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Can confirm GH5S + 10-25 f/1.7 with a Smallrig L-Bracket cage balances perfectly on the Weebill-S. I also have an 8Sinn cage but it won’t balance perfectly due to the bump out of the cage cold shoe mount on the right side hitting the roll axis arm. The motors can still handle it and it works pretty well; just not optimal. First impressions? Footage is pretty smooth straight out of camera. Still need warp stabilizer if you want butter smooth footage. For $439 it’s a great gimbal. Love the size. But...I still can’t wait to have improved IBIS and EIS in future cameras so I don’t need a gimbal. EDIT: To clarify you need warp stabilizer for butter smooth footage on the GH5S that doesn’t have IBIS. Any camera that does have IBIS will work like a dream with this gimbal.

So you were like... 'well, fog this' ??

Thanks @kye! I actually set up most of the lighting ? The color is all coming from cheap RGB LEDs I got off of amazon. Yongnuo YN360s... Added a gelled Aputure 300d to even things out with a cool look, and then the stage lights were giving the "white" light. And then added the haze, because haze.

Lets get the negatives out of the way. The file management restrictions of iOS (which were beyond LumaTouch's control) were a major hassle but that has by and large now been addressed with the release of iPadOS. Another drawback, which again is beyond their control, is that there is no support for ProRes. This may not be an issue for many users but it does rule out being able to use it even with any non-RAW footage from the BM cameras without transcoding so it is something to bear in mind. Ditto if you're using an Atomos etc as the recording medium for a DSLR/Mirrorless. The restriction to one LUT isn't great if you're using LOG or any flat profile that requires a corrective LUT as you then can't add a "creative" LUT on top of that. Some sort of stabilisation would be welcome, although there are stabilising apps for iOS that you can pre-process your footage if you don't mind the extra step/time. On the upside.... The biggest upside is that there is plenty of upside. LumaFusion isn't just a very good editing app for iOS, its a very good editing app full stop. I initially started using LumaFusion strictly as an in the field editing system for cutting and transmitting pre-match build up pieces in sports stadiums but I actually found I liked it enough to use it as an editor in a lot of non mobile situations where I would normally have used FCPX. Its fast, responsive, logical and unless you have that need for using ProRes and/or multiple LUTS then it can be all the editing system most people actually need. The integration with the Gnarbox 2.0 looks pretty compelling, albeit it at a price, but it glues everything together as a viable professional system with ingesting, transcoding and backups etc. The XML export update is very close to release which will move the story on quite a bit as well as you can then do the edit on your iPad and then finish it off in your "real" desktop NLE if you need the extra options so you can have the best of both worlds. One other thing to note is that everyone that I've ever dealt with at LumaTouch has been helpful and friendly and you can see by how far the system has developed that they care about developing it further and listening to users. Having said all of that though and returning to your original question of can it be used in lieu of Resolve then you need to look at how deeply you use the extra functionality of Resolve and how often you would come up against the bumps in the road that I've outlined. If you are just using h264/265 files with a picture profile that can be corrected with the inbuilt controls and you only then need one "creative" LUT then the chances are it could be all you need. If you are using Cinelike D and then the Leeming LUT for example as a corrective and then always add a film simulation LUT on top then you've immediately got a problem. You should go to their website and download the User Guide to gauge how restrictive its features may or may not be for the way you would use it. https://luma-touch.helpscoutdocs.com/article/87-reference-guide

This thread has really inspired me to take another look at my lenses. As much as I'd love an S1H or a C200, I'm definitely better off investing that money into lenses, filters, lights and support equipment. I may eventually trade in my Micro for a Z-Cam e2c when more footage comes out from it, but that's really the least of my concerns right now. Great thread, I hope it continues for a while longer.

Here's a little video that I put together for those green chair shots.

Just noticed them uploading a bunch of videos regarding some 'LUMIX Academy'. Checked it out... actually looks alright. https://www.youtube.com/playlist?list=PL6Y73jphTLqtEYFVZroeRpzykCACsShXm Reminds me a bit of the AdoramaTV HDSLR Five Part Series (the playlist seems to have been removed, but you can search). Seems a good way to get the basics down. Throwback:

holy shit why didn't i heard about these filters before ? thanks for the info. here's a comparison. i guess 1/2 is a bit too much tough

The Pi has a hardware encoder/decoder too, albeit not at 4K. There is no doubt that the extra £50-60 for the Jetson Nano will give you more scope to do more things both in the short and longer term, although the Pi4 has a newer, faster CPU the GPU in the Nano makes it a better package for a lot of applications. The M.2 slot is actually an M.2 Key-E interface that is primarily intended to add a Wifi/Bluetooth interface which the basic unit lacks, unlike the Pi. You can get adapter shields to enable you to add the drives though but its more cost and more form factor as well. The community aspect of the Pi is obviously far more established so you'll find a ton of resources for it to do a myriad of different things and the drivers etc are more mature whereas with the Jetson Nano its very early days in comparison and most users of them (such as me ) are using them for developing machine learning projects so you might not find as much experienced help for the Nano for your particular application. Having said all that, because of the commonality of key parts such as the HDMI CSI converter, screens, drives etc then you won't lose out by going either route and then changing your mind and going the other way ! Comparison here between them for general use.

I’ve been using Lumafusion on the iPad Pro 11 for about a year now, still amazed how well it handles 4k50 footage without ever slowing down. With that being said, Lumafusion is still quite new and missing some important features such as multi select, audio scrubbing and more advanced color grading features. The developers really listens to its users and add more and more features with every update. So my guess is that they’ll add them in the future. Im on their beta test team and for example we asked for blend modes, they added it a few months later. Can’t comment on how it compares to resolve since I use premiere.

It was handheld. I think the IBIS is pretty similar to GH5 from what i remember.

Don’t forget they also support BRAW on the EVA-1 with the new blackmagic recorders as well. Looks amazing.

Days until RED patent expires. ? https://www.timeanddate.com/countdown/party?p0=840&iso=20280411T00&year=2028&month=4&day=11&hour=0&min=0&sec=0&msg=RED.com RAW patents expire&ud=2&csz=1

LOL.. cool images though - I love the colours. It must be so rewarding to shoot live events where the lighting is so dramatic and expressive.

Beginning to get the feel of this camera. It's a beast. Something I am going to avoid doing moving forward, is watching alot of these cameras reviews from these so called experts. Nothing beats your experience with a cam. For me, this camera is the best bang for £. I hate rigging cameras , unless necessary. I have kept my setup light. LP batteries and Lens with a hot shoe handle. The images below are from a shoot I dod recently. Set up: 1080p pro res Hq 24, 60 and 120 Tamron 24-75mm 2.8 Iso: 800 and 1000 Shot in film Graded in fcp x No lighting setup, just the fluorescent bulbs from the gym. When with the green tint for the look. I am a canon fan boy so, I want my colours to be rich and pop. This camera is shockingly better than I expected

Haven't even tested the 10mm T2.1 yet but here's some shots from the 25mm wide open at T0.95 with HAAAAZE

One of the biggest selling points for the S1H video is the OLPF, which S1 doesn't have.

Sigma don't publish figures so its all a bit subjective but as way of a quick crude illustration, its a pretty bright day here today so here is the DP0 alongside a Panasonic GX80 which is roughly representative of a lot of average LCDs. The DP0 is significantly brighter (which it needs to be as unlike the GX80 it doesn't articulate at all) and whilst I prefer using it with the loupe, I've got no issues with the brightness using it in these sort of conditions. You'll have to get someone to do something similar on an actual FP for a more definitive illustration but bear in mind that the LCD on the FP is two generations on from the DP0 (2.1million dots versus 900K dots) so I would expect a brightness bump to have accompanied the resolution increase.

all of them ?

Of course! Sounds ridiculous right? Just swap “car” with “camera” and “engine cylinders” with “resolution” and “speed” with “frames per second” and you have essential what the RED patent is. Bayer sensors existed before RED Bayer data existed before RED. The jpeg2000 Compression existed before RED. Hence adding “two more cylinders” is the same as RED adding “Bayer compression” to existing technology and then essentially getting a patent for “cars with certain sized engine going faster than X speed (a camera recording at 4K Bayer resolution at least 23 fps). All that shit existed before except the jpeg2000 compression to Bayer data. I have no problem with that part. Putting OBVIOUS things like FPS and resolution gives RED a blanket patent on compressed BAYER data 4K and up at 23 FPS and up. Which is absolutely ridiculous. If the patent instead said 4K and up at least 23FPS using X unique algorithm implementation then that’s fine. REDs patent is a blanket patent on ANY implementation. What if I have a better algorithm that improves on jpeg2000. Nope, RED by defaults owns that space from 4K to infinity and 23 FPS to infinity. It’s complete bullshit. Ans what about stills cameras? That have been shooting compressed RAW for years before RED was even a twinkle in Jim’s eye? Suddenly they can’t shoot more than 23 FPS because they will be infringing on REDs patent NOT because they are using the same compression technology as RED but simply because they hit a arbitrary number that RED claims an patent over. It’s moronic.

I don't know who to trust anymore!

I don’t think any of my posts are clever enough to be misread for intelligence, artificial or otherwise.