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Yeah, if you are really great at something, no matter what it is, you can use the worse equipment out there and still be better than 95% of all the rest of the people with great equipment. I think a lot of us on here, me included, send a very bad message to the people that are starting up in video, even photography, that you have to have some big ass, high dollar camera to get the job done. That is about as far off as you can get from true. It is what is between your ears that count, not the gear. Slow and easy like I have said, with any gear you can afford. There is no such thing as a bad camera, even Smartphones in this day and age. When I was young, yeah you had to have a high end camera, especially for video, but the playing field is level now no matter the budget.

That is a very valuable statement to read for younger people. It is too late as you near old age, but yeah living in hate is a Really bad way to go through your life. You end up 50 at 30. You have killed yourself more than your enemy. Relax and smell the roses is a very good way to proceed. Time goes by scary fast, especially when you do realize your last drivers license photo makes you a candidate for a horror movie role.

I think they take care of themselves nutritionally and exercise wise and I’m guessing the numerous patents he has on casino gaming machines help to fund a more relaxed approach to the daily grind, which is a big help. Also, and perhaps most importantly, he doesn’t seem to be a bitter, selfish and hateful gobshite , as that really does age people very quickly. As my latest driving license picture testifies.

I like him and his channel. I think what I really like about him is that he's a pragmatist who understands the end-to-end process and that the camera is not the limiting factor. If he was a little more up-front I think his message of "this camera is good enough" would turn into "this camera is not the limiting factor in your results - your lack of skill is" but of course he's too nice to say such a thing 🙂 The thinking is good, just because I don't agree with his conclusions doesn't mean I don't agree with his thinking - it's far more sound than the un-spoken thinking behind most other channels in the space!

Here's a chunk from a lengthy blog post by Kirk Tuck. If you don't follow him, he's a long-time photographer who does some video and this post is photo-focused: https://visualsciencelab.blogspot.com/2022/05/the-real-reason-to-use-one-camera-over.html

I have a 50Wh and a 99Wh. Both under 500g in weight. All still to test in anger. I'll put it all in the review.

I've been making some creative videos for the synth music I compose, mostly recording them with the Sony ZV-1 and Sony RX100 VII at the moment. I've been trying out recording high frame rate 1000 fps on those cameras - it looks awful but it's a nice feature to have! Here's a video I recorded entirely at 1000 fps on the ZV-1 (40x slo mo), since it looked so bad I added a VHS filter on Davinci Resolve to fully embrace the retro style.

I mentioned in the other thread that I might download the v2.0 internal RAW firmware update for the Z9 even though I don't own the camera yet in case RED sued them....... RED have today filed a lawsuit against Nikon for patent infringement. https://www.docketalarm.com/cases/California_Central_District_Court/8--22-cv-01048/Red.com_LLC_v._Nikon_Corporation_et_al/1/ I'm guessing we are all Larry David hearing of this in no way entirely predictable turn of events 🙂 Z9 firmware update here if you want to get there before the lawyers. https://downloadcenter.nikonimglib.com/en/download/fw/444.html

Our friend @Alpicat has posted his spiffy 8bit lowres material from a 1000fps super slo mo parade. Just, it was posted in the footage section. For ever hidden not to be seen nor heard. But I love the colours, vibe, music and approach. So I am the gallerist of the minute and pull this gem infront of us, the image lovin, nerdy admirerers of some 8bit goodness. Just like @kye he shows us there is more than just 10bit overkill to please the eye. Here is Alpicats original post: " 1000fps with the Sony ZV-1 and RX100 VII I've been making some creative videos for the synth music I compose, mostly recording them with the Sony ZV-1 and Sony RX100 VII at the moment. I've been trying out recording high frame rate 1000 fps on those cameras - it looks awful but it's a nice feature to have! Here's a video I recorded entirely at 1000 fps on the ZV-1 (40x slo mo), since it looked so bad I added a VHS filter on Davinci Resolve to fully embrace the retro style. "

Hello all. In the appraisal of small mirrorless cameras, here’s a music video I shot, DP’d, edited, graded for Dit h artist Charlotte Wessels, ex-singer of Delain. Shot in SLOG3 and a bit of 2. Lenses used were Tamron 17-28, Tamron 28-75, Sony 24-105mm, Lensbaby Sol45, 7artisans 35mm and ProMist 1/4. Most of the video was lit with an Aputure 600d through 8x8 white diffusion and bounce / reflectors. Fire scenes lit by fire light only and a 2x2 silver bounce. Stick around for the credits. 😊

I've actually won something from him, so I don't think they are fake. That is though why I was really bummed out when I found out about the other stuff. I've seen first hand the damage people selling fake cures can cause, and when I saw that and the lengths he went to create a fake image of himself it soured me.

Here he claims he can cure autism and multiple sclerosis. This video is utterly insane. And the third part, just to include it all.

Like I said, I appreciate his camera channel, but he's deep into the pseudo nutrition/health grift. He has no medical background at all and thus shouldn't be giving out medical advice, like how to cure diseases ranging from Erectile dysfunction to brain cancer. If you want to encourage a healthier lifestyle or diet, fine, but his stuff goes well beyond that. It's very hard to find much background information on the guy, as he has invested a lot of money into SEO by having seemingly endless websites for himself. Anything critical of him is buried deep in search results. In addition to articles that criticize his stuff, there are also accounts of him hiring stand-ins to appear while he films material for his promotional videos. It's a bit disingenuous to be promoting yourself as this healer and motivational speaker while using staged footage of you giving speeches to paid stand-ins. The description for this video has a lot more information, too. A lot of the more ridiculous stuff that used to get made fun of on Reddit, or were completely obliterated by science blogs, have been deleted. Example: https://scienceblogs.com/insolence/2015/05/21/i-thought-id-seen-it-all-epigenetic-birth-control

I totally agree. I'm travelling between continents at the moment and don't have access to a calibrated screen but on my phone it looks great. The reds thing is interesting. I don't mind a certain amount of oversaturation of reds (you get this with classic Canon and also with Noritsu film scans) as it contributes a lot to vivacious skintones, which we also see here. But if it were me grading this I would have tried to pull the suit back a little bit using masks. It's interesting to see forest scenes here. I often think Panasonic fails spectacularly with the greens and greys of woodland scenes, making everything look quite drab both in stills and video. It's not as pronounced in this vid but I still see a hint of it, I think. Overall a great video from a visual standpoint and miles away from the usual dross that gets posted using the standard profiles or VLog + Pana lut. It would be interesting to know which lut they used as a starting point for the grade.

Haha, you guys have a way of putting things. 🙂 Being a millionaire in California is a pretty lush way to enjoy the pleasures of life. But we can do pretty well too if not getting to crazy and grim about those darn specs all the time.:) I mean, Don, as you say, any camera these days can produce some nice images. "It´s what´s between your ears that counts" great saying by Don van Patten. @webrunner5 Now, these special effects videos really make me want to try some kewl stuff out. Lovely!

In color mode "OFF" you should get an identical result with BRAW as CDNG, that's what I'm getting. For example, decode the DNG to P3 D60 Linear and transform to BMD Wide Gamut Gen 4/5 - BMD Wide Gamut Film Gen 5 then do a BMD Film GEN 5 to video LUT. Then Decode the same scene shot in BRAW to GEN 5, Blackmagic Design, Blackmagic Design Video and they should match. ISO values should match in the metadata and both won't be editable in the RAW tab.

The VHS filter is a nice touch @Alpicat! Fellow musician here, I also use the JD-990 with the vintage synth expansion. Thanks @PannySVHS for shining a bit of light on this!

Some splendid colour. They went a bit overboard with grading, especially the red cloth of the suit is oversaturated as oversaturated can be and some bluish tint is showing the joy of grading a bit too much. But as a visual sketch and indication of what the GH6 is capable of, this is really something. I cannot comment on the voice over style as I am not a fan of it. But a lot of talent and visual taste in this piece and great showcase of what to expect from this powerhouse of a camera. I hope Panasonic gets the streaking sorted out and follows up on Prores for all filming modes this SUMMER, please! Anyway, one of the best showcases of any prosumer camera and its image quality I have seen.

Even a GX85 in 4K is almost overkill. Almost..:) We shall not forget that film was shot with film. A used G9 can be had for 600 to 800 USD and would be all the digital filmcamera one would need, with the free of charge 10bit update you can film in HLG and 150mbit 10bit 4K plus 100mbit pixelperfect HD up to 10bit 60p. If content is the attracter of millions of viewers then all kinds and brands of smartphones are already the cams of choice in this world. Cinematic image does not matter in the realm of quick and clever skits and visual sketches and ideas, even less when it comes to the modelling and body optimization videos.

I made the S1R my 'FP-L'. Bigger and heavier sure, but; better handling, IBIS, 4k 50/60p (albeit 8 bit), tilt screen, mechanical shutter so banding isn't ever even a consideration. But I do love the idea of an FP...just for my needs, it's neither FP or FP-L much as I wish it. Please please please Panny, if you do bring out a next gen S line, also add a rangefinderesque body into the line up. A rangefinderesque version of the S1R/S1H = phwoar in my book 😀 Or Sigma please please please make a next gen FP and address at least some of the main concerns. I think the e:shutter only can be got around by more processing power a la Z9, the handling can be by aftermarket stuff so not a 'real' issue, but the tilt screen would make an enormous difference (I know there's an aftermarket jobbie, but honestly, could you be arsed/risk it?) and for me, 4k 50p is my go to. Fingers crossed for something from someone, some time in the future...

RAW files from the Fp-L that I've seen look very good, you can dig about 6 stops into the shadows and it still maintains loads of nice colour information. This is the basis of a really cinematic image. Not just high dynamic range but high dynamic range without killing colour and skin tones. *Cough cough* Sony Also with the crop modes Sigma seems to have implemented full pixel readout from about 7K down! I wouldn't mind trying 1.3x crop to see what that looks like in RAW rather than the pixel binned FF.

TicoRAW is the basis of N-RAW. So we are talking very similar compression ratios to RED, up to 16:1 Could it be possible they will keep N-RAW but just switch off the compression? https://www.eoshd.com/raw-video/what-are-the-details-of-nikons-new-cinema-8k-4k-raw-codec-on-the-z9/ By the way the early Z9 bodies with 2.0 firmware have the potential to go to sky high prices so if you want one and find one in stock don't hesitate! I already can't find one for less than £6700 on eBay.

I'm willing to take that challenge. Arri... hand me over an Alexa 35.

Being pedantic but, as the thread relates to the FP-L rather than the FP that he’s referring to, then, unlike the original, it actually does have phase detect AF. Amongst the hand wringing about L mount cameras only having contrast based AF, the FP-L having phase detect AF flies under most people’s radar. It might be shit of course but still it does have it 😀

The OG mini and Amira both do Cfast. But yeah the LF you are right.

As a GH5 user, I find the whole crop thing to be a highly bizarre topic that makes basically zero sense. When I hear everyone being all apologist about it, I just think you all have Stockholm Syndrome. When I look at my 17.5mm lens, I know it has a 35mm FF FOV. It has that FOV in 24p, 60p, 120p, in 4K, in 1080p, in 5K, in 3.3k, on Wednesday AND Fridays, when the Moon is in Aquarius and Pisces, and with absolutely no reliance on who has the majority of government in the lower chamber of whatever-the-f*ck-country I'm in. The GH5 does have crop modes though - they're FEATURES, not obstacles in a minefield that is different on every camera. The S35 and S16 crops are actually extremely useful on a mirrorless camera because of the lens choices that they open up. S16 especially as there are so few cameras that effectively do it. The GH5, which seems to be copping some heat here, does S16 in native 4K. I agree that it might not have a great feel, but it also doesn't get emotional and irrational and create random issues that will ruin your shoot 🙂 If you insist! You said it first, but I did the math and thought of it before I read your comment 🙂 I wouldn't believe anyone until you see a time-lapse shot of the camera in a temperature-controlled cabinet with a thermometer and a clock, where they keep replacing the battery and memory card until it overheats or they get bored. It's not that I don't think Canon can make a camera that manages heat, it's that we've seen we can't trust them not to lie to us about it.

As @Django said - you can't get colour like this without knowing how to properly expose and how to do at least basic colour work. These people are probably using a strong look LUT (it has that feel), but the saving grace for you is that they don't seem to really be that good at colour matching, so that seems to skew it in the direction of their look being more towards the LUT and less away from it being manually done in Resolve. A skilled colourist would probably be able to replicate this look in a few minutes by doing it manually. C-Log3 on your R6 is definitely the way to go, especially because you already have it and it's essentially free. When you're starting out in Resolve I suggest the following node tree to get you going: Node one: use this for manual adjustments to the clip like White Balance / exposure / contrast Node two: use an OFX plugin (which comes with Resolve) called Colour Space Transform (CST) and set it to Input of Canon C-Log 3 / Canon colour and output of Cineon gamma and rec709 colour Node three: use the one of the LUTs in the Film Emulation folder that come with Resolve - these all have different looks but you'll probably find one that you like enough to get you started (there are some Fuji film stock emulations in there you might like) Apply that node tree to every clip and then on each clip you need to adjust the first node so that each shot looks good. This process is called "grading under the LUT" and it's common to do things this way (pros do it this way) and unless you are manually exposing and lighting each shot (which you're not) then you'll need to adjust each shot separately to match. On that first node I'd suggest starting out with by adjusting the Contrast / Pivot / Offset / Temp / Tint / Saturation controls. These work as a set and should give you most of the control that you're looking for without being too complicated. The combination of the above technique (only using the controls I've mentioned) and your R6 in C-Log-3 is capable of creating world-class images, but will be limited to how well you are shooting the material. If you're not getting good results from that, work on your shooting (proper exposure and WB) and work on your technique. The internet is full of people selling you things, so they push the agenda that getting good results is complicated so that you'll buy the results from them instead of learning to do it yourself. This is BS. Getting good results is about mastering the fundamentals. Remember that 10,000 hour rule? Practice makes better.... Good luck.

It's the N-RAW.

You can still operate a camera without autofocus. You can't operate a Canon camera if it's overheating. They aren't remotely similar. No one has had the camera long enough to do any real stress tests, re: overheating. Dan Watson said it's about 50 minutes. Virtually every other video has said the same, outside of Gordon Laing who did a test indoors under controlled conditions. Even Canon said it will last about an hour in 4K fine mode. 🤷‍♂️

He says a lot of stuff that I disagree with, his entire health/motivational speaker stuff screams grifter to me, and his backstory feels a bit suspect, but I generally enjoy his camera channel. Some of that stuff is genuinely ingenious.

Wow. I honestly do not know what to say. In 20 minutes, I feel like my life has changed but I have no idea how, why, or in what way. I am confused, inspired and depressed. Thanks Marcus!

@Andrew Reid that's convenient. Those smaller V Mounts aren't too bulky. How much of a charge can you get off a 99?

I think these are overpriced and under spec'd for video, the crops in 4k 50p are indeed lame in 2022, the Fuji XT3 has been out many years and offers more. I am being asked for 4k 50p footage a lot these days so that it can be used as slow mo if needs be. These cameras are no good for this. Also a bit disappointing there are no reasonably fast crop lenses to go with the cameras or for the C70. Hopefully soon For wildlife photography though am sure the R7 will be a big seller

I reckon this will be priced a fair amount higher than the Mini LF if it's the full version of this camera (i.e. it replaces the Alexa SXT, not just the Mini) and there demand will outstrip supply by quite a lot. Arri can only build so many cameras plus there's the chip shortage to contend with still. Rental companies will be looking to replace their fleets of Minis (and SXTs) and they have deeper pockets than your typical owner operator, so I'm guessing the strategy would be to price-out most of this market to manage the demand somewhat. As usual, it'll probably be hard to even rent one when they come out as they'll all go to high end features/tv/commercials. At least the LUT salesmen have a new colour science to try and match the Pocket 4K to! Boomtime for the LUTboys.

Perhaps I should rephrase. I think there's a true, scientific definition of DR and then there's the marketing definition of DR. The latter has always been squishy for most manufacturers with some taking more liberty than others. My understanding is that ARRI is much more conservative and "real" with their marketing definition of DR. I believe they claim the original Alexa sensor as 15 stops. So, if they say this new sensor has 17 stops I take them at their word that it is two stops better.

I think I found your answer. go to 8:00.

I'm probably the last person who should contribute to this conversation. The last time I bought a new camera was over 5 years ago and the camera was released 5 years before that. With that said, I think the GH6 is the best camera on the market right now. Internal 5.7K ProRes with IBIS, 4 channels of audio, etc... I mean it's $2200! For internal ProRes and an image that comes damn close to the Red Komodo. I wish Panasonic could extend that ProRes license to one of their cheaper m4/3 cameras... maybe a 2K ProRes camera at half the price... that would be a genius move. And with that said, I do prefer full frame. I like using vintage lenses and not have to do math every time I decide what lens to use... especially since you need a speedbooster to get the most from the lens. And with that said... I'm cheap and I know what I need. I have a camera that works perfectly fine. I don't need 6K. I doubt anyone in the prosumer market does. So I'd wait for a big sale or to see when they release their ProRes FW. But man... the GH6 is a pretty special camera. Sure you can get a P4K for $1299, but you're adding a lot of money to make it workable and it's a huge beast of an ugly camera.

Unfortunately without knowing all the color transforms occurring, you can't monitor the image and get the same result in FCPX. The underlying raw image is always linear with no gamma adjustment. It's just that the Ninja V by default applies a baseline adjustment, then you are applying PQ on top, then in FCPX it allows you to select a new way to display it. With a managed color pipeline, you do not have to do any adjustments at all. It looks the same on the monitoring device as it does when you initially import it into the editing software. Maybe try the internal false color and see if you can get that working, then go back to the Ninja knowing what your baseline is. Also try disabling PQ. Just cut out all the variables first. With ProRes Raw on a Sony camera, this all works very predictably and easily.

again: The R7's cropped 4K/60 applies a 1.81x crop on top of the sensor's existing 1.6x crop, relative to full-frame. This will be useful for achieving a zoomed-in look but means you're using just 1/4 of the camera's sensor, so there'll be a significant noise cost in all but the best light.