Leaderboard

@MrSMW BTW, in case you haven't seen a runway show's photographers pit, here is a pretty good picture of one. Words can't really describe it until you have experienced it. Every sq inch counts and I'm already on everyone's bad list when I show up with both a video camera, video tripod, and a photography camera with a Canon EF 70-200 on it. So yes, for video, the tilt/flip screen is essential for me.

Finally... a 360 setup with enough bitrate!!

Nice shots but..... Title of video : I Got Arrested in Rome - What Every EU Drone Pilot Needs to Know before flying 1st line of description : I Want to tell you my story on how I got almost arrested in Rome twice even with a drone permit. Join us next week for my video "I Got Arrested in Madrid" where I detail precisely how I absolutely, positively didn't get arrested in Madrid either. The stupid thing about the shamelessly clickbait title is that it is actually an informative video that didn't require it.

Emanual you should have bought this rig instead of that Insta360 ONE RS 1. What a cheap skate.

I'd imagine it's slightly worse considering the the sensor is likely older and definitely smaller but is still crippled with the same codec and bitrate. Each time they upgrade I've seen comparisons (not with this model yet though) that compares the new and previous ones, and they're always a little bit better but ultimately still disappointing. Lok Cheung normally does a comparison and seems to own all the models in the range, but he hasn't released a review on this model yet, which is unfortunate.

Yeah, I cannot recommend WanderingDP enough. Ironically, I think that this is probably what a camera YT channel should be, the problem is that everyone else is so pathetic in comparison that we see the majority and just think it's normal. The Meet The Gaffer is great too: https://www.youtube.com/c/LukeSeerveld/videos Personally I find these tutorials have limited use as I don't shoot controlled situations and don't use lighting (available lighting only for me) but the WanderingDP channel talks enough about composition that it's worth learning so that when I'm shooting I can know what to aim for and if the opportunity arises I can use some of those principles. Perhaps the biggest lesson here is that pros know so much more than "YouTube - only creators" that they're mostly not worth your time to watch.

An absolutely KILLER source of info on this is the YT channel WanderingDP: https://www.youtube.com/c/wanderingdp/videos His whole channel is full of video after video where he breaks down commercials (and the odd music video) talking about the composition, lighting, and using the space. He is a working pro and is breaking down the work of some of the biggest names in the business (who often do commercials for cash between big features but are uncredited as they don't want to be associated with "lowly" advertising work). I suggest binge-watching his channel. He's got this thing called "The framework" which is his set of rules for getting great images. I'm not sure if it's written down anywhere, but over watching a number of these videos it's a pretty repeatable pattern that involves many things already mentioned in this thread: get lots of space between the subject and background light all your practicals (making sure they are high CRI - take bulbs with you or portable LED lights you can put inside a lighting fixture) shoot into the corner of the room for leading lines Rembrandt lighting Haze Use natural lighting with sheers Augment natural light from outside with motivated spotlights etc He also talks a lot about how to work efficiently, for example how to light an entire room so that you have a range of compositions that all require zero or only minor lighting tweaks (first principle is to light for the wide, then you can tweak as you shoot tighter - if you go the other way you'll always be zooming out and seeing your lighting come into frame). Once you've watched enough of his videos you'll be able to see the steps and follow them really easily. Of course, there's more to being a great DP than this, but watch a few dozen of his videos over a week or two and you'll leapfrog over the vast majority of the DPs around who haven't studied this stuff. Plus he's quite funny and very easy to watch.

I am surprised you don't like tilt/flip screens, because they are so flimsy? I wasn't a fan either, especially for photography until I got the R5. I got in a few situations with my 5DIV where it was difficult to see the screen. When shooting real estate the camera needs to be placed in some really tight spaces sometimes and for those times I had to compromise the composition at times because I had no way to see the screen. I have also had to do very low product shots in the past and a flip screen would have been nice vs laying on the ground. I do agree, the tilt flip seems very flimsy when it is out and turned, but I shot for yrs with the GH5 and S5 and got used to it. The R5 will be my first workhorse photography body with a tilt/flip screen, so far it has not bothered me. Now for video I feel the tilt flip screen is essential. I shoot a lot of runway shows and the photographers pit is very crowded, so I'm usually inches away from my video camera while it is free running while I also shoot photos, in those cases I flip the screen to the side and can check the camera and stop and start recording without moving. There is no room for an external monitor because it would block someone's view. I don't think many vendors are going to meet your tilt only screen requirements. But I do think the R7 could meet the rest of them. Also, there's a rumor that an R7C could be released next year, personally I think the R7 as it is now is already good enough for the type of hybrid work that I do as long as it is paired with the C70. I would be surprised though if you switch systems anytime soon, you have a pretty substantial Panasonic investment right now even the lenses if I recall correctly. For me switching back was easy because I kept all of my EF glass, but if I had lenses for any other mount I probably would have stuck with that system. Even for me now, I'm playing the EF adapter and speedbooster game, native RF glass would be just as expensive as switching systems.

I think it does take years to get truly proficient at getting in and out of difficult situations and learning the drone's obstacle avoidance limitations such as power lines, what to do with signal loss, setting the proper RTH altitude. etc. But these days drones practically fly themselves. I've been flying them since the days when you had to build your own FPV system, and you had to strap a GoPro to the bottom and press record before it ever left the ground. You also had to fully control the landing and there was no obstacle avoidance. These days they practically fly themselves, the newest drones literally won't even let you land on your own and force automated landing for the last few feet of descent (landing is where a lot of drone pilots were losing control), and the cameras are incredible (4K/6K/8K, 20MP, Micro Four Thirds, Quad Bayer, etc). I think with the modern drones anyone can get good footage and learn to fly one; it is the fine nuances that come over time (night flying, handling strong winds, handling signal loss, landing in tight spots, etc.). But anyone could enjoy one in a wide open park, or field. IMO the patchwork of laws and regulations is far worse than flying the drone itself.

Plus, it takes years to get great at using them. And it helps if you are 20 years old doing it also.

I have been flying commercially since 2014, here in the USA the countrywide laws are pretty reasonable, the drone has to be registered, below 55lbs, and if you are flying commercially you need to be Part 107 licensed. Also, the maximum altitude is 400' AGL unless you are within 400' of a structure taller than 400' at which point you can fly up to 400' above the highest point of the structure. There are some other restrictions such as flying over nonparticipants, restricted airspace, obtaining LAANC approval, etc. but much more reasonable IMO than many other countries I have seen. I have way more problems with the arbitrary local ordinances. Local governments make it very difficult to fly in parks, from city streets, etc. by restricting the ability of drones to take off or land on "their" property. Local governments cannot control the airways (this is the domain of the federal government which is regulated by the FAA), so instead they prevent you from taking off or landing. A fun loophole that doesn't work very often but is sometimes possible is when there is something you want to film but it is a restricted area but within flying distance from a non-restricted area. I once wanted to film a historic lighthouse on government property that banned drones so I simply crossed the street to a private parking lot and took off and landed in full view of the government employees and there was nothing they could do about it. Now if the drone had crashed or ran out of battery and landed on their side of the street I would have been in trouble. Recently the FAA even relaxed a lot of the night flying restrictions and so now I am able to fly commercially at night as well. What I don't understand is the people who blatantly flaunt the laws then post videos on YT showing every detail of how they are breaking the law, right down to distance, altitude, GPS location, etc. This guy is without a doubt the biggest shining example of such stupidity. He got the largest fine to date which was $185,000USD for over 123 drone law infractions AFTER the FAA sent him multiple warnings and even sent him to a class about drone safety. And this guy is just the tip of the iceburg, there are countless "range test" videos on YT where people show every detail as their drone flies over people, near buildings, way beyond VLOS, etc. I don't think there is a single person who owns a drone who hasn't broken one of the rules at some point but posting full details and video of it borders on lunacy in my book. As far as interesting stories, I used to shoot a lot of real estate photos and videos and I had a few situations where angry homeowners would approach me or threaten to call the cops because the drone was "hovering" over their property. I would tell them to go ahead feel free to call anyone they wanted because I am commercially licensed, insured, have the proper air clearance, and have no interest whatsoever in any property except the one that is about to be for sale. That approach has always diffused the situation (so far) and I even gave a few of them my business card and told them to call me when they need to sell their property. I was also filming an event once and had the local police come running over to me to tell me to bring my drone down immediately because I was flying directly over the concert attendees and way too close to people. I calmly opened my drone case and showed them that my drone wasn't even in the air and showed them my flight path which was to simply hover over the water and parking lot nowhere near people; they let me keep flying my drone. Another fun time was when I was filming a car race event at night and someone else was flying a drone there as well. My drone has the ability to turn off all of the lights which I did before taking off. The other drone pilot had a DJI drone which does not have this ability and his drone was hovering right over the cars and people with lights flashing all over the place. I hear the announcer state over the loudspeaker that whoever was flying the drone needs to land immediately and come see him. So he landed and got kicked out of the event while no one knew mine was silently hovering 100' higher up but was impossible to see at night. I have drone stories for days, but those are two of the most memorable for me.

It's a 10% crop on the Sony, big deal. Ok the Nikon is a 1.5 crop. Also no big deal, nobody buys a Nikon anyways. Heck of a lot better than a 1.8, 1.7 crop on a Canon all the time.

Great shots he managed to get, but yeah - there's no way I'd even try. With all the regulations being different across different countries, with almost everything cool (or just everything) off-limits to fly near, and the... let's say... "unpredictability" that members of law enforcement sometimes exhibit in various countries, I wouldn't even bother buying one.

Interesting comment on the video. I share these feelings.

The best bang for the buck to me are one of these birds. : ) From same pilot: Rome on Mavic 3 & Istanbul on Mini 3 Pro. - EAG

Well I have used 2 Panasonic FZ1000 bridge cameras in a live setting. You desperately need a cage and hdmi clamp, but the image is good compared to cameras in this price range. Featureset is identical to a Panasonic g7, so you still get zebras, cinelike d, peaking, etc. Plus you get that flexible camcorder-level zoom, but with a bigger sensor than $600 camcorders. And if the subject is far away from a wall and you are zoomed in substantially, you do get shallow DOF. Clean HDMI output, 4k 24, 30, or 1080 60. You just can’t simultaneously record internally.

Tony Northrup said that he got 47 minutes before overheating indoors with air conditioning on fine mode. We'll see what others get. That's probably enough for a lot of folks, but not for me.

Yes. Study how photons do their thing. Even look at renaissance art. Seeing light, which you're starting to do, is the only way to get a handle on it. I just hired a shooter to do a gig and talked to him about everything required on the shoot, including turning off the practical lights and utilizing natural light entering through the windows and controlling the subject's location to maximize the look to his advantage. In one ear and out the other. He left the florescents on. Footage looks like shit. Actually, keeping light "small" is important to me. I like filming and lighting with maximum dimness, or at least having the light go through room in an interesting way. I also like taking the camera sensor and lens f-stops to the edge of their capabilities so the room can be darker. All this allows for more interesting light falloff and controls the ambient if you're running anfd gunning.

Yes, I imagine the 5 in 1 will have that role for me. Gonna serve so many use cases.

I miss camcorders so much, it's just hard not having a bigger sensor. It's also hard to justify dropping $4k or more to get one of the better ones given how much they decrease in value. At least with mirror less cameras your lenses retain the bulk of their value even though the bodies don't.

Absolutely, colourists often talk about colouring scenes differently to match the emotional tone of the scene. Increasingly colourists and post-production in general is getting brought in earlier in the process to advise and help craft the final look, so they may have some small input into lens choices from that perspective, although it's relatively easy to bump the WB or contrast levels for a scene in post.

It is basically just metadata except for when it switches from base ISO of 100 to 3200. There is also a difference in DR between different ISOs because some of them are clipping the highlights at the same value even as they raise middle grey. I also noticed there seems to be some good subtle in-camera work taming the noise floor with, for example, ISO 800 vs if you shot ISO 100 and boosted by +3 stops. From my tests with DNG, it's clear to see the advantage of ISO 3200 over ISO 800 when it comes to an improved noise floor, at the expense of about 2/3 stop less highlights. I would need to double check the behavior with the Ninja V though. It is nowhere near as dramatic as the higher base ISO in something like a Sony a7sIII/FX3/FX6 though. Here's an example using 12-bit DNG. On the left is shadow detail at ISO 3200 and on the right is ISO 800, both exposed for middle grey -2 stops (to protect more highlights) with the Sigma kit lens which is very contrasty. I'm pushing the exposure up in the extreme so you can see how the ISO 3200 is holding the color in the shadows, not clipping at black and also not contaminating with green. What interests me about 3200 besides shooting in under lit scenes, is using it with wide contrast scenes if I underexpose it by 1-2 stops. So I can take advantage of the better noise floor while protecting highlights. Otherwise 800 (base ISO 100) is a good choice. It's about setting a usable key/fill ratio. In an uncontrolled setup where you're not lighting from scratch it would be about ideally adding enough fill to keep shadows from being at zero and enough diffusion to tame extremely harsh bright light. I don't see why that would be the case.

4x4 floppies and 6x6/8x8 solids are useful for negative fill. Anything dark you can put up--a duvetyne, black visqueen, black rip stop nylon, etc--will help block the light bouncing off those bright walls and restore contrast to the setup.

Sounds like you need to use cutters in the smaller/reflective rooms, so as to avoid the bounce.

Compared to X-T4 although it is certainly the better camera, it's also much more expensive. When it comes out, inevitably in short stock at £2500 or so in the UK, you will be able to pick up a mint X-T4 on eBay for about £1000. Main differences are 4K/120p (cropped), anamorphic modes and the ProRes. For me ProRes LT should be in there as it stands up really well. ProRes 422 and HQ have enormous file sizes so are less practical. LT is just as fluid to edit and grade. If I want 700Mbit/s file sizes I'd probably just shoot BRAW instead. On the other hand, if main selling point is the 4k/120p and one has £2500 to spend then for not a huge amount more you could get a full frame 4K/120 camera or even an EPIC-X (5K 120fps). If you need an anamorphic mode, 4K/120p (given the 4K/120p is similar crop on both) and ProRes all in same camera then GH6 is cheaper at £1999 and has the lovely HDR sensor readout too. The 6K open gate and anamorphic mode is probably what I am interested in most, really glad Fuji put that in. But iffy AF, sticky IBIS and still no real progress with things that matter (exposure, NDs, larger screens) mean there are compelling alternatives. OM-1 I am really impressed with. The image is SUPERB. The IBIS is really natural. AF is Sony/Canon level bullet proof. It is currently one of the best all-round shooting experiences for the money!

My review is up at Petapixel for those interested. Been using the camera for the past month and a half and I love it. Video quality is really very good. Amazing color. https://petapixel.com/2022/03/29/om-digital-om-1-review-the-best-micro-four-thirds-camera-ever-made/

I'm not too sure why. There are people in the FB groups steadily saying they got their GH6 and posting initial impressions and questions. Maybe because the GH6 isn't a "killer" camera people will gradually upgrade to it over time instead of everyone all at once.