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Here's another one from same series (much more than 5 characters, I take the chance to stand corrected about those two figures and three letters to be more precise actually : )

I tracked drums at a session at Bear Creek Studio last week and brought along the Pocket 4K to grab a few shots in my downtime. Only the interview shot was actually "lit" but even with mostly shitty lighting and a quick edit I like how this LUT looks. I'm excited to use it more. Here's one more quick edit. I am not an expert at any of this stuff but I'm super please with how quickly I can get pleasing results. I'll also add that up until this point I'd been using the Buttery LUT — which I do like — however this is the first LUT I've used that actually fixes the greens and what a treat that is.

Making a feature is easier than you might think these days. Wrapping one next Saturday at 11 days of shooting with a 5 man crew. I would probably give the Pocket 4k camera of the year, as it really gives a cinema quality image at a next to nothing price point and really all you need is a cheap monitor to get you a really usable relatively small camera. The 5D MK3 still gives a very unique image at a really love cost and of course 12 bit RAW. You'd probably like the Pocket 4k/6k mercer, though it would force you into a 4k/6k workflow if you want RAW without cropping. I think you'd prefer the Canon look though, at least over the Pocket 4k.

I own the Panasonic 12-35 MK II which I would use it with , but I am more interested in using it with some vintage lenses and Tilta Nucleus M. Sounds like we will get support for both when released, which is great! This can’t come soon enough and if there is a kickstarter, let us know here first , so we can give you our money to help speed development.

Sirui anamorphic, now live: https://www.indiegogo.com/projects/express-your-cinematic-side/x/9727099#/

Some other interesting video on colour topic, basics but clearly informative just about the... colour factor : )

72 hours to go... When you are using either the Nucleus Nano wheel or our now PXP expander to pull focus using the PBC, you can store A and B focus points and then activate the focus Limit function to enable you to pull focus between the two points at your own rate without worrying about overshooting. Works for both native and adapted EF lenses as in this example using a Sigma 18-35mm f1.8 on a Metabones adapter. More tomorrow.

Well, I did it, NX gear will be up for sale before long. I've shot Nikon since the mid-90's (man, I still have film bodies with forscher Polaroid backs on 'em)... so felt like a good choice, and I'll likely dump the DSLRs when I get some time. But the NX1 as a video cam has been a fantastic camera for my work, commercial & nonprofit marketing stuff. Looks amazing with all my old and new Nikkors. I even shot it with 1960's Canon FL glass which was really pretty. Did a green screen shoot about 2 days after I got it - just enough time to figure out the menus and customize things up. I ordered a Ninja V but it's just arriving today. So some thoughts for those on the fence... For the same $$ as a Z6 with adapter, there are deals with a 32GB QXD card, adapter and a decent little bag you'll end up using for something... Adorama's deal has the nicer bag, a rectangular Lowepro 160 (seems like a nice one for storing the Ninja, drives, batteries and cables actually) vs. BH's consumer-ey oddball bag with weird flaps and shapes. Basically you get a $130 card and a (quite nice for the size) $50 bag in the deal. I may return this Z6 - the card is VERY hard to get out, it takes several pops in-and-out to free it up. if I do, I'll probably get the kit with the 24-70 F4, it knocks $500 off the lens price. Overall it's quick to make the change, and doing a for-realz gig is a good way to make yourself adjust to a new setup. IQ right off the card, tweaked FLAT profile - I'd say it beats the NX when you get the sharpening dialed in. A more "organic" look, but the NX1 had a really nice look as well. Flat-card footage converted to ProRes HQ keys like a mofo - really nice. I've been keying 6K RED footage for the last few weeks and man, the Z MOVs are keying quite well. Psyched to see what the Ninja will do. The jump from 1080 to 4K with the NX1 upped my keying considerably, but the sharpening/compression made it difficult, always a funky border to deal with. I'm really impressed with the Nikon for very clean keys at ISO 800. Basically no video AF with the adapter and a huge 28-70 2.8 "S" lens; photo AF is good with it. Don't need AF except for gimbal work, but thinking a Z50 and the little zoom will be a better choice for that. Next purchase for me. I've never liked Nikon's custom white balance setup - too many steps to remember, you have to activate a saved WB, etc. The NX got this smashingly fast and right. Hell, I have shoulder-mount Panasonics where you just press a dedicated button and you're done. No idea why Nikon still makes this more hassle than it should be. If the HDMI is setup for the Ninja, a non-recording external monitor works but you can't record to camera. So stick the HDMI setup in your custom menu if you shoot to card with a monitor often. It's probably the 10-bit setting doing that, but if you record to card with an external, MAKE SURE YOU SEE THE RED DOT!!! Why can't I delete all those bullshit color setting like "pastel" and "fantasy" and, I dunno, "German Schiester Porn Brown"??? I have to scroll through all that crap to get to my settings. For stills, I love the mirrorless - shoot and see the pic in the VF without looking down at the screen. Loved that on the NX - on the Nikon, there's a delay before the still is displayed. Pretty sucky, the NX was instantaneous and it was easy to get in the rhythm of half-press to dismiss or shoot fast enough where it's not an issue. The Nikon is a big step down there. The video image on the LCD is kind of soft compared to the NX1. Two shots in and I had to run the card to the computer and verify it was tight. I'll get used to it I suppose. And I like shooting MOV for quick viewing on the desktop, but I miss the big bit rates of the NX's H265. Well, the Ninja will help... Nikon has ditched the "trigger video with shutter button" menu item, which was a huge help for cranes and rigs; simple wired remote vs. messing with devices and bluetooth or whatever, easy to solder up a long remote for ceiling rigs and long cranes. Another big suck. For video, it's either peaking or zebras - can't have both. And while I like that the i-menu has video and stills versions, there's some glitches - editing the menu doesn't always take. The Z rejects my aftermarket batteries that worked on DSLRs; looks like the Asians have caught up with that though. I guess I'll be selling a pile of batteries with my DSLR... Other than that, IQ is that very nice Nikon look with lots of control in the camera when you want it, and the flat profile is really fine for most corporate-style grading you'll do in post - the Ninja doesn't seem really 100% necessary other than you'll come home with ProRes (unless it's the corner-office shoot with the windows blowing out... bring the Ninja and some HMIs...) I'm happy with it, and the introduction of the Z50 really makes sense for a 2nd camera, too.

In another thread, @thebrothersthre3 was discussing a feature he is filming on the P4K. I'm curious to hear more about the project, or more importantly, how the P4K is working on a long form project. I know you direct as well as shoot, so I guess first and foremost I'd like to know if it's your film, or are you the DP? Also, do you have a picture of the rig? What kind of lighting are you using? And finally, are there any impediments, or have you had any issues, using the P4K for a feature film narrative?

Yeah, I use a mixture of tripods and monopods. I'd rather sit on the pointy end of my monopod than use a gimbal.

.braw all the way : ) I see a camera system like to choose a wife for serious, keeping the appearances apart : D Why a new one if you've already found the one you're looking for?

Are you shooting B-Raw or ProRes. Since I'm an FCPX user, ProRes sounds more intriguing to me but it's hard to go back to in camera WB when you get used to raw video. Sorry to the thread for the OT. I'll move the discussion to the P4K forum. I've seen some amazing stuff shot with the S1H. Sorry if these have been posted here already...

I've been shooting a feature using mostly just the internal batteries. We've used plug in power a few times when shooting inside. But overall it wasn't bad at all. For narrative I really wouldn't mind just going with internal batteries. That said we used a smallHD monitor the entire time and that was really helpful for shooting at different angles. In fact a small HD monitor (or andycine) can power the camera and monitor at the same time with Sony NPF batteries. Probably the best solution for quick shooting.

The more I shoot with the more I fall in love. It is natural Tom mentioned P4K as camera of the year still in 2019... ; ) On the screen to be unusuable in daylight, there are easy/quick workarounds to overcome that... : -)

Deleted comment because I didn't want anybody to take my joke too literally.

I'll surely add mine, just to let this community know, you won't find anything else like that... : ) I personally invite all Pocket users to not miss this open gate, my hat man (E : -)

How many episodes?

12bit is no small bump. Let alone color blind viewers. ?

True. Some users have little to none interest while engaged in. 12 bit into a totally new world's a tough desk. Post artisans qualify to understand the question. Hard to come back. Lovely videos, Emanuel.

If you haven't seen this one, it's worth your time. Really.

No worries, I don't intend to add any other video on topic from reputable names as Vittorio Storaro and Lawrence Sher : D even though I obviously disagree. I think people like you don't understand the difference between 10-bit and 12-bit, reason why a few or some tend to neglect the value added for stuff such as that one the braw container brings to here. There are many people with distinct needs, of course. But that goes in both ways too. What seems boring to you, it can be found rather useful for others. However, much worse when based on senseless approved camera lists. More boring than misinformation, well, it is hard to pick up ; ) to each its own anyway, doesn't bother me at all, relax : -)

It depends an awful lot of you want to lean your bias towards video (such a Fujifilm X-T3) or towards photo (such as a Nikon D500, which is the best in the world crop body for sports photography, and takes rather good 4K video as well but by no means "the best"). Plus it depends on how "extreme" you going with your lens choices, as that impacts the budget allocation as well. For instance the NIKKOR 200-500mm f/5.6E ED VR is a truly FANTASTIC sporting/birding lens. But it is not a NIKKOR 300mm f/4E PF ED VR either, and that is no NIKKOR 300mm f/2.8G ED VR II Lens either! (which just that one lens would blow your budget) Plus what if you want your lens strategy to be a mix of lenses, perhaps a NIKKOR 200-500mm f/5.6E ED VR for the outdoors daylight stuff? Then a Sigma 50-100mm f/1.8 DC HSM Art Lens for indoor sports shoots. Or heck, go for three lenses and throw in the Sigma 120-300mm f/2.8 as well! (you could potentially go crazy with all three lenses and a Nikon D500 body, and yet still stay within your $5K budget! If you go secondhand) Then you'd only have $2.5K budget for each system, for something that is already a very expensive niche (and could use up well beyond your $5K budget) Spreading yourself thinly out over two systems seems like a very bad idea. Ever shot (filming or photography) with a monopod? It makes a BIG difference! (this is why at the Oympics and all the other big sporting events, that many of the photographers are using monopods) Wouldn't recommend doing run & gun video with S35 @ f1.8 And how low low light do you really need?? Honestly think even a GH5 is just fine, people are beating themselves up over nothing, as "even a GH5" kills the bleeping heck out of many many past cameras that countless docos/sports/families/etc have been shot on! If you're struggling with low light with a GH5, the problem is 80% likely not to be the camera but it is YOU

You could shoot in Aperture Priority, just shoot wiiiiide open! (the rest on auto) That will help keep shutter speed high and ISO low. If you feel that comfortable handles the conditions then you might want to carry on with Aperture Priority but with your lens stopped down by one stop, so that the lens performs better and you get more of the subject in focus. Or you might make a different tweak by for instance by capping Auto ISO at a certain max value which is the most you'd ever feel comfortable with (as you'd rather trade it off for more motion blur instead). Or perhaps you learn that say for instance 1/300th is the average "optimal" shutter speed for your type of shooting, that gives a nice balance between a sharp face but with some blur of the limps to help convey effectively the emotion of "speed", so you might just shoot everything in Shutter Priority instead! (perhaps tweaking it down to 1/200th or up to 1/400th if you know particular performers are slower or faster paced) Anyway, you see the gist of what I'm saying, experiment with an auto mode then tweak the other settings to nudge the result into the outcome you want.

Same here. I could alfa-beta-zeta test whatever you need If you can make reliable TOF AF without the need to use Tilta.. that would be just crazy. And man.. you would get some orders on that. Fixing GH5 AF wold be a milestone for everyone!

I just don't understand their logic with this. Ok, if there's been technical limitations or bugs that they're struggling with (i.e. image delay), I can understand that. But keeping people hanging on like this doesn't paint them in a good light. It's nearly 2020. Everything points towards Nikon struggling as a company and there's plenty of mention of them downscaling, changing the business model etc etc. See this link. https://petapixel.com/2019/11/12/nikon-says-its-cameras-need-to-justify-their-existence-as-a-business/ For them to throw away a potential market win for all the budget video people out there dying for 4k raw video seems like total lunacy to me. Every day that passes by the camera world gets closer to another S1H or other disrupting body, and Nikon really should act now, or have acted long ago to capitalise on this and win back some of the market that's shunned them for so long. I just grinds my gears watching this kind of thing happen. If it's just for some stupid scheduling or strategic reason, then that's just a shame and they'll suffer for it. Recall how much of a runaway success the 5d series was. I'm sure they could have had something like that if they'd delivered earlier in the year.

Hi BTM_Pix, There's an ongoing thread over at Samsung's Community forum regarding the T5 not working in Catalina (MacOS 10.15)... Solved: T5 SSD not working with macOS 10.15 Catalina - Samsung Community - 860123: https://us.community.samsung.com/t5/Monitors-and-Memory/T5-SSD-not-working-with-macOS-10-15-Catalina/td-p/860123 ...and even though that thread's title states that the issue is solved apparently plenty of folks are still having issues after applying (or trying to apply) the solution... https://us.community.samsung.com/t5/Monitors-and-Memory/T5-SSD-not-working-with-macOS-10-15-Catalina/m-p/939900#M3042 ...(TLDR: Install Samsung v1.6.6) not encouraging news. Please keep us posted as to how you make out, I just purchased two of these (1TB's) as gifts for my gals for the holidays to use with their iPad Pros and MBPs and now I'm thinking that maybe I should be looking at another brand's SSD for them. Oofah. Best of luck, :) Jimmy G

You have me hooked. Honestly, if there is ANYTHING I can do to help with this please let me know. This can be game changing.

What the lighting craftsman Vittorio Storaro, master of light and shadows, has to do with it? Since ever or just nowadays? In some other perspective more technical perhaps, as you wish, but in 5 letters to testify how the Netflix man/woman is damned ignorant: 12-bit. Here's his English ; -)

With all due respect, Emmanuel, your points sometimes get lost in your broken English. For instance, I have no idea what Storaro has to do with a Netflix camera greenlight? With that said, I agree that the S1H's Netflix A-cam approval means little to most filmmakers unless they have a production deal with Netflix. But the fact that it's been greenlit still adds a level of value to a camera that mere mortals can afford. You know me, I'm still happy with my 5D3 and ML Raw. In fact, I don't really understand why any narrative filmmaker, at our level, would need anything more than that. But everybody has different needs and desires when it comes to their tools. If I was in the market for a new camera, I'd go with the S1H without hesitation. The new generation of BM cameras just aren't that appealing to me. But I'm happy you are enjoying yours! I am looking forward to seeing some of that Waterboys footage you've been talking about.

I'm hoping to release it before Q3 As in before Leica launch the Q3

The S1H and the P4K/P6K are hardly comparable. One is full frame. One has a true anamorphic mode. One has IBIS. One has good battery life. And one is Netflix approved as an A-cam... I know which one I would choose.

I'm up to something that could yet result in the GH5 not needing to have to use gears and motors either....

Stunning man simply gorgeous blonde ? Hey what about brunettes ? this is what every single DJI Osmo should be used to begin with lol ?

Like those ARRI Master Anamorphics you keep mentioning? ?

My choice

....and allowed a rare glimpse past the colour science, trendy transitions, and flying gimbal shots to see a coherent story and narrative arc. What a calamity!

The YouTube compression is so extremely bad on that video it turned it black & white!! :-o

Emanuel, would you stop spamming this topic? It's getting boring.