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There are awesome resources for colour grading and Resolve techniques out there, but they're scattered around the place, and are hard to find. Please post anything awesome you find. (Note: for those that are new to Resolve or colour grading, there are lots of YT "colourists" who have very little actual knowledge. These people provide a steady stream of bad habits, misleading and flat-out wrong information. There are exceptions, but on the whole you should be very suspicious of people selling LUTs and pumping out video after video - most of these people are professional LUT salespeople and/or YouTubers and not professional colourists!) Juan Melara is excellent. If you watch all the below you'll get a sense of how he uses Resolve, especially the Colour Space Transform plugin and which tools in Resolve are designed to work in which colour spaces.

I have 4 teenage nieces, they all prefer their phones since the Osmo can’t make calls, text, Instagram, FaceTime and so on. And they don’t edit anything or even use a computer, with the Osmo you have to offload through another device. Travel and vloggers seem to be the target, but beyond stabilization it doesn’t really deliver for either since you need accessories. Kudos for bringing something different, but the Hero7 with a simple handle still looks better to me, and it’ll likely be a lot more rugged Chris

I've been away for a while, just working on scripts and trying not to wast too much time on the internet. I just came back to share my newest lens find. I wanted an 8(ish)mm lens (24mm equivalent) for the bmpcc, to split the difference between my Fuji 12.5mm and Computar 6.5mm. I'd been thinking of the SLR Magic 8mm, but even though it's super cheap for what it is, I couldn't really afford it at the moment, plus reviews I'd read here noted the difficulty of the focus ring and set screw. Then I remembered a video on youtube showing off different lenses, including the Cosmicar 8.5mm f/1.5. I had bought what turned out to be the 2/3 format version a couple years ago when I first saw the video, which doesn't cover the sensor. The version that covers a 1" sensor has a larger front, like the Cosmicar 6.5mm lens I used to own, and it never shows up on ebay, and others had previously gone for $500 a couple years ago. But I managed to find one bundled with an "As-Is" CCTV camera. I was aware that this lens would need some modification, and luckily it took a very small amount of hand-filing the edges, as I've done with Cosmicar lenses in the past. This one only took about 30 minutes to complete, unlike other lenses. My copy also needs a little cleaning. I love this lens. It's pretty sharp from edge to edge, even wide open. It's distorted, but it's acceptable to me (I like a bit of distortion). Some grabs from the video: f/11. f/1.5 F/2 Since my Fuji 12.5mm is only good from edge to edge at around f/4 or lower, and my Computar 6.5mm is garbage above f/8, this may become by go-to wide angle lens. It should work well for glidecam shots too.

Wohooo Just got told my Cam as arrived and ready to dispatch. Ordered last month Birdmanhandrup.gif Exciting times

You know I have never had to interview on a set like that. I can't imagine how a person would not be intimidated, and could relax, and be yourself!

It's the other f10. Everyone knows that!

I guess I might chance it and become a beta tester.

I always, on every system, shot macro with manual focus so I would get a lens that has good manual focus and adapt, i would totally not get anything with focus-by-wire.

Your butt will probably fall off from sitting before we know that answer LoL. If and when that happens there will be m4/3 cameras that make the GH5 look bad. If you want a GH5 buy one. It won't just stop working like they say the day If they stop m4/3 camera production. It will take a Long time if and when it ever happens. And for Video I am not too fond of really good lenses to be honest. I guess it depends on what you like to shoot. Newer lenses to me are too good. Most of them benefit Photography more than Video. But if you want Razor sharp 4K newer is the way to go. A lot of younger people like that look. The only thing they have known to be honest. If you want newer I would lean toward the Olympus ones with the Manual Clutch in them. Nice to have for Video. But they don't play as nice for the 5 Axis Panny IBIS on the GH5.

This page is very useful for working out lens mounts! http://camera-wiki.org/wiki/Lens_mounts

You will need a K (PK) adapter for the Pentax lens. But some Pentax lenses are M42 Screw Mount also. Wow I see they already have dumb adapters for the Z bodies. That didn't take long.

For people who likes to read books; (It’s only $30 today with the November code!) https://www.amazon.com/Definitive-Guide-DaVinci-Resolve-Blackmagic/dp/0999391364/ref=aw_pd_cart_wl_crc_4_1?_encoding=UTF8&pd_rd_i=0999391364&pd_rd_r=S11CK0PAWKTHVQQ4E5W6&pd_rd_w=C1CSw&pd_rd_wg=SUEtJ&pf_rd_i=mobile-cart-carousels&pf_rd_m=ATVPDKIKX0DER&pf_rd_p=72597dac-cd81-4840-ad11-d53cfc65d0fb&pf_rd_r=S11CK0PAWKTHVQQ4E5W6&pf_rd_s=mobile-cart-carousels&pf_rd_t=40701&psc=1&refRID=S11CK0PAWKTHVQQ4E5W6

@Matt Kieley That looks like a really good match for the pocket camera. nice find. @jihado86 Nice score! Those are some really great lenses. Unforunately the Nikon F mount is not a great one for adapted glass that isn't Nikon F mount. You can use those lenses on your nikon, but you'll have to use adapters with glass optical elements built in that will reduce the quality of the lenses. You might want to hold on to the lenses if you plan on buying another camera anytime soon, or perhaps sell them and buy some Nikon F mount glass.

totally. you can buy the weird water proof case!

Great question...I am thinking of getting one of those USB-C to 3.5mm and USB ports that enable you to use the headphone jack AND still charge it. Would be an interesting test....however, two hours of battery life is pretty dang good and haven't ever had a problem with it dying on us on a shoot. Yes I can share some footage. If more people want to see it I can do a dropbox link

Resolve 15.2.1 update was released today: https://www.blackmagicdesign.com/nl/support/

@kye Great thread, man! @Andrew Reid Stick it, Andrew! : -)

This absolutely kills smartphone gimbals if you ask me.... A typical smartphone weighs 180g. The Osmo pocket weighs 120g in total and the camera module that you are stabilizing, probably around 30g.

If you can let me know exact MFT lens models and describe the issue in repo steps I can follow it up. There is one known issue at the moment that some times the lens won't set the correct aperture we tell it to, but for the aperture number to stay the same on the camera UI display but the lens actually change sounds like something different. Will look into what you mention nRF Connect too.

For me there is no dilemma, I've had various smartphone gimbals for years and have never really loved the image quality from smartphones. We own both Android and Apple's flagship phones. From what I have seen of the footage from this little gimbal so far, it blows away smartphones.

I think she is wearing Red glasses LoL. But yeah there is CA on the Window blind edges. I would not loose too much sleep about that. That probably happens because it is on a BMD camera to be honest. You want some sharpness you pay the price. ?

I think the DJI pocket addresses all 3 of these issues. First it is so small (half the weight of a smartphone) that anyone can take it with them - no trouble - even if they dont use it. Second it has 'story mode' see 6.30 to 7.50 of this video.... ...this creates a video and does the editing for you - it even does all the camera motions!! Thirdly, it instantly edits and records the video on your mobile phone for instant sharing. Overall it seems a lot, lot easier to produce an interesting social media post than a smartphone.

Capture One 12 is out ... supports raw with Z 7 and Z 6.

Interesting DR test over at Cinema5D.

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.

@Ilia3101 looks awesome!! great work!!!

How about a tripod? and a slider? or even a dolly? What about gimbals, steadycams and other things? I have used the OIS lenses from Canon and Fuji, the IBIS from Olympus, Panasonic, Sony and Fuji but neither of those systems is anywhere close to replacing the things mentioned above. OIS and IBIS are very nice to have, especially in combination with other forms of stabilization, but I think people are taking it as some kind of excuse. Where are the stabilized Summilux-C lenses? The stabilized Ultraprimes or the Cookes? Where is the IBIS in the Arri Alexa or the Red camera?

I would say that straight out of the camera the Fuji colour looks very nice, but not necessarily like film. You probably wouldn't mistake it for film, that's for sure. The BMPCC4k, from what I've seen, looks a little more filmic with vintage lenses, but both of these cameras are going to require some work in production and post production if you're trying to lose the video look entirely. I think there's also a bias in the kind of footage we've seen from both cameras. The Pocket seems to have been bought by more indie filmmaker types, while the Fuji seems to be in the hands of more photographers from what I can tell by going on YT and Vimeo. So I think the Pocket footage is appealing if you match that profile. A lot of the Fuji footage is badly shot, exposed and graded. The Fujifilm can also shoot stills, so it kind of depends if you need a hybrid or not. It also has good autofocus. Do a search for H1 footage, and you'll see more Fuji footage with a filmic treatment. https://vimeo.com/265565687

I shoot photo and video professionally and I'm heavily invested in M43. Had the opportunity to go full frame a month or so back but chose to stick with M43 (GH4). Just so dam convenient, compact, amazing battery life, easy menus etc etc. The key is good glass. I'm 100% native glass too (I have everything from wide to Tele and everything in between but the nocticron Basically lives on my gh4. That lens is the key to amazing photos and video on m43 and is the main reason I was convinced to stay with the system!

I have a GX8 with 12-35 F2.8 and I love it for the documentary style photography that I do. The combination of sensor stabilisation and optical OIS is fantastic, definitely making this a keeper. I sold my D810 and bought this combo instead, when I realised that my customers did not want 2 metre prints. MattH is correct about the crop problems for video though. I line the shot up in the view finder and then hate the fact that the image in the viewfinder (and being recorded) suddenly crops in 4K mode when recording starts. I very often have to reframe. Like Matt, I use 4K for enhanced 1080 output, but I have a range of manual Nikon glass and a MFT metabones speed booster so I am seriously considering buying a dedicated video cam such as a BMC in the near future. I am becoming more convinced that hybrid cameras are too compromised - they are either great for photography, and good'ish for video (GX8) or vice versa (GH4). For a beginner, though - they are fine . There are fantastic deals for the GH7 in the UK at the moment so this would be a great place to start, but try and buy used lenses in good condition. Investing in manual glass such as manual Nikors is also a great way of building an investment that can move from camera to camera.

I empathise with your dilemma. Panasonic currently have the best budget 4k options. (Not sure why you are looking at opymus if one of your priorities is video.) For the record I do not care about 4k video for 4k output. I care about it for good quality 1080p output. What we don't know is if panasonic will come out with a 4k camera that doesn't crop. The crop makes native 4/rds lenses narrow. I also dont like the thought of lenses with large narural distortion that digitally corect. Maybe that doesnt make sense, but for some reason the idea doesn't sit well with me. The 12-35 2.8 looks a nice lens but it is expensive. Is it realy worth it for a system that can only be 2x crop maximum? I would say at the moment, the best future safe budget system, If you don't mind using manual lenses, is the GH7, cheap speedboster and full frame manual lenses in nikon mount. That way your lenses are garanteed to be usefull on anything. My only issue with this setup is that full frame lenses are big. And there dont seem to be any good ultra wide options. This is the reason that I have been waiting for sony to bring out a 4k apsc mirrorless. But they have been dragging their feet so far. Probably for a few reasons begining in FS. hopefully I dont have long to wait. and hopefully there wont be a massive crop. Even though I think panasonic 4k is a cleaner image than sony 4k, Id rather have a compact apsc system for photography. If cannon eos m had 4k I would have got that long ago because the native lenses are great and fairly cheap. But I doubt they will ever have 4k. at least not in the next 10 years. They just wont undermine their cinema line. Maybe I have just thrown up more questions than answers, but hopefully you will find some use in my post.