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I've been persevering with analysing editing, and the more I do this the more I recommend it to anyone who wants to improve their skills. One piece of advice I would give, which seems actually kind of painful, is to cut up the video yourself manually. I cut up a show using the auto-magical tool and set it to be pessimistic (so it misses some cuts rather than has false-cuts on strong action) and then made a pass to manually add-in the rest of the cuts that it missed. This manual pass made me examine, frame by frame, some of the faster more complex parts of the edit. I'm cutting up travel shows with stylistic edits, and I have been noticing all kinds of tiny details in the editing. Some things I've found include: digital punch-ins for one or two frames before / after an edit to add a zoom effect or glitch effect (if the punch-ins were offset in X and Y from each other) jump-cuts to remove maybe 2-4 frames in some shots to add pace and style to b-roll shots with movement in faster montages barn door / sliding door effects on edits 'burst edits' where there is a longer shot, 1 black frame, 2 frames b-roll shot, 1 black frame, 2 frames b-roll shot, 1 black frame, longer shot whip pan transition wipe transition where a blurry object moves rapidly across the screen to obscure the first shot and reveals the second shot whip pan transition with a single frame of crazy motion-blur between the two shots - the single frame wasn't at all similar to the others so it kind of creates a flash effect fades... the combination of fade-out / fade-in is used (noticing when it's used is interesting) but fade-out / hard cut in from black was another combination I saw, interesting aesthetic colour grading variations - sometimes the colour was one way and sometimes another - seeing this choice of different looks was very interesting This might sound super-trendy but it wasn't from a travel YT video - this was from a major TV travel show episode that won multiple awards for editing. There are probably other things in there I haven't noticed yet either, but there are cuts in there that I've spent whole minutes just rolling back and forth and looking at and thinking about. Also in addition to seeing things at the micro-level with individual cuts, I'm noticing things at the structural level where the relationship of scenes within the final edit is laid-out. if you're making up the edit then the relative structure becomes visually obvious and the act of doing this makes you think about what a scene really is. Do the shots that get you to and from a location count in this scene? What is a "location" - some "scenes" might move between rooms or buildings and others might just stay put. The analysis forces you to notice these things. Sometimes they might have one scene that moves around and another that doesn't - trying to understand why is very useful. It is having several effects on me: It is making me realise how shallow the level of skill is on things like wedding videos (despite them being perfect for many of these innovative techniques) as they're multi-layered and very stylised It is making me realise how little is actually required to get a nice edit - some of the videos I've really enjoyed watching have been very very simple edits just having a simple structure and just music and no other sounds It is showing me how much you can get away with - knowing what is in an edit frame-by-frame and then re-watching it and not seeing what you know is there (or removing a single frame and re-watching it and not noticing a difference) it really shows you what is perceptible and what isn't** It is adding more and more tools to my editing toolkit I'm realising the importance of sound design I'm learning so much by watching the cinematography too ** yes I have checked that my editing setup is playing all the frames (I've actually examined the latency and jitter on my setup by filming my laptop screen and external monitor with my iPhone at 240fps and verified that the image timing is identical on both screens and also that each frame is visible for a similar amount of time, ie ~10 frames at 240fps per frame of 24p). I cannot recommend this type of analysis highly enough. We watch so much content and yet so much of the artistry is simply not apparent until we go deep and really look, frame-by-frame, at what the masters are doing. Pick something done by the people at the pinnacle of the craft and go deep on it and see what you find. You won't regret it - I find it's actually more entertaining than just watching TV or a movie so it's not a chore at all, but like opening a window to new ideas you wish you knew earlier.

Well I am left handed so my right hand is my 1st AC via Tilta Nano lol.

I’d be quite happy to not see it or it’s like appear. Just my personal opinion, but I don’t come here for political talk. I did contribute to that thread but then thought better of it and stopped. Like Andrew says, it never ends well!

I just bought a Canon FD 35mm F2. I put it to use with the BMMCC and a 0.71x focal reducer last weekend. Focus was manually done by a 1st AC via Tilta Nano. A native electronic 12-35mm would not have cut it. But I can see that continious AF is of course an interesting thing on newer cameras and for videography especially. @webrunner5

I wouldn't think that the 50p readout would be different to the normal readout - both RAW outputs are at full sensor resolution with no processing, so there's no downsampling or anything going on. I prefer to shoot in Prores on this as it does a great job of removing moire etc (BM engineers are better than I am!) but it is still prone to it on sharp lenses and fine detail. I'd suggest that the only reason to change the settings in camera are to change frame-rate, otherwise you can just set it and then simply adjust aperture / focus / ND shot-to-shot, so it's a very straight-forward experience actually. If you're shooting Prores rather than RAW then in theory you should be adjusting WB too, but if you are shooting outside then there's a good argument to be made for just setting to 5600K and then when things are warmer/cooler in reality then they will show up like that on the files and that's appropriate because that's actually how it was. If you're using artificial lights then just set for those and forget. IIRC I read somewhere that the WB latitude on the Prores HQ was as good as it was in the RAW, so that's probably something else that's worth a test to confirm, but certainly my experience changing WB in-post was just lovely and I did some quite strong changes as I was shooting at and around sunset so was dealing with some quite strong WB shifts and it was all very straight-forwards and a pleasant experience.

There is the possibility of moire. The S1H is the safe bet for any grooms suit.:) I find the monitor on the S1 a bit unpleasant to handle. It´s connection is very solid but due to that not very smooth to move. A few times I find the EVF bump to be in the way when shooting from certain angles. S1H being 350g heavier than the S1 makes it indeed a very heavy Lumix. GH6 seems like the perfect body. Btw, GH6 in low light seemed to hold onto colours much better than GH5s and though noisier, detail was reained better as well, coming from some youtube tests. So it is a mini S1H in many regards and way beyond in others.

Well that might be a reason even a simple commercial on TV has a crew of 50 people involved. No one on here is going to become some master of every trade involved to make top notch videos. Sure we all need to get better, but there is a limit to talent, ergo intelligence, mine is getting worse by the day, and time involved. We hardly ever talk about audio on here, heck it is just as important as the video at times if not more important.

There is no continuous AF on old BM cameras. So using a AF lens is not a drawback. Using them just makes your life easier. Push a button instant ETTR, push a button you are in focus, what else you need. You are just making a simple camera more difficult to operate. I am not saying to never use a MF lens on one, but to totally eliminate a Panasonic or Olympus lens is interesting. And the newer MFT cameras. well sure maybe then.

The older BM cameras don't have an optical low pass filter in them. So Moire can be a problem no doubt.

The moire was in Prores 50p when testing. The actual filmshoot was in 25p. I used a different lens and focal length, also changed the lighting to put less emphasize. You can still screw up on BM cameras easily, even in RAW if you shoot under Tungsten light with warm effect gels or under high IR pollution if you don´t use an IR Cut filter.:)

Yeah when you shoot Raw on the early BM cameras it is pretty hard to just screw it up. They are very forgiving and about as easy to shoot as any camera I have ever owned when you get used to them. Amazing cameras for a first try.

I had a GH5 and GH5S and eventually changed to the S5 and S1. I had a Sony A73 for a year but sold it as it would over heat and the sensor was always blotchy. The menus were tedious and the VF and LCD weren't very good. It could make nice images but I just didn't enjoy the camera. I use my S5 and S1 for all sorts of filming, corporate, fashion, interviews, weddings and I also use them for streaming or filming events were you have to leave the camera to film 2 hours non stop. For the price there are no other cameras that can do that. I'd love a FX3 and A7S3 but that would cost me 7500€ whereas my 2 Panasonics cost me less than 3000€. But I do think about AF a lot! If money wasn't a problem I'd probably have gone with Sony for the AF (I'm 47 and my eyes aren't what they were!).

Sure sounds like you enjoy making your life difficult and Expensive lol. I don't have the time or money for that.

@Andrew Reid wouldn't you like to pass the buck with a nice review of the GH6 and, maybe, one last artistic shot?

@webrunner5 no Panny lenses for video on my mft cameras! 🙂 Would love the Voigts, Veydras or Laowas if going native of course. @kye I did that, recorded in Prores and did the bonus take in RAW 3:1, In Prores it is a very pleasing grain structure, in RAW without noise reduction it was very hard edged. But great reference point, having both for the same shot, just like you suggested! 🙂

Good price, but will wait until it hits $699,00.

Holy. In the subforums are gems of threads to be found. You, who posted them are awesome! Would be great, if these gems would get more recognition from us! Also, Andrew bought some super lowfi lenses putting out an image punching way above their weight, like the Soligor 35 70 2.5-3.5. Maybe some of these topics could be part of the main forum rather than disappear in the subforums. I know, old discussion. Just sayin. Now, enjoy the images. By the way, I didnt understand any of the science of Cosimos post. Anyway.:)

I have noticed that there seems to be a world of subtle timing with editing and the edit points themselves. All edits have a rhythm and pace of their own, music or no music. Try clapping your hands to an edit, any edit, and you may be able to "find" that pace. So, edit points can happen on the beat, slightly before/after it, deliberately off the beat (either on the off-beat or intentionally nowhere near any beat and therefore unexpected). When there is music then there is a time signature involved and there will be bars, where the first beat in that bar is more important than the other beats and may be emphasised. So then you can have edits aligned to the first beat in a bar, or the third beat in a bar, etc. So much variation.... but it's hard to really "see" them, because our hearing is much more time sensitive than our vision. Here's a super niche trick to 'hear' the edits in Resolve. start with an edit with separate clips. use the Scene Cut Detect if you need to get a sound file with a short sound and put it in a bin on its own (a short beep sound is good) duplicate the audio part of all the clips in your edit to another track highlight them all and disable the Conform Lock Enabled option on them (and ensure it's on for all other clips) right-click on your timeline and select Timelines -> Reconform from Bins on the Conform Bins, unselect all bins except the one with your beep sound in it in the Conform Options, select only Codec (that's the only setting I found that works) hit ok every clip that you disabled the Conform Lock on in your timeline should now be your beep sound, and if you've trimmed it right then you will now have a track that beeps every time there's an edit point adjust volume on the track to be something sensible watch your footage and be able to 'hear' the edits Let me know if you actually do this and what you find. I'm currently looking at Mustafa Bhagats work on Parts Unknown and he has a fantastic sense of rhythm and timing (being a musician in addition to an editor probably helps with this) so I'm hoping to learn from these.

Some months ago I switched from focusing on new cameras to understanding lenses and colour science, and you'd be surprised how many times I was looking for compatibility between some lens format and some other camera and EOSHD links kept coming up in google. If you put in "bmpcc c-mount" into google the EOSHD thread talking about compatibility and vignetting is not only the top hit, but also by far the most useful. It seems that EOSHD is the centre of the internet for a number of very specific things in video-making, especially topics that focus on the benefits and modern use of vintage or older technology rather than just the relentless regurgitation of specs of new cameras. When I post here, I am often thinking of these threads as a panel discussion where there is an audience of people who don't post or aren't registered who are looking for information on the topic.