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Currently waiting for a gig to start tonight with my Pocket. Fashionably early though ! Nice to have a stabilised anamorphic camera that raises absolutely zero eyebrows from security staff either on the way in or when you are using it.

Another thing with YouTube, if your source material is 25 or 50 fps, is that only 720p and higher playback resolutions support those frame rates, so to get a source-matching playback fps you have to upload at a minimum of 720p (but I'd suggest 1080p like Kye has). For PAL DV, I normally use FFmpeg to de-interlace (using 'estdif'), upscale, sharpen and encode to H264 1080p 50fps files before I edit it. Because (by today's standards) DV tends to be horribly noisy, you need to use a decent bitrate to keep the H264 1080p quality decent - otherwise the noise creates too many compression artefacts.

There has just been leaked the upcoming release schedule for their slate of movies: I've heard that von Neumann will be 7hrs long.

Bitrate is 100mbps fixed which is near as dammit the upper limit of the variable bitrate that my iPhone 12 uses (a typical comparator for what people would use a Pocket for) and I don't find it lacking for the purpose. More important for me is that the Osmo Pockets have Cinelike D which is a good compromise and very easy to grade. I had to do a little project at the weekend using the LX10/15 (with my Cinelike D hack activated) and the Pocket and they matched easily both in terms of colour and acceptably enough in image quality. On the Pocket 2, it is derived from a 4.6K sensor which is giving about 1.2x lossless zoom when shooting in 4K and roughly 2x and 1.6x in 1080p and 2.7K respectively. In the edit, I punched in to around 2x on a 4K file from my weekend project and was comfortable with the result so I wouldn't be bothered going up to say 1.5x as a safety and then adding the rest in the edit. A big advantage of the Pocket is adding the control stick which will give you full pan/tilt/zoom controls right from the handle. That usability trumps a small loss of image quality for the purposes I use it for. The 24mm in that spec is coming from it being a drone camera though. The actual lens on a Pocket 2 is 20mm f1.8. On of the beauties of this camera though are the magnetic clip on wide angle adapters (which gives you 15mm) and of course the anamorphic versions too. As well as also simultaneously being able to us magnetic ND filters too. If DJI do bring a new version 3 out with an optical zoom and/or with 10 bit capture then that would be great but I have to say that even as it stands now the Pocket 2 is a very compelling camera for travel and, for me, it is a vastly superior proposition to my iPhone for that role. Its not only because of the creative possibilities it has with having an integrated gimbal so you are not only stabilised but can do tracking etc or the anamorphic and NDs or the ability to have real hardware controls with the control stick. Its that you can take it out of your pocket, hold the power button on and be ready to shoot 2 seconds later rather than titting about unlocking the phone, opening an app and making sure you are in the correct mode. Another bonus is that if do have a need for remote shooting or self shooting with tracking then you can operate it from your phone which you can't do with your phone as you are already using it to film with 😉

Thanks all, rendering at 1080p has pretty much solved the problem, even the colour issue (though could still be tweaked).

The main quality issue will be that you're uploading SD files, which YT thinks should be delivered at an ultra-low bitrate. I suggest exporting at 1080p, with a healthy bitrate. The traditional wisdom is to upload at 50+Mbps, but as your content is SD, a lower bitrate would probably be visually similar. In terms of the colour space, it's a little trickier, and the TLDR is to try and export using Rec709-A if that's available to you, otherwise you could try Rec709 and the different gammas (e.g. Rec709/Gamma2.4 or Rec709/Gamma2.2 etc). Unfortunately, it is very common for platforms to either not properly support colour management or have bugs. I suggest a bit of googling to get specific instructions on FCPX and YT, there should be some good advice out there.

Definitely render it out to 1080p. It will get a significant bit rate boost.

“Today we lost our jobs for you” https://www.eoshd.com/news/film-support-crews-hit-out-at-sag-strike/ The strike is only ok for those who can afford it!

Interesting.. I thought this was a good explainer: TLDR; Nolan only mixes for the best theatres, and doesn't care about shittier ones. I guess that arrogance has run its course, since you saw it on IMAX and still couldn't hear it!

Far be it from me to encourage you to have more immediate gear angst but Megadap have just released the v3 Pro version of their E to Z adapter which promises even better compatibility with the Tamron lenses and improvements in AF generally, plus the ability to update its firmware directly from the camera. So even if they don't immediately produce the 20-40mm f2.8 you could pick up an E mount version and attach the Megadap to it in the meantime to go with the native Z mount 35-150. Opens up the a lot of other lens possibilities too from the E mount world, particularly the Sigma contemporary range. My experience of the Megadap on @Andrew Reid's Z9 was that it was already near native performance so any advance on that will make it well worth checking out. https://megadap.net/product/megadap-sony-e-to-nikon-z-autofocus-adapter-etz21pro/

I never thought about it that way but I think you're right...... Sony delivers enormously expensive firmware updates, they just come with a free camera!

At least… I think they should have either launched the GH6 sooner than they did, or waited even longer and gave it PDAF. For me, it was a moment like when Fuji released the XH1 only to pop out the XT3 6 months later. GH6 and S5ii… I know we can’t always have everything we want, when we want it and the GH6 ticks a lot of boxes for many but the lack of phase and the need to shoot what is it, 2000 iso to get the most DR requiring a lot of ND? I went off it at that point and tried an OM-1 which I loved…except not so much video. M4/3 died for me then. Not because there is anything inherently wrong with it, just that APSC and FF offers me more of what I personally want. I would like to see the format developed and who knows. I never say never, just what works.

Only union productions are affected, everyone else can continue working.

The wait for the GH6 was years. I suspect any GH7 might not be perhaps as long but I wouldn’t imagine anything sooner than 2025? Just speculating…

Aren't most SAG-AFTRA members making less than $50,000 a year? I think the anger should be directed at the studios, not the folks that are acting in solidarity with the writers. As Michael said, it's the unfortunate side effect of being a freelancer. It sucks, but none of this would be happening if the studios weren't so greedy.

I'm sorry for the small (wo)man getting crushed by this, but when you are working on a freelance basis, that's part of the deal and a foreseeable risk. You are essentially an entrepreneur with the risks that comes with it. If you find you can't strike and have effectively no leverage on your employer, you know that you are in a vulnerable position. I'm not saying I'm fine with companies exploiting people by "outsourcing" all work from contracted employees to freelancers but it is a trend that is happening over the years and it is up to governments to re-balance the risk and reward between employers and employees through legislations. Because if we leave free market forces reign supreme, we either end up with an industry that is exploiting people, or an industry that can't get the people it needs because everyone becomes aware of it's practices and decides to pursuit their ambitions elsewhere, where less risk is involved. Sometimes something of a crisis is needed to make people aware and improve things.

Yeah I had the same concern watching YT reviews before I bought an R7, I think it's mainly the users though, not the camera. I have both the R7 and the Lumix S1 plus som GH5s. Definitely a bit lower DR on the Canon compared to the S1, but not a big deal overall. Watching where you put your exposure and doing a good rolloff curve in post is much more important than actual numbers in my opinion when it comes to DR though. Seems pretty close to the GH5s IMO

I watched Oppenheimer yesterday and I wish I went to Barbie. Half joking of course but the movie is very long and hard to follow at times. It looks and sounds great, as expected but it could've benefited from tighter editing.

I don't think so. It was hard to follow because there were a lot of characters, and it was cutting between different timelines, which made it hard to follow. I was expecting a different movie.