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I don't want or need 8k.

I will never understand, do you shoot or are you just some kind of geek. Because I will never understand people that says thing like that. I mean, can someone at real viewing distance even see more than 2k. The perfect example is the Alexa 2.8k sensor, I don't see anyone complaining about lack of resolution. It is just the geek that might find it sexy to be able to count every pores in an actress face when stopping the image.

I hear you - it's like flying the space shuttle. I think there are two paths you can take. One is to do as @kaylee suggests and do a small project and search google and YT for the answers for every function. If you learn best by doing then that's a good approach, but I think it's frustrating and you kind of miss out on the big picture about how Resolve works and how it's designed to be used. My understanding is that the overall workflow is different to other packages. The second one is to watch a thorough walk-through of the user interface so you can see how it's organised and what is available. One of the key differences with Resolve is that there is so much stuff in there that is simply absent from PP / FCPX (especially in the Colour tab) and so if you only learn what tools you think you need you'll miss lots of the things that Resolve has that you didn't know existed. If you're going to do this then find the longest and most thorough walk-through possible and just watch that. There's nothing worse than watching a walk-through that isn't thorough and then having to watch another one where they repeat everything you just learned! A couple of points: Unlike almost every other piece of software on earth, the Resolve Manual is absolutely excellent and will answer most of your questions, so look there before asking the internet about something The second place to look is the BM forums where someone might have asked the question before. If you google then other sites pop up but mostly the people who actually know things are at the BM forums. Use YT for learning what buttons do what and what features are available, but don't try and learn colour grading / fusion / audio mixing or mastering from YT folks - they are mostly amateur hacks who use the wrong tool in the wrong way at the wrong time. If you go down this route then you will spend a lot of time unlearning their techniques later on. If you want to hear from people who actually know about colour grading, then liftgammagain.com forums are the best (free) place I've found. There are regular posters there who are polite and helpful who have been grading for decades and really know their stuff. You can also ask here.. Good luck - it's a long process but a worthwhile one IMHO. Put on some music and attack it in bursts with good breaks

Unfortunately the Moore law and hard drive technology are not developing as fast as the sensors. I can't even imagine the hurdle to edit 8k video in h265 and/or store it in raw. Proxy can help for editing but not much for storage. The latest high end CPUs are just expensive rebranded server processors. Most NLE don't use all these cores and Intel keeps postponing the 10nm architecture because they can't manage it. In terms of hard drive technology, the first HAMR and MAMR drives should be available next years with increased capacity but the prices should hurt because of the production cost. Right now I'm very happy with 4k and I prefer to focus in HFR, HDR and 10-12 bits codecs. I'm no against 8k but computer are not ready for this yet.

I just picked one of these up to serve as a b-cam/gimbal cam alongside my Ursa Mini and ran the first tests with it. First impressions; it's a beast. The ergonomics are spot on and as a former 5D2 user I feel right at home with it. The UI is essentially the same as in the Ursa Mini which is nice. And coming from the Ursa, and BMCC2,5K before that, the low light capabilities... they're just like, damn. I just want to go all run 'n gun and shoot my next short with all natural light. I ran a test on how far I could push it while still getting a clean image - ended up fitting it with a speedbooster and a Pentax SMC 50/1.2. I was able to ETTR at 50fps in city areas, and shoot comfortably in even extremely dim locations. In fact, I had to stop down/up the shutter speed on several occasions. The image wasn't 100% clean though - I'm assuming it's like in the previous BMD products, in that noise reduction is only applied in prores. I shot RAW so I had to do some cleaning up in Resolve (a process I've accustomed to with previous BMD products mind you - but in ISO 800 in their case), but the image did clean up very nicely and retained all the detail. It's probably the first time I'm seeing an actual cinema grade camera do low light this well. I felt that I could use a reflector to bounce the available light and the camera would actually pick it up. Attached two snaps from my short walk with the camera. Not very cinematic - but rather tests on how much data I could get from available nightime light. Quite a bit, even in indirect light, as evidenced by the second picture.

I don't have a 14bit screen either. 16bit raw is very nice, my Medium Format digital back 16bit files have lots of Info that come in handy to make Natural HDR 8bit Images

Although...Aren't they marketing the FS7mkii as having better color science? Anyone here liking that?

All that is, is a brief summary of the official Photokina announcement. https://news.panasonic.co.uk/panasonic-lumix-announces-development-of-its-first-full-frame-mirrorless-cameras/ Sorry but you'll have to forgive me a wry smile here. For someone who was saying this thread was going nowhere, I do have to applaud your contribution in taking it somewhere. Well, back in time by 2 months and 10 pages does count as taking it somewhere I guess

Sheesh, I was just kidding around. I'm not criticizing anyone for re-framing or cropping in, most of us do it. But if someone ever finds themselves in a situation where *8k* is necessary (or even "useful") to do it on a *1080p* time line then something probably went terribly wrong during shooting or the person was very lazy. That's way more resolution than you should ever need for that purpose.

I meant to say Fringer, they make the better adapter. Their auto focus is ok'ish. But its a huge downgrade from normal auto focus. You'll be dissapointed. The viltrox works but the auto focus isn't really usable, at least not continuous.

I know that when the Ninja V and the AtomX SSD were backordered at B&H, I was able to get them from Texas Media Systems. Had them 3 days after ordering. Might try them.

If it will do 8K/60p... and 2K/1080p @ 240fps... then may be also 4K/120fps??? So it would first of many things - affordable

Interesting. I am suddenly wondering how much is the maximum a camera photo/ image can be pushed in post.

Buy a gaming notebook with at least 8 GB Video Ram. For resolve gpu ram is more important than the system RAM. I edit on a ASUS gaming notebook with 16 GB Ram and Nvidia GTX 1070 with 8 GB Ram. I edit 4k 60fps Mjpg and 4k 60 fps h264 without issue and without render cache or optimize media.

I guess it depends on budget, but I've always found that it's better to have as much computer built in as you can afford. More cores are better, particularly for h264 footage, and I'd go with the Vega inside rather than rely on an eGPU system. There are just times where you want to be able to open your laptop to get something done quick without having to plug in the eGPU. If that's not the case, you should just get a desktop which will give you more bang for buck. For reference, I edit 4k h264 material in Resolve on a 2016 Macbook Pro (i7 2.9ghz, Radeon Pro 460, 16gb RAM) and it works great. I don't use Fusion, and I don't grade much beyond basic colour correction (curves mostly, the odd power window and tracking) and I rarely have more than 3 video tracks running (and never simultaneously like editing multicam footage). The system you're speccing should be faster than my MBP, so depending on what you actually edit/grade it should be fine. As an aside I've worked with some 6k RedCode footage in Resolve and my MBP was not handling it well. No problems after transcoding to prores, but it was not handling RedCode well.

Don't list UMP either. Don't have AMIRA. Lots of things they don't list. Varicam LT of course hasn't been selling like say a FS7 or Alexa Mini, but they've still found their niche! And I'm sure Panasonic has no regrets about it. I've got a friend who owns one. And NZ's biggest / longest running TV show is being shot with 3x Varicam S35, and lots of other shoots. C300mk1 historically has been a more popular rental option than FS5, so no wonder producers/DP/directors would often feel more comfortable just renting C300 yet again than experimenting with a FS5

The sensor it's "capable" in paper. It doesn't mean that the processor and everything else will be capable to support that resolution to capture video. At best, the new cameras will max at 4K60 10 bit. Expecting 8K it's dumb.

Here is a review using it on Fuji Bodies. He didn't like it on the X-T2 because it was too front heavy. https://fstoppers.com/originals/fstoppers-reviews-zhongyi-mitakon-speedmaster-35mm-f095-fujifilm-206972

Google, reddit, youtube, etc. I just started 2 days ago. Nodes is ok for color but I'm hating it for fusion right now. Take a small old project and remake it in Resolve if you want to learn all the basics. https://www.reddit.com/user/jayaretv https://www.reddit.com/r/colorists/comments/31k26f/where_to_begin_with_becoming_a_colourist/ https://taoofcolor.com/ https://www.learncolorgrading.com/

I'm finding Resolve to be frustrating. I feel overwhelmed. But I'm trying to finally rid myself of Premiere and Adobe's shitty subscription model once and for all. What are the best resources to learn Resolve?

IBIS never causes a crop, in any camera. Digital stabilisation does make a crop, these are two different things.

I'm searching for a long time for a real good hybrid camera. This one may retire my D600 and NX1. And that option to save photo and video settings independently, is gold. But I still have some doubts about this in Z6: - Does it crop at 100p/120p? How much +/-? - any crop with IBIS on? - I haven't see any comparison between FX and DX mode in Z6 or Z7. How IQ (video) compares between FX vs DX? - Also, in DX mode does it crop at 100/120p? Thanks

I guess if you don't count Amsterdam, Poland, Belgium, the Czech Republic, and Spain, then, yeah, there's only one distributor in Europe. I'd bet they add U.S. soon, too: http://www.kinefinity.com/kineteam/contact-us/?lang=en

That's an awfully small sample size to extrapolate the market viability of Panasonic's entire pro line worldwide.

I have used the 70D to shoot ML raw, but I wouldn't say it works well. The ML menus often disappear and re-appear. Also, you can't record 1080p raw. The max resolution is somewhat less. Recording sound is also hit and miss on the experimental builds. The deal-breaker for me and the 70D was the aliasing. Whether shooting at 720p or near-1080p, the aliasing has been really bad for fine patterns. So much so that I was considering trying to get a Mosaic Engineering VAF for it. Instead, I decided to see the 70D and I bought a Fujifilm X-T3, which I've had for about a month now. Here's a sample of ML from the 70D "at its best" -- shooting a favourable subject:

There are parts of the location you are in the reflect and bounce light naturally, use this to your advantage. Some parts of the location will bounce more light on the subject like sand and concrete while some others will absorb light like wood and leaves. Remember what dark colors are vs. light colors. Light colors reflect light while dark colors absorb light. Where the subject is in these reflected parts of the environment and darken parts of the environment influence the exposure of the image.Give your characters a reason to be near light or have a light on them. An example of this is a character having a flash light, a character being near a window, a character looking at their smartphone, and so on. Check the weather and the time. No, not just for golden hour and blue hour (even though that's cool). But to check whether you will have enough light during those hours. If you can see the person really well and the person is very bright then there's a chance that you can go a lower ISO on your camera. Practice to trust your eyes before you use a camera. The subject does not have to have lit but can have some shadow, but there has to be at least some light to show the subjects direction and placement like seeing a traffic light at midnight. Where there is light and by light plenty of light go there. You can hardly see your subject when the subject is covered in shadows and the dark, go to where there is light and plenty of light and you will see your subject very well. If there is not enough light then you would need to either change the camera angle, change camera settings, or perhaps add more lights, or get a new camera.

I do the same thing with my Manfrotto video monopod and the a73, or my extendo-pole with the GoPro. There’s enough weight to slow the small movements that make stuff look jittery. I have an office video/holiday card shoot coming up and I’m planning on doing multiple takes using my monopod for a more handheld look in addition to a gimbal. Chris

I mentioned a few weeks ago that I was pretty close to just hacking off the connector from the mains supply if BM didn't get a move on with their cable kit and it looks like he ran out of patience before I did ! Thankfully my real cable kit is coming in a few days so I don't have to do it. If anyone is interested in making their own custom cables - which might be a bit neater for some solutions as the official ones are 65cm long - then these are the connectors (make sure you order the 2 pin version obviously ) https://weipuconnector.en.alibaba.com/product/60735848587-806276836/IP67_Industrial_Push_pull_Metal_connector_male_SF1610_Weipu_connector_electrical_connector_metal_plugs.html

I have this package. Didn’t buy it all from scratch, they kindly upgraded it from the previous generation for free. I’ve had little time with it, however I can say that it’s an incredibly innovative device and can accomplish shots you can’t do with anything else. No probs so far, will be happy to report more when I’ve had more experience.

An important factor for gimbals is not only the weight capacity but even more how they handle very front heavy and long setups. For example the new Weebill Lab. It's a great gimbal, great design, but it cannot stabilize a Sony A7III with the 24-70GM, neither the 24-105/F4, and most probably not even the 16-35GM. You might be able to balance such a setup, but the movements will be wobbling and unusable. According to the official specs regarding weight capacity, all the mentioned combinations should work, but in reality, they don't. Of course you can use a light prime lens to avoid this issue, but for me personally, this is a dealbreaker for the Weebill Lab, unfortunately. If the Crane 3 or the Moza Air X solves this problem and provides a better experience than the Ronin S (which handles almost every possible setup), remains to be shown. I really love my Ronin S, but hate it the same time for the weight. Not because I can't carry it, but because it's so much harder for traveling. Any gimbal that is lighter and more compact, would be highly appreciated, if(!) it can handle those "light", but very front heavy mirrorless setups.

I’ve just designed a nice minimal 3D printed solution for a handheld rig. It’s simple and light, either SSD only or SSD + power for 2:15hrs. If I get enough interest I’ll make up a batch for sale ? batbox4k.com

DPR video review.

Hyperbole, fearmongering, exaggerations. This reads like a clickbaity Breitbart article.

No one has seen it in action so it is hard to say. However, on the surface it certainly seems like it could be. I foresee these modular type gimbal becoming the new trend. The Ronin S has a removable top section also. I would seem with some thought DJI could also make a slider module to add similar functionality. My biggest problem with the Edelkrone product centers around the many reports of issues from users. I welcome additional manufactures getting into this market as it will no doubt drive innovation and reliability.

I’m sorry Andrew, but the tone in your post is aggressive and reads like something I’d expect from the Sun or the Daily Mail. I spent many years living in the UK and am heartbroken about Brexit. And yet I am not surprised, your post displays exactly why Brexit happened. Just as so many others in the UK you’re using the EU to project your frustration rather than aim that anger at the politicians that have ravaged your country over the last three decades. The UK has the largest income differences in Europe and the poverty and decay is astounding. Somehow British politicians and media have managed to make the EU a villain rather than get their own shit together. The UK is without a doubt the European country I’ve lived in (4 so far) where it’s the most difficult to photograph in public. By far. Perhaps you could try and excercise a bit of trust rather than spew vitriol against the EU? You really think it’s that bad? Last I looked the EU is a very successful peace project that safeguards a continent ravaged by brutal wars for centuries. So f-n tired of British people whining about bloody banana regulations or the EU interfering with winter savings time or whatever. You should put some sources, links and context for your post. Then, perhaps it will have some semblance of credibility. So many posts in this thread are nothing but depressing. Welcome to the outrage factory! Quality.

Agree with Andrew, XT3 is fantastic with specs but lack of IBIS and FF is a pain. Canon is out of the question. Sony is late with A7SIII and they will have the usual ergonomics problems. Panasonic S fantastic but AF is such a deal breaker. Nikon got everything right except they aren’t releasing a super video camera like A7S / S1... no 4K60p... this is such a bummer. Not to mention poor lens choice but let’s say this is only going to improve with time. Again big compromises everywhere. My guess is that it’s still will be a Sony win next year for my use because the A7S will be the only one to combine 4K60 with good AF and IBIS and FF. Pana AF is a Deal Breaker so is 4K30p on Z7, so is Canon so is lack of FF and ibis with XT3. It’s a shame because the Sony’s probably the least enjoyable camera to shoot with from the above.

No offense but if you need *8k* to crop and re-frame for 1080p editing you got bigger issues than resolution! ?

Read my post. I don't need it, but it could be handy. Of course, all the (wannabe?) "pro's" out there who shoot everything perfect, don't need to crop or reframe in post. ? What I wanted to say if you don't understand it, is that it can be useful to have a higher resolution to crop/re-frame.