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This is the perfect example of guerrilla filmmaking.

Anyone using the HLG should be aware that the Rec2020 is skewed the same way the sgamut2/3 are. So unless you intend to feed the footage into a HDR monitor that supports the rec2020 space, then a proper LUT has to be used, and at least I could not get the footage to look good straight out of the camera into a normal monitor. Even Scott from the videos above admits that shooting with HLG requires a good amount of grading. Unfortunately, if you are using any of the HLG you almost have to use the rec2020. I wish Sony would allow us to use the sgamut3.cine which is far easier to grade. So again, unless people are using a HDR monitor I would advise them to use either the Cine profiles or slog2 with Pro/Cinema/Sgamut3.cine colors. Definitely avoid slog3, since it is the worse gamma for skin tones. An easy way to check for balanced colors in camera is to shift exposure from -3 to +3 and see how colors change.

Hey! He used my likeness in that thumbnail! I need to demand royalties!

Hah, I work with a burly carpenter and he uses a pink lighter... eventually someone will bust his chops and his reply is... nobody steals his lighter on the job site.

Similar advice to when you don't want your camera to get stolen I've been reluctant to go for a larger sized camera body, as before I got into photography that was how I judged if a person was a professional photographer (wrong I know, but it is what it is)! In terms of looking the part, I think I've got that down... I just got back from a 10 day trip to the Northern Territory of Australia and in addition to the shorts, t-shirt, backpack, and scowl from wrangling kids I also bought one of these so I didn't burnt to a crisp in the sun: I'm pretty sure that no-one, after seeing my hat, had the inclination to take me seriously

I believe Nikon will have an active adapter offered for cheap/free. Continuity is a huge thing for them, more than anyone else, and they will deliver. I am 97% certain of this. They have produced a few patents the last couple of years of interesting stuff, and definitely they need a different, more modern mount, but with backwards compatibility. They will find a great solution I believe, and maybe that is the reason of the late arrival of that camera, but as I said earlier, maybe that will be later that it should! Also, they can go all in in video mode, they are a bit behind everyone right now (except Olympus, and Pentax, are we still consider Pentax a player?!), but they have no cine camera line to protect, and already they have delivered excellent image quality in some models. An amazing Nikon mirrorless with one of the best SOC video, will worth the, around, 3.000euros that Nikon will ask for their full frame mirrorless. Fuji asks 2300euros for a machine that most people will consider vastly inferior to a great Nikon full frame mirrorless. If the video is so so, then Sony will be a better option for true hybrid shooters in full frame, and the rest will happily stay with m43/Fuji, or move to newer, greater, EOS M cameras. Video is the battle field right now, every one is talking about AF and Video performance as top selling points. Maybe 10bit will be a mandatory spec in a couple of years, the photo quality is quite good already, but video can be improved a lot.

Haha, they could do a revival and call themeselves US⚡BC Really sorry about that terrible dad joke!

Just got back from a shoot and used the A7iii. Let me know if you have any questions!

I used EOSHD settings for a7sii

Dang, missed that. How do I change it?

it’s a bit off topic, but I could not believe how good the photos are from the Pixel 2. In good light I was getting photos that were really close to the XT-2. Computational photography is amazing. Video quality is excellent from the Pixel 2 also.

Some good discussion, here. Thanks everybody! For future proofing, if nothing else, I would definitely want to deliver 4K stock footage. This will be supplemental income (hopefully!) and I like the idea of building up a portfolio that brings in passive income. I also want to document some of the amazing places around here, so although a niche market, there is not much competition for footage which is why I want to create broadcast ready video, as long as the gear cost is reasonable. I haven’t got a problem with buying a GH5 and delving back into the Panny world. A used GH4 and 4K Atomos would cost about the same as a refurbed GH5. I like the internal 10 bit recording of the GH5 and the IBIS would be really useful.

Yep - long waiting list. I want to crack on with this before Christmas, but that is a great suggestion

Well, then just let's make it about lenses again. Here are some gems one was able to come across on YT these last 48hrs:

With all due respect to G.P, it seems to me that in this case he's clearly indicating just certain level of over-pretentiousness.

I don’t know... it’s a web forum... maybe we know too much about one another? Instead of posting here about any and every opinion we might have... maybe we should go out and shoot something instead... right after I post something in the other thread though...

Yeah I think with stock footage you want to get the best possible quality since it will allow for much wider compatibility with other systems. If you go through the trouble of shooting stock footage then 10bit 4K 4:2:2 is a good start. GH4 is fine, but GH5 or even GH5s should give much better colors. Another possibility is the BM micro studio with an external recorder.

Thanks for your comment. I'm doing a lot of research into this and it seems that new footage really needs to be 4K now. I think a competitive advantage can be gained by supplying 10 bit 4:2:2 content which is broadcast safe so that it does meet broadcast standards (BBC) as well as being used for the web. There is also the thought about whether to supply just log files, slightly graded or finished graded clips, but that is another matter!

Interesting question. I’ve thought about the same thing a few times. And I would go with as big of a sensor I could afford. I would think for static shots something like the a7iii would be a good camera, or a D850... 4K does make sense though, so I’m sure the GH5 would work great for it as well. I imagine anything would be fine though. I think someone recently said, maybe @Damphousse that he still sells some stock shots from his t3i, so maybe test the waters with something you already own?

Pimping out your camera can help as well. You will also get footage with interesting looks as a bonus.

Super aids... hahahahahahahahahahahahahahaha. hahahahahahaha

yeah we need a line of cases that say like HAZARDOUS MATERIALS or WARNING SUPER AIDS or something

Fuji XT2 is pretty inconspicuous. Especially with F2 WR primes. I've shot with it in parts of India & Morocco where a bigger or more digital looking camera might have got me in trouble. A lot people thought it was an old film camera. XPRo2 would probably be even better in that regard. 5D3 is definitely not the most discrete camera and with lack of EVF/tiltscreen it yells i'm shooting video. I found D750 way more discrete for street shooting. If you are going to use a DSLR mask logos etc with black tape. Use pancake/short lenses to make it look a little more point & shoot. How you dress & act in public is also key for this type of shooting imo. Gotta blend in / look amateur

For anyone looking for cards, here's the specs off BM's site. It's based off 30fps, so I imagine double it for 60p? Of course, aim higher than the numbers they suggest for the format you want: 4096 x 2160 CinemaDNG RAW - 270 MB/s CinemaDNG RAW 3:1 - 128 MB/s CinemaDNG RAW 4:1 - 96 MB/s 3840 x 2160 Apple ProRes 422 HQ - 110 MB/s Apple ProRes 422 - 73.6 MB/s Apple ProRes 422 LT - 51 MB/s Apple ProRes Proxy - 22.4 MB/s
 1920 x 1080 Apple ProRes 422 HQ - 27.5 MB/s Apple ProRes 422 - 18.4 MB/s Apple ProRes 422 LT - 12.75 MB/s Apple ProRes Proxy - 5.6 MB/s

Would I complain about having to use an adapter? I'd be a bit of a hypocrite I suppose if I did as I routinely use Nikon's teleconverters for work without any issues. They lock tight and any balance issues they cause are offset by them mainly in my case being used on lenses that need monopod support anyway. Would I be thrilled in having to do that on ALL my lenses ? Probably not but I'd be FAR less thrilled having to rebuy the rest of my core lens set in this speculated new mount, especially as I'd have to take a hit on selling lenses that were now part of a 'dead' system. Canon FD lenses are not cheap because of their optical quality and this would be the same situation. The price of the "upgrade" to a Nikon mirrorless system with a new mount and to remain native would be prohibitively expensive. The f2.8 zooms and long primes are not suddenly going to get significantly smaller and cheaper because they are in this new mount. So, if they do a mirrorless that doesn't have an adapter that has "as native" performance for existing lenses then they will have a problem retaining existing users when their current DSLRs are ready to be replaced. And the issue that they also face is that with cameras like the D5, the D500 and the D850 etc the rabid upgrade cycle isn't exactly what it was 10 years ago. We are at a point with those cameras where its only going to be wear and tear - not performance - that prompts you to upgrade. The double edged sword there for Nikon is they have not only produced cameras with great image quality but also some serious robustness! With every week that passes, the other systems seem to be getting more and more lens options. There will come a point where all Nikon have left to bargain with are the fast long primes and the legacy stuff. In the case of the former that's just a niche within a niche and I believe Sigma will step into the breach there and in the latter, well, lenses you've already sold won't pay the bills. Having said all that..... There is a couple of opportunities here for Nikon to make things both smoother for existing owners and actually make it very appealing. The first is to have the option for the mount to be user interchangeable as per RED, Ursa, Kinefinity etc so that we wouldn't have the two points of failure potential and the wear issue using an adapter. If its actually connected to the body rather than the new mount then that will keep everyone happy. For my, and I suspect many others, usage I think we'll be going out to shoot with lenses that are in one mount or the other. For anyone who would want the flexibility of quick change as they will be going out with 3 new mount and 1 old mount lens then Nikon can still do a regular tube type converter. The second thing they can do is make one of those mount options also encompass a speed booster. The option of shooting video in Super35 with fast primes that are now even faster and still have full AF? Yes please. Ditto they could also utilise the extra space to produce an electronic ND version of the mount. If they see supporting the old mount in terms of it being an opportunity rather than a duty/hindrance then they could have a monster on their hands. It could be the true hybrid that, thus far has eluded everyone. Obviously if they come out with something that's 5 grand with two plastic kit lenses and 3 slow primes with an adapter for legacy lenses that weighs more than an anvil and offers just enough AF to not be sued under the trade descriptions act then they can fuck right off

For me it's actually slightly different - I'm shooting totally legally but I must still be clandestine. I'm shooting in places where people can shoot video of their kid with their phone, but if I shot the same shot with a C300 then I would get kicked out or get hassled or attract unwanted attention from the surrounding public. I'm not doing anything wrong, but I also want to use a better camera than my phone without getting hassled, thus the need to be clandestine. With your 5d3, what lenses and sound equipment do you use? and where do you shoot? I find it to be a question of how big your camera setup looks that is the main factor unfortunately...

I got the impression you guys were talking about using these thumbdrives in the camera. If you need to use UHSii SD cards, that record at 300mb/s then that thumbdrive with 56mb/s write speed isn't going to cut it. You might get LT 1080p25, but I wouldn't bother personally. As for that one you linked, judging by the prices, $189 for 512gb, that's the same or more than the T5, so I would play it safe and just get that. They both need the cable anyway, defeating the point of looking at thumbdrives as recording media in the first place. As has been stated though, just get internal media and be done with it. The best thing about the USBc for me is charging on the go, in the car or just in a bag if you have a powerbank.

Resolve makes it very easy to convert the color space from Rec.2020 to Rec.709, using the built-in color space transform plugin. In case you are using another NLE, I generated a LUT using 3D LUT Creator that does the same conversion: Rec.2020_to_Rec.709.cube I couldn't test it, but it should be fine.

I will be sticking with cfast 2.0. I probably dont need 4K RAW mostly. But I rather have all options available when I need to.

to me "Guerrilla" filmmaking means: shooting illegally or in a grey area where you must be clandestine im doing that in multiple ways for my lil short im working on. guerrilla shooting is punk rock and awesome – and tons of big time productions have "stolen" shots here and there 5d3 raw is totally inconspicuous~! no one cares lol

Yeah the dynamic range numbers are of little value. He measured the absolute dynamic range and since you divide by something extremely small, it is very sensitive to measurement error as well. Something like the Xyla 21 would be more useful. GH5s should be ~13stops with a usable dynamic range even less than that.

The vast majority of Nikon lenses are non-E. So there is little point in making an adaptor just for the E version. I said that if they release a new mount, an adaptor would be expensive. If they do not release an adaptor then they are going to loose a lot of Nikon customers that would have to sell all their lenses making a potential switch to either Canon or Sony far easier.

And their hit song would be Thunder, thunder, thunder, thunderbold

@DaveAltizer - have you checked out this guy who is comparing HLG vs SLOG? He thinks HLG might be giving him better results. Was curious what your thoughts were. I'm not sure if he knows 100% what he is doing, but it's an interesting approach to explore.

Thats what I believe as well. It is a flimsy connection, with well used ports I have drives that you touch the cable and they loose connection. It should be fine on a tripod but unless someone makes a locking version for both the camera and the drive itself I would be willing to spend more money on cfast cards just to be on the safe side.

Look, I've found a right angle USB C adapter. So I'm not going to waste that bit of research and I'm all for getting another couple of pages out of discussing it now

Would it be possible to use a SATA ---> USB 3 Caddy enclosure, so everything stays permanently in place and you're just swapping out drives?

If you're having trouble with USBc slipping out, follow @BTM_Pix advice and epoxy it into the camera Seems like a very poor design that the end of the camera has nothing for the port to grab onto, like every other cable end. Maybe you can buy ones with a right angle , so it's harder to be yanked out? Judging by this picture though, there are a few little notches that should help hold it in. I would have thought it'll take ages for all of them to wear out. I'm willing to bet @Tone1k charges his phone every day, but this USBc port isn't going to see quite so much daily action.

I'm not sure if you were asking for recommendations, or just being thankful that I offered... but regardless, here's a few 'vlogging' channels with high production value: https://www.youtube.com/channel/UCpnuadQ_w3r6f4Q_NRlqd-w Kraig Adams - makes vlogs and travel films on A7SII - used to be a pro wedding videographer https://www.youtube.com/channel/UC3DkFux8Iv-aYnTRWzwaiBA Peter McKinnon - makes photography / videography focused vlogs and shoots C300 in studio and 1DXII out of the office Here's a few channels with high production value that aren't 'vlogging' channels: https://www.youtube.com/channel/UC3stPIuUoCDHG7COfwr0tEA Brandon Li - makes short travel films with A7 cameras https://www.youtube.com/channel/UC2hAbftpVjHtFrDOpEM90aA Action Movie Kid - short videos where the (average IQ) videos are CG'd by a professional CG guy https://www.youtube.com/channel/UCJHA_jMfCvEnv-3kRjTCQXw Binging with Babish - cooking videos shot on A7SII with Atomos ext recorder and just for sanity, here's potentially the best YT channel out there, which is probably shot on a point-and-shoot... https://www.youtube.com/channel/UCAL3JXZSzSm8AlZyD3nQdBA Primitive Technology, which is videos of a guy making things without any tools - he literally has a pair of shorts on and walked into the jungle and makes things with what he finds. Why is it so great? He doesn't talk, there's no music, but they're still hugely engaging. It's a combination of "what is he doing?" and one of those rainforest tapes people meditate to. This is a channel where the content is so good I don't give a sh*t what it's shot on. I got as far as him saying he "looked at the spec sheet and....". Judging a camera from the specs alone is the equivalent of judging a restaurant by googling recipes of the dishes on the restaurants menu. The fact that this thread is mostly around this has not escaped me! :D

Sorry cant help with premiere, but I know that when I looked into it, it did my head in and this: https://www.rev.com seemed like a total no-brainer. If you send them a transcript, you should get 100% accuracy.