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Keep in mind that run-n-gun does not always equate to small and light. In fact, often quite the opposite as more weight = more stability when shooting handheld. So often those run-n-gun shooters don't mind the weight that comes with a proper cinema camera. Funny, I'm the total opposite. I want my footage to look obsolete in 5 years, that way the client has to hire me to re-shoot the exact same thing. The big problem there is patents. You can't just take the Prores Raw (or some other similarly compressed format) and put it inside a camera, because Red's patents don't allow it.

@kye 1. White balance is just linear gain on R G and B channels. I don't know the formulas for deriving Kelvin and Tint values. So after CST to linear, you could adjust gain values until it "looks right" and it should be correct though you don't know the Kelvin/Tint values--(if you're editing footage that doesn't have the original values in metadata, that wouldn't be possible anyway). Personally, I've found Resolve's WB values work as expected after a CST to linear. No idea if it's mathematically sound as proper linear gain at that point, but I did some basic tests comparing to in camera WB and it looked right to me. But now that I have an M4, I can just use WB sliders on the plugin and save some steps in the node graph as well. 2. I haven't heard that and am not sure how/if it changed. I've barely touched a physical camera since Covid broke out, so my Resolve 17 use has been solely for editing animations.

Because you already have your new gimbal and your handheld setup, practice with the handheld setup and see if you can get acceptable shots. If not, then maybe think about upgrading the camera. Or, if you want a two-camera setup, sell some other gear for the T4, and set that up for handheld/sticks shooting and leave the T3 on the gimbal. I don't know if you still have your Pocket 4K (if that's the BM camera you had). I'd definitely ditch that for a T4, because it has the IBIS and better autofocus you seem to want. And working with two cameras with the same color science is nice. Even with different brand lenses that handle color differently, I can correct my T3 and 4 very easily. Love that.

To add to this - The cable that comes with the T5 works flawless for me. I've tried other USBc cables, and they gave me issues. So it's not only the media you should look at, but what you're using to connect it to the camera.

Awesome! Thank you guys for all the replies! And oh my goodness.....I would die if that was my camera (im sure the studio was happy).

You mean manufacturers abandoning the format? I hope it'll find a niche for a long while, even if/when Panasonic leaves it.

The reason I bring up which controls is that I've heard that controls are designed to work in a colour space (for example, LGG in rec709) so they won't scale things correctly. After a conversion to Linear, often the values are almost completely clipped, so I'm not sure what a control that's only meant to adjust things that are under (or close to) 100 IRE would do. I guess it's just a matter of knowing its an unknown and trying things if it doesn't look right. I've definitely struggled with doing WB in post on non-RAW footage before, so it's useful to me to learn more and to hear that BM is working on improving it. I just went back and found the reference to the WB mention in R17, and maybe I'm remembering it wrong, because maybe it's not more in-line with perception rather than just being purely mathematical, which is the next level again. Perhaps they operate in XYZ colour space, or something similar? Anyway, it's great that the ZCam OSX does the heavy lifting for you. I keep hearing great things about Zcam from professional users, and it seems like they might be on track to grow and really mature as a brand and product lineup.

And thus, ironically, making those cameras no longer cheap!

But whatever you do, just don't let Jessica Biel on set....

I haven't heard this talked about much, so a couple of follow-ups if I may: In Resolve, if someone does a CST to Linear, then adjusts WB, then CST back from Linear, which tool should be used for that WB adjustment? I'm guessing it should be Offset? The tools in Resolve all work in different gamma curves so I'm curious which one will work properly in Linear In Resolve 17, they have changed the way the Temp and Tint sliders work so they now work correctly. I saw this mentioned in passing in the middle of a colourists video, but the release notes don't say what they did, or why it's now correct, and no-one seems to be talking about it. The colourist suggested that they used to be wrong and created artefacts, and it sounded like they might now work in Linear without you having to do it manually. Any ideas?

I’ve never heard of an issue with file corruption on the P6k. I know a lot of people who use them. The only camera I’ve ever had that issue on was my Panasonic S1 and I’m pretty sure it was due to a bad card.

I actually think they have one of the best naming conventions in the whole industry. All the cameras are in the E2 generation, but M4 is m43 4K, S6 is s35 6K, F6 is FF 6K, and F8 is FF 8K. Compare that to a7siii, FX3, C70, etc. when trying to judge specs at a glance. Even Blackmagic's convoluted naming at least lets you know what the cameras offer 😅

(bolding mine) That's not healthy at all! What are going to be health consequences due to many people being short of Vitamin D? And because they've got less physical exercise due to not going outdoors as much? The mental health consequences due to being lockdown for months on end? The MSM/politicians/"experts" will have a lot to answer for due to their feeding of this paranoid hysteria.