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And this is the final look i'm aiming... For this I use the V3 to LogC and then a B&W film lut.

Hello everyone! I'm been working in several projects lately, here i wanted to to show some still of a new short film i shot last week. The final look will be in black & white, but here i will put some stills in color with V3 and my grade. Also some Vlog stills. Vlog:

Yep.. that's right, sorry I should have said. Specifically the line in Resolve. Theres a bit of a debate about if it's the skin colour line or just an indicator, but the point is that skin tones actually vary wildly in hue depending on lighting conditions. The idea that skin tones should be on the line are shot down pretty quickly on the grading forums. The top row are from the ARRI video, and the bottom row are from other videos that got good reception. Here are a bunch of vector scopes from the ARRI video - notice the highly, highly, highly controlled skin tones! These are a couple from the C200 demo video (IIRC) and note the more spread out line, and also that the line is between the indicator line and the Red reference box, and even slightly beyond the red in certain areas.

I remember thinking to myself a short while ago, “The current camera so damn good, Do we really need anything better? “ It seems many in Hollywood are taking note. I recently read a article which can be found here in which they state that the new movie “The Haunting of Hannah Grace” was shot entirely on the Sony A7S2. Granted, they rigged it up pretty good. But at the heart of that rigging was a Sony A7S2. So the day has come... hell has indeed frozen over. A humble prosumer camera can be used to shoot a Hollywood feature. Now if anamorphic lenses would follow suit, we would really be in business.

Hi, I wanted to use a second monitor with Resolve as a preview monitor. I hooked up a second monitor and selected Dual Monitors, which gave me more controls on the second screen, which is useful, but not what I was hoping to achieve. I searched the internet to see if there was a configuration option I had missed and there wasn't. As it stands with Resolve 15.2 and lower, it will not output to a second display as a preview monitor unless you have Blackmagic's hardware (actually you the can "tear off" the preview monitor in the Fairlight page, but I wanted it for the color grading page). ...then I found a program called NobeDisplay by Time In Pixels. The software runs as an OpenFX plugin inside of Resolve. You use it by inserting it on a node in the timeline view of node section of the color page. This plugin taps off of the video data stream that represents your preview in Resolve. At 19.99€ it is worth trying the demo to see if you find it useful/compatible for your system configuration. My configuration is an iMac with a second display via DisplayPort so I did not need Blackmagic Design's hardware to physically connect a second monitor. https://timeinpixels.com/nobe-display/ Thanks! Mark

"GH5 V-Log and Hybid Log-Gamma are transformed to precisely match the color science of the Alexa, without compromise." "The GH Alex conversion completely transforms the GH5 image, addressing every nuance of color reproduction (from shadows to highlights, low saturation to high saturation, for every possible hue). This includes an organic rolloff which fully eliminates channel clipping." EmotiveColor.com PDF YouTube

Interesting!

It really doesn't matter. You could even crop the UHD if you prefer the 1.9:1 aspect ratio, for a small drop in resolution.

Wouldn't really matter for me. 24p is the movie cinema look, as almost every film has been shot in 24 frames per second. There isn't a lot of movement where the frame rate would be that noticeable during an interview imo.

People need to learn how to grip dslr like cams for smooth shots. There are so many techniques . The strap stretched with a pistol handle. does the trick Got my cam today FINALLY!. not bad for a 1 month wait.

Thanks! Yeah the short you mentioned is called "Best-Seller", is now on some streaming services, also in youtube. You are right, when watching this color, is very tempting to go for this look. But the B&W style was something i already decide in Pre-production. Is gonna take some time, I just made a first-cut, then come sound design, scoring and Mastering. But is looking neat! I shoot in 4k, then down scale. Looks better and you can push it more in post. Here i used a lot the Sigma 18-35, and then a 50mm Super takumar(super filmic!)

Well... yes, if you are interested only in exposure. it ain't the same if you are comparing depth of field at equivalent focal lengths. Also, if it means using the same ISO value among different sensors, then sensor performance is generally going to be better on the larger sensor.

8mm anamorphic run and gun with Baby Hypergonar 1.75x , Bolex 8/19 1.5x , Kowa 8 2x + ProtoDNA

Digital Bolex claimed their GS CCD sensor helped give better motion and hence was more filmic and I'm inclined to agree with them given the tasty footage it exhibits. ARRI Alexa/Amiga have the lowest RS (2-6ms) out of any non Global Shutter cine cam, so you can't really lump them in the (average) CMOS GS camera category. EOS R & Z7 have severe RS in 4K. Fuji XT2/XH1 are also pretty poor.. that said, it didn't prevent me from buying both XT2 & EOS R which i both consider "filmic" in the right hands There are ways to avoid RS.. except if you're filming from trains etc..

I'm not saying you're not on to something... but the A7SIII rumors have simply been all over the place to the point of it reaching unicorn status. Sony themselves have sort of admitted going back to the drawing boards and postponing its release.. It's one thing to have a great sensor but materializing it into a stable/viable camera is another. As for sensor data sheets, I don't want to argue with numbers but they don't always reveal the full picture (no pun intended). Many claimed A73 > A7S2 in low-light but really the cam got there by "cheating" with heavy use of NR at high ISO values. Getting back to 8K i think it will be put in the Mark IV Sony cameras, just in time for the 2020 Tokyo Olympics. That is the roadmap deadline the Japanese tech industry has set for 8K consumer product roll-out.

There is countless tv shows or movies with multi million dollar budgets and I'll see quite severe rolling shutter in them on some specific certain shots. But so what? Almost nobody in the viewing audience but myself and a few other geeks will ever notice it.

On the subject of proxies, Resolve has a built-in function to render them so you don't even need to manage them, I'm sure that the other editors also have one-click solutions too. I edit 4k 10-bit 150Mbps GH5 footage like butter on my 13 inch 2016 MBP laptop with prores proxies. It takes time to render them obviously, but it means you're not carrying around a 5k or 5kg computer

It is a great lens. I've shot with that on the BMPCC in only moonlight and been happy with it! (although a single LED panel is nice too, and I'd use it sometimes)

Yeah, I wanted extra low light and almost went with an A7III partly for that reason. I ended up with the GH5 and am really happy with what I am getting precisely because of the Voitlander 17.5mm 0.95 prime on it. The night city portraits are spectacular and I'm super happy with the combination, despite the GH5 not really being a low light star.

A lot of the first footage from the camera was hand-held and had that shaky look. I'm not a fan of it (which is why I got the GH5) but it's an aesthetic that some people like I guess. It also depends on how shaky you are, if you practice a lot then you can get gimbal-like results from lens IS, but you'd have to work at it. I think working out what aesthetic elements you like and don't like is a big part of film-making. I've worked out that I don't like non-stabilised hand-held, but I do like wide apertures, wide DR and the inaccuracies involved with MF are also kind of charming in a human/imperfection kind of way. It's an art after all, not a science

GH5 with Voigtlanders, done very fast but I hope it turns out sympa...

It's definitely a 'look' but as @Deadcode says it's quite achievable with the hue vs hue curve to push the skintones together a bit and lessen the hue spread. Also worth paying attention to is the saturation as that's quite controlled too. It's worth pulling a still into Resolve and with a tiny window having a look around the face to see which bits make up the overall vectorscopes above. Personally, when I first saw them I was quite surprised at how yellow and processed they looked and while I've gotten used to the look since then it's still quite a strong look for my eyes. Apart from lighting I think that the hue can vary depending on the person too Sick or not there's lots of variation.

Rolling shutter went from being one of my biggest concerns to something I don't even think about these days. The only cameras I notice having bad rolling shutter these days are the Sony a6xxx cameras. Every other camera has made huge leaps, to the point that global shutter doesn't interest me at all. I can only see rolling shutter being an issue on blockbuster films, like the Top Gun sequel where they're going to be shooting fighter jets at insane speeds.

Actually realized that even using a light gimbal like the Crane plus, it takes a toll on the arms using it all day. Just went on a tour while carrying a gimbal and I tried shooting with it the whole trip and it affected how I shoot at the end of the day. I did put it down from time to time but there were a lot to see and by the end of the tour, I wished I just went handheld.

Well I am sure on average most people won't be spending literally all day using their camera on a Gimbal. So yeah even on the heavy side is not terrible for shorts takes. It is the every time you use it thing, every time you re pick it up you are going to have to tweak it. That is my bitch with Gimbals I don't care if they are on a iPhone. Now something like the new Osmo Pocket you won't have to do anything I guess That would be nice. This stuff is not so bad if you have a crew. Each person has a job to do. If you are a one man band it gets old F ing with all this stuff to get 2 minutes footage for a B Roll. That is what pisses me off with a Gimbal or even a Glidecam..

4K doesn't look as sharp as 1080?? Oh Canon...... you never stop being you. The Panasonic GH2 is still a solid ultra low budget buy even in nearly 2019 I do like this though, I wish more kit lenses started at 15mm for APS-C

wow nice cover picture my temperature just went through the roof too and not because of the cpu either ? so global warming is your fault ? not sure why you guys in the north dont save your footage up and edit in winter your machines would run way cooler ? all jokes aside my laptop is my fastest machine at the moment , it has the free davinci on it in anticipation of learning abit about it while i wait for the bmp4k to turn up. at the moment i am liking the idea of an intel nuc if i can hang a gpu off the side of it and get improved working times i'd be happy with that.my projects aren't mission critical with a one hour turn around. of course my situation is different to those of you that have to make a living out of this. what i would find interesting is a poll or new thread perhaps with an overview of peoples current systems and average times to process a job, that may give some of us a bit of a heads up but maybe thats my newbie appreciation of things and not so relevant for you that have been around for awhile

A bit of context... 1. Sony have 3 main line of Camera: Alpha: Prosumer, photo camera that can shoot video FS(5 or 7), F5 and F(55 or 65): Super35 Cinema camera Venice: Full Frame Cinema camera In all those only the F65 shoot 8K. Neither the Venice, F5, F7 or F55 actually shoot 8K. 2. 8K 60MP (or 75MP) at 24fps generate a huge amount of data, that needs to be processed, and stored somewhere. This require fast multi-processor or multi-core to compute all that branch of 0 & 1 into something we can use actually to tell our story. Such type of processor for a such intensive hungry computing generate... heat and therefore, needs a good cooling system, what you have in any Cinema Camera that part of the reason why Cinema Camera are bulky! 3. Hungry Processing needs more power, meaning bigger or more effective battery or more power efficient processor or a combination of both of the latest in the best case. 4. SD card will not be enough. Will need CFast, CFExpress or XQD (if still exist) With that in mind, in order to put such Sensor (because the rumour was only on the Sensor) in a Sony Alpha A7x body, Sony will have to fix: the processing issue, the heat issue generated by the processor (and the sensor) otherwise you guys will be the first to say that this Camera is not usable because of overheating (I guess Sony already learned this lesson), and the battery issue, otherwise you'll complain about poor battery life that does not last a full day of shooting Other thing, by putting these Sensor (35, 60, 75 MP) in their Alpha body, Sony will eventually Cannibalised his Cinema line up (at least the FS). Those Camera main differentiator will then be the RAW capabilities, eventually higher bit rate. So I don't think those new sensor will come in the any of the Sony Alpha body soon, they may be going in newer version of the Sony Cinema lineup. Don't be too enthusiast just by a new sensor announcement rumor. Wait for the real rumor on the new A7SIII or A7IV or A7000 to be exited!

It is the kit lens 15-45mm some more clips. not graded but looks nice to me.

Thanks Jonesy, that's the plan. There is a lot of ground to cover; I am laying the foundation for it now. Just got a new Alexa Classic last week, due to the early demise of the former Before moving forward, I wanted to make sure the original work was fully defined, and V3 is really there

I think he misses the point at the end. Neither of the cameras he mentions are FF with 10 bit output. Iirc only the Nikon Z can currently do FF 10 bit out? Personally, I’m liking the output from the Z more than the competition right now. That might change. The new Panasonic and Fuji offerings look compelling. I wonder if Sony will sit this one out? I don’t think they’ll have a choice but to answer.

Hi all, Very long time lurker, first time poster. I’ve got my z6 in hands since the beginning of the week, and thought I could share some first impressions. Bought it in kit with 24-70s + ftz + a free XQD card, and a 50 1.8G. There was a good sale in a big French store, and I managed to buy it with almost a 550€ saving (regular price was 3099€ ; xqd reg price = around 180€ ; sale was a lense + a mirrorless = non negligible discount % ; 50€ cashback for the 50 1.8G). Here are some first impressions, after a couple of short hands on tests: PROS: Handling is great, especially the grip. Its feels like a “mirrorless dslr”. It’s build like a tank, and I’ll certainly feel more confident with it in the field, compared to my former fujis Button layout is OK: I can operate with only the right hand (“i” button, menu, iso etc.) The viewfinder is gorgeous, big and bright. Same for the rear lcd screen Touchscreen function seems well implemented, but I need to use it more The AF seems OK for my use, which implies landscape/nature and documentary photography. Manual focusing is really great, both in photo and video Video AF is great with the native 24-70s, but I did not explore it much, so I can’t tell more. It seems less effective with the 50 1.8G adapted with FTZ The dedicated video and photo modes that keep the settings in memory is just perfect ! The 24-70s kit lens is really a bargain! Very sharp, small form factor, convenient etc. For longer lenses, I believe the 300PF, the new 500 and zooms like the sigma 100-400 will pair wonderfully with Z serie cameras. Image quality in video surprised me in a good way. I quickly tweaked the picture profiles, and it appeared to be wonderful, even at high iso. I’m used to fuji gorgeous output right out of the camera, in video mode, but I think this one will be a step above. Really. The IBIS is quite effective, in fact more than I hoped for. With the 50 1.8G adapted, which is supposed to lead to only 3 axis, I manage to obtain a really steady image. Impressive in fact. I watched videos on youtube, with awful funky stuffs, like wobbles, kind of warp effects etc. and people in the comments moaning about how bad the ibis is compared to the sony a7iii. I've tried to replicate this... with success : with the Electronic VR turned on ! With IBIS alone, it's perfect. And I don't know why, but in those videos I saw, they said the Electronic VR was turned off. I don't think so... CONS: The FTZ design is… questionable! The bottom with the tripod screw attachment is longer than the camera body. Thus, making the use of arca swiss plate on the camera with the FTZ attached complicated. A turn around seems to use a Peak Design “micro” plate, which appears to be just well sized. Anyway, I’ll attach my arca plate to the FTZ, and won’t bother much. In video mode, you can’t have both the histogram and the horizon level at the same time. I have to press the “disp” button to bring on the histogram, set my exposure, and press again until the level appears. I hope for a firmware update politic à la fuji ; a dpreview forum member explained that he talked with a Nikon Z development team member, during and event, and they are aware of the fuji successful firmware politic, and will try to offer the same. Fingers crossed! Another firmware-able fix problem (i hope): zebras only work in autofocus mode. If I switch the lens on manual focus, zebras disappear… I need to read the manual more, to check if it is setting relative or not. A lot of people are complaining about hot or white pixels on the sensor on brand new Z cameras. I got that too. An easy fix is to launch the sensor cleaning via the menu, two times in a row. It seems to trigger the pixels mapping stuff. Worked for me! Others are complaining (see the photographylife’s review of the Z7 and dpreview forum) about the coating of the grip peeling where the fingers are, close to the 2 function buttons. From what I understand, it affects people with large hands and long nails. Personally, my fingers don’t even reach this area… so, I hope it’ll be OK ! Video AF with the 50 1.8G attached, as I said before, is not really good. But, it’s a right out of the box test that I did, so maybe if I dive into the menu and the manual, I’ll find a way to make it better. Anyway, as a result, the 50 1.8G is always trying to focus, and seems to fail a lot, which leads to a lot of loud “buzzing” noises. That’s all! Before I choose the Z6, I was shooting with only a fuji X-T2. And, before that, with an X-T1 + a GH4 (and before that… only photography with a Nikon D610). I’ve been shooting with my backup LX100 since the beginning of 2018. Not enough time and a will to spend my energy to learn more about editing, grading etc. leads me to be cameraless for months. I ditched my X-T2 because I was unhappy with the photo output (as a landscape photographer), not very fond of fuji colors (except for video… don’t know why, but love the colours of the video output, but hate the photo files). More important, I ruined a lot of video shots, because of crappy bug at that time (wobbles and “warp” effects due to the image distortion correction etc.). So, as I started again to think of buying a camera, helped a lot with all of your great contributions here, my choices were: a7iii, gh5, bmpcc4k and Z6. Gh5 and bmpcc4k were ruled out as a first “hybrid” camera (maybe next year, as a second cam), as photo is equally important as video to me (for the moment!). Then I choose Z over a7, because I operate mostly in the mountains (I live in the French Alps and spend a lot of time in northern Scandinavia), with cold, snow, bad weather, and I knew, because of my previous Nikon cameras, that Nikon do not disappoints on the “toughness” side. I’ve read too much stories of dead Sony A7’s during trip with similar conditions as what I operate in (and, to be fair, I've read the same with big 5dmiii and Nikon d810). I know, weather sealing is not such a big deal, but, still… a wide bottom opens on the sony would really scare me! And I’m no Chris Burckard, I do not have 200 sony a7 waiting to replace the ones you ruin during an arctic trip! So, here I am with this little Z. Next step is to buy and Atomos ninka V, and some lenses. I’ll read posts from @Geoff CB and @IronFilm, I think I’ll find some great Nikkor lenses ideas Sorry for this long and first post. Hope it’ll help some of you. I’ll be happy to answer questions or try things on the camera if you want. I’ll also share footages. But, for now, I’m taking the camera outside, because it’s sunny and the snow has arrived.

The GH5 is one of those cameras where far more people own one (or more) than are visible from forum posts and YT reviews etc. They are workhorses. Even if no more MFT cameras or lenses are released ever again there will still be many thousands of users making millions of videos per year for the next 5+ years. 4K 10-bit isn't going anywhere soon. There are major networks in the US who still shoot 1080 and broadcast 720, and people watch YT on their phones. My recommendation is to work out exactly what features you require in a camera system, to review your options and then go buy what you need. If you aren't sure about a GH5 vs something newer then that means the GH5 already meets your requirements and so you're just tempted by shiny toys of new cameras. At the end of the day, a camera is a tool to make stuff. Either buy a GH5 and stop worrying about what's around the corner and go make stuff, or keep what you have and stop worrying about what's around the corner and go make stuff. If you're worried about the resale value of the camera then maybe stick with the camera you already own and go buy stocks instead - tech is the worst investment possible

I think it is your beta software, You have got this test between D750 and Z6 and surprisingly when you consider Dpreview lab test, the z6 is better than the D750. I don't doubt the test because the pink shadows is typical of the older Nikon camera and it has been better since the latest ones.

You need to conform to 24p. Don’t slow it down with slow motions tools, conform the media. I don’t use revolve but in premiere you right click on the clip in the media window. I am sure it is done similarly.

Super nice! Great to see shooting in some interesting conditions

pocket 4K in stock.

Here's my old rig featuring a Kowa Prominar C35 1.5X housed in a Rapido metal jacket. I just sold the setup and am currently looking for an Iscorama if anyone's looking to sell.

I own Canon Rumors now. It's all mine

My experience with my own log profile on the d800 was that you want underexpose /protect highlights and denoise after. The log profile will hold your detail in the shadow and the under exposure will give you nice highlights. Afterwards, instead of applying a S curve, try to just darken below midtowns. This way everything looks natural/cinematic. External recording will protect the noise more.

So I'd first like to introduce myself as a 5+ year lurker on this forum who recently created an account. Hi, my name is Jeff. I feel like there isn't really a "market" for this type of genre. Most travel videos I see are rapid cuts of ground footage, interspersed with drones, and fast paced music. I recently saw on a post (forgot where it was) that someone was actually appreciative of the fact that there wasn't a cut every 0.5 seconds that wasn't cutting to a drone inbetween every shot. I actually love shooting this type of travel content where each shot gives the viewer enough time to actually have a "feel" of the space. I tend to be the type of person who shoots a lot but rarely shares much so I thought after seeing that post it would be a good opportunity to share a video I shot a few months ago on a trip to Iceland. It's definitely long (8+ minutes) but I wanted to shoot it in a way that could actually invite the viewer in and actually help them feel what I felt when I was there. Also this was one of the weirdest and most surreal places I've ever been to. Let me know your thoughts, on the actual video and as a medium as a whole.

New to the forum but been a very long time creeper. Heres my v2

Here are a couple of frames from the GH5S + Kowa Prominar combo. I'll be able to post a video later this month.

Please share some actually shot footage with that setup if you have any. Curious too see what kind of look you have managed to get out of it.

What about the Olympus lenses with the MF Clutch? I think there is this variety of them? 12, 17, 7-14, 12-40, 40-150. Well I forgot the killer lens from hell. The Olympus 12-100mm with the manual clutch. Man 24-200mm, what's not to like at a constant f4. https://www.imaging-resource.com/lenses/olympus/12-100mm-f4-is-pro-m.zuiko-digital-ed/review/