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Welcome to the Resolve users club! Damn, maybe that should be a real club, that's a t-shirt I might actually wear. I've been piling all the Resolve info I could find into this thread here so have a read at your leisure.. Changing colour space in Resolve is a bit confusing - not because it's difficult to do but more because there are lots of different ways to do it. The workflow I'd recommend for you is very similar to your existing one: Node 1: Adjustment layer (if you want to change WB or whatever) Node 2: Colour Space Transform OFX plugin to change from V-log to rec.709 colour and gamma Node 3 onwards: grading as you normally would The Colour Space Transform (CST) plugin isn't a LUT, it's better than that because it preserves any clipped highlights/shadows, and has some nice options for handling extremes. More info here: Be aware that you can change colour space in many different places, but that using the CST plugin is the most flexible and AFAIK has all the benefits of the other methods as well as the extra flexibility.

You're probably right, and it stabilises movement between frames but it doesn't stabilise movement during the frame, so if you're in low light and bump the camera the stabilised shot you get out of it looks like you had a very steady hand but at the moment of the bump everything in the frame will turn to a mush of motion-blur like all of a sudden the universe had a tiny little seizure. It works for action cameras filming at very short shutter speeds but doesn't really work for anything other than wide-angles in sunlight. As soon as the sun sets or you decide you want to use that 50mm or 80mm lens (with its tiny aperture, tiny sensor, and poor ISO performance all pushing to slow the shutter speed) then it's universe-seizures the whole way.

@Matt Kieley, lookin great, as always. So what you think about the GH4 compared to your BMCC? What profile, settings did you shoot the video? I have been enjoying the Fujinon 12.5mm 1.7 for photography and doing video in 1:1 format. This lens is the only reason I have not sold my GX85 yet. Such a pretty outfit. Love to crop the photos in the raw developer in the classic aspect ratios like 1: 1.85, 1:2.0. Raw really makes that lens sing beautifully. Shot the image below last summer but edited it only two days ago. I guess I gonna keep this combo for another summer:)

More and more it looks to me like micro-Alexa. Or I simply esteem so much that spirit of enthusiast and independent effort.

what is WUSS? No bmpcc for me, first beacuse it is complicated to use with all the addons it needs and last bat not least i don t want wait endllessy before getting it!

shout out to @Mattias Burling for covering the new Kipon Elegant prime lens series for RF & Z mounts: How does the lens perform for video? is the aperture ring smooth? is there any contact info recognized by EOS R (F-stop, focal range, metering etc)? Also is that an RF to Minolta speedbooster at 00:30 ?! How close do you get to FF in 4K when using it? What's the optical quality like?

Cool.. something in-body (a la Panasonic FZ) would be amazing though:

https://***URL not allowed***/best-way-downsample-4k-smartphone-footage/ interesting

I own the SLR Magic 8mm F4 and the Voigtlander 17.5 F0.95, but don't own the Tokina so can't compare. The SLR Magic is a drone lens, so it's tiny and not designed for use on a normal camera. Here it is on the GH5 with microphone. What this means is that the focus and aperture rings aren't really that usable during a shot. The difficulty of use for the aperture ring isn't really a big deal as f4 isn't that shallow DOF unless you're focussing really close, so it's almost like a softness control - f4 is a little soft, f8 is sharper, and f16 is softer again. The focus ring has a locking pin so when you mount it to your drone the focus stays where you set it, but when you loosen that screw the ring has no friction at all. Also, the ring itself is only a few mm wide so you can't grip it and that's why there is a pin attached to it which you kind of use as a little handle. It also has only a quarter turn between 10cm and infinity, with only a tiny distance between 1m and infinity, so getting accurate focus isn't that easy, but as it's f4 it's less of a problem than you'd think. It's really a very fancy version of a fixed lens. Having said all that, mine has taken some lovely shots and it's the cheapest non-fisheye around: I'm contemplating replacing it with the (more expensive) Laowa 7.5mm F2 to get more light. I only use this lens for wide shots that need that WOW, so the ergonomics don't bother me that much. I was also planning to try vlogging style of filming myself but it turns out that's harder than it looks and I need lots more practice. It's easier to focus closer to you, so I think the focus would be fine for that. The Voigtlander is the exact opposite of the SLR. It is large, heavy, fast, and an absolute pleasure to use. This is my main lens on my GH5 at a 35mm FF equivalent length. The aperture ring can be de-clicked (you just rotate the ring next to the aperture ring on the lens) and is lovely to use. The focus ring is huge, easy to find by feel and is so smooth it's hard to imagine that anything could be smoother than it in the whole world. It feels great in the hand, and looks spectacular through the viewfinder. It is two lenses in one, at f0.95 it's quite soft, but (just like most super-fast lenses) by the time you stop it down a couple of stops it hits full sharpness. Pretty sure this is wide-open: There is a great comparison of the entire MFT lens lineups from Panasonic vs Olympus vs Voigtlander here: Part 1: https://www.thehurlblog.com/cinematography-online-micro-four-thirds-lenses/ Part 2: https://www.thehurlblog.com/cinematography-micro-43-lenses/ Part 3: https://www.thehurlblog.com/film-school-online-micro-43-lenses-3/ Each lens set was tested in sequence, so if you want the comparisons of the three then you want part 3. I think they did a dis-service to the Voigtlander in these tests because they tested them at F5.6, F2.8, and wide-open. The Voigtlander is softer at 0.95 than the Panasonic at 1.7, but what they don't show you is that the Voigt at f1.7 would have killed the Panasonic at 1.7. The Olympus just looks strange in those tests to me - not 3D at all, so I eliminated it instantly. Hope this helps.

Use a matte for your establishing shot with walls painted the same/similar color as the walls in your live shooting space. Stay tight for most of the other shots and only show the running water partially in a corner of one of the shots. Here are some underground mattes. Here is a tutorial.

I think this lens was made for you @kaylee? https://www.43rumors.com/new-redcat-250mm-f-4-9-lens-from-william-optics-also-for-mft/?fbclid=IwAR04T5Ef-0eCSvbdWTZLbbynG89wqbmwtpH5mkODWTGMGbjVVZtNrDVabQY

I’d like to to see a new camera from blackmagic to replace the micro, but they should rebrand it as an Ursa micro with the following: -similar design to ursa mini pro but smaller -p4k sensor -mft mount -2 sd card slots, 1 cfast 2.0 -2 mini xlr (or full xlr if possible) -able to connect with ursa mini handle ...And with best wishes... -internal ND -3-4” side flip out screen on side or maybe (back like c100) -sony npf battery price: 2-3.5k

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.

Hey everyone i recently cancelled my monthly subscription from Adobe suite and moved to Davinci Resolved 15 and i must admit its day and night when it comes to colorgrading am in love ? anyways back to my noobish question Am working with V-log l footage so In Premiere my workflow would be Adustment layer +lumitri add v-log to rec 709 official lut and start grading Now in Davinci ive noticed i can change my colorspace to diffrent settings thats where im abit confused can anyone direct me or tip me whats the best way to set my colorspace to work with Panasonic Log lite footage Thanks in advance everyone.

Got my Nikon 28mm f2 today as well. Old lens but the glass itself is fungus and haze free. It flares more and isn't as sharp wide open as the 85mm f2, though I am still happy with the performance. Jpegs out of the XT3, Eterna and Classic Chrome

hard choiche(gh5 xt3) though

If ALL the footage for a project is shot in the same gamma / gamut, then you can use the Resolve Color Management under the settings page to defacto change the color space and gamma. I don't remember the color space transform node off the top of my head, but I would also suggest that you adjust the nits from the default of 100 to something more realistic (I use 350, which is about average for LCD displays, while some iPhones have displays over 500 nits). This will help you monitor your highlights better. If you can't adjust nits using the node method, then you could use the resolve color management in settings and apply it globally, and then for any clips that are NOT in V Log, you could apply a color transform node to those clips to have their input values as REC 709 (or whatever other gamma / gamut they were shot with).

I always liked the LS300, but the price vs. recording options is very hard to justify for my needs, much more so now that the XT3 exists. If they made a new version with 10 bit and HEVC, I'd be very interested. Imagine the VSM capabilities if they used a 26MP sensor.

I think he meant the AG-AF100, which in many ways was the precursor to the LS300. Both were ILC with M43 mounts. Had a lot of the features you'd see in cinema cameras, such as SDI out, internal ND, XLR inputs, etc. The LS300 differed though in that it had that Super 35 sensor instead of the 4/3 sensor. The LS300 sensor is so incredible because it literally let's you use almost any lens without vignetting via VSM. Wanna use a 16mm cinema lens? You can punch in with the sensor to 16mm to eliminate the vignetting and get max resolution allowed. My experience has been most M43 I've used will cover the full sensor, but if one doesn't you can VSM down to a M43 sensor to remove any vignetting. It also allows you to turn your primes into zooms using the VSM technology. Truly one of the smartest, unique features I've ever seen on a camera like this. I throw on my Minolta primes and they become parafocal zooms in HD (the zoom range is less in 4k, for obvious reasons.) I really wish more people checked out the LS300 and that others would look into making something similar for that price point, assuming JVC isn't in the process of doing so.

Especially if the lens has OIS.

I am a huge fan of the XT3. You mentioned the lack of IBIS is a downside. Could you afford a used gimbal on top of the XT3? Or would warp stabilizer work well enough for your purposes? It would be sketchy for walking shots (though to be fair, so would IBIS), but warp stabilizer can do wonders for a relatively steady handheld shot.

Unfortunately I don't believe Resolve has V-Log L, only V-Log. I'm not sure how different it is to be honest, never worked with it myself. Generally, using a color space transformation (CST) is the best and most accurate way to translate between color spaces. However, if you want to keep your old workflow, you can always use LUTs in Resolve the same way as in Premiere. Whether you use a LUT or CST, you can apply it in different places. In the color tab, you can right click on a clip and set it there, or you can set it inside a node. I prefer to do it in a node, because then it is much clearer what the order of operations is. I can never keep the order of operations straight, but with nodes there's a handy graph with arrows that makes it all so simple! With Resolve, you don't have adjustment layers, but you can add clips to Groups. Right click a clip (or clips) in the color tab and Add into a New Group. Now, you have a separate node graph for group pre-clip and group post-clip, which, as the names imply, are done before or after the clip. So you could add all your V-Log shots into a group and then add in the CST/LUT or whatever you want in the group pre-clip section, and then all those clips will start from that baseline. (You also have a timeline node graph, which applies to everything in the timeline after all the other graphs are applied) I've read that it's best to do white balance adjustments in linear space, so my node graph usually goes: 1. CST plugin to linear gamma (V-Log to Linear, in this case) 2. White balance 3. CST plugin from linear to Rec.709 color and gamma 4. Whatever else

Stop being a wuss and just buy the BMPCC4K.

It works fine, image looks good. The IS isn't as good as with native glass and you don't get the arrows for focusing but the peaking is enough given that its f2.4 at the fastest. No. The meter still works as expected and aperture priority, etc. But no data so there is no indication of lens used in the exif. No its a Medium Format speedboster Don't know, Ive never tried the 4K setting. In FF the crop factor of the camera with the reducer is x0.7 so I guess deduct that from what ever the 4K crop is. With my MF glass like the 80mm f1.9 its best described as "Epic" and with my new favorite, the 150mm f3.5 its "Pure Class"

How there isn't still a successor to the AG-101 is beyond me. I know me and a lot of people would grab one, even if it was literally GH5 in a bigger body with XLRs and NDs and shit.

Sub $1.5K if you're lucky!

@kye Thank you am gona read this And yes its good to be in new club?

so, not to change the subject back to dogs, but i just found out that these exist i shrieked when i saw this puppy. HES A TINY BABY JUST A VERY BIG ONE

You do realize that phone cost 2600 Dollars!!!!! https://www.yahoo.com/tech/chinas-huawei-announces-folding-5g-smartphone-134834736--finance.html

@mirekti Apparently production was on break because of Chinese New Year, and they sold out of existing stock. The Z cam people say it will be back in stock soon. The E2 has been in and out of stock a number of times at B&H.

Here’s a screen grab from an interview I filmed with the Gyls300 in Delaware.

Some type of plant would work, though I could see it being a big liability issue as far as getting permission to film there. I am from Detroit and there is a lot of old buildings that could work. The Russel Center comes to mind which is an old manufacturing facility, which they now rent out spaces in. I help shoot a short there last year. Might be something to look into, not that specific one but manufacturing facilities in general.

If you ever wanted to watch lenses get taken apart and cleaned then put back together you can. https://www.youtube.com/channel/UCgANrFnm3Sdai8zvA2iJGQg

Isn't MFT a lot more versatile than L mount? As with the JVC camera, you can put more or less any lens on it, but the main gripe with the EVA1, is you can't really use anything other than EF lenses. Using an L mount would irritate people in the same way, or more as less people have suitable lenses. So I think MFT is much more logical.

Behold, no OIS and only one sensor used in video recording. Hopefully, when they do a SnapDragon 855 refresher, they enable some of this goodness in video too.

No idea where you at but some kind of habour area could work maybe, could even be a habour on a big river....ones were they unload containers and stuff. Maybe an oil rig or an abandoned stranded tanker of some sorts? Maybe even a marina, that was smashed up by a hurricane....

I would romanticise LA, I've hear that the movie permit police are much more effective than the actual police.. I heard a story about a guy shooting a music video inside a warehouse they had rented got hassled because the people wanted to see their filming permit - inside and on private property! If you shoot it in LA it might be more work to get all the paperwork organised than it would to stay home and build yourself a sewer! Go on google earth and near where you live and have a look for any buildings that look enormous and then try and work out what they are and if you can get there. You probably have an idea of how big you need it to be, so you could start with that. Also, you could use the same background multiple times if you're willing to dress it up a little. Eg, the character walks the length of the wall, then next time they do the whole thing again but this time it might have some things hanging on it or broken furniture or whatever, then again but with different stuff. Walls are pretty repetitive (think about bricks or posts - they're basically a repeating pattern) so if you can disguise any notable bits then you could have an infinitely long wall, and bonus feature is that you wouldn't need to move your lights all the time

"i want the feeling of dark, and plenty of water so it feels and looks wet, and a location where, within my frame, it looks like it could be underground" Sounds a lot like a sewer..

Was that shot with the Micro? Looks great. I have that lens and the others. The 20-40 zoom is pretty cool as well. RJ Camera makes an adapter with an aperture built in... http://www.rjcamera.com/ocart/index.php?route=product/product&product_id=50

This is a tricky subject, but you have nailed it with your comment "seems to be a lot of opinions". Just like everything else out there, if something is engineering or science, there will be a lot of opinions, and almost be definition they will all be WRONG. People who have OPINIONS about engineering or science are people that don't understand FACTS. I'm all for having opinions, we can talk about who likes what colour science, lighting design preferences, lens aesthetics or if someone is a good actor, but anyone who has an opinion about how many pixels are in the UHD specification is just stupid. This is the same thing. There is a huge level of knowledge about how to get accuracy beyond a certain bit-depth when talking about audio, as properly recorded and processed 16-bit audio can have better signal-to-noise ratios than is mathematically possible because of a technique called dithering which works by adding a very specific type of noise to the signal. https://en.wikipedia.org/wiki/Dither Fortunately, ISO noise on high-quality 4K cameras is a relatively good version of that noise, so we can get a lot of the benefits. Downscaling from 4K to 1080 also involves oversampling which when combined with dither can extract the extra bit depth and eliminate the noise that was added. https://en.wikipedia.org/wiki/Oversampling There is an audio format called SACD which uses a type of digital signal called DSD, which is a 1-bit (yes, the bit depth is one bit!) at 2.8224 MHz, and because of its clever use of noise and processing, can have signal-to-noise rations of up to 120dB, which would require a 20-bit signal from a traditional codec, but because it is oversampling (in a big way) this effect can be achieved. Getting 20-bit from 1-bit is only possible because DSD has about 64x the sampling rate compared to 44kHz audio. https://en.wikipedia.org/wiki/Super_Audio_CD If DSD gets 19 extra bits from a 64x oversampling, then it shouldn't be impossible to do a similar thing with video and get an extra bits from resolution oversampling. However, and this is a key part of the picture, you will only get perfect 10-bit 4:4:4 1080p from 8-bit 4K footage if that 4K footage is RAW and the noise is perfect. Any variation in de-bayering, compression or any other processing that is applied in between that data coming off the sensor and the downscale will have a damaging effect on the final result, and this is where reality differs from theory, and it the overall quality will be different depending on the camera, codec, bitrate, subject matter, and probably other things. If none of that made sense, then here's a TLDR approximation - adding noise to 8-bit helps with banding similarly to why adding noise to your footage helps with YT colour banding. The mechanism is very different, but the effect is broadly similar. Anyway, let's put this to bed and go back to talking about cameras ???

Just got a Pentax Auto 110 18mm f/2.8. This is one of the smallest lenses I've ever used, and incredibly sharp and pretty, especially considering it's stuck at f/2.8. I wish it had an aperture for more control over the depth of field, but it's still good. I might have to get the 24mm and 50mm 110 lenses.

The GH5 has a mode called Open Gate where it shoots with the whole sensor - 5K 4:3 video. This mode has less sharpening than the 4K modes with the sharpening turned all the way down. Also, you can soften things up in post quite easily too. Your vintage lenses will also do that in-camera if you're using them for those shots. I don't know what editing software you are using, but if you have the time and energy to do it, Resolve has a free version that you can use to basically make the footage look however you want it to look. There are also LUTs that make the GH5 look like an ARRI Alexa, including the sharpness, so the image coming out of it is very flexible if you want it to be. 4K can be downsampled to create extra bit depth and colour information, however it depends on how the codec performs and how much noise there is in the signal (less is worse). The explanation is very technical, but basically it works because for every 1080 10-bit pixel you get after the conversion, you've averaged 4x 8-bit pixels, and so the average can be between the 8-bit limitation, and those 4 pixels contain all three colours before debayering. In practice it will be somewhere between 10-bit 4:4:4 and 8-bit 4:2:0 depending on exactly how that camera operates, but the benefit is real. If the OP is willing to wait for the computer to render proxies and take longer to render out the final project then basically any computer can edit any resolution. We forget that people used to make broadcast TV in SD, which is 27x less pixels than 4K. Resolution pretty much doesn't matter when you're editing (it matters when you're grading or doing other things) so that means you can render proxies and edit them nicely on a computer that is less than 4% of the performance required for 4K editing. I render proxies at 720p and edit them on my laptop on the train. My computer is perfectly capable of playing 4K files but I don't need the extra resolution and saving space on the internal SSD that I'm editing from are advantages too.

Interesting. The GH5S is about halfway in between MFT and ASP-C. I actually don’t quite understand the EVA1 in its current form. I wish Panasonic would innovate MFT and play it’s strengths in the video space. I mean the GH5 is now 2 years old and it’s still pretty unmatched in features offered in a $2000 (now $1500) mirrorless camera. If they ever released a GH camera with PDAf, I bet they would sell well.

Just got a Nikon 85mm 1.8 pre ai I am really impressed. This may be my favorite lens I've ever used next to the Minolta 35mm 1.8. Contrast and sharpness wide open is remarkable. I think it also just renders images nicely, can't put my finger on it. from the XT3 eterna jpegs, also used a lens turbo focal reducer

Here's another one from the Carl Zeiss 85mm f/2.8... I just ordered a new monitor so I'm hoping my color work will get a lot easier since I wont be flying half blind with this MacBook Air screen I've been using.

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

I am going to revisit this using negative values (<1.00) for each color again to see where it starts to fall apart and lose DR.

I think Jasper should be in every thread. What are Jasper's views on the Blackmagic Pocket 4K? Does Jasper think the superior image from BM beats the functionality of the Panasonic mirrorless options?

i just wanted to post Jasper's first (legit) snow pictures... he had so much fun today!!! ITS ALWAYS BEEN MY DREAM FOR HIM TO USE HIS SNOWSHOES AND ITS FINALLY HAPPENING my angel ? thanks for the opportunity @thebrothersthre3 lut