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Modified Sigma's smaller grip to allow it to hold a T5; haven't printed it yet so not so sure how comfortable it is.

This is the next video in my series on how to make a good travel video. I hope that you get something out of the tips and as always, I would love to hear what you would like to hear in the next video!

Hey everyone. Please check out my new short film Phantoms. Shot w/ Atlas Orion Anamorphics, Blackmagic Pocket 6K, and RED Dragon X 5K. For fans of Hitchcock and Bernard Herrmann.

The problem with a lot of information on Youtube is that most of it is coming from people who aren't out there filming everyday. This is just because it is hard to post on Youtube and film professionally; making a Youtube video take a lot of time unfortunately. I have lot's of other tips and will probably keep working my way up to Advanced tips. If you haven't already checked them out, here are a few channels that are really good and coming from professionals. Brandon Li: https://www.youtube.com/channel/UC3stPIuUoCDHG7COfwr0tEA Mark Bone: https://www.youtube.com/user/markandrewbone MitchellKPhotos: https://www.youtube.com/channel/UC13AGxW0HsbQz4KrFknpRRg Ponysmasher: https://www.youtube.com/channel/UCp1DqwNVcFrft1wuPXM9rFQ

Great tips - I binge lots of film-making and travel film-making on YT but these aren't tips I've heard before, so this is really cool. I like the idea of "intermediate" tips, most channels don't get past using a ND. Makes me wonder what you would consider an advanced tip!

Oddly enough, I'm currently sat on a train with my FZ2000 and not really getting why the hidden screen on the X-PRO3 is considered revolutionary I do like the small info display they've included though. Hopefully, used prices of X-PRO2 might get down to "oh go on then" in twleve months as I've always fancied one and this new one doesn't really give more for me for what I'd be using it for.

Answers to your questions There is about 2/3 - 1 stop improvement in dynamic range with HLG over Flog. I am unable to tell if there is a difference in highlight rolloff. Difference in noise? I usually shoot at isos above base. So I am unable to comment if there is a difference in noise. One other thing about shooting HLG on the X-T3. I am less prone to getting some unusual magenta casts in highlights with HLG. The disadvantage of HLG is that you must record H265 and one has to transcode the footage to improve editability. Don Barar

Makes me wonder if I want to keep my S1H with its great color science and dynamic range but codec and even worse temporal NR issues and get this one instead... Looks even better than the Pocket 4K did before Braw.

Yes, that holds up very well.. even with very subtle tones on her face there's no visible banding or artefacts (even on your upload).

Ah, never leave your kids alone with scissors or in a room with an open window. Accidents lurking around the corner. Coming up with things posing a hidden threat to the little one. Stuck too long in such a worrying mindset can consume one. I think I get it now. ?

Thanks for your feedback! The theme for me was the anxiety and dread of becoming a new parent. The blank face was sorta being afraid of something that you can't understand. I definitely thought about just starting at 4:00 (and I still might make a cut starting there as a straight horror short).

I thought the TV in the background sounded German or Dutch the first time I was watching. Turned it up louder and watched it again and it's actually in (very vintage) English! My bad!

Where the heck you get 'rural Europe' from? xD She's driving an SUV through cornfields. In Europe, she would've been on public transport commuting through the city. Also, in Europe ain't noone got a stove, light switches and powersockets like that. Back OT. Spoiler alert. Guess someone didn't want her to have that baby. Not sure why though, if you've been made, you wouldn't try to get some answers 'who are you!? What are you doing here?! What do you want from me?!'... although, could be that she just wasn't expecting a reply to come out of the dude's mouth (without one). Typical 'yeah, we should definitely split up'-move ditching the scissors and then go sit in front of an open window. lolz. That one shot kinda reminded me of Courage the Cowardly Dog (who lives in 'Nowhere'). Ah... the nostalgia.

That is the very point of bayer sensors, no? I don't know whether you're a developer or have had a chance to experiment with different debayer techniques but that is precisely what is happening for the 2 pixels for every pixel that are not recorded. The reconstruction algorithms are really clever, taking into account edges and gradients. A simplistic example: Red for pixel A is code value 11 and pixel B is missing and C has 14. The debayer can look at the surrounding red pixels and also the colour for the pixel it does have and determine that using a gradient the missing pixel is 12.5. Now you have code values that are not 8 bit anymore. In addition, these source values are not in a colourspace that we see, they have to go through a matrixing process which also includes white balancing AND highlight reconstruction. These are other steps that fill in more detail. You cannot do decent highlight reconstruction from a baked 709 YUV image, believe me, i've had to try. You need pre white balancing raw data to do that properly. You could argue that you're scientifically right but we have been using reconstructed images for decades and YUV is also a reconstruction of the original scene too. I assumed you were talking 12bpp and i see where you're coming from. But from another perspective the U and V is described using an 8 bit range, even though they are packed differently. At the end of the day the proof are in the images. That 8 bit RAW from sigma is much better than it has any right to be and i spend lots of my days deep in pixels - from Red to Arri and the other end of the spectrum as well. I hate YUV with a passion because it's caused me so many post headaches. I love RAW for its simplicity and flexibility - there are techniques for working on the bayered data before reconstruction or the ability to white balance after the effect in grading means that you can use white balance as a secondary and protect skin whilst changing colours around - it can be way more effective than pulling a key in a restricted colourspace. What i really hope is that sigma have done the same thing with the 10 bit files, and not made them linear - if that's the case then we're golden. I assume this is the IMX 410? So it may be doing 6K full frame internally. If you switch to crop mode i wonder if it changes the sensor to 4K crop too - in which case you can pull more depth off the sensor in that mode? cheers Paul

been in a bit of a hacking or modifying stage lately. bought a 28-32mm step up ring and some double sided tape cut out a inner and outer diameter that matched the ring and mounted it to the 15mm olympus body cap lens i have, i also bought a 32-37mm step up ring as that seems to be the most common filter sizes to get hold of. I wanted a small adapter on the face of the camera so i could easily move the lens cover lever. When it rains again i want to be able to hang some nd of it and video some waterfalls in the area or uv perhaps. the double sided tape seems quite robust it shouldn't move anytime soon. the first helicoid for the russian lens i bought has arrived. turns out that i had a short adapter that fitted the m39 to mft mount and solved my issues. however the enlarger lenses i have tried on the helicoid don't focus to infinity. It was kind of expected as i have read online that there is issues with getting anything shorter than 70mm to focus at infinity. Apparently custom short mounts are required. the last pic is of the el nikor 63mm enlarger lens mounted on a 60d, i can focus out to about 3-4 meters. But i want more so the quest will continue.

I think it could've been a lot shorter. In fact it probably could've started at the 4:00 mark - not because it doesn't hold your attention, but because there's nothing we see before that which tells us anything we need to know. All it does is raise confusing questions like "why does a college-age girl live alone on what appears to be an industrial-level farm?" and "why does this person keep a baseball bat right next to the front door" (especially as they seem to live in rural Europe?), and "what type of monster uses single-use water bottles in 2019?".

Quite impressed about the RAW samples also. Interpreted them as BMD Film and used my Soft film LUT to convert to Rec709, but made it even darker with way more green - also added some grain und gaussian blur. Really liking the result.

Good points. For the test I did for myself I shot 4K h264, scaled some shots, exported in h264 (at a higher bitrate) and then uploaded to YT in 4K, as that is my workflow. Obviously if you're shooting RAW and delivering in Prores HQ then your thresholds for what is perceptible will be different. I was simply doing it to see if it mattered to me, and how far I could push things in how I shoot, hoping that it would matter less and I could use digital zoom to space my primes further apart and cover more zoom range with the same number of lenses. Fun stuff.

I think satisfaction levels are about comparing what you have to what you want. I think everyone probably always wants more, but it's about priorities. Do I want a camera the size of a GoPro Hero 5 Session, lenses that perform like Zeiss Master Primes, output files that look like an ARRI 65, and the whole thing to cost $100 with free shipping? Yes. But the point is that all that happens in the context of all the rest of what we're doing when we shoot. I think most real shooters are concerned with the total package of what they deliver, and if the camera isn't in the top 5 issues that are holding us back then we're not focused on it, and if asked we'll say we're satisfied. Everyone wants more, we just differ by how much we want it.

A couple of screen-grabs from a recent Sofar Concert I shot. Shot with the 70-200 2.8, all in 4k 10bit HLG, graded with Filmconvert Nitrate in a couple of minutes.

I'm considering posting a blind test where some of the shots are digitally zoomed to various amounts and seeing which shots people could identify, and how much zoom was evident. What sort of shots should I include? I'm imagining if I included things like close shots of plants with a back-light to highlight all the tiny hairs and textures? I did a quick test like that for myself (thus the reference to me doing more tests than I share here) and I found that large digital zooms were visible but smaller ones were not.

Yes, i delved a little deeper and the 8bit DNGs have a linearisation table attached to them. I've been opening these up in RAW Digger which gets me the values before any debayering of colour work. I need to see if i can get the table out but it's a good sign. Having said that by the time the image is debayered into a working colourspace that 8 bit source of thee RGGB channels is tonally more spread meaning that effectively the end result will have more tonality than 8 bit implies, say compared to an 8 bit movie. I hope that makes sense? Paul

Iirc they just put the RAW stuff into an SRGB/gamma 2.6. Which seems quite ... unusual. whenever i do raw stuff in resolve, i go for blackmagic film, as flat as possible, then onwards to cineon and other log stuff. as i understand they tried to emulate the RAW to something they can compare to their other measurements. For me, RAW needs special treatment : ETTR, normalisation, and then noise reduction (i love neatvideo for that). it's difficult to compare the fp's dynamic range, because all other cams lower the noise floor already. you need to do your part in RAW yourself.

It is not linear. I haven't looked at the exact curve, but it does non-linear companding for the 8-bit raw. The 12-bit image is linear. The DNG spec allows for color tables to be applied on the developed image. The Sigma sample images do include such tables. No idea if they replicate the internal picture profiles though. AFAIK, only Adobe Camera Raw based software (e.g. Photoshop) honors these. Unless Resolve has gained support for these tables (I am on an old Resolve version), it is very likely that the cinema5d review is mistaken on this point.

You can download two cdng stills from cinema 5d , one 8 bit and one 12 bit. I played with them opening the dng directly in photoshop raw and it looks amazing. You can sharpen all you like or turn it to 0, you can change exposure and white balance, and even the adobe profiles look great for getting a quick grade the dynamic range is great ! And the best thing for me, no compression, so really nice filmic grain structure.

yep, and it even seems to have ok-ish rolling shutter @ 20ms. Maybe i will get one and pair it with a bolex 1.5x or Kowa C35. Now we just need a l-mount to EF/Nikon adapter with integrated VariND, and this little cam will pack a hell of a punch. The only thing i am worried about is the flickering issues, and wondering if the sensor is fully read out, or is line skipping/skipping around the sensor. About the 300mbyte/sec CDng RAW: i plan to run it through Slimraw, at 1:3 to 1:7 compression. This gives me 5dmk3 RAW filesizes, at 4K! If RED won't allow compression incam, i will compress it out of cam :3 Edit: did i mention the losslessly or lossy CDng opens fine in Resolve?

It's the most pretentious gimmick (wouldn't go as far as calling it a 'feature') I've seen in a while. Only the Leica M10-D which shares a similar mindset but hardly similar pricing trumps it. I'd rather have a digital camera be ahead of its time rather than stripped back as some kind of 'ode' to the good ol' days. If essence is what you're after... go shoot actual film, already? Really limit yourself to shooting without a screen, max. 36 consecutive shots, etc. This?! I think it's bollocks, but hey, if people were waiting for this, good on them.

For those interested to buy it in Europe. Today, in a German store, with sales and rebates : z6 + 24-70 + ftz = 2169€ https://www.foto-erhardt.de/kameras/vollformat-kameras/nikon-z6-plus-24-70mm-plus-ftz-objektivadapter-kit.html (Do not evoke the falling prices...Do not evoke the falling prices...). Used prices will dive a little more ! My hyperbola talking about "half the price" was in fact a prophecy ?

Upgrade to FCPX. My 2014 macbook pro plays and edit perfectly .H265 10 bit 4K files from DJI Mavic.

H.265 is hardware accelerated now unlike in the NX1 days. Resolve / FCPX will handle it WAY better than Adobe does with their dated software architecture. What GPU do you have? Either way, transcoding to ProRes is also hardware accelerated if you have EditReady to hand.