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I doubt any of the videos on that channel are real. Most probably the same camera in every comparison and every single video, if the shots haven't been nicked from elsewhere. It's a clickbait account, similar to quite a few others with similar names and the same modus operandi. If you do a search for any new camera and sort by upload date you'll see a ton of this bullshit masquerading as genuine comparisons.

That's another one of those endless fake comparison videos clogging up YT.

Different strokes for different folks.

My point was that all the paper specs don't mean anything if the drone won't take off every time you need it to. I live in an area surrounded by airports, and I had nothing but problems flying DJI drones due to geofencing. So for me today, the best drone on the market for what I need is the Autel EVO II 6K. Sure on paper the latest DJI drones have better camera specs, but I am shooting commercial drone jobs nearly daily with the EVO II so it is the best drone to me. When it comes to drones and cameras in general, it is the whole ecosystem that makes one platform a better fit for your work flow vs another; paper specs are only a small part of it. Pretty much any modern drone or camera is overkill for most people, its the rest of the story that makes a difference.

It's true Don, unfortunately, it is... : ) These YT butchers earn money in this way :- (

https://community.acescentral.com/t/luts-that-emulate-the-aces-workflow/1334 These were conveniently made available to download, so you would select the V-log LUT. They offer both full (data) range and legal (video) range versions depending on your device. I have a feeling the Ninja V is legal range, so if you use a full range LUT it will look too crunchy and contrasty. There are "normal" contrast versions which is the default look, which is what I would use if wanting to match the default image when importing into an ACES project in Resolve. There is also a more low contrast version, but I would ignore that since to me, the aim it to get a matching image to Resolve. You could also throw this LUT on PRR footage transformed to V-log in FCPX and although it would not be a true ACES project, you could see if the footage matches on the Ninja and on your Mac. Also, you have the option of trying the legal vs extended versions of the LUT in case there's a mismatch in how FCPX and the Ninja work. What I mean is, I don't know if internally FCPX works "full" range or "legal" range, or if there's the option to change that like there is on a per-clip basis in Resolve. It might actually be worth just exporting your timeline to Resolve to grade there 😉

The objective to make clicks.... and it does it works well....even here 😊

Tasty cinema, so to say in a leisure manner. Beautiful cinema to say in a more fitting way. @Emanuel It looks like Luk has taken his old school Dslr showpiece shorts off of youtubs. They were fun and engaging pieces, a great motivation to grab a cam and create. Pretty cool, his giveaways. I also remember his Gh5 moody short, which has a stunning anamorphic parallax shot in it. Anyway, just wanted to share his offering above and write about my little personal experience and feelings regarding his older channel.

Since I am not used to glorify anything I find online other than feel it as an extension of the outside world and to each its own -- glorious footage at big screen as for instance... Drones, cars, cameras, gadgets can all be stuff of same kind, as tools. Not the goal by itself. Worshipping is invariably a poor deal. Internet personalities included, whatever they offer, at least to my book. I much prefer to have in my mind the example of a former film school teacher of mine. His name is Paulo Rocha. But, in order to check the way out how vehicles are lensed and filmed by him in the end of Verdes Anos released six decades ago as a finest expressionism sample, you have anything other than as trying any other different excerpt. In this case, car headlights are replaced by windows or street building windows for our eyes in the scene, that is, not just ' fancy-good-looking-pixels ' with senseless meaning usually seen online whoever the shooter is -- because for reaching that and a better look on the right one I mention here, very likely only going after the next chance when and where the movie will be screened again, i.e. what I'd dare to call here, and everywhere else, as true cinema instead:

So true, I have added many details and focused on subtle nuances when shooting and editing and none of them were visible on a cell phone nor could you really communicate the original intent within the few seconds you could keep people's attention span so why bother. That's why I am perfectly fine with my middle of the road Canon 24-105mm and EF mount lenses.....I am shooting for my clients, not for myself and if the final product is good enough for them then it is good enough for me. When I am shooting a creative passion project for myself that's when I tend to try to refine the details.

The nice thing about RED is that tint and WB can be adjusted in post if you shoot RAW. I feel the Komodo is really close but I guess not quite the same. I'd be down to share some of the files if you are interested. Surprisingly it's not that uncommon to find an Alexa with a Pocket camera as the B cam. Not on super high end productions but on mid tier stuff. I am trying to see what matches best as a "cheaper" B cam. I was pretty happy with the Sigma FP but I need to post a comparison to see what others think as my eye isn't the best for color subtlety.

Picture of my motorhome taken with my Nokia 808

Thanks for the clip, by way of comparison I rendered it within a basic color managed setup. In this case I decided to ingest the PRR file in Play Pro to V-log/Vgamut based on the included metadata tags. This is assuming that maybe the Ninja V image is just V-log (unconfirmed), so that would create monitoring consistency with the Ninja V. Since I took this into an ACES-managed imaging pipeline, it would not have really mattered if I exported as Alexa LogC, since I would just use the appropriate input transform for the log/gamut encoding into the common ACES space. First I have the ACES default rendering for sRGB (good for web viewing). This is just a film print-like transform that is parametrically generated as opposed to being fixed like a LUT, so it's able to account for the output device. Basically, it's similar to an Arri to Rec709 LUT except it's adjustable on the fly for the output device. If the Ninja V is really showing a V-log image, then you could apply a "V-log to ACES to Rec709" LUT to get the same appearance while shooting. Next I pulled down the exposure by -2 stops so you can see how the output transform handles the rolloff when there are more distinct transitions visible. The underlying exposure transform is on the linear floating point file, and the final look is just a view transform: Now I disabled the output transform so you can see the linear file. This is probably the sort of thing people see in FCPX with no transform applied when they first import their PRR footage, with all the info clipped: This is the same image with -2 stops exposure change so you can see that the highlight detail is in fact there, but it was not in viewing range and with no rolloff to look the way we want:

Iso 2000 at f14 is equivalent to f3.5 at iso 500, Let´s even say the GH6 is to be rated on stop lower than indicated by factory, it would be F3.5 at Iso 250 with a shutterspeed set to 50. That sounds hard or not possible to believe in the land of sun @FoxAdriano. I would at that point like to shy away from discussing that kind of exposure, if you allow. If you use higher shutter speeds, then I will believe in physics again. 🙂

Bizarre world we live in. I imagine a near future where half of the content is just AI generated completely.

https://www.theverge.com/23160162/dji-mini-3-pro-drone-review-video

My wild guess is that a future firmware update will bring waveforms and anamorphic modes.

If it was in stock and if money was no object I guess the Z9 would be an almost perfect camera. But those are two big ifs, especially the second one 😆

Well, I am crushed, I have nothing to contribute. I guess I will go back to kicking my wife and beating the dog, Oh I have that backwards! Cya. 🥺

Maybe, but they could have done waveforms for the X-T3 or the X-T4, so I wouldn’t hold my breath.

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