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If you want a bit of an insight into how relatively rare this camera still is in the wild, I doubled the amount of Pocket 4K cameras that were being used at the BVE Expo in London today when I got mine out of my bag. I plonked it down on a table that Zeiss had left brochures on but abandoned to setup my app and immediately drew a crowd who thought I was an exhibitor. Of course I did not disabuse any of them of this belief and promptly started demoing the living daylights out of my app.

Hello! I have new stills from a recent shot I was DPing. It's another theme, Kinda of game of thrones thing ?. I think this is a good point of reference to see how color look in this type of forest/swamp with those costumes and production design. Here i used some old vintage Takumar lenses because of the organic look they have, i think they help to sell the fantasy theme. I use the same procedure I always do, and my style of grade using GHa Daylight to LogC. And diffusion LOT of diffusion!

welcome @Rinad Amir~!! ? @kye is right, we should have t-shirts... its a pretty badass club ? i cant actually *help* you with resolve like these other folks (lol), but i did make a short film with it and i love it – no way im going back to the alternatives! im on the adobe $9.99/mo photoshop plan!!! i feel like im beating the system!!! ?

Had an interesting chat with JVC at BVE Expo today. They acknowledge the LS300 is a cult classic, which is evidenced by them selling more now than they did at launch. They had it on show with a Ninja V which again they acknowledge as the solution to the achilles heal of the viewfinder. It looks very well matched with it actually. The slow burn of the sales over such a long time hasn't resulted in mega sales in total and as it such an outlier of a product for them there seems little prospect of a follow up anytime soon.

ill try to find you at the zoo

Does anyone else seem to remember that this question has popped up on here previously at some point? As far as I recall, the general consensus was that you need to go into the Settings menu of the camera and make sure "Motion Cadence Colour Science Mojo" is set to ON. Have a go with the Search option just to make sure I've remembered correctly though.

Speaking of Fuji C-Mount lenses, here's some footage of the 25mm and 50mm (and Cosmicar 12.5mm/Canon V10X15) I shot on the GH4: All lenses are shot wide open in this video:

Meike 25mm Cine in action, there a full set coming soon. Some seem to think they are Veydra clones. https://www.reddit.com/r/Filmmakers/comments/atv62q/meike_25mm_is_literally_the_same_as_veydra_25mm/

..or all that effort goes to "waste". Imagine if the rumors back in 2015 were right and Nikon and Samsung were co-making a Nikon NX1 camera. 2019 would have happened 3 years earlier. Still NX1 has the best ergonomics in business and just lost its title as the best pro APS-C camera just recently. 73min continuous recording years before the GH5, DIS+OIS years before the Canon similar system, super Amoled screens and - still in my opinion - best in business touch interface, first H265 implementation, still most megapixels in business, unique lenses ("unicorn" 16-50mm 2-2.8f OIS, very cheap and good pancakes, stelar native and tiny fisheye!), better 1080p than all crop Sony's (almost film like) and better 120f e.t.c JVC was very close to deliver an MKii for 3.5-4.000$€£, a workhorse camera not available right now and we missed that opportunity! I do not want/and I can not afford to give 9000€ for a C200, nor 8 for an EVA, I do not believe they deserve that kind of money in this economy and this era. P4K and EZ are in the right direction though.

For a minute I thought you where serious.

You might be right, but we haven't really had a major sub $20k video camera announcement since C200/EVA-1, so it's definitely been awhile. It seems like so much progress has been made in codecs (BM Raw, ProRes Raw, H265) and mirrorless tech (X-T3, S1) that it would be prime time to release some great sub $10k video cameras.

I hate it when hu-mans stop when they are ready for their breakthrough. Samsung stopped when they delivered their first and only professional camera, when it was obviously quite ahead of its time, and JVC stopped in their first attempt for an interchangeable Camcorder/cinecamera. What a pitty.. Thanks @BTM_Pix.

Great shots and who said the GH4 wasn't a capable camera haha

yes, camera is not the big deal. You have no need for an expensive camera anymore today. You need production values and skills.

Live update from the exhibition floor... Shite. A day at the zoo tomorrow beckons.

I dunno if buying a secondhand 7-year-old FS700 + used shogun is really worth it... just to get 4K 10 bit 422.. in 2019.. At that point might as well get a Z6 + Ninja V and get access to 4K 10bit + ProRes Raw.. and enjoy a compact FF camera with IBIS, strong AF etc..

"Old tool" but it was pretty much groundbreaking upon release and forward thinking equipment stay relevant longer. The codec is quite "thick" also, it is not basic 8bit dSLR video.

Since the environment seems like the biggest determining factor for getting great shots here (shooting a fast-moving subject in a natural environment) I would suggest focusing on cameras and gear that work best for those kinds of shoots, like Snowbro recommended. BTM_pix posted this info about the Wiral LITE wire rig that looks like it would be great for mountain biking: I recently bought a GoPro Hero 7 black and would definitely recommend it for the new hypersmooth stabilization (check out the many YouTube vids / comparisons) if you're doing any POV stuff or ride-along shots.

ATTN: A1EX

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

Looking around to buy a nex camera, i come across several video that are presented as "cinematic style" Made with gh5,xt3,bmpcc or whatever their feature is a color that is strongly characterized. I like them and i think i should buy a camera that would allow me to do that. Then i watch a movie, at cinema or tv and the color is totally different. It is the opposite of what is defined cinematic style in slr videos. In this case colo is true color, natural, as well as light and everyhting else So what is the cinematic style?? What is your opinion about? I want to reach the latter style in my video, not the first one...

I'm excited to share my new travel film I shot over 4 days in Yellowstone in August. This was my first video on GH5. I learned allot on this shoot. I hope you sit back and watch on a decent screen with some good sound and enjoy some CinemaScope nature bliss. Cheers. Filmed on the Panasonic GH5. Filmed in HLG and Cine D profiles. Colored with Film Convert. Anamorphic lens used were the Baby Hypergonar 1.75x, Bolex 8/19 1.5x and 16/32 1.5x Anamorphot. The Rectilux 3FF-s variable diopter and closeup lens. Taking lens used Pentax 300mm DA f4, MeVis 35mm f1.6, Carl Zeiss 100mm f2.8 and Pen F 38mm f1.8 with wide angle attachment in front.

Cinematic color is a color scheme that thematically complements the story, and implementing that color scheme in the lighting, set design, and color correction, and then remaining consistent about those choices throughout the movie. It doesn't matter what you pick. Dark and gritty (original Blade Runner). Bright and bubbly (Grand Budapest Hotel). Harshly dry and brown (Once Upon a Time in the West). Rich but artificial (In the Mood for Love). Soft and painterly (Barry Lyndon). Different color scheme for each location (Fellowship of the Ring). Just pick something that resonates with the story, explore it thoroughly, make it consistent and cohesive, and carry through from script to edit.

I’ve been visiting this site for about 5 years now and this is some of the best color grading I have seen from anyone on this site!!!

Skin tones that are exposed properly with soft light combined with everything else in the shot being exposed well. Most cameras have natural and nice color if exposed properly. Another thing is using quality light. A quality light source that isn't a mix of different temperatures. Make sure your light isn't being polluted by reflections that cause different color tints from a wall or the grass or whatever might be polluting your shot. I am not saying things can't be done in a cheaper quicker way, but that certainly isn't hollywood. Color correction is really only needed when things get f'ed up on set. There are exceptions like the Revanent mentioned above, but that's few and far between. Documentaries are certainly different.

Looks really nice !

This looks great thanks @BTM_Pix Can anybody recommend a cheap android device with a decent screen and Bluetooth LE to use this on, thanks

f0 or it's trash mate.

I'll be attending for a couple of days from tomorrow afternoon. I'm doubtful there will be any new products to lust over but I'll keep you informed if there is anything noteworthy. If you have any requests (I think a few of use were interested in the new Sennheiser XSW 2.4gHz system ?) then I'll try and accommodate. If there are any fellow EOSHD members who are going that have a Pocket 4K then I will have the release version of my 3C app that you can have a look at it if you find me. And as a bonus, if you are the first one who finds me then you can have a free copy installed right there and then. The challenge of course is to find me based on the fact that you only have pseudonym and absolutely no picture of me to go on In the best tradition of the old British newspaper competitions you will also have to say "You are BTM_Pix and I claim my free Android app"

Yea the DVX200 has always been appealing - and one with interchangeable lenses would be great. As for Canon C100, I think you're probably right. 10-bit 422 in 4K is me just being hopeful. More likely it will have the same specs as the 4-year old FS5 (10-bit in HD, 8-bit in 4K) but without the SDI raw support. Granted, I'd take 8-bit Canon image over any 10-bit Sony image, but many clients or potential projects want to make sure they're filming in Netflix approved standards - just in case. The only way that the C100 would get 10-bit 422 would be if the C300 Mark III came out soon with a massive spec jump, such as 6K-8k, 60-120fps in 4K, internal raw, etc - as of now, the C300 only sells because people love the Canon image (as I do) and it's the ONLY affordable-ish Canon camera that has the required 10-bit 422. If they want to keep selling that camera, a $6k 10-bit 4K C100 Mark III would eat all of its sales.

Or just cut off the lens on the Panasonic DVX200 (replacing the lens with a MFT mount) and sell it at a suitably discounted price, and I'm sure such a camera would find quite a bit of popularity as well. Seeing as how no C100 has ever done 10bit at any resolution, I bet that the C100mk3 will not do 10bit 4K!! Expect 8bit 420 4K 30fps from the C100mk3 (perhaps with some other weird crippling/limitation as well, like no DPAF with 4K, or only 4K with a big crop, etc)

Because they can is the short answer. It is entirely subjective term so can be interpreted in many different ways by many different people. And is. If I'm being cynical I'd also say including the word 'cinematic' in any YouTube camera review or tutorial is guaranteed to get clicks from those seeking an answer to the question. The correlation between such videos on YouTube and the offering of a LUT pack or ebook or some such by its creator is reasonably high too. There is no answer to the technical question about how to create something that is so subjective. And if you search for the threads on here that have attempted to do that then they don't end up well.

The Huawei design looks better in terms of functionality as a tablet that can also act and be the size of a phone. However, its design looks to be a bit of a nightmare in terms of durability - both the back and the front of the phone are a screen when folded!!

This and the new Sony Xperia 1 show just how dated the RED Hydrogen was always doomed to become... despite having a body designed to outlast the average volcano.

Yeah i already have a hero 7 and i have done POV to death. I've also got a couple of hero 4s with gimbals, chest plates, ronin s, zhiyun v2(for a lighter setup), gimbals with remote control panning. I already have the wiral lite cable cam which just arrived. I also have 10 race drones mounted with a variety of hero 7s, session 5s, insta360 one, insta360 one x (i don't use DJI drones as you can't send them through trees and expect them to live). I've got a fair whack of toys lol. It's the A6300 colours i wasn't overly liking. The supporting gear i have is pretty cool. FWIW this is my POV footage using gopros - MTB Canberra snaps.mov

@Snowbro pet people are weird ?

No problem, always glad to see some nice DIY stuff. I use various TalentCell batteries which have 9v and 12v outputs. Though they are unregulated, so I don't know how safe they would be to use with a dummy battery in a camera.

Probably not, but all you need is some technical wizards and maybe you get 2.5K h265 with 9-bit!!

Not a bad move on canons part if true.

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.

no thank you I'll stick to my cats

That looks awesome dude

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).

OH MY GOODNESS.... I WANT ONE might have to sell the bmp4k and a kidney. i thought kaylee's dog was big but that thing is huge

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.

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

Here is the completed User Guide. So you know its very, very imminent now EDIT >> REPLACED WITH NOT COMPRESSED TO DEATH VERSION User Guide For 3C v1.1 by CDA-TEK Ltd .pdf

I’ve just designed a nice minimal 3D printed solution for a handheld rig. It’s simple and light, either SSD only or SSD + power for 2:15hrs. If I get enough interest I’ll make up a batch for sale ? batbox4k.com