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Here's a couple screen grabs of things I filming today. I shot in ProRes LT, because it's for 1080i broadcast. I'm over the moon every time I look at the stuff I've filmed with this camera. It always looks fantastic. These are improv actors at Comicon, so I had no control over the lighting, or over the actors - just filmed them as I saw them. Viltrox booster with Sigma 18-35.

This thread is mostly going no-where, but it's not anyones fault. It's actually a symptom of how a nodal editor like Resolve works. Begin PSA In PP or FCPX a person can ask the question "how much power do I need" and someone else can give an answer that is useful because people use the software in basically the same way. Sure, you can have layers and multiple tracks of video, but mostly people edit with one shot visible at a time, and PP and FCPX have such limited colour functionality that you would only use a couple of colour effects. Resolve is different. Resolve is a nodal editor, which means that you can make an infinite arrangement of adjustments that apply to some or all of the image. It's a "how long is a piece of string" question. It's not uncommon for a 'basic' grade in Resolve to include: Lift/gamma/gain/offset level and tint adjustments (to set black and white points exposure and adjust WB) A luminance vs luminance curves adjustment (adjust contrast and finer adjustments like shadows) A luminance vs saturation curves adjustment (desaturate extreme shadows and highlights) A hue vs saturation curve to take one over-saturated item and make it not be distracting A node adjusting mid-tone detail, maybe contrast, and some levels that has a key to only be applied to skintones An oval qualifier with level adjustment for a vignette adjustment This is without any OFX plugins, LUTs, Colour Space Transforms, etc. When you think of Resolve as an EDITOR, you can compare it to PP/FCPX in terms of how it works, but when you think of Resolve as a COLOUR GRADING tool, you should compare it to After Effects. You wouldn't ask "what computer do I need for After Effects" because it depends on what the hell you're using After Effects for - you could be tracking a window or you could be rendering an entire CGI universe. Grading in Resolve is the same as that - you could be setting WB and contrast or you could be doing a day-for-night transformation. End PSA ???

Magic lantern is making a lot of progress with 3K+ on the 5D mark 2! Seems what happened with the 5 year old mark III in 2017 is now happening with the 10 year old mark II... 3K announcement: https://www.magiclantern.fm/forum/index.php?topic=19336.msg205638#msg205638 Initial 4K progress (10.5 frames per second): https://www.magiclantern.fm/forum/index.php?topic=19336.msg208417#msg208417 Initial 5K progress (6.5 frames per second): https://www.magiclantern.fm/forum/index.php?topic=19336.msg208355#msg208355 The 5D mark II has always been limited to 30fps, but there is also some progress in getting higher framerates: https://twitter.com/autoexec_bin/status/1048804509827452928 The forum user reddeercity has some builds on that thread. I am super excited about this, even spent 100 pound on a new motherboard to fix my camera. Video I made using the 3K build: Shot in 2880x1080 resolution, Graded + converted to ProRes using MLV App (https://github.com/ilia3101/MLV-App), edited in Pitivi on linuX. Lenses: Jupiter 9, Helios 44, Takumar 135mm, cosina 19-35 (for one shot) If anyone wants an MLV or DNG or something from the video I can provide.

You don't really need a 16bit screen to reap the benefits though.

I've seen and enjoyed it actually. Pity they've forgotten to add 4K/60p. I had bought 1 camera unit at least : -)

Actually, the Black Friday sale on Filmsimplified.com is pretty good - 85% off on the Resolve training, and I've just bought it It's designed for beginners so i'm not sure how much stuff I've worked out already, but it includes Fusion which I have no clue about, and Fairlight which I only have basic knowledge of, so that should be useful!

Pretty good video from DPR comparing the Nikon Z6, Sony a7 III, Canon EOS-R.

Hooray! After people started getting their Pocket 4K cameras we only had the Panny S1 to argue about - now we can get excited about the inevitability of 8K vs Sonys ability to quadruple the data rates and not have the camera actually melt! With Japan gearing up for the 2020 Olympics to be broadcast in 8K there is only ~20 months before an entire 8K distribution network (including something like 1000 8K cameras) must be in place, having been constructed, tested, and bug fixed. You'd be mad if you think that Japan will let themselves fail to deliver a technological feat like this while the entire world is watching, Moores law be damned. So, if we're going to have an entirely functional 8K capture, processing, distribution, and consumption network in place in less than two years for the worlds most watched event, then exactly when do you think the tech will be made possible? The day before?

sounds like your the diy'er ? i'm lazy and cheap, i bought a cheap chinese steadicam it adds some weight and lets me pan and (maybe in theory tilt a little but i have yet too work on that) whats not to like ?

So the EOS-R does not crop in when shooting 4K video? I think you mean 1080p... lots of cameras have been shooting full frame 1080p for years. But who cares? I’m speaking of 4K video, and there is definitely a crop in that mode. I understand you may own this camera, but such comments might mislead others.

Well, if you find a better picture of yourself to come to insult someone you have no clue about, only because you didn't like what you read, your in your own. To me, a loser is someone who has no guts to say it face to face and prefers to hide behind a little keyboard covered by an anonymous alias far away, addressing such lovely words in so fancy no lower attitude. Other than that, I am at your disposal in private mode to handle anything you want. I can even give you my physical address whenever you want to come to meet such a loser in your words but personally... ; -) On your easy accusation, no, I am not trolling at all. I am only point a missing feature I see in this Nikon offer in 2018. I don't even start to shoot and call it a loser device either. Go figure on people who addresses me a balanced and fair-minded comment. Is that the way you face any fair observation on topic? The worst people on earth are used to play such game, dude. Who's a loser after all? Get a better angle on your portrait : ) Ah OK, we have no idea of your name, isn't it? I guess you ain't Simon Young nor Young fellas who are used to like your posts now... LOL : -D So, no hard your shit hit the fan... What about to call your attitude a fine example of the most silliest fanboyism?

Well, I didn’t expect it, but at least you got the sarcasm. Go troll somewhere else. Like, wth does your 60p got to do with autofocus? Loser.

Ah great so you bought one? or what precisely does the Z6 autofocus have to do with 4K 60p?

https://www.dropbox.com/sh/3d8pq66127r38xi/AABbzFN1L5amxx8Jy6bdt1ECa?dl=0 Here are some raw (4:1) files for you guys to play around with. As always please don't use these commercially.

Or the Pocket 4K... They are not FF anyways. Yes, you can match with them: DOF coupled to a focal reducer and/or fast glass; low light performance too from the new generation of sensors even without adapters. Not higher resolution acquisition à la Z7 though.

Go and buy the X-T3 or the GH5/s.

Looking at this test from about 1.50 into the video, I noticed that when focused on his face the background looks more blurred on the Nikon than it does on the Sony. Also the Nikon seems a bit more contrasty and clearer. I see little between them in overall AF performance. As of yet I have not shot a single frame of video with the Z6. I have taken several pictures, and love this camera. Is it as fast to focus as the 1DXMK2?... No, but it is certainly fast enough to get the job done. It’s also easy to get great pictures with this camera. It doesn’t fight you. The low light image quality is fantastic. Far better than the Fuji X-T3 and perhaps better than the Canon. I’ll have to run some video test. Any ideas on best video setting for the Z6?

For the love of God, he needs to take the music off that video. Difficult to hear the lens noise he's talking about or any of his other observations when its drowned out by a soft porn soundtrack. That aside, I thought the Z6 did pretty well with the face tracking, especially with the 85mm adapted lens. However, it was definitely struggling and doing an overshoot with that lens when he was on the right hand side of the frame. It also seemed to struggle even with its native lens when he moved out of the frame completely and it had no face to track as, unlike the Sony, it was very inconsistent in then subsequently acquiring focus on the Leica/Billingham bag cabinet at the rear centre of the frame. Without knowing what all of his additional fine tune AF settings were set to (which are many with Nikon of course and can also include individual lens tuning), its difficult to call it a problem but the inconsistency is a bit concerning. As it stands though, the fast acquisition of focus on the face appearing from beneath the frame certainly makes the Z6 another solid choice for coverage of weightlifting.

yes, it's the mk ii. It ways a bit, but it's relatively compact. Fells like a small rock ? If it can be your main prime depends on what you are doing. For photography shooting it wide open in daily situations is a bit problematic even with all the manual focus aids. But it has that special look to it. For video I love it, since the manual focus is just nicer than most fly by wire lenses. And as said, it has a stepless aperture. Personally if I were to get just one 35mm for Fuji, it would be the f/2.0 since it has autofocus and is nearly silent. But I prefer the combination of Mitakon and Fuji f/1.4 ?

The problem with using Natural light for lighting, especially video, is that it is extremely unpredictable and unreliable. Anything from small cloud movements to many other factors can completely ruin a shot and video. Also while reflectors can be great for manipulation of light, they are much better and more reliable for phone and not so much for video. That's also perhaps why lighting is as important during the day, as it is during the night. Also, it is much easier creating the 3-point lighting setup during the day, than it is during the night.

@kye I will give you a prize for the above post. 2 bags of... I can't believe people Really like them LoL.

Yes, Resolve is that smart. If you set the re-time controls to exactly the right number (24/60 = 40% speed) then it will give the same result. Do a test for yourself. Pull in two clips - slow one of them using Clip Attributes and slow the other one on the timeline with a 40% speed adjustment, then step through them one frame at a time and see for yourself what Resolve does. One thing to note - when you have a HFR clip in the timeline and you open up the Clip Speed dialog it shows one box for Percentage and another for Frames Per Second. The FPS box shows the timeline speed (24fps in your case) and when you say 40% it will update this box to show 9.6FPS. It's wrong so basically just ignore it. Incidentally, if you want to have clips conformed to exactly the frames that were shot, I recommend using the Change Clip Speed dialog box instead of the other controls. I remapped the Command-R shortcut to it as well. Entering exact values in there is the easiest way to get the exact value.

It's exactly the same between trial and full version.

No, I always wait for a couple of patches before installing a major update and plan to switch to Resolve or getting a Mac and using the Final Cut X license I bought when it first came out and learning that. Just can't justify spending $600 a year on a subscription when there are other options out there. I only switched to Premiere after Final Cut Pro 7 no longer was efficient.

In denial? Intentionally misleading? Bit of both probably

Well for narrative probably not, but I guess newfoundmass has never had the pleasure of clients asking you for CSI ENHANCE because they want to focus on something else in the shot.

I can't tell the difference on 1080 monitors without zooming in but I've never seen 4k on a 4k monitor or 8k on an 8k monitor. To me though 1080p is good enough for everything (unless you need cropping). The bigger deal breaker right now is internet viewing. 4k looks way better then 1080p on platforms like youtube due to compression. At a movie theater, ehh not really imho.

2000 nits for 200 bucks. This was my one Black Friday purchase. Will update on Monday when it’s here.

Another lighter weight way to add weight and stability to a small camera is to use a gyro from Ken-Lab. I own one of them - the KS-6 - and used it on my 5D pretty often. The downside is it makes noise so it’s more suited for b-roll and MOS footage, but on the plus side it gives you a floaty steadicam-like feel. The best of both worlds is to use it as a counterweight on the back of a handheld rig, then it gives your handheld more gravitas like a larger camera even when it’s powered off, and when it’s turned on... mwah. Everything in this video was shot with that setup: 5D mk2, handheld rig, Ken-Lab KS-6 (sometimes on sometimes off): also part 2 with the actual race:

dynamic range yay, 16 bit yay, 8k urgh. Honestly. I'll feel like I'll have to get it at some point to future proof my stock footage, but with processors improving at about 5% per year, its going to make editing blerg

With all due respect, you need to stop doing this thing where you go on long diatribes based on assumef information that isn't even true. The Varicam lines have been very popular sellers, especially the LT. Not FS7 or C300 monster-sales, but for episodic, spots, and doc, they're seeing plenty of professional use. Do your research before you make sweeping statements about sales figures or market popularity.