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The free version of Resolve has almost all the functionality of the paid version, and a one-off purchase (of $300 IIRC) potentially comes with unlimited future upgrades. They don't guarantee that, but I bought a dongle when v12 was out and it still works on v16, and people who bought at?previous versions are also around saying the same thing. If you buy a physical dongle then I think you can use it across however many computers you like, just not at the same time, and you won't be subject to the Apple store licencing restrictions. There are also threads of people petitioning BM to give it still image editing so they can also ditch LightRoom, but I'm not sure on how likely that is. Come on in, the water is fine

Creative Cloud is anti-competitive, locking users into a perpetual payment plan with no guarantee of future costs. What started at Adobe has spread like a cancer in the software and creative app industry with subscriber-only plans rather than a one off purchase price. Our subscriptions as businesses, enthusiasts and consumers are stacking up and becoming a real monthly headache, and it is time governments looked into regulating the subscription software industry - starting with the king bastard of them all, Adobe. Read the full article

Its interesting to me that when the Youtube hype train was in full motion for the A7iii and GH5 everybody was on board, but not this time. My only guess its because this camera is not meant for the audience of this forum. And I seem to recall about 10,001 posts on this forum screaming for a mic jack in these types of cameras. But jut like always, when we get it we immediately move the goal post. Ive started shooting Polaroid again. Its liberating

Well I know I could never do this on my A7III or EOS R. Try to concentrate on the sky

maybe bc for the vast majority of us, its a buggy/crashing nightmare.

Here's a few shots from my 17.5mm f0.95 lens on MFT.. It's equivalent to a 35mm f1.9 lens on a FF sensor, so it's pretty fast. Not sure which of these are wide open or not, but you can definitely get shallow dof if you want to. People talk about f2.8 mft lenses like they're fast, but they're really not. You need to have things around f1 for them to start using that phrase. Also remember that the dof is related to the aperture, which is proportional to the focal length, so a 25mm f0.95 has shallower dof than my 17.5mm f0.95, so if you're using longer lenses then it's easier to get that FF look.

Here is my entry. Best regards!

Amazing actor. Embodied Bladerunner's whole concept in one character. Amazing sense of that he felt the role for real while acting it. Time to die. But never to be forgotten in a billion years. RIP!!

The Resolve dongle that came with the first BMCC in 2013 still works with Resolve 16 Studio for me Incredible. This was a free dongle with a camera. But no matter how good the competition is, coming off Premiere is like trying to stop smoking. Not easy due to the years of muscle memory.

He has $500... so to me the obvious choice is a 5D Mark ii and ML Raw.

I can understand your frustration and you raised many valid concerns but what's the point? Nowadays we have so many options to choose from: Sony, Panasonic S or GH series, BMPCC4k, Fuji, Nikon Z, etc. The video DSLR revolution was all about creativity for the masses (amateurs, indie and small prod). This is what triggered the inception of this blog I believe. That's it! We have everything we ever dreamed of: anybody can spend $3 or $4k and get an excellent 4K60 camera with decent lenses and add a drone on top of that. All of which fits in a backpack. But where is the film-making here?

Agree that camera companies have gotten pretty stale. Panasonic excites me with the S1H and what else may be in that camera. I would say the Sigma FP is one of the more exciting cameras to be announced recently - at least it is different, interesting, super modular, and can be built out to your liking. Excited for the S1H + FP combo that I'll have soon enough.

I understand that the honest truth in written form is hard to take for fanboys, but remind me now who needs to grow up.

8.3 filename for the luts so 8 characters plus 3 for the .vlt extension

That is a dramatic difference in the sky. This is where I use highlight recovery (rebuild) too. It makes the camera seem like it has a greater dynamic range than advertised. Since the clouds are already white, it doesn't hurt much that we can't recover all of the color detail in those sections. Scenes with that much dynamic range are problems for most cameras, particularly at the P4K price point. I think you would have to spend at least 5K to get close to enough range for this (perhaps VLog on the S1). Even the C200 is limited to about 3 usable stops of over exposure and it costs about 4 times as much as the P4K.

Okay, maybe I'm missing something obvious here, but... That CVP video clearly states that to install LUTs into the S1 that one needs to "...rename it so the name is no longer than 3-letters..." as seen beginning at around the 2:42 Mark here... Full Frame 4K 4:2:2 10-bit - Panasonic S1 Firmware Update - YouTube: (t=162) ...however, this LUT tutorial from Daniel Peters clearly shows LUTs with names much longer than "3-letters" being installed onto the camera beginning here at around the 1:36 Mark... How To Install VLOG & LUTS in LUMIX S1 on Vimeo: (t=1m36s) ...perhaps someone with the DMW-SFU2 S1 Filmmaker VLog Update can clarify as to the correct procedure for this? (I'm still waiting to hear back from B&H for my upgrade package!) Thanks!

I’ve been sticking pretty strictly to iso 400 and 3200 and controlling my exposure with a vnd and have absolutely zero problems. I think the thing with the highlight recovery is that you can now compare two different options. With a lot of other cameras, if the highlights are blown, tough luck. Now you can compare, so there’s one more thing to consider while shooting. It’s far from a problem and if anything, I see it as a bonus. Just like many things, don’t rely on it and have it as an emergency backup. It’s like a ‘don’t worry we’ll fix it in post’ kind of thing. Thinking that way about audio, lights or any other aspect of film making is a bad idea, so why do it with video?

It is a weird full frame mirrorless market. Up until the fall of 2018 Sony was the only one in this group. You're right on Nikon bringing the goods on the next Z camera. I think with the Z8 or Z9 along with the D6, Nikon will above the rest for part of 2020. At least from quality of product released in the market. Nikon and Panasonic seem to be the only companies willing to give value and quality without holding back on specs. I think the Nikon Z line has gained sales since January and not lost them. That's not usually how it works but Nikon improved the AF and people started looking past the wickedly dishonest You Tube reviews.

True though most of these companies could be using the Sony sensors to their max potential. Really only Z cam is sort of fully utilizing them and sort of Black magic.

The frustrating thing about these releases is my YouTube main page being inundated with these shills all posting at the same time their "reviews." Even the more thoughtful, non-shill reviewers rush to get their video out instead of putting together a more thoughtful, comprehensive video because everyone has gotta get those hits! It's why I like someone like Three Blind Men and an Elephant. Even when I don't agree with him, his videos are very thoughtful and thorough. They also aren't rushed. He was at the reveal event, and gave some of his first thoughts in videos he posted, but he just released his more thorough video today, and whether I agree with him or not I'm sure it'll be more insightful than most of the videos that came out immediately.

I abandoned Premiere when i realised i'd been paying for years and it had gotten steadily worse, meanwhile Resolve was getting better. Every software company now wants the right to constantly dip their hand in your bank account, and renew entire years at a time, and yes I think it's absurd. You pay and pay and pay for software and they hold your files effectively to ransom. Back when you could buy a version you can keep it indefinitely. But now as soon as you stop paying that's it, you can't open your old projects. I find the whole "model" a bit poor for consumers.

Did get the chance to use a SL body with my 50 and it was a very nice result The body was new in a showroom and they weren’t too fussed on negotiating the price,so that turned me away

Yeah but a Lot of the D800's had focus problems. Upper left side on most. I am always afraid to buy a really cheap one., It has a good chance it is a dog focus wise. Plastic focus box was the problem on them. The 800E's didn't seem to be as bad focus wise. The D810 cured it. Nikon has had a Lot of screw ups as of late. D750 is a time bomb to buy also. But Canon had the 1D mk III focus screw up big time. So no virgins in the bunch.

Oh, I'm breathing again, the seller just mailed me : my unit is defective (see my images of the sky in a previous page). They send it back to Panasonic and I will receive a new kit soon. Can't wait... ? I must say this is quite a frustrating experience to get your hands on such a camera, but just for some test images ! All I can say for now is the handling and build quality are absolutely outstanding. I liked so much the Nikon Z6 body, but this one bring me closer to what I have always dream of !

Here's an example of Highlight Recovery on - off shot at ISO 1250. Note the outside blue chair cushion & foliage frame right and interior sun highlight next to interior planter.

If TechART get their existing M to E mount AF adapter working with their new E to Z mount (I know @Andrew Reid was badgering them about what does seem to be an inexplicable oversight !) then that would be worth a look but whether the Z6 will give the same optical performance issues as the Sony remains to be seen. Other than that, the SL will do the job for you in terms of M lenses being better on it than Sony and is falling in price since the S1 launch and with a likely SL2 on the horizon. It crops in 4K but not in HD so that won't be an issue for you. Gives you some room to expand as well with the new L mount lenses from Sigma, providing Leica doesn't spit their dummy like they did with the MC21 adapter.

We have a gambling man here.

This image is the perfect example of why I don't like projection scopes. As for crop and FOV, you can always use the calculator. ? www.tferradans.com/anacalc/go

Though if he doesn't want to deal with RAW, the Nikon D800 can be had at that price.

This is a decent place to start. They have an app to create foam inserts for all the various hard cases from Peli, SKB etc. There is a limited preset library of lenses and cameras but you can photograph or use pack shots of your own gear as well. https://mycasebuilder.eu

I’m stuck with Premiere as I’m always doing short term contracts and need to be able to slot in with existing teams/workflows with zero headaches. Everywhere I go, Adobe is the standard. Hence I’m stuck..

Adobe Lightroom is a good example. Luckily I still use the last perpetual license. It's only available now in an expansive plan with Photoshop which I never use. I downloaded the last Lightroom Classic Trial and I'm shocked to see that there are no major changes in the 2 year it was out. From what I can read on the Adobe forums, Ligthroom 6 is more stable than any version after that including the last Classic. Pay monthly to be an Adobe beta tester. No thanks!

The main problem with this camera is the price - were it priced equivalently to Panasonic's 1" cameras it would absolutely blow the doors off them, and even if they priced it the same as the LX100 II, then the headphone jack, better AF, improved movie quality and lack of a 4K crop would still make it a very worthy competitor despite the smaller sensor. But making it the same price as a G9 and kit lens is just ridiculous. What's more, it smacks of one of Canon's less desirable traits - a sense that they consider themselves to be above actually competing on price, and that they don't need to acknowledge their competition.

You can get a Mavic Pro for sub $800 (more than we could dream of in pre-HDSLR days!) Gimbal for sub $500 (more than we could dream of in pre-HDSLR days!) BMPCC4K for sub $1.3K (craaaaazy!) Total cost for these three items? Not even $3K

Yeah just save for an A7S or get an XT2 or A6300 or XT30 maybe. The Nikon D750 is a good option too if you want full frame. Not as good in low light as the A7S but better colors and probably less rolling shutter(can't confirm that)

I thing that learning about ourselves as filmmakers is the ultimate challenge, as no amount of fancy/big/small/lightweight/Hollywood equipment will make shooting an easier process if we don't know who we are, what we're shooting and why we're doing it in the first place. I'm not sure about you, but a good amount of my indecision comes from my curiosity about all the new and shiny things that are around... we have 70+ years of cinematic history to explore, and even if the vintage stuff doesn't peak our interest, we have manufacturers in a perpetual deathmatch trying to create new equipment that will give Hollywood results for pocket-change budgets, and there are many hidden gems to be explored. Of course, this curiosity for equipment is really curiosity to learn about ourselves, and the people who are top of their game will have their go-to setup that they've worked out suits their own methods and goals and are pushing forward on other creative pursuits rather than technical ones, but the battle for perfection in creativity is a journey with no end

The Nikon Z6 has all those things

Or the old Sony to be honest... ; -)

Yeah, idk, I think they are all the same. The problem occurred in 2014 when they forced 4K on us a generation, or two, too soon so Sony and Panasonic could sell some 4K TVs. None of the companies had even perfected 1080p yet... and they still haven’t. Andrew, with your skill set and talent, I really think it’s time you move onto a cinema camera. I doubt you’ll ever get all you really want from these hybrids. And with the size getting smaller, and the specs getting better, an EVA1, or whatever, would be a better choice. With that said, I agree with this silly RX100 update. Waste of engineer’s time.

I know you’re not a Canon fan even with ML Raw but I can say wholeheartedly that I will get better images with my Canon than my Micro. 14bit color Raw with only 12 stops of DR will give ME better results than 10bit color and 13 stops of DR. I’m sure a better colorist can eek out a better image with the Micro, but I’m not that guy and I really don’t want to be a great colorist... too many other things to worry about with a one man band production. With that being said, B&W seems to be the great equalizer for a hobby filmmaker like myself. @kye thanks, I always appreciate your insight. I’m really just killing time in between script pages and shooting days even messing around with post color work until I get a better post set up... but it’s still kinda fun to do even if it has no reflection on what my final film will look like. And yes, ML has a greyscale preview or you can set the live view to any picture profile you want without it affecting the final image... so I do use monochrome on occasion to see tones but mostly to see the focus peaking better.

i kno rite! beatmaking is SO cool i mean, to ME, if u make beats on your iphone, thats pretty darn cool. so, if u make beats on an iPAD... well, thats kinda next level, huh? and having a drum machine or literally any kind of dedicated hardware for making these noises... wow.... uhm yeah. thats like owning a goddam stradivarius violin. to me. so its all p impressive tbh

All sorts of innovation remains. Not just larger numbers on the box. Modularity. Add ons. Different grips. Different interface jacks at the side. Slot in LCDs. Wireless modular follow focuses. Exposing at 1/50 F2 in daylight without pissing around with filters. Better dynamic range. More film like colour profiles. Better design and styling of bodies and lenses. More soul and character. More photographic DNA. Better controls. Larger screens. Better touch screen interfaces designed afresh from ground up. Human-like focus pulls using the AF system, not the quick digital looking racks. A.I. Apps. Wireless focusing modules. LiDar. The list is fucking endless... But all Sony sees is higher megapixels and faster processors.

I am just not a big fan of the later Reds. Just too sterile looking. I think they are going backwards compared to the competition. Too much money, too much hype without solid results as of late. Crazy Ass DR ratings that are BS. But they have been pushing the envelope with 6K, 8K, I will give give them that. But I think their curb appeal has really diminished. Pretty far down my list of Christmas presents lol.

I like it a lot. The music you picked fits the footage to a Tee. Well done. Good edits.

They will probably go the Minimag way: pack a Galaxy S10 inside a new shell and charge it triple the price.

http://bullettmedia.com/article/pixelface-is-the-loudest-artist-on-the-internet/ some backstory on the director. Reading that, maybe the BTS video is the art... maybe there isn’t even a music video.

https://www.dropbox.com/s/zea3apd5pscumks/FlowersV-log.mov?dl=0 Anyone who wants to have a go at grading I have here the Flowers video in v-log pro res 422 HQ No commercial use.

Filmed on S1 with v-log at 4k 60p on Ninja v. Graded with filmconvert fuji stock. I'm still trying out grades, I may end up using another grade because Im not sure about the green colors of the grass. what do you think?

@Geoff_L totally get it, I to see the glass as half full Would you mind clarifying how the slowmotion works? Google only serves me people who guess or start their sentence with "to my understanding".. What is the highest frame rate in HD, without crop, where you can still manually expose your image? This is something that actually could tip the scale for me.

Magenta in the WEX video 100% a result of their grade. Aggressive NR is = YouTube's compression. So here are some ORIGINAL files to play with straight off my card. 1.4GB's worth. https://we.tl/t-rELYefyjCr These are 10bit 422 V-LOG / V-Gamut on default settings. I recommend avoiding VLC Player to look at these especially on a Mac. Messes up the gamma curve. They won't play in Quicktime either. Pop em in Resolve or your NLE of choice and give them a good LUT. I used Fuji's F-LOG to Eterna BT709 LUT which worked well and built in Premiere Arri Amira LUT in Premiere was a good match. Lens: Nikon 55mm F1.2 AI with variable ND filter