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Looks fantastic all things considered. For $350 I don’t think you can go wrong.

I shot an interview last night with the Pocket 4K and GH5s in Film mode and HLG respectively. They match pretty well after only a few minutes in Premiere tweaking them. I'm excited to see the difference that Resolve will make.

The DJI Osmo Pocket has been a serious surprise to me. At first glance, this thing really looks like a consumer product…but honestly, it shares the image quality we have come to know and love of the higher end Mavic Pro’s! The field of view is just right…wide enough..but not fisheye like a GoPro. The D-Cinelike grades beautifully and 4K at 60fps is wonderful. Using the device with a mobile phone is really the best way to get all the features, but if you want to go light and small just use the tiny built in display! I was seriously surprised with how good the image was on the DJI Osmo Pocket…and for me, I would rather have one than a GoPro. Here is our official video review:

Noted, brilliant input.

I will post some screenshots tonight to show you. Also. With 10Bit, I stopped exposing to the right for log. I like my highlights.

Me too I am curious to know. If I find the time, tomorrow or Saturday I do a test 2K vs 4K about moiré and noise. I'll share the file on google drive. About exposing F-log, when I shoot a scene with a low contrast (very compress signal), I expose to the right. When I shoot a scene with high contrast, I expose to preserve the highlights.

Nope - I actively avoid the Eterna LUT - really burns the footage. I use the Fuji Flog-709 LUT and I love it.

All handheld, and honestly, I was getting jostled about a fair bit, so I was please with the results. I used the 35mm Z lens. As for weather the Kipon adapters will be good for video... well I hope so, our Schneider Xenon FF cinema primes are Canon mount and I would love to use them on this Nikon when using our motion control system. I have been examining the footage from this Nikon with a critical eye. Comparing it to other cameras we have own/owned. While different in character, it can match quite well with the C200. I’m really liking the output from this camera. Without any raw support from Lightroom or CaptureOne we cannot fully judge the stills quality. But so far it looks good imo.

http://www.fujifilm.com/support/digital_cameras/software/lut/

Here is a quick bit of internal 4K 24p I shot in a car on a bumpy road.

Interesting DR test over at Cinema5D.

I would imagine there would be additional grading. The GH5 + GHa LUT is equivalent to an Alexa with Rec709 LUT. Most people would add a complete look after the rec709 conversion if they shot Alexa, so the same applies here I think. To get you to sign up. Everyone wants you to sign up because then they can market to you. It's a PITA to sign up, so they have to offer some kind of reward.

I registered there in Jan this year, still haven't been approved. I kept tabs on it for a couple of months, and people who registered after me became common around the place, I figured that they didn't want new users and gave up. Having good moderation on forums is critical, and if you're so incompetent that you can't approve new users then your forum isn't worth any of my time.

I kind of don't know what to think about Casey Faris. On one hand he uses the simple controls like the pros tend to, he seems to be able to do difficult things pretty quickly and efficiently (like matching cameras), and in comparison to most other YT grading people who sell LUT packs he looks level-headed and like he knows what he's doing. There's a YT colourist who bragged in one of their videos that they don't plan their grading videos, they just hit record and then make up the grade as they go along. However, if you compare him to Juan Melara then there's an enormous gap between Juan and every other YT colourist I'm aware of. Juan doesn't even seem to use Resolve in the same way that everyone else does - it's kind of like he's from another planet. His videos are absolute tours of force, and it's obvious that he has enormous depth of technical knowledge about colour spaces, colour conversion theory, etc. These are good examples of the level of knowledge that Juan has: Whenever Juans videos are discussed on the LGG forums the pros there admire him but aren't amazed, so from their reaction I have concluded that Juan is very knowledgable but not beyond the norm for professional colourists. I think film-making on YT is kind of becoming it's own universe and people like Casey stand out. However in the traditional world of film-making there are colourists who are part of professional guilds, work as part of the feature film industry, go to industry conferences, and some of them teach - either in person or behind paywalls and we've never even heard of them. The YT world and that professional world don't really have much contact with each other, so if it wasn't for people like Juan Melara we almost wouldn't know that there are people who put the rest of us to shame. In a sense, Casey is doing just fine, and if he can make footage look good and match different cameras together then that's all that's needed. There's no right or wrong way to do art, after all. However, once you become aware of the skill level that is out there in the industry then it's a bit hard to look at the YT colourists who sell LUTs and wonder if they're professional colourists or if they're really just LUT salespeople who only need to know enough more than their customers to appear knowledgeable enough to make good LUTs. When there are people like Juan who know so much more than the colourists who take log / non-rec709 footage and just adjust it with the LGG wheels or contrast controls it makes you wonder what else they're telling you that's flat our wrong, let alone just unhelpful advice. I watched many hours of YT colourists to get familiar with Resolve, and after studying Juans videos and reading lots of LGG threads, I realised that much of the techniques I'd learned from YT were just bad advice, and I needed to unlearn them and learn good replacement techniques.

Yes I'm in no doubt the EOS-R is a much better camera than the m50, but for my uses (occasional b cam) I can't justify the £1900 price difference mainly for c-log. (Could buy a c100 mk2 for that) I know I would also then want the nd adaptor (a great innovation) which is another £400...

I used mine with samsung t5 for the entire weekend and a product shoot today and not one issue. I'm totally stoked on this camera. I'll be posting some shots this weekend once I can catch up with work.

Yes, but is it a pocket cinema camera? (Yes, I'm kidding... welcome to the forums!)

This link is on topic: http://www.thevideomode.com/tuition/editing-4k-video-on-an-old-computer-or-laptop-902/

The original file is here https://drive.google.com/file/d/1WrxAJs0NPvQ9jG5Sh5asBuxzfJjbC0j1/view?usp=sharing - For my work (fiction shorts) I don’t need and I don’t want 4K. It’s too sharp on close-up. You need to use expensive filter like black pro-mist and/or soften in post. - The 2K 200 Mbps is the best quality codec in the XT-3. (the equivalent in 4k should be 4x200=800Mbps) - I think sometime, I can shoot 4K for a 2K timeline, when I need to crop or stabilize in post. - I need to make more test for moiré. Theoretically there should be less moire in 4K. But the only shot I've seen moiré is this one on the green pullover.

Noope no grading or anything. I didn't ETTR, just kind of shot how I thought it would look good. The lens was a 23mm F2 fuji. You might be able to get one cheaper in a couple months. If Sony ever releases their A7000, I am sure the XT3 price will drop a bit.

@Emanuel don’t bother answering to this guy. Could have been funny, but he is so retarded it’s actually sad.

If you put a 60fps clip on a 24fps timeline and set it to 40% speed it will play it back at 24p, using all the frames in the original clip. The fps in the dialogue box is wrong. If you leave the clip attributes as default and change the speed on the timeline you can have the same clip appear multiple times on the timeline at different speeds.

Nice example of AF video tracking and use on a gimbal.

Interesting results from Slashcam: https://www.slashcam.de/artikel/Test/Der-4K-Vollformat-Herausforderer-Nikon-Z6---Bildqualitaet-im-Videomodus.html Among other things, they doubt that it's a full sensor readout in 4K, and also there is a slight crop when using N-Log.

Not Ninja V, but 4K N-Log sample captured with Inferno (Z7 running firmware 1.0) : https://www.dropbox.com/s/kgtgezwqaayinb2/Z7 N Log 4k.mov?dl=0 by courtesy of Jeff Curtner

It's actually a good point it not having 60p 4k. It hadn't occured to me that it didn't, so I was glad for the info. And its a z6 thread, not a z6 autofocus thread, so perfectly on topic.

I bet so. Pretty killer combo. Reason why I'd love to see 4K 60p via HDMI once you have there a recorder able to offer it. Here others claiming the same chance from.

At least where I am, it's generally an owner-operator camera, or owned by agencies/production houses. Those entities sometimes rent it out, like for a couple Garmin/Harley shoots I've done. Anything with product shots loves the Varicam for accurate color. Even in Milwaukee, a rather small market, we have as many Varicams as Alexas (though more REDs than either). Chicago, you'll definitely see more FS7s (they have a virtual monopoly on doco/reality), but Varicams are out there working all the time, like on the Lifetime movie I worked on a few weeks ago or the Kohler commercial the month before. Here's what I'm saying, man. Your experience in the professional sphere is limited, and in a small market, and your observations are purely anecdotal. So unless you have an article with hard sales numbers that back up your claim, then with all due respect I'm going to disregard your (in my eyes) baseless assertion. Let's try not to derail this thread any further. If we want to talk Varicam popularly, let's make a separate topic.

Great work Sage! I have been using you're luts the last couple of weeks, and it just works perfectly. Im currently shooting on a gh5 with atomos ninja V Here are some stills. The video can be seen here

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.

U mad bro? Hahahaha oh my god too funny You quoted my honest post to the thread which was about autofocus and wrote something completely unrelated together with your usual shitty smileys. In what way was your message meant to be constructive? Address? Seriously? Hahahaha Get a life.