecosystem and platform just for

traveling alone, I think is really

really cool. So obviously I really love

this whole Snap ecosystem. The one thing

that I would really love and and I've

passed this along too is that these

plates are really cool because you can

obviously adapt them to your existing

systems. What I personally would love is

a little bit of a thicker plate, but

that has USB PD Pro ports integrated

within the plate itself. So that way,

you can imagine if this was on your

camera and I snapped this on, um, I

wouldn't necessarily need to repatch all

of these different cables that are

powering my accessories. So again, just

if I was able to just have all of my PD

Pro cables just directly integrated in

here, even if this is like a little bit

thicker, a little bit heavier, I would

love just being able to snap a battery

on and then just forget about it. So,

uh, but one way to kind of circumvent

that currently is to just use two snap

extremes. So, for instance, if I have

this plate, I can lock this in so it's

not going to fall off. And then I can

think about this first battery as like

sort of my power plate. So, all of my

ports can run into here. And then that

way I can just stack a second one on

here. Obviously, doubles my capacity,

but then all I need to do is just take

off this last one and then swap that out

with a new brick and without having to

touch these ports. One thing to note

about doing that though is that if say

you have two batteries that are both at

100%, these are both going to discharge

at the same rate. So one thing to think

about if you do want to kind of end up

doing that hot swap solution is

discharging these both equally so

they're both at kind of a lower level

maybe one or two LEDs and then at that

point then you can start swapping and

then once you add a new one it'll

discharge from the one with a higher

capacity first. So, um, say these are

going down and then now I'm down to one

blinker. I can then swap this one out,

put on a fresh one, and then it will

just draw from this last battery that I

just added. So, kind of a workound

there. It's definitely something that

I'll probably be doing. Um, just kind of

another neat solution as opposed to

using something like a shark fin, which

kind of widens out your build. The these

are still really, really small, really,

really thin. So again, I'm a really big

fan of this platform and I'm excited to

see where this goes. Okay, so we're here

at Sony. My very first uh priority was

talking to a rep and seeing what the

status update was in terms of the Morano

firmware because I and I think a lot of

other people have been patiently waiting

for version two, which you know a year

ago Sony had quoted March 2025 or later

and it is now or later. So that seems to

be a very fluid definition in terms of

timeline. I asked one of them if there

were any updates in terms of that

timeline and they told me hopefully

within a month of NAB. I think they're

just ironing out some sort of bug within

the firmware which I can totally get and

appreciate. Uh at the same time it has

also been a year since um the camera's

release and we would just love to have

clean menu overlays if I'm being totally

honest. They're also showing off the new

uh mini Venice extension system. Um it's

incredibly tiny. They have a really cool

setup. um with the Rialto kind of rigged

up with the its own custom airy cage.

But for me, the big talking point was

just the status update of the Pirano

firmware. And if I'm being totally

honest and transparent based on real

actual interactions that I've had with

some of the Sony reps, I don't feel like

they like me very much based on my

original Barono video, even though it's

my primary camera that I'm using on a

majority of my sets. So, it is what it

is. But that's that. Hello. So, we're

here. A wild crisp hair has appeared

with the coveted Mantis. Um, I love this

thing so much. Um, I got one later last

year. I love it because it's obviously

super modular. You can put it on speed

rail, you ready rig, you put it on a

easy rig, and like I just love this

thing so much. Yeah, I've been seeing

you rocking it on the ready rig a bunch.

It's incredible with the Ronin. And I

think what for me what really does it is

that like it's so modular because you

can use it on whatever but then also

these elastic bands like depending on

your payload, depending on your

configuration, like I don't need to go

out and buy a whole new easy rig just to

support lighter configurations. I can

just swap out. Just swap to the blue

bands. Exactly. And you get like super

great vertical. I use it all the time.

I'm using it for a short this weekend

and we're doing a like it's purely

handheld. So I'll be rocking the Mantis.

I love this thing so much. Get your top

handle. That's my new uh campaign is get

rid of to your top handle. The closer

you get to the body apex clamp, the

better it's going to feel. So, yeah. So,

I've been meaning to do a video um

solely on the Mantis. Um but I want to

include it on a few more jobs first, but

uh yeah, great seeing you. Good to see

you, man. Nice to meet you. Me, too.

This is another one I'm kind of excited

about. These are the new Nissi Arius

Primes. Basically, the bigger brother to

the Athenas. I bought a set of Athenas

because I needed some small version of a

PL lens and so the only other option

that I currently had was the Tokina

Vista Primes which are just absolutely

massive. So I just needed something

small. That's why I got the Athenas.

These are basically the super speed

versions of the Athenas and the best way

I can describe them are just super super

creamy. Um, I love the way that the coma

shapes like kind of towards the edges of

the frame and the bokeh um towards the

edges just kind of has this swirly

effect that just really draws your eye

to the center of the frame. So, I find

them super super pleasing and it's cool

seeing like these options available now

cuz when you think about lens options

five, six years ago, especially in terms

of large format, like your options were

pretty pretty limited. Now we have this

overabundance and availability of

different styles of lenses. So these are

really nice. I would definitely consider

picking a set of these up, especially if

you're looking for like your first set

of like pretty nice cinema lenses. For

instance, I got my set of Tokina Vista

Primes like six or so years ago for a

little over 20 grand. I think you can

get this five lens set for like just

under 10. So, you're looking at kind of

about half the price for a really kind

of beautiful modern image quality. And

especially if you're comparing them to

something like G Masters, like I think

they definitely have way more character.

They're all 14 throughout the entire

line. And they're not that much bigger

than the Athenas. Um they're, you know,

obviously a tiny bit chunkier, but still

if you compare, you know, this 35 or

even the 18 to a Vista Prime, like the

difference is night and day. So, I

definitely love the quality that are

coming out of these. and I'm definitely

keen on checking these out. All right,

newies. They're great. Check them out.

Thanks, dude. Okay, so this one's

actually one I'm actually pretty excited

for. It's actually a piece of software

from Peak 2 and it's their first time at

NAB. It's basically like a media

management software where you can have

an aggregate view of all different types

of media, which I think is really

interesting, especially in today's kind

of creator economy when we're having to

deal with photos, videos, all kinds of

different file formats. Um, it's kind of

really cool having one place where you

can kind of see everything on a visual

timeline. But the cool thing that Peak

does is that it'll scan through your

source material and then use AI and all

of that buzzwordy stuff to actually

recognize what it's looking at. So then

from then you can use natural language

to search for a specific item. So if I

wanted to search for mushroom or if I

wanted to search for any kind of

specific item, it will be able to detect

and pull that kind of in a similar way

that like Google Photos kind of does.

So, if you ever use Google Photos, you

usually are able to like type in bus or

type in film set and it will usually

give you a pretty good accurate res

result of what you're looking for. So,

this is basically that and everything

kind of happens on um a local level. So,

if you guys have ever used something

like Plex, like a media server, it's

basically a similar kind of concept

where it uses your main machine as a

localized server. So, so it's really

cool. Obviously, the scan will take a

while depending on how much media you're

actually going through, but it's cool

because there are so many different um

filter values that you could search

from. So, in this instance, we're

searching through metadata. So, if you

can see here, obviously, we're using

tons of different cameras. So, say for

instance, I'm looking for an image that

I took with a specific lens on a GFX

camera. I can search for that specific

lens and that specific GFX camera

through all the metadata here if I know

that I took a picture with that specific

setup. So whether that's Sony, whether

that's Fuji, like it just reads the IPCC

metadata, which I think is really cool.

Another really cool thing is that you

can search with all kinds of other

different things um like similarity. So

if you have u you'll find this a lot in

like reference images when I'm pulling

from frame set or whatever. So if I have

a reference image and I say, "Oh, I

really like this image," I can drop that

in and use that as my reference and then

search my entire library or archive for

images similar to that image. Um,

another really cool one is speech. It

will be able to basically transcribe

your media and then comb through and

then find those exact keywords, whatever

keywords you're looking up for in

speech, which I I think is really cool.

Obviously, kind of in the similar way

you can do with Google, you can just use

natural language and input your search

term and then find exactly what you're

looking for. And another cool thing is

like when you're browsing through video

clips, it'll actually kind of mark it

exactly where it found that reference

point. So if I search mushroom, it's

telling me, okay, the mushroom is here

at 38 seconds. I'm always preaching

organization and efficiency. So it only

makes sense to also apply that to all of

our digital assets. So obviously I'm

only scratching the surface of what Peak

2 is able to do. And and this software

personally really really excites me. So,

I definitely probably see myself doing a

much more longer in-depth video of how

Peak 2 works and and how it can be so

beneficial for us as creators. All

right, the man himself, Justin Porter.

Uh, what's your favorite thing from this

week? From this week. So, I just found

out about the Ready Rig. I'm mad at you,

actually, because you should he should

have told me about the Ready Rig. He

should have known about the Ready Rig.

You should have told me about it. I

listen the Ready Rig. So, hear me out. I

use the Varo 5. I love it. But the ready

rig has so much more flexibility with

handheld movements. If you use the

Nimbus, that's the tool. That's the one.

So everything in NAV, I think most

exciting thing, probably the thing I'm

going to either buy right away or if

you're watching this video and you have

a soft spot in your heart, Ready Rig.

Um, it's that that's that's the thing

that I'm looking for. Another another

idea to pose to you and one thing that

I've done, ready rig with the Mantis.

So, I just talked to Chris about that

like literally an hour ago and he was

like, "Yeah, man. This is going to

elevate it. So, now you get control with

your tilt." And I was like, "Bro, like I

can't keep up. It's so much smoother."

Like, I love the Ready Rig. I have the

Ready Rig. Adam Mantis, of course you

do. He doesn't tell me any of the stuff.

You know how I got to find out? I got to

go to the source. I can't go to my

friend. My friend won't text me like,

"Hey, Porter, have you heard about the

Ready Rig?" Come on, man. That's cuz

that's cuz you that you're the gear guy.

You know what I'm saying? This guy

should already This guy should be doing

his research. You actually work. I don't

work. I'm just a videographer. You be

working. He's a cinematographer. This

man be working. He be working his

rounds. I just I pour water on my head.

It looks like sweat and I walk fast.

That makes people believe that stuff is

happening. Nothing's happening. But that

happens also while you're working.

Perception. Okay. So, here with the new

Blazar Mantis lenses, they're now 1.33

times anamorphic. So, you're basically

be able to shoot 235 uh no problem. Um,

from what I've been told, the new Mantis

lenses have been cleaned up a lot. So,

they have a lot cleaner look and image

and they're a lot sharper, a lot less

barrel distortion. So, their rear iris

element is actually oval. So, you're

getting that ovaly kind of bokeh like

across the range. And that also gives

you more of like a 1.5 or 2x look, which

again for a 13, I feel like this lens

has a ton a ton of character. And just

anecdotically, in the last six or so

months, I think I've probably added a

set of Remis lenses to my cart probably

three or four times, but for whatever

reason, didn't end up purchasing them.

So, but that's the Mantis. I'm really

excited to check these out, and maybe

one day they'll actually end up making

it out of the cart. Okay, so quick stop

here at DJI. Just wanted to briefly

mention the Power 2000 expansion. So,

this Power 1000 has honestly become like

the foundation for my entire cart

workflow. Comes without comes out with

me on basically every single job. New is

this guy, which is basically a

standalone piece. It doesn't work by

itself. You kind of need to connect it

to an existing Power 1000, but basically

the capacity of this is twice as much as

this. So,

um, with the Power 1000, you're starting

off with around 1,000 watt hours. You

add this and then you have a total of

3,000 watt hours. And so, I'm really

interested in also adding one of these

because you could just stack one up and

then obviously just more than double the

capacity of this thing. So, um, really

quickly, just wanted to briefly mention

this. I love this thing. I use this a

ton. And this is the 500. I'll often use

this one as like a kind of a portable

block battery for my batteries. Um, I'm

sure you guys have seen those videos,

but just wanted to mention that really

quick. The Ready Rig is like the best

thing in the world, bro. Okay, so here

with the new Nucleus 2. Um, obviously

the original Nucleus was super super

popular. I still see the Nucleus 1 being

used on all the time from huge budgets

to small budgets. It's still probably

the most widely available handunit

system. So, it's cool that they finally

like integrated the new version. I think

this solves a lot of issues that I would

always run into with the first version,

which is that you had very limited um

information regarding where the lens was

at. So now you have all these different

readouts in terms of your iris. You have

a screen touch screen here where you can

cycle through different views. Here you

can see the zoom, focus, and iris. You

have another small screen here as well

as a digital readout on the focus wheel

itself. Um, this is also supposed to

have a limited amount of camera control

support. So, I think they're working on

FX3, FX30, eventually Blackmagic,

probably the Pixus. Um, and it does that

uh via Bluetooth. Um, and I think

they're just working on adding other

cameras like even the Komodo to that

list. So, these are the new motors. Um,

you can obviously see that they're kind

of color coordinated and you can kind of

customize each color depending on which

axis you're controlling. Um, one kind of

small note that I gave to them was that

it would be nice to see something a

little bit more um, useful in terms of

information on the screen. It's kind of

like the old motors where you would see

the wireless power level and the channel

number that you're currently on, but I

had recommended that it might be also

cool instead to display something like

the relevant information to that axis.

So, if this was the focus motor, seeing

actually another screen that could show

a bigger number of the focus position of

the lens or if it's on an iris, being

able to see visually a bigger number

that displays the actual iris you're on.

I think that would be super cool. So,

especially if you're pulling like right

next to the camera, you can just

visually take a look at the motor aside

from looking at the hand unit, just

having more useful information on

screen. So my last kind of bit of

feedback here is that I thought it would

be great to utilize the existing nano as

something like an OCU. So I love using

the OCU whenever I'm running with a

high- five because one, it gives control

back to the operator whenever our focus

puller is stepping away 101, whatever.

So being able to just if I needed to

quickly adjust my focus temporarily and

then relinquish that control back to my

focus puller, from what I'm told, it's

possible to do it with this. I would

love this to be integrated into the

actual lens profiles stored from the

nucleus. So being able to see all of my

lens info and relevant data here would

be super super cool. So the main reason

that this is interesting to me right now

is that I recently just sold my RT kit

to one of my ACs because obviously I'm

not an AC. I don't really pull focus,

but there are instances where I do need

a focus puller and sometimes that focus

puller might not necessarily have kit.

So something like this is obviously

super attractive financially just to

have as a piece of kit because one it

contains everything you need. It has a

hand grips, has a hand unit. Um and

again I've seen the original Nucleus is

still around on a ton of sets.

So I think it's pretty interesting

timing from my perspective here with the

Pro Shill Mackey. What's your favorite

thing you've seen this week? Um, I am

Lord Chill. So, my uh light that I did

with Xun. Um, we we did a soft launch.

Uh, I twisted the arms so we could talk

about here. Outside of that, more

chilling. We're at the Blazer booth. The

Beetle. I got the still it. We went to a

ghost town. Incredibly fun. It's one of

those lenses that are going to, you

know, allow you to have fun. You know,

we pick up cameras. We're like, "Oh,

time to go to work." and it kind of

kills the joy of why we got it's kind of

nice having a piece of equipment to like

kind of help inspire that creativity.

So, those are those pieces of kit are

always super cool. Yeah. Outside of

that, the Pixus 12K, I'm excited about

that. I was on the verge of, you know,

shilling for a Red Raptor Xmount, but

the 12K I'm like that might do what I

need. So, I think it does what a lot of

people need. Yeah. So, I haven't got to

test it though, so it could be Who

knows? So, obviously these super high

power fixtures are really cool. I use

them a lot in the dating show that I'm

usually on. Um, Nan Lux has the new

5000B and then Aperture obviously with

the XC52. The 2400Bs have become pretty

much a staple on that show. Um, but

honestly, what's more interesting for

me, especially with the work that I'm

doing lately, are the smaller fixtures.

Um, one of being the ADCs because

they're so compact and the build quality

is so kind of robust. They just kind of

recently announced this three light kit

which I ordered myself. So, actually

mine should be arriving today, which I'm

really excited for. Honestly, for a lot

of the jobs I'm doing, 80 100 watts is

more than enough from what I need. And

obviously just a huge huge fan of the

color fidelity of all the storm lights.

So,

and if this was water, can we have a cup

of water? Cuz I would do it. As a

cinematographer, bro, you want to make

sure your lights are clean.

How do you So if you just, you know, if

you just clean it a little bit like this

here, this this is a pro technique of

cleaning your lights. Yes. If you don't

clean your lights, they don't reach 100%

maximum output. So you want to make sure

all the elements, especially the heat

sink, is extremely clean. So I'm just

going to get a little more in there. You

want to also shake it around. You want

that to come out. See how it's coming

out the bottom? That's how you know it's

exceptionally clean. If it doesn't come

out the bottom, something's not right.

So you clean the light. Okay. Right. And

then it'll hit 100%. Right. Then it

turns this ADC into a gold mine. So

you're gonna start doing lighting videos

and little lighting tips like this. Oh

yeah. 100% man. Cuz you know I'm a

cinematographer. Cinem cineographer.

Yeah. Cinemographer. Yeah. So I do this

for a living. So you know if you follow

me it's just

portermographer.com. You'll see a lot

more of my my lighting tutorials. There

you have it. Easy. Easy. Pro tip from

Justin Porter cinemographer. I want to

just I just want to show the the fact

that it's going to reach 100% maximum

output. So after you clean the light

here, you know, you just you just take

it right just like this here and then

you power this bad boy on. And then you

know we'll we'll get we'll get max. Look

at that. See how we're getting maximum

output after we clean the light. Yeah.

Look at those specular highlights now.

We wouldn't have even achieved that had

we not have cleaned this thing first. I

wish I would have showed you what it

looked like before we cleaned the light.

Insane. Insane. Pretty dirty here on a

show floor. Yeah. And and what's crazy

about it is only Aperture is doing stuff

like this, you know. Um so if Aperture

sees this, they should send me a 1200X

so I can also show people how to

properly clean that light. Maybe an

X-T52 if they're feeling frisky. You got

power. You got enough power for an XT52?

I will find enough power for an X-T52.

Happy lighting. He just give me this wet

ass