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getting things right in camera is one of those things im not sure how to interpret. Ive posted this still before on here, to put it in context, it was shot around blue hour, but it wasnt quite as blue as it was here. I maxed out the white balance, to get it this blue. is that getting it right in camera or am i being a hack?

The issue at hand is "getting things right in camera". Should I expose for the highlights, the shadows, or for the skintones? The answer depends on what "getting things right" actually means. The only "correct" way to use a camera is to understand the objectives of the project first, then use the camera to "get things right" in that context. Here's a recent interview with ARRI, taken in their technical testing facility in Canada. The place is literally a location for testing equipment. How do ARRI think about the tech? "It starts with the story".

GF3, no way I will be buying that thing:) But you made it shine. @kye Got my LX15 with me for Christmas. It gives the GX85 a good run for the money. The LX15 has been doing great things for me, way above its weightclass. But in two situations it was not performing to my new high expectations which had been awakened by it. Still trying to find out about the parameters which made it perform less stellar on these occasions.

I wouldnt highten one skill on the expense of another. I wouldn´t label a certain skill set as nostalgic just because off the point in time it was working wonders. But then you know about your art and skills of DJing and can put it into context, which both I am unable to. Getting things right in camera is not about story but about the ooc image.

Today we had an early xmas lunch (to avoid the conflicting invitations on the 25th) and I shot it with the GX85 and 12-35mm F2.8. Shooting was really fast and not under ideal conditions (massive window which is often backlighting people) but it did a great job. Here are a few random stills, SOOC - zero editing. Standard colour profile, with -5 Contrast / Sharpening / NR and 0 Saturation. People often lower saturation in-camera but I push my grades to have lots of saturation so I prefer to have the camera do the 8-bit conversion and compression on stronger saturated colours so that I'm not boosting up a weak colour signal in-post. When I grade it I'll be softening it up, fine-tuning the colours and adding some colour grading secret-sauce but for a someone shooting a family gathering with an 8-bit camera while also being part of the festivities, the images really speak for themselves.

I think the idea of nailing it in-camera is in and of itself not that big of a deal nowadays - if you have a basic color workflow and most importantly, know how to really nail the story you're trying to tell. That statement isn't meant to dismiss the importance of nailing it in-camera - but to say that imo nailing it in-camera has always been less about hitting a fixed target dead on - and more about a ballpark. And that ballpark is so much easier to hit thanks to the aggregated knowledge base of spaces like this, and of course YouTube. To the point where asking someone with experience for assistance is usually not as prudent as simply typing the question in YouTube's search engine! But that ball park around the target of perfection is also much wider than ever before, thanks to the corrective tools we now have within Resolve, Premiere Pro, Finalcut, etc. Not to mention basic in-the -field tools like a color chart and/or Sekonic C-700 or C-800. I was a deejay for most of my life, and I still pride myself on knowing the basic theories of bar-counting and melody-matching and taking the time to know the unique bar construction of every single song I was gna play, so that when I hit the party and got on the 1200s, my 'in-camera' settings were pretty good. But then Serato came along with other recent mind-blowing advances - and now in 2023, a deejay simply does not need to have/understand those 'in-camera' settings. Is it something deejays like myself lament? 100%!!! But the REAL deejays of those past generations also understand that the actual mission, first and foremost, was always: to tell a great story. So while there are deejays I know and admire, who still love to do 'all-vinyl' parties as a way to exercise/show-off the skills they HAD TO developed in the past, as a means to the ends of telling great stories, again, the REAL ones within that cohort also understand they are doing those parties for the sake of nostalgia, which is also very important and life affirming. All that to say, hopefully when we are in passionate pursuit of getting it right in-camera (as I am myself, to a degree) we aren't losing sight of the more important plot of getting the story right in our minds - which is a whole other skill that still demands that we strive to master it at the highest of levels.

Bit depth and dynamic range are different. Apparently n-log can only hold 13 stops. But tbf not many cameras are exceeding that anyway.

Whats the point of wider profile when read out is still done at 12bit?

Hopefully it will get all the features, and none of the resolution 🙂 The Z7 III meanwhile, I cannot see how they will make that fit under Z8 without crippling it, and how they can make it fit above Z6 III without crippling the Z6 III so that there's a gap for the Z7 to fit in between that and Z8! So Z8 might yet turn out to have upper hand on both. Let's see how hard they swing the cripple hammer

G9ii to get external RAW in future firmware update...