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This project I was camera operator and gaffer. It was mostly lit with 2 Godox 60w LED's and a Pixel 220w LED's, we occasionally used a few other lights as well as natural light of course. Haven't run into any issues. Recording straight to an SSD. I don't have access to the footage but everything I've seen so far looks really nice. We have been lighting things pretty well though.

Cheers I have to confess I didn't really check what it was called. "Somewhere in Brugge by that place with the nice stew" is about as precise a note that I have for it. They are all part of the focus pull demo collection for my controller so will have been fairly wide. The statue one was definitely wide open and the London one would probably have been around f4. I'd love to pretend that it was some studiously considered technique but its mainly just random messing about with settings so any similarity to anything decent is purely coincidental!

I don’t know that much about the Cookes but have worked with them a bit, primarily in post. In my experience the S4is are an ideal combination of modern performance with nice rendering while the S2/S3s are pretty wild with a lot of strange aberrations but they look great. I’m not entirely sure what he means in that video, but I think it’s a preference for slight barrel distortion. He’s expressed preferences for Cooke lenses over Leica lenses in the past because the Cookes have more distortion. That could be what’s going on here, too. At 3:43 on the square grid you can see that the barrel distortion from the Cooke does in fact “bring the center of the image forward." How does that have to do with a larger front element? I don't know.

My perspective as a professional sports photographer is if you are going to be shooting stills in that environment a lot then you should have a dedicated camera that is made for the job so I'd be looking at a used Nikon D4 and Nikkor 70-200mm f2.8 which you should be able to pick up for around £1500-1600. If you want to cut the budget a bit then substitue in a D3s instead of the D4 or up it to a D4s if you have a bit more budget. I trialled shooting with the X-T2 system as an alternative/supplement to Nikon about 3 years ago and whilst it made decent images it just wasn't up to the job at the same level and the experiment didn't last long. For video, you don't need a particularly low light monster as you won't need the same shutter speed so your 1000th/f2.8/ISO6400 even if you want to shoot 50p and have 180 degree shutter is only ISO640. Incidentally, the reported exposure from the X-T2 exposure will be innacurate as shooting one alongside a D4 in fixed lit stadiums, the X-T2 would be at ISO6400 and the D4 would be at ISO5000. The Nikon Z6 would be the obvious choice for the video to keep in the same brand as the tests I've seen with the FTZ adapter and the 70-200mm f2.8 show it performing well. Again, if you go for used then you should be able to pick up both cameras and the lens for around £3K. For that you will be getting a genuine professional sports stills camera that will take the shooting conditions you describe in its stride, a very capable 4K video camera with IBIS and a ProResRAW option (any year now) and a fast, stabilised high quality optic.

When exporting to YT and Vimeo from Resolve, I've found h.265 to be optimal. There is a slight magenta shift when the video sites re-encode the footage, and I've found it to be slightly less with h.265 (the colors are slightly more accurate). The difference for h.265, to compensate during export, is a node with -3 Tint. H.265 is also a much smaller filesize, which is less heavy on the Vimeo upload quota, and there is no size penalty for higher resolution. However, I've found the sweet spot for streaming video sites is 2560x1440 (or 2560 pixels wide). The load times are not much worse than 1080p, but the apparent visual quality is much better (because 1080p is very compressed for streaming on these sites). The load times for 4k are much higher, with less of a leap in visual quality. Also, the fluidity of playback for 2560 is smoother than compressed 4k for streaming. Here are my Resolve settings (horizontal resolution to match aspect ratio):

I want to like this lens, but the flairs are a bit out of control. I think you're right that it is going to get old fast, especial since it triple flares so easily. If it had a warm flare, I'd be all over this lens in a heartbeat. It seems reasonably sharp and the no-hassle appeal of a single focus lens with no adaption necessary under $600 is super appealing. Hopefully this will spur other lens makers to get in the game. I can see Meiki and Rokinon competing in this space.

First I will say, nice shots. It took me a minute to realize what the second one was... and I still am unsure if it's tree bark or a tribute to Allister Crowley. Second I must admit that of all the lenses I have owned over the years, I think the EF 50mm 1.4 USM lens is an underrated gem for the price. Do you remember what aperture these were shot at? And finally, you could get some work color grading feature films. There is such a rich, modern style to your work, especially in the midtones.

A couple of grabs from some things I was doing last week with the Canon EF 50 mm-f/1.4 USM c/w Metabones 0.71x on the Pocket4K.

Plot twist.... Tried it on yet another OTG cable on an Android phone and got it to mount, view and play files. Used the unmount option, unplugged it, plugged it into the Mac and now it is fine. So I now know the solution if not the cause.

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

Yeah that makes sense, why not have the best tool for the job. I think as an amateur he'd probably be happy with the A73 though. For something like sports I'd probably rather have something with more of a reach that S35 gives.

Very nice. I was shooting at 70mm in S35 mode and getting good results and that was without dual IS as it was an adapted lens.

I understand the D4 against an X-T2, however the A73 is a different beast. I imagine the AF might be a bit better but besides that how do you think the D4 would come out ahead?

S1H IBIS Performance. Shot in very windy conditions, all hand-held.

Dump Safari in the Mac ... Firefox has better quality and color sense for video ... does not shift the gamma when you view things on the U or V.

It appears there is only the option to set Quality to Auto-Best, or to restrict the upper bitrate (unlike Premiere). I gather that they've looked at the needed bitrate for each quality ranking, and kept the works 'under the hood'

The problem with the A9 for is that the mechanical shutter is capped to 5fps which means that you have to use the electronic shutter and run the very real risk of banding from LED boards in most pro sports arenas and stadiums. That was one of the factors that seriously hindered the A9 being accepted by its target audience although I did a couple of Champions League matches last week and saw the first two I've ever seen being used pitchside. Whether that was due to Sony's sponsorship arrangements with UEFA meaning they were being trialled or whether the tide has turned for them remains to be seen.

I appreciate the feedback — I'm always down for any tips on how to make my work better. I'll definitely upload higher quality files in the future. I'm coming from the world of social media, where I take for granted that everything looks rough no matter what I do. I also use a Mac/Safari and can't view 4K on YouTube in the first place #cool. @Sage do you have a recommendation for bitrate for 2560x1440 h.265 for YouTube?

Btw, I got a slim SSD enclosure along with a Sabrent 1TB NVMe SSD and it works great, just need to figure out how to attach it to the bottom now.

It's all done, just need to upload. I think its 10 for season 2. Episode lengths range from about 5 min to 20 min.

I think he's using layman terms to describe field curvature and 3D Pop.

Video from BM (with lots of low-light shots): Cinematography: Dima Kalenda Blackmagic Pocket Cinema Camera 6K Blackmagic RAW Constant Bitrate 5:1 ISO 3200 6K (6144 x 3456) 50 fps Atlas Orion Anamorphic T2 32mm @ T4 EF mount The IQ from the taks is really nice, definitely good lenses.

The 2tb can hold 1 hour and 45 minutes as the total record time in 12 bit raw.

Nice, but one thing I noticed - your uploads are super low quality and blocky. Are you uploading very small files? I'd up your bitrate a lot. Shame to do such nice work and have such a nice camera and upload such poor quality files!

The Z6 probably beats the A73 for video low light as it has less heavy noise reduction, aka no ghosting at higher ISOs.

That would be great. I can help with footage if you need as well and I'm sure others would also

The intellectual territory of the accomplished surgeon...

I was pretty happy with the performance I was seeing out of them. I wasn't really aware of their existence previously. We didn't use pro mist filters.

Love the super taks, my second favorite lenses after the Leica-r. Were you using pro-mist filters too?

We were using super takumar 28, 35, 55, and 135, I personally get all my work from networking

Cool! Out of curiosity, how did you guys get those jobs when you first started? Nice small set up. It looks tiny on that tripod. And the SmallHD monitor looks tiny on the camera. What lens(es) were you using?

I believe you're correct but the horizontal FOV would be equivalent to a 67mm lens and the vertical would be a 100mm. But I think the crop factor on the P4K is 1.89x, so then it would make the horizontal FOV equivalent to a 64mm lens. I think?

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...

The A9 has better auto focus, but no log profiles. Not having log is really not a big deal. However I'd save money and get an A73, maybe even a used one. Put more money towards fast glass.

Season 1 is 4 episodes and will be out on Amazon on Dec 20. Season 2 is considerably longer (and much better quality, we actually knew what we were doing by then!) and will be out soon after new years.

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.

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.

I haven't looked at it in-depth yet, but from what I've seen there are subtle differences (i.e. green). Overall, the default color of the 6k is a little nicer. The sensor response as things fall into shadow is a little different. I'll know more soon.

Yeah the 5D MK3 is way better than the EOSM and 50D in every respect, IQ, DR, high ISO, and yes preview is real-time with proper framing, just like regular liveview only with a lot more display options. Magic Lantern has the same dynamic range as 14bit raw photo mode: 11.7 stops @ 100 ISO. It's a filmic grade, so the blacks are somewhat crushed. I'm not a big fan of low contrast or HDR type looks unless it's a creative decision driven by a particular narrative. I have a Pocket 4K too, but I still like the look of the 5D MK3, the color science, cadence, and highlight rolloff are very good. About the only things I don't like about the 5D are its high ISO performance, fixed pattern noise, and limited dynamic range. It looks great upscaled to 4K. I always use a promist filter on the Pocket 4K, it looks too digital without out. My gut feeling is: I should wait for a 3rd party OLPF before I take the plunge with the FP. I do really like the color science and the form factor. Nice shot.

Bingo. With modern computerized design and high quality materials, building a sharp, functional lens is easy. Building one that has charm, character and panache is a whole different story. BTW, if you are looking for a successor to the Iscorama, the new Aivascope 1.5x seems like it fits the bill. Single focus mechanism and 50mm coverage on full frame.