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I think the biggest thing that I have discovered is that 10 bit lets you push around the mids more than 8 bit without losing color quality. Everyone typically talks about recovering the highlights and preventing noise in the lows and looks at dynamic range...for me the biggest problem is usually recovering exposure on the skin in difficult lighting situations when you have the highs and the lows all well within the WFM but the skin tones are under exposed which you can't control because you can't properly light the subject. I run into that situation all the time and 10 bit lets you fix the exposure on the skin tones without losing color quality. 8 bit used to fall apart every time and typically it was better to just leave them underexposed than to try to fix them without fill lighting. Even with 10bit there's only so much you can do to the mids before you start losing color (that's where the whole latitudes limitations come in) but I will take 10 bit any day over 8 bit for this situation. A good example is with a sunset behind a subject and no fill lighting, with 8 bit you have no choice but to severely under expose the subject or completely blow out the sunset, with 10 bit (and the benefits of VLOG and the S5's sensor) I am able to recover the skin tones almost to the bottom edge of the proper IRE while retaining the highlights and not washing out the lows. One day I may try to shoot the exact same scene right after the other with a sunset behind the subject one with 4:2:0 8bit and the second shot with 4:2:2 10 bit then demonstrate how the mids fall apart when trying to recover the subject's exposure, but I typically don't have that kind of time during a shoot.

There will be more waves available for order in February. Drop an email to admin (at) cdatek (dot) com to request being added to the mailing list to get notified when they are available.

Yess.....thanks Mark, I hadn't found that one yet, that's exactly what I meant. I'm sure I wasn't the only one, but I emailed that feature request directly to the development team back in Resolve 16 one day when I got fed up with Fusion constantly caching....and they did it properly meaning you can go back to the Fusion comp later if you need to make a change, fortunately its not a one way trip. I have that problem with multi-cam edits, certain things you can't do to a multi-cam sequence such as change the crop factor so you first have to flatten the clip but it loses the color grade and you can't switch camera angles after that, so my workaround is to copy the clip to a new layer first, flatten it then edit the copy. If I need to go back later I delete the clip and copy the underlying multi-cam clip again to the top layer; who knows....maybe they improved that in DR17 as well, I need to watch the full DR new features video or read the new features list one day.

Thanks for the helps Matins. I just simply following the steps from this article.

I don't know if it is a 10-bit vs 8-bit thing, or an S-LOG vs V-LOG thing, or a Sony vs Panasonic thing, or it's a color-science thing, but I just don't get the same sort of weird colors in V-LOG on the S1 that I got in S-LOG 2 on the a6500. I know a couple of the more notorious people on youtube have recommended workarounds for 8-bit Sony; dunna did it said just crank the saturation all the way up. Caleb (dslr video shooter) said to use the 709 matrix gamut instead of s-gamut

I loved the idea of this competition. Wish I'd been able to participate but I was in the process of buying a home. I hope there's another one soon. In a similar vein, I've just launched a new group on Facebook called Junk Camera Cinematography with the following thesis: I'm hoping that this group can be the antidote for those that feel like there's too much emphasis on new and better gear. It would be great to see some of you in there.

DR's history is actually quite fascinating and it is nothing short of incredible that the software coders have been able to modernize it to where it is today. It is no surprise that some features that you take for granted in every other software application took DR 17 revisions to add, there's still some weird quirks like not being able to take a screen grab from anywhere except the Color page but each version just gets better. I really think Adobe going to the subscription model was the best thing they could have done for Blackmagic Design. All of the new revenue from new users looking for anything that's not subscription based had to have helped them hire more coders and make it more user friendly. I always feel like I've only scratched the surface of what DR can do, especially when it comes to Fusion. If they would just improve the performance of Fusion or at least let you right click > convert to video clip after all of the Fusion edits are done so that its not in a constant state of caching for simple things like Text+ titles it really would be the perfect NLE. I have more Fusion related performance and stability problems than anything video clip related.

One of the philosophies I've adopted is that the things you can do to make bad footage look passable also help to make good footage look great, and great footage look spectacular. Luckily I have an almost endless supply of terribly-shot footage, which I shot because I didn't know what I was doing for a long time, and so I've been in my own self-made crash-course for quite some time now!

I'm basing this on an interaction with him, plus his Twitter feed and likes, not the fact that he's on LBRY. I only mention it here because I mentioned previously he was on LBRY, and given the stuff he believes it makes sense why. While much of it disappeared as Q-anon accounts were banned, there's still enough to see on his account that shows he embraces toxic views. He literally supported the military stepping in to keep Trump in power. When you believe and help spread disinformation and the same delusional stuff that caused the capital riots to happen, you're a part of the problem. This stuff should be called out in the filmmaking community.

Personal work I am trying to match the look of the BM with the Sony. I really enjoy the look of the micro and the modern tech of the Siii. I love the look of the BM for interviews and would love to get the look on the Siii as well with AF being so damn good. Plus the ability to punch in if needed. I do a lot of product YT/IG ads that need the modern look that the Siii does wonderfully. I hope I can make the Siii a work horse like my 7iii and Rii have been for me. I will share a few clips in the coming weeks.

Just turn the color matrix in the log settings to "EOS Original". As per Canon's own R5 manual: "EOS Original reproduces colors equivalent to those of the EOS-1D C." How true in practice it is, I don't have a 1DC to test. Maybe @Dave Maze is interested in looking into this?

Canon EOS R5 owner to Canon... I bought the EOS R5 based on its video performance AND photo performance. Your subsequent firmware releases for the R5 and R6 seem to contradict the wishes of your imaging division general manager, Tsuyoshi Tokura, despite reality. I agree with Andrew here, this man shouldn't have a job.

I can tell you that I'm a believer. I have the S5 and have had to recover from some really horrible lighting and had to push the WB to the other side of the spectrum....and the footage held up flawlessly, I am able to recover from situations where I had no control over the lighting in ways that I simply was not able to when shooting 8 bit. I am the first one to say I think something is overrated....like I personally think ALL-I is just a waste of storage space, RAW footage for YouTube and Vimeo is an even bigger waste of storage space (unless your editing machine really can't handle LongGOP), external recorders are a waste of money for most people, etc, etc. I have reached the conclusion that for anything short of TV quality commercial work, documentaries (maybe), and feature length films, LongGOP, H.264, and H.265 are good enough. But after shooting 8 bit for years and fighting with the color grade especially when the WB was off, I am a believer in 10 bit. I also think 10 bit handles highlight roll-off better than 8 bit which is something that even YouTube viewers will notice if you don't manage to get it under control during editing, but anything beyond that (ProRes, BRAW, etc) as I mentioned before I think is a waste of space, time, and money. External recorders for certain cameras do let you record higher resolutions (like 6K for example) but unless you really do need to crop and recompose that much I think anything over 4K is also a waste. There is a video that shows 8 bit vs 10 bit side by side on YouTube, I don't remember the title now, but in his side by side tests he reached the same conclusions that I reached on my own; there is no noticeable difference in the final footage, but 10 bit handles highlights and WB correction better. I think 8 bit is the better way to go if you have the time to properly WB, expose the footage, etc. but when you are shooting hectic events like I typically shoot, or real estate where the lighting is always some weird mixture that you can't control; the extra editing latitude that 10bit provides is very noticeable.

So happy I went with Sony a7S III

@BTM_Pix Thanks for making your system incredible flexible! This is fantastic news for people who own or plan to own more than one AFX and MMX. It reminds me of what Steve Jobs said when he first introduced the iphone... It's an auto focus distance sensor, it's lens motor driver, it's relational database, it's a Bluetooth Low Energy Multi Client/Server... It's all of these, but together it is a revolutionary autofocus tool kit where networked autofocus sensors can distribute autofocus distance information allowing you to co-locate two cameras, one as your autofocus subject tracking camera, one as your subject/scene framing camera. Whatever is in the center of your screen on this first camera can determine what is in focus on your second camera, that can have a completely different framing. Add a gimbal with subject tracking and you can have AI track your subject around the scene, then distribute the autofocus distance to the second camera, which can frame your subject/scene however you like, while your subject stays perfectly in focus. Perfect Framing with Perfect Autofocus = Revolution.

The top two I would like to see are an XH2 and a GH6. I could go with either or neither. Neither especially if this year doesn’t happen for business and my best forecast is for 50% at most and worst case scenario, zero business. I expect we will see an A7iv and it shall be the son of god. For Sony fans...but it probably will be the most capable hybrid camera bar none when it appears.

BMMCC BMPCC Anamorphic 4K - Mandalorian (The Child). Playful test filmed on a Blackmagic Micro Cinema Camera 🙂 LUTs for Blackmagic: ▶︎ BMPCC 4K & BMPCC 6K - https://www.bit.ly/3cu5vR9 ▶︎ BMPCC, BMCC, BMMCC - https://www.bit.ly/392cgey ▶︎ FREE 4K 35mm Film Grain Overlay - https://www.bit.ly/2RSMuAa W: http://www.bulentfilms.yolasite.com IG: https://www.instagram.com/bulent0z/