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The only way to resolve the issue is with a game of Camera Top Trumps. And, yes, this is an actual product.

Then you need to learn about the nyquist theorem and the difference between pixels count and resolution.....otherwise people will be laughing at you;)

It's probably cos they're sold on specs, and spec arguments attract that kinda crowd. Same with Red. Most high-end is still shot on Arri no matter how many pixels Red chuck in, but that doesn't stop the red fanboys going postal on threads all over the shop. I actually owned a Red for a while and it was good, but a bit heavy-duty for the kind of stuff we use in-house cameras for. I always sold Sonys after finding them hard to use in post, but hopefully the next batch will have nicer colour. Tools are always part of a working process, but for some people they'll always be the real obsession.

If you want a much cheaper alternative to the Shure mic pre-amp then have a look at the Behringer UM-2 which will get you what you need for not far off a third of the price. With regard to fitting out the recording environment, have a look at someone like BoothJunkie on YouTube for some insights into low cost DIY options using quilts etc. Reflection filters such as this have come down in price quite dramatically in recent years and can help in producing a more controlled sound in less than ideal environments. They can be had on Amazon for under £40 but their effectiveness does vary so obviously check out reviews on there and on YouTube for specific ones. One challenge you will face though combining being the performer and the recording engineer is having the computer as your recording device. Having it in the same room will likely throw up issues regarding noise and also the ergonomics of where you are going to place it so that you can operate the mouse/trackpad/keyboard to control the recording software. The option here if you have an iphone/ipad would be to use something like DuetDisplay so you can operate the computer remotely from in the booth. Another option would be to control it from in there from a small USB control surface like the Korg NanoKontrol The advantage for the Korg is that it is far better ergonomically as it is giving you dedicated controls for playback, recording and looping (which will be important when you are getting a section right) as well as control of your recording level and monitoring level for the backing track etc. It will also find utility of course in the same roles when you are doing your final mix and make the whole thing a far more intuitive experience. Price wise, its about £40 so although its twice the price of the DuetDisplay its still not too bad at all Now......having said all that... If it was me, I might actually consider going a different way and getting a more dedicated multitrack music recorder like the Zoom R8 This will give you the whole thing in one package. It is small enough and quiet enough to be used in the booth with you, has all the dedicated controls you need to combine being the performer and the recording engineer and also has in built effects to get you where you need to get to sonically a bit quicker. Even if you didn't want to use its internal recording then you can use it as an audio interface to your computer (as per the Shure/Behringer interfaces) and as a control surface for the software (as per the Korg NanoKontrol). Or any combination of both, so you could create the backing tracks on the computer, transfer to the Zoom to add your vocals, then transfer back to the computer to finish off and use the Zoom as a control surface. In addition, it also has a drum machine and sampler built in so can actually be used to help create the tracks in the first place. It is powered by mains or battery so can also be put to work as a field recorder for your films if need be. They are currently around the £200 mark (though you can always find a lot of used ones cheaper) so its more than the price of just adding an audio interface and controller to your computer but if you can stretch to it then I think you would find it a much better solution for what it is you are trying to do. https://www.zoom.co.jp/products/multi-track-recorder/r8-recorder-interface-controller-sampler

Alright, I need to rant. Slightly tongue in cheek so apologies in advance to toes I might be stepping on. Ok, who with any kind of self respect uses a camera that has “FULL FRAME” written on the outside? Yes let’s use a somewhat problematic term and paint it on the outside of the camera together with BIONZ INSIDE or whatever else crap is on there. I think there’s a f****g “4K” sticker on there too. These labels, besides being reminiscent of labels on cheap hifi from the 90’s, is designed to re-assure the insecure gadget consumer that they indeed bought the FULL FRAME camera. That’s how I view these Sony-trolls that pester forums online. And no, users of Canon or Nikon or Pentax et c are not as aggressive. Many Canon/Nikon users I know would never even write on these places. They don’t care about tech. Sony is exciting. Sony is FRESH NEW TECH. Prepare to get excited! Sony of course know the buyers of their products and they know which buyers they target. Hence the labels, hence the heavy focus on specifications that look great on paper while ignoring ergonomics, colour, durability and so on. The targeted consumer is a male tech geek. These nerds are typically, in my experience, incredibly entitled to the TRUTH. Which makes them entitled and arrogant. They know they have God, sorry I mean paper-specs, on their side. It’s the same dudes that were insufferable know it alls in college. Yet these dudes don’t understand why most successful photographers are using other brands. So there’s the insecurity again. Better read over my FULL FRAME sticker ten times, calm myself with the 4K label, and then go online and write about all other cameras being shit. I can’t imagine anything less attractive than a man-boy who feels good about themselves by affirming themselves with the latest teddybear, sorry I mean spec. I can’t imagine anything less hot than a man-boy who instead of gifting a beautiful photograph or video to the world, goes online to preach about the importance of AF speed. I struggle to understand what a gigantic turn off it is to relate to camera brands as if they were football clubs. I fail to comprehend the sexiness of going online to shout “mine is faster than yours” as if six year old boys. I would never ever, even if somebody paid me two grand, be seen with an A7. Someone might spot the “FULL FRAME” and with that, the writing is quite literally on the wall what kind of man I am. PS. Before you hang me please understand that this was written with intention of humour and not without cheerful self-deprecation. Have a nice day.

I read that as watching a dirty story in good 1080p but I agree either way.

Thanks, I didn’t even realize that. Like you, for $60 I’ll gladly pay.

True, what i meant was that all it does is tell you to purchase. It doesnt stop working or cripple any features. Its such a refreshingly non-invasive install that i gladly paid, despite it being the easiest thing in the world to steal. No background processes or separate licensing/update software automatically draining resources every time you boot (hello apple and adobe).

I mean a lot of people, but yeah they would weigh a Lot!

In this time of history, and for this price, this camera is very difficult to make a dent on the market.

Yeah but this 3000 dollar price is a bit scary for just 20mp and a m4/3 sensor. I mean 20mp really is enough but. But wow the body looks nice. It would make a damn nice, light, long lens kit though. That is probably it's strong selling point.

The single instant AF (centre screen) is no problem but the positional AF from the camera's own touch screen isn't in the spec for obvious reasons (ie its related to the camera's own screen). Everything is bi-directional so if you change the aperture or ISO etc on the camera it will be reflected in the app as well and all of the control interfaces can be used simultaneously and remain in sync so you can use the camera controls themselves, the interface on the camera touch screen, the interface on the Android app and a hardware joystick controller without any switching.

well ill be damned, i had no idea. @BTM_Pix first i wrote protools, then i was like Whoops! Do I mean Logic? so I changed it ??? thanks, that's an awesome tip~! even i have $5 a month!!

This comment actually made me mad irl. Those people need to be stopped.

Its unfortunate really as we are likely to need drones even more in a few months to provide compelling aerial views of the enormous traffic jams of lorries trying to get food and medicine in and out of the country at the channel ports. Its OK though, the government have a fool proof on how to deal with the threat of drones.

There is something very definitely odd about it. To bring it back on topic, its almost as odd as why no one has done a comparison between the Osmo Pocket and the Osmo Plus.

They do a "free" version of ProTools called ProTools First that you can have a play with. The "free" limitation is the number of sessions you can save but it might be enough to get you going with it. If you then like it you can upgrade the session space for $5 a month or $50 a year. The major upside to using ProTools is that it is built for music recording and mixing more so than Audition so you will find a lot more resources online in terms of tutorials to get you up and running. And of course it offers you an upgrade path into the fully blown ProTools system when you get all rich and famous and forget us all https://www.avid.com/pro-tools-first

Well....... Let me just pass you over to my release date advisor. I think you're familiar with his work It will be available mid January now but I'll put some more info up in a few days.

Obvious question... what is it called? Tried searching “BestAppEver” but it doesn’t show up. Will it be available on schedule? Previously I joked about calamities and we now know what happened to Jose so... I’ve charged my Hydrogen so everything is ready to go...

Neptunians!

i caught an article at the beginning of the month abt how "Japan is now broadcasting in 8K" and i was like LOOOLZ omg so yeah, @Snowbro took care of that pretty well in his op ? i feel the same way abt this stuff that i always have: 2k – great, 4k – super useful in post, 8k – what is this, the year 2050? ?

I don´t matter, if the human mind is letting itself be dwarfed by 8k youtube videos and social media alogrithms. Waste of energy electric energy and sofore fuel is mindblowing. Quantum computing is not coming at quantum computing speed. Plastic waste has achieved that very well though. All the cpus and gpus built just for 8k phones will come in billion numbers. Doubling polution and waste.

Even more than already, it would be a reckless abuse of resources to built all the computing power for the 8k, in phones, for its streaming content, etc, that it hopefully will not become standard. All that silicone, all that waste of energy, all that polution for the 8k cellphones, TVs, internet streaming. Terrwatts of energy and Terratons of oil wasted, water poluted. All for some shitty 8k youtube crap.

You're correct - cheap Yongnuo LEDs. Also you're right about the CineD Sat - it was at 0. Thanks for the feedback, I'm planning to shoot some stuff around christmas so we'll see if I can do better! That's actually a "kind of" music video - they're a musical duo, she sings and he plays the piano. I should've lit it better to start with but in the final edit (where I didn't use GHa) I did separate the shot and give different WB/Exposure corrections for both of them Here's the video if you want to see it - https://www.youtube.com/watch?v=1ikLey6OMDo

HLG out of the GH5 is a pretty big difference. Also 5K 4:3 if you use anamorphic. If you're just shooting 1080p or 4K for web upload it's probably not a huge difference, but it's enough difference for me to choose the GH5. Your budget and needs for a project will determine the answer I guess. If you like the GH4, the obvious choice is a GH5, you will love the upgrade.

Site's working great! Thanks @Bold

Yeah I think fixing WB first will ease color correction using the lut but I also use auto-WB because I dont have the time to always snap a gray card first. What I see that help is adjusting the saturation too. Loving this LUT and it has kept me from selling my GH5 for a P4K

What about putting it in like a Zip Lock bag and having the Gimbal part hang out? You could still push the buttons. Have you guys seen this comparison? I got my new Apple XS phone 2 days ago. Nothing but rain pretty much now. The sharpness on it is pretty amazing in Photo HDR mode of my shed. Colors on photo are pretty much spot on. Right out of camera, like the second picture I ever took with it, no editing.

I do think it takes two to tango. There are a couple of aggravating factors. First most Sony users are recent ex-Canon or ex-Nikon users and some tend to have the irritating habit of going back to their old stomping grounds (Canikon forums) and telling people how ‘fab’ there new camera is. Second, there has historically been the whole dslr v mirrorless debate which has tended to lead to dslr users being anti-Sony which is the perfect recipe to clash with Sony fan-boyism. I mean I once saw someone post that he/she would never ever be seen with a Sony A7 even if someone paid two grand...

now there's a viral video waiting to happen ! if you could choreograph it to jiggle bells your on a winner i reckon ?

I've found that sometimes skin tones can go too pink, but it's normally just a matter of lowering the saturation to fix it. I think of it like Canon footage which can sometimes have reds that are too saturated, so lowering the saturation of those colours after the conversion is a pretty standard way to treat a lot of footage from different cameras. I also shoot auto-WB and in mixed-lighting (against Sage's guidance of course!) and it definitely gives you trouble in post. Sometimes playing with the WB before the conversion can tidy things up nicely, and other times you have to do seperate adjustments to different parts of the image. For example in the wedding shot you could adjust skin tones on one person and not the other by using a combination of a key and a power-window. You might push the woman slightly toward pink and the man slightly towards yellow, or perhaps just desaturate him and adjust the woman to match him. Good luck - fixing these kinds of problems isn't easy!

Yeah, but will it be stable? Those moose tend to wriggle around..

My understanding is that most people currently use Resolve for grading, which means round-tripping to Resolve via the XML export, doing the grading, but then rendering out the graded individual clips which are then swapped into the original project in the editing software to replace the ungraded clips. In this sense, PP (or FCPX) won't be too worried or motivated to make sure that all the dissolves and effects make it out to a Resolve timeline. I'd suggest that BM would be very interested in making sure things import as well as possible, but BM is currently adding entirely new screens and hundreds of new features in each major release, so they definitely have their fair share of bugs too. I've heard that there's normally some work to get all the media linked in Resolve, but it has some quite good features for linking clips quite easily (something like highlight clips -> Relink media -> select "include sub-folders" and point it at a folder with all your footage in it) so if you do need to relink files it's not necessarily a big job. There's lots of advice around for solving strange importing problems so if you want to pursue it at some point then google can help. Ouch - I'd say that using contacts to circumvent their prioritisation of bugs is a bad idea, but considering how buggy people say it is, maybe that process isn't working so well! I remember when those colour features were added. I saw a bunch of Youtubers had released videos with exciting titles and I thought the added features must be really great - then I saw them and actually laughed out loud. If you double (or triple) the available features then it looks like a huge improvement, but to Resolve users they just went from having 1% of the features to 2%, so it's not so exciting from our perspective

Very, very little. The extra crop in 4K can be a bit of a hassle, no headphone jack stinks, and there are a couple of minor features missing that the GH5 has, but I'd argue 85% of the time it'll do everything most people would use the GH5 for. Image quality wise there isn't a ton of difference. You can cut between the two and they'll match perfectly with minimal, if any, tweaking needed. Panasonic really doesn't get enough credit for the G85. It was incredibly brave to pack so much into that camera knowing a few months later they'd be announcing the GH5. It will follow the G7, I think, in having a long, healthy life cycle.

Picture profile/HLG It is preferable to use a preadjusted profile like Cine D when using 8bit. Too much post on 8bit vlog can produce colour artifacts. If using 10bit then whatever you want.

As misguided as spec wars are, they do create a market for older models that are good enough and that get discounted officially or on the used market after the new generation is out. It is just up to out psychology to accept the products that fulfill our needs and not our wants for the newest and the best.

good thing you replied i had forgotten all about it, only the website notifications reminded me lol, yep it is up just checked it out. personally i think you have too much white space, i think you need to covert that white space into anamorphic images or even cropped pics to approximate anamorphic proportions, sell them a pictorial story, give them some wow, you want to include them and take them on a journey not just what their options are . a realtor once told me when selling houses that your not selling sausages your selling the sizzle, if that any makes sense to you, just my 2 cents ? when i saw the bham for some odd reason i thought straight away of the flinstones, not sure how that works lol

Interestingly in his recent teardown of a Canon lens, Roger from Lensrentals says two things: So it seems other notice too

For the GH5s the dual native ISO values are 400 and 2500. Technically you underexposed ISO400 by 1,66 stops. In pitch black. What do you expect? ISO1600 is clean, because it's overexposed ISO2500. Oh, try HFR 240 fps with VLOG-L and ISO1250. And dont forget to tell me which trashcan will you use to dump the camera ?

Bit of an update about new functionality to drive the app from a joystick. As the joystick is also bluetooth, you can essentially just use the app as a bridge to control the camera from the joystick as well as use it in the way shown here as a single RC style integrated unit. Other small thumbstick type joysticks will be supported for mounting on a gimbal arm.

My goal was "Hollywood" in my 20s (did work there a bit) but ended up in financial software/data for the past 30+ years. My guess is DP work is similar. My experience. 1. Film/Photography/Video, has always been a near impossible field to make a living in. My observation 30+ years. Unless you specialize in a very complex area where a shortage of talent develops. In photography and film, bad news, those areas DO NOT EXIST There is always an excess supply of talent. 2. One's availability today is worth more to a prospective client than someone else's genius available tomorrow. Don't kid yourself. Whatever the client says, you're replaceable and a minor part of their world. You can be a raving egomaniac in your domain, but get in the way of someone signing your check and no amount of genius will save you. Make yourself available. 3. A client only needs 10% of your skill. When you try to give them more, it confuses them and can work against you when they want to hire again. Understanding and matching a client's priorities, which will ALWAYS be slightly different than your expertise, is paramount. Anticipating the client's needs, which may be some form of "cleaning the windows" is 90% of completing a success project. Keep your head out of your head out of your ass. Does all this mean you shouldn't become the most skillful DP possible? No, but you learn for YOU, for your pride in your work. Do not connect skill with ability to get work. It will have very little to do with what work you get. I know that sounds unbelievable. I don't quite believe it myself. Yet if I objectively look at all the work done out there, it seems random, the scale of stuff, from bad to great. In other words, the quality should be better IF THERE was a meritocracy. There is simply too much poorly done stuff, in my eyes, in all areas of tech, to indicate that quality is the prime factor to employment. Good quality stuff is there by luck. Human endeavors are complex, emotionally laden efforts to give meaning to our lives. What gives you meaning, say great lighting, doesn't give the actor meaning, or the producer, etc. Be compassionate to others. Bottom line, if you're thrilled to have the opportunity to even get coffee on the set you'll find a place. If you're thinking about "saturated markets" and "making money" clients will pick up on that and get someone they think will work for free, because yeah, we all just suck! It's just a job. Money is always an issue. 9 out 10 pats on the back you must give yourself.