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@Towd you might be right that he's shooting an in-camera profile and just being careful to WB. That would make his workflow even faster, which as @mercer points out, is exactly what you want to have from a business perspective. In terms of getting good video from your Sony, if you can get a bit of noise into the footage before it's saved to the card then shooting 4K 8-bit and downscaling in post to 1080 may have almost the same benefits at having 10-bit. I'd suggest dialling the NR as low as possible for this reason (assuming you haven't already). The Sony cameras aren't the best for colours, but we're really being picky here, and they should be fine to replicate the efforts of someone who looks like they don't adjust WB in post at all. Considering this is for business purposes where simplicity is best, perhaps setup a test environment and start with the camera on the simplest settings possible. 4K with a standard colour profile perhaps. Shoot it with proper WB across each of the profiles, then look at the footage and see where the problems are and what you might need to do to fix them, perhaps tweaking each profile to work out how good it can be in-camera, and only then if they don't work would you add in complexity of shooting in LOG and having to grade at all. If you can dial-in the right picture profile in-camera then editing 1080 and outputting 1080 with (maybe) a couple of effects or a LUT or power grade preset then that would be a much more effective workflow, and would allow you to deliver faster, book more clients, and get a pay rise I used to read audio technician magazines for years and the main theme in the magazines was that small business owners were always lusting after exotic microphones and luxury pre-amps when their clients don't notice and they haven't had a holiday in a decade and they should just take their kids to The Grand Canyon and watch a few sunsets with their wife.

Just finishing up writing the user guide and then we are ready to go. Control layout explanation here

Hey guys! Here's my latest music video shot on GH5 It was all recorded before I discovered GHa conversion so all the night shots had to be graded without GHa since it was recorded in CineV

I was contracted to do a small Look Book for a popular “Influencer” son’s YouTube channel. It was filmed with a JVC-GYLS300 and a 7 Artisans 25mm lens. It was very difficult pulling focus with this rambunctious child moving about lol, but I got some decent shots.

Its not exactly an A7sii but for the application that the OP describes (ie a lit stage) the ISO performance shouldn't present a problem. The most compelling reason, in my view, to recommend something like the FZ2500 is the requirement for 15 of them to cover the event. With a fixed lens with the sort of range it offers you have interchangeability of cameras but as it has a LANC port you can cheaply add a zoom demand controller for each operator and with the wifi control it would also be possible to create a central CCU arrangement to sync settings without too much trouble. By which I mean of course that I could make and sell them a custom one for a gazillion euros I can see the rationale of wanting to use MFT cameras to get a bit more performance but I can't think of any that match the utility of the FZ2500 in terms of creating a low budget multicam setup.

A foldable Galaxy bar could have it's uses, but I reckon the hinge bit would have to be made out of Curlywurly, and I'm not so keen.

I don't want to soft-soap by any means, but it's been mostly you that have (/has?) been pointing out many useful tweaks / tricks lately, hahaha. I am most inspired by what you offer and from time to time try my best to help other people any way I can, too. It's a great thing to have you here, really. I'm not a long time member of this community, though I hope most people could agree with me. Can't really suggest any particular way to run these tests, but I'm sure the findings will prove to be a great, horizon-broadening read. Cheers!

I can't be the only British user to have read the title and thought there was an exciting new addition to the pantheon of chocolate greats I have to say that, as with the Galaxy Caramel, the Galaxy Fold does indeed look very sweet indeed. I actually "oooohhed" when I first saw the unfolding trick. For my use, I'd like to see a tablet that folded out into a laptop rather than a phone which folded out into a tablet.

The price is definitely exotic, but having a larger screen is useful all the time. I have spent the last few years at a company that does large urban planning projects and people were consistently in meetings and talking about options of various things and so one of them takes out their phone and pulls up Google Earth and then two or three people are all crowded around a 5 or 6 inch screen. Even if you have a laptop the number of times it's easier to pull out your phone, or even when you're comparing a plan on the laptop with satellite imaging on your phone, they're hugely useful. Just don't have notifications on for texts and messages - if you're showing the big boss something and your wife sexts you then that may not go down well!!

Well I just had a chance to look at your videos @Mark Romero 2 and his videos and he can get away with a bunch more because he is selling a lifestyle and a story while you’re doing a walk through. Of course, he seems to be shooting videos for complexes as opposed to a lot of single family homes. But when you have actors or the realtors posing as homeowners, it’s easy not to notice any flaws or lack of DR. He’s also does shorter shots with more edits where your style seems to be more of a traditional walk through. And as a side note... his use of hyper lapses is a bit much. But I digress, I think your color looks okay. The real concern, if I were you, would be the YouTube compression. I think I remember reading somewhere that it is better to upload a 1080p video as 4K instead of an actual 4K video if you don’t get a ton of views because it denotes more bitrate to your videos that the algorithm wouldn’t normally give you. With that being said, maybe a GH5 with its 10bit would make more sense. As @Towd said, the CineLikeD Profile will give you most of the DR you’re after and that solid 1080p will give you more bitrate than the 4K you’re shooting with the a6500. Also, didn’t you say that these jobs are for medium pay and a quick turnaround? If you’re spending hours on the edit/grade, I’d assume you’re spending too much time?

Not that I have found. It is an Auto thing and I have no clue why and when it sees fit to do it? But to be able to do it on the fly must take some amazing processing to do it up to 4K 30p. It not only has to do it, it has to decide when to do it. Amazing stuff available out now. My XS is night and day better photo and video wise, and even stabilization is better than my X was. And every app runs faster. It is like it is in Warp Drive LoL. This was taken with my XS. I think that is some pretty serious DR and detail for a Phone.

I wrote in English to the Japan office last week with a request and they answered me with a specific reply (they did actually read my email) within a few days. So it isn't hopeless. I asked if they could implement a setting for max ISO in video mode, or at least show the ISO being used, instead of just "ISO AUTO".

My last lenses are due to arrive, and before I shoot 10 million test images I want to make sure the test is good. I will be shooting lenses with a wide range of different focal lengths, maximum apertures, and minimum focal distances. I've done a test mini-shootout that looked like this: ~50mm on SB F2.8: ~40mm no SB F2.8: ~20mm no SB F2.8: I tried to keep the same framing so had to move the camera back with the longer focal-lengths. Unfortunately, because of this the DOF is different on all lenses even though those test shots are all F2.8. Do I make a test scene where the framing is similar in each lens so that you can compare resolution (ie, the texture or reference charts) and accept that the DOF will be different, or do I keep the DOF the same but vary the framing, meaning that you can't compare resolution etc. I'll be testing lenses that range from 8mm F4 to 200mm F4 and with apertures as much as 0.95. In terms of what I want to shoot in the test scene, here are my notes: Shooting stills as they're higher resolution than video and are RAW so it eliminates most of the colour science and processing from the camera Controlled lighting for consistency throughout test Different colour temperature lights for a bit of colour (probably tungsten key with daylight WB and other lights for colour) Things in focus in the middle and at the edges of the frame (to test sharpness) Focus target in the centre Measuring tape running front-to-back to look at focus transitions Colour checker of some kind (I'll use my DIY one, not calibrated but good for comparisons) Fully manual settings and identical WB between shots to show colour differences Some bokeh with things out of focus and probably also an LED light in the background for bokeh ball Test every lens at every f-stop (it will be a huge number of images, but good for comparison and in my mini-test I didn't do that and I wished I had) I'll also shoot every lens at an identical set of settings to determine relative brightness Thoughts? How should I frame and is there anything missing? (No, I don't have easy access to a model, plus I find their non-identical facial expressions taint the interpretation of images )

3 years ago I was like "no way I am buying this DVX red/carbon monstrosity, the new small Canon C is coming". Look at us now. Still waiting!

In ENG mode I was using it with the Angenieux B4 but I recently picked up a Tamron 16-300 EF mount for cheap so I've switched to that for versatility. Its not exactly a top of the range lens but its surprisingly decent. They have just released a Markii of the lower specced FZ1000 so I guess that means a new FZ2000/2500 is about a year away? I suppose the other option in a fixed format half way house between the 1" and Super35 stuff would be a used DVX200.

Its definitely a jump but if you don't need photos its a great option. Built in ND's would be really nice for doc work. Would be hard to beat the Z6 in terms of usability. Lots of Nikon glass to choose from, IBIS, crazy low light performance, good dynamic range, decent color, future upgrade potential. I think the questions come down to lowlight performance and IBIS needs. The XH1 is not a bad option either. Also really cheap if you buy used. The extra money can go to getting glass.

I struggled for ages with criteria that sound like they might be similar to yours. In the end it came down to the Sony A7III, which has good AF and fast but expensive FF lenses, or the GH5 and 10-bit files with the reliability, lack of overheating issues etc, and pro features it offers but limited AF. I ended up deciding that going to manual focus worked for me and my style of film-making, and because the IBIS is so great you can adapt old lenses and still get great hand-held footage, so I now have the GH5 and a cheap ebay vintage lens collection that is so large that I hide it from my wife.

Nifty new battery sled: It's a little expensive compared to other variations of the same thing. But the LEDs indicating how much power you have left are pretty great, 2 USBs for charging/powering other devices And the ability to charge NPF batteries on the sled all kind of make up the difference. https://cvp.com/product/blind-spot-gear-bsg-1302-007-01-power-junkie

Psssh. Who needs a hoverboard when you have a phone with 12 gigs of ram ?

So, I discovered that the Petri 135/3.5 was marked as delivered a couple of weeks ago, and "left in safe place near front door" and I searched for it but couldn't find it. I assumed it was lost or the postman stole it or whatever. It was $7. I was more concerned with the fact I paid almost double that in shipping! Anyway, a lady knocks on the door - she lives some way down the street and found it hidden on her front verandah.. the mighty Petri lives!! So, after cleaning it up (it was absolutely filthy, I think they stored it in a barn, or in the glove box during their desert crossings) and moving the focus control for the first time in about 1000 years back and forth until it stopped making grinding sounds, I took a few test shots. You know how they say that "there's no such thing as a bad 135mm lens", well, I don't know if that's true, but if there is you should pay a lot less than $7 for one, because this one is lovely! A little soft wide-open, sharp as hell stopped down a bit, lovely hex shaped bokeh, and it even has a little retractable sun-hood, and came with a soft pouch (that hasn't aged well). The mighty Petri 135/3.5 (image taken with Konica Hexanon 40/1.8): Sample shots wide open - unedited in any way: It's still filthy, and I think there's fungus in it too, but seriously... Oh, and these are on the GH5 with a straight adapter, so it's a 270mm lens on the 2x MFT crop.

Nay for now. Yay in a couple of years for half the money, few times the evolution and from another manufacturer.

How does video look different? and wouldn't that be more subject to which camera you have? If I could shoot RAW video then that might be neutral enough perhaps, but unless someone wants to send me a P4K, then.... Broadly, I want to see how my existing lenses (the ones I intend to keep) compare with the others, from the others I want to see which lenses I should keep (if any), I want to learn how to read an image so I can evaluate images I see online better, I want to learn more about what I like and why I like it, and I want to hear what others have to say so I can learn more about how other people see things. I also want to give back because the internet (and all you lovely folks out there) have been crazy good to me over the years and if I'm going to all this effort then why not, and even if I wasn't feeling generous having other people point out things I didn't know to look for is well worth the work involved in sharing it anyway

I'm just glad they called it the Fold rather than something ambiguous like the XS, pronounced ten - s. But this isn't how I imagined a folding phone. I was thinking something that rolled out into the size of a phone. Not a rectangle the size of a phone that folded out into a small tablet.

holy cow~! TWELVE STOPS??!! ? edit: omg is this real

It is better on the XS than the X I had but still not good enough. I have a Glidecam Volt I use. I suck at using it though LoL. Need to practice more for sure.

I haven't really paid much attention to the s10. I might want to buy it LoL. So not really looked at what it can do. I am sure it is great. I have has a bunch of Samsung Note models. I have had 3 different Apple watches, have the series 4 now, so I have to sort of stay with Apple phones to use them. And I use Facetime for my grand kids. And there is a lot more Photo, Video apps for my iPad. So you sort of get stuck in a system. I got pissed off with Last couple of Note phones I had. The swollen battery thing. That was a horror show. Took months to resolve both models of them. First they want to send you a new battery, then after that goes to shit they cave and send you a new phone, and Maybe a new battery for it. And then on the Note 7 they stopped even making the damn thing. Had to wait for the Note 8. F that! And they never even sent a sorry letter, or any money, or discount on shit. I was done with Samsung after that. Happy as hell with the Note 2, and Note 4, but..

Looks fantastic! In the future with Cine-D, you should be able to keep those sunny highlights (and extreme gamut at -5). Great images throughout

It's CCD? Oh wow, interesting.

This will be interesting lol

There is a Nikon secret sauce involved which, personally, I found more magical than Canon! The Z6 with the 14-30mm is an amazing combo for what you do, and adding the V and a few extras, is a total of 4000$€£ but in my opinion near the top for both photos and videos. The X-T3, extras and the good 10-22mm stabilized is a 3000$€£ investment. The Panasonic is by far the most expensive and the least available at all!

I wrote to fujifilm to add 2.35:1 framing guideline, do you too guys, if we are many maybe they add it with a software update: https://contact.fujifilm.com/cgi-bin/mail/form.cgi/contact_tokyo_headquarters

On the Fuji XT3 forum, I did put together a Powergrade on how I personally grade my Fuji 10Bit FLog footage to get it a similar "Alexa" look. Video Coming Soon! Process_1.24.1.dpx

For someone that does 90% photo, going full frame has its advantages (both realistically and imaginative!) and the Z right now is an amazing proposal winning in a lot of details. GH5 for me is a workhorse video camera with decent photo capabilities (10% or less). X-T3 is one of the best hybrids, truly can go 50%-50% if anyone wants, and the price is right.

I certainly will play around with resolve for the project I am working on and have some questions arise, will be sure to post them here. :)

This is the powergrade. I will be making a video on this soon Process_1.24.1.dpx

If you can afford the Z ecosystem, go the Z6 way, if not, X-T3 will be sufficient for what you do and I big upgrade of what you are having right now. GH5 is a video workhorse but not a great photo camera (I did a couple photo jobs with one last summer), especially for someone do 90% photos. If it was the other way around (90% videos) then GH5 is a great idea.

So, I watched the 2Gems Media's video a few times and some of their other videos on their channel. It's an interesting modern style that he's obviously using to much success. I wouldn't call it a cinematic style. He's not afraid to let his whites clip and it looks like he degrains his footage and doesn't add any back, but just leaves it very clean. The most important thing he does is get a nice neutral white balance. Also, he seem to push overall exposure into the upper range. I'm not saying he lifts blacks, but his middle exposure area feels higher than normal. Conversely, for a cinema look, I'd push everything much darker. I'm sure this is to make a home feel warm and inviting. I also noticed he seems to put a soft glow around his highlights-- or he has a filter that does it. In any case, I put a little glow at the very top of the exposure range. Didn't use any secondaries or keys, or animate any values. So, I just let the beginning remain a bit green since it's getting the bounce off the walls anyway. It is a bit of a challenging shot with the mix of light sources and colors, so I just aimed for a fairly neutral white balance that I just tweaked a tad after pulling a white sample off the back window frame. Anyway, here's my interpretation of his style. Let me know if you think I got close. I included my node graph for the order I did stuff. Only one operation per node. Just posting last and first frames. Last frame first, since I looked at that the most for the hero look. I feel I could lift the exposure even a quarter to half stop more, but it bugs the hell out of me to be this bright already, and I did try to protect highlights a little more than I think the 2gems guy does. Must... protect... highlights.... ?

damn you get some serious height from that kite and i like that board with the winged keel that allows you to plane on the water that was cool i thought. the crashes were a nice touch except where that guy hit that beam everyone was jumping off, i felt that from here.. ouch.. i dont really enjoy watching stuff where people are hurt but if they can walk or swim away thats ok (hope that makes some sense ) looks like someone won a few trophies :) . personally for me i would have likes to see a few more road signs if on a road trip as i like to know where we are going, in your short those road signs just fly by but thats just me perhaps

Actually I'd like to see an F5 update for the legit "entry level cinema" space. Maybe something like a new sensor + Venice color + 4K 120fps internal instead of external.

Just curious but why is 48p so much different to 60p? One is 50% speed and the other is 40% speed when slowed to 24p. Does that make a difference in many cases?

Gen 4 uses a common defined gamut so you can use Broadcast Film for space (Broadcast Film gamut is the same as Pocket4K/UMP/etc Gen 4 gamut) and Pocket 4K Film for gamma. Hopefully this will be cleaned up a little in a future update.

Hello everybody! So, I've attended the Blackmagic Raw seminar held at CVP here in London yesterday and I thought I'd share some impressions: Let's start with the bad news first: unfortunately there is no official release date for BRAW on the PCC4K yet.. They confirmed it is coming to the camera 100% but they want to make absolutely sure that the update is safe and won't brick the camera (which sounds like a sensible plan indeed!) ? That been said I can't wait to have the option to use BRAW, it's such a clever and well implemented solution and i reckon it will be the best choice on the PCC4K for 90% of the occasions. What really impressed me is how good the performance is in Resolve compared to CNDG, it is entirely possile to edit BRAW on a laptop without creating optimised media and/or dropping the resolution. To drive the point home even more they worked on a grading project that was hosted on a USB 3.0 spinning drive and it worked flawlessly, i was quite shocked when I saw a clip with a speed ramp set in optical flow playing at 24fps at full quality on an entry level MBP! Another super clever feature of BRAW is the ability to shoot with any dynamic range preset and being able to revert back to film mode afterwards, that is pretty awesome for dailies or things like that. I also very appreciated the fact that they were totally sincere in showing us the difference in visual quality between BRAW and CDNG and, although there is a slight difference in quality with CDNG being a bit sharper, said difference is only visible in extreme magnification (pixel peeping basically) so in real life BRAW is perfectly adequate especially considering the many advantages it offers in terms of workflow. The Blackmagic guys reckoned that CDNG would be the best choice only in very specific situations where having the best quality possible is paramount (like VFX for istance). Overall it's been a very interesting demonstration and i think BRAW will make the PCC4K even better value for money, exciting times ahead!

Yeah I screwed up no doubt. Senior Moment! ?

@hyalinejim - Can't thank you enough for your Cinelog recommendation and the script.

If the details of that are in their official press release then it must be in a white font. A small one. On a white background Seems some of those features are only coming in the summer v6.0 as well rather than the more immediate v5.0 https://www.nbc-2.com/story/39794865/sony-announces-9-camera-upgrade-through-major-firmware-updates Fair play to them for adding more functionality though. I presume its only Theresa May levels of myopic stubborness that stops them accepting its barely made a dent in the market they wanted it to but that it could still have legs as a bit of a hybrid powerhouse.

Get off the fence and tell us what you really think of it Was looking at the list of updates they announced in the new firmware for the a9 thinking "surely somewhere in that long list they'll have finally added picture profiles...." Nope.

@Snowbro I get my EOS R tomorrow. I can confirm the 1DXMK2 draws a lot of attention. Almost as much as the C200. My mirrorless camera’s are far less conspicuous. I’m also hoping the trio can play nice together. When the “Pro” version is released I will buy it if all goes well with the ‘R’.

Wow wouldn't it be neat if Canon actually came out with a ass kicking camera, no holds barred. Just leading edge stuff, as good as they can do. Not holding off on Anything. They would own the markets if they did. I mean there is no one that doesn't like Canon CS and DPAF. And don't price it at 5000 dollars either like they are good at. Do it Canon.

Actually I just purchased a Sony A7 III ($1,998.00) and the Full Frame Sony 28-135 f4 Lens ($1,499.00 ebay) which works like a charm in either full frame and Super 35 modes. The TOTAL is $3,497.00 (4K Camera and Cinema/ENG Full frame Lens)! If you can rack-up another $400 you could make the A7 III and ENG / Cinematic / 2 channel audio monster by adding the Sony XLR-K2M XLR Adapter Kit (used $402.00 Adorama)... and a $49 ND Filter just in case... Therefore for less than $4,000.00, Sony gives you an excellent Cinema / ENG / Low-Light Monster including the ability to take 24MB photos... I can't wait to see the next Sony A7S III, the next FS5 and the next FS7... and I'm getting ready to upgrade down the Sony Cinema line! Andrew wrote: "If you don’t own many Canon lenses all you need to buy is a Sigma 18-35mm F1.8 to do most things – the cost goes past $3000 but it can easily creep past $8000 on the Sony and Nikon side. I just can’t help feeling that Canon lost a lot of lens sales with that crop, when all you need to buy is a single Sigma zoom and maybe one of their ART primes."

I couldn't disagree much more strongly. That kind of rigging is taking away everything good about a dSLR and adding nothing but headaches. The only exposure aid I need is my 758 cine (heck, with zebras I don't even need the spot meter) and the only sound I would use from an on-camera mic would be for syncing dual system sound. Even with the best pre-amps in the world, your mic is still in the wrong place if it's on-camera. I can see the handle or a small cage being useful for balance, or maybe a loupe in daylight being helpful, but beyond that I don't see the point. That said, not everyone agrees with me! If it works for you it works for you. As I mentioned before, s union AC I worked with did the same thing with a C300 when shooting a super bowl ad, rigging it out like crazy... and it is not designed to be rigged out. I asked what the point was when the ergonomics are great (for me) out of the box, but apparently the operator wanted a large 435-like form factor as it was what he was used to, having a film background. He wanted the thing to weigh 50 pounds. But for me the smallest rig is the best one. If I wanted to weigh it down I'd tape a barbell to it. I do often get asked to use a matte box or something so clients and insecure actors will feel like the small camera is a real "cinema camera" but nothing makes me more irritated than this request. "Is that a real camera? Yes, are you a real actor? If so it'll show in your performance. If it's a real camera it'll show in the footage." But when I get that request it doesn't even reflect on the camera it reflects on me. If you think you know more about my job than I do, you've already lost confidence in me just by asking for a larger camera. Project your insecurities elsewhere. I'm doing my job well, worry about doing the same. Ugg... actors. So insecure it even wipes off on camera department. I'm not saying I complete disagree, though. The Black Magic cameras, for instance, have such poor ergonomics that they need to be rigged up. Just offering a dissenting opinion. Each will have his or her own preferences. (And for mirrorless still cameras like the GH5 and A7S I do think the ergonomics are so poor that they often benefit from having a small cage and an HDMI clamp, but beyond that I don't see the point.)