Andrew Reid

Maybe you just haven't used the A7R III. BT2020 is an option alongside Rec.709 in the Hybrid Log Gamma picture profile, 8bit.

It's true the video quality on this thing is laughable and yet they are marketing it towards the YouTube crowd. Reminds me of the episode of the IT crowd where Jen was tricked into showing the internet-in-a-box to shareholders... But because they were fucking clueless too, they lapped it up!

Canon tends to jump last. Now that Fuji, Panasonic, Sony and even to some extent Olympus have high-end 4K hybrid mirrorless cameras, I wonder if Canon will give us one as well. Or should I say... who cares?

Since we first had S-LOG and advanced Cine picture profiles from Sony there has been a restriction that they can't be enabled in Silent Mode, which uses an electronic shutter. This got me thinking - the A9 makes a big deal about it's electronic shutter - and low and behold has no picture profiles. Do you think Sony left them out as they conflict with the electronic shutter somehow - maybe they were afraid sports photographers would be confused about why their max FPS just dropped from 20fps to 5fps, because they had PP1 selected. I think that's it. Of course, this is a stupid decision by Sony. First basic solution I just plucked out of my ass...make the damn profiles work with an electronic shutter! How hard can it be! Second basic answer... make the picture profiles work only when video mode is selected on the mode dial. Avoids confusion. Third point is this - how can Sony have the BEST full frame 4K picture, even more detailed than the A6500 on their FLAGSHIP and MOST EXPENSIVE camera and NOT put S-LOG or Hybrid LOG Gamma on it?! The A7R III and D850 full frame 4K both fall short of the resolution and almost zero-moire achieved by the A9. So they have the most capable full frame mirrorless camera on the market for shooting 4K... with the least number of picture profile options. Well done Sony! Thing is getting down to £3k used now, so actually cheaper than the A7R III with all the same nice things, but better 4K, bigger buffer, extra dial, faster continuous shooting, better electronic shutter and yet... no S-LOG!

https://www.eoshd.com/2018/02/fuji-x-h1-cinema-4k-200mbit-hybrid-camera-ibis-rival-gh5/ A Fuji "A6500" basically, but in a bigger body. However it does have Fuji's colour science and ergonomics. And the A6500 was already pretty cool. Then there are the lenses - they're better as well. I think it's not to be sniffed at... But it falls short of the GH5 and GH5S in terms of overall feature-set and codec. Should have had 10bit.

It grows on you, that's for sure Just wish they would have kept SOME things familiar for existing FCP and Premiere users. It cost them a lot of customers!

So when saving a preset, "Maintain Timing" does the trick. A fast fade-in-out, at each end of a clip no matter the length of it. Preset is working well. Now, I would not have known how to do this if it wasn't for Ctrl-V on a clip. Why isn't there an option which is clearly visible? Along the same lines, can I open a larger view of the keyframe animation editor elsewhere in the workspace - or can it only be viewed on the timeline? When the timeline is zoomed out, it's too small to place keyframes accurately, timings wise. Another question for you! When the In and Out points are set to a particular section of the whole timeline, and I just want to render out that section as a H.264 or ProRes Master File and not the whole timeline, why does the export (Share) function still insist on exporting the whole timeline?

Look how many words we are writing about a simple fade in/out to black. Apple fucked up. Should be routine, simple, a matter of 2 seconds looking at the UI and 2 seconds applying one. ridiculous! Thanks Jim What I did was exactly that, then Save Effects Preset to create an effect called Fade-in-out Now I can drag that instantly to whatever clip on the timeline needs it, without having to do the cmd-shift-v to paste attributes. It scales the fade keyframes to the length of the clip... But not sure if this slows down the fade on a longer clip or not. Need to test.

So is doing opacity keyframes the only way to do a fade from black and fade out to black, without resorting to the crappy way they implemented cross fade? Or can I create the opacity keyframes once, save them as a preset and drag and drop my fade-in/fade-out to any clip in future? You know, that would be kinda a lot easier than having to do the keyframes every time. And I need the fade-in/out speed to be identical at both ends of the clip, with a black screen either side of 1-2 seconds. This is basic stuff and FCPX isn't making it easier! Some of my other concerns beginning to fade now though as I get used to the shortcut keys.

Doesn't having a magnetic timeline knock your audio out of sync constantly? Say you have a separate WAV file of a band in a recording studio and 4 different takes, spread across multiple clips. Just adding a fade in and fade to black (Fade to colour transition) wants to trim the size of a clip, which is nuts. So you add that fade and suddenly your clip is a different duration and out of sync, and the ripple effect moves all the other clips in front of it out of sync with the WAV and your carefully positioned edit.

First basic question... CMD-T for transition... Then this appears. How do I avoid having to ripple trim the clip just to have a fade in and out to black? Clearly I cannot use transition like in Premiere. So where is the fade-in / fade-out tool and what's the short-cut? Next basic thing... How do I copy and paste clip attributes from one clip to other clips on the timeline? So I have the LUT setup, bunch of effects and I want to apply these to all the clips on the timeline... HOW!? I don't agree FCPX is intuitive, by the way. The definition of intuition is not having to take 4 months to learn a weirdly designed workflow... This basic shit should be OBVIOUS! UPDATE: PASTE ATTRIBUTES is in the Edit menu and has a shortcut. It's just that it's absent from the Right click menu on the selected timeline clip... Again this is what I mean by making things more obvious. Why have regularly used stuff absent from there?!

Looks like I have a lot of learning to do then! I just wish they'd make it more intuitive for Premiere users. They would gain a lot of lost customers back in an instant.

Elon Musk should have sent his car to orbit the sun instead... drive through cinema with 10k lumens.

Yes. Yes it is. Running new 10.4 They added LUT support... wow only took 5 years! First thing I tried to do was arrange the workspace... nope, can't move jack shit around. Just toggle on/off panels and resize panels. No, scratch that - first thing I tried to do was a drag and drop of selected media from Finder to the media panel in FCPX. Won't work. Have to go through the shitty import panel! Next... Tried to make a favourites bin of regularly used effects and basic transitions. LUT, colour correct, etc. all in one place, always present on screen ready to be clicked on. Nope. Too hard for Apple's programmers?! There are still too many tacky presets and effects to wade through to find the basics. An overwhelming number of iMovie style transitions and gimmick effects. Why are these in a pro editor that costs £300? Finally, at this point was tearing my hair out... So I tried something REALLY SIMPLE. Fade in and out of a clip. Ah but no... Even this simple endeavour landed me on my arse. Perhaps I just don't know how to do it right, but the intuitive way is this... Drag transition onto start of clip, and one onto the end of the clip. It would only do the end. Oh, ok. No fade in for me then! Then, it brought up a complaining OK/cancel box about not enough source material to apply a cross fade... Whatever. Clicked ok, and it seemed to shift timing of the clip! WTF! But I had my fade-in and out! Want to hear something really funny? I then dragged the clip to somewhere else on the timeline to check the positioning tool and it dragged the clip there and forgot to bring the fade-in/out with it... WHY WOULD YOU WANT A FADE IN AND OUT TRANSITION WITH NO CLIP!? Piece. Of. ShIIIIIIIIIIIIIIIT. But yeah... LUTs. Performance wise it is good though... I'll give it that.

EM5II was lovely quality esp. with the power grip, superb build quality for the price. I think an E-M5 III, with a few newer features than E-M1 II would be a HUGE success.

I've moved out of Berlin now, back to the UK. Will take it on a trip to Barcelona soon!

So back on topic The false colour moire is there in the A7R III shot (top) but not with the D850 (bottom frame) D850 Flat profile =/= Hybrid LOG Gamma Certainly their most capable 4K camera yet. Better than D5.

I use an Epson TW7300 for my faux K cinema projector It has been faultless... amazing image quality... way better than the much respected Sony VPL-HW65ES which I tested alongside it. The 4K upscaling really does work well at the viewing distances necessary for such a large projection on a wall. Eyeball the screen and you can see it isn't real 4K but only a severely unbalanced drug user would do that during Blade Runner. PS... 10,000 lumen?! What are you on?!

Also there is the Fuji X-A5 with phase-detect AF and 4K with the film simulation profiles http://www.fujifilm.com/products/digital_cameras/x/fujifilm_x_a5/ £500 in the uk The Olympus looks better handling though, especially with IBIS (although only 3 axis?)

Panasonic make Silkypix. I think they discontinued it?

This would make sense in some ways - Canon now have column A/D on the 1D X Mark II (and maybe others, not sure) It doesn't make sense in other ways... "PDAF" is not the same as Dual Pixel AF which splits the pixel in half. Sony's "PDAF" replaces the entire pixel with a standard phase detect pixel (focus pixels). Also, Sony had phase-detect pixels on their sensors before the A6300. A7R II for instance, 2 years beforehand.

I completely agree! Nikon should have hired the entire Samsung camera team and gone to work. Samsung tech, Nikon design input, optics, marketing and brand name appeal = sure fire hit, especially if they did both an APS-C model and full frame like Sony do. Magic Lantern say they were in contact with Samsung just before NX1 was cancelled. Never known such a push into enthusiasts hearts by a big company. Usually they are more interested in selling toasters and microwaves by the millions. Nikon are way too dependant on Sony for sensors IMHO... One change of mind at a Sony management meeting and bang, there goes your sensor supply. Even though there would obviously be contracts, I doubt they are all that far reaching long-term contracts. Here is my ideal spec of a Nikon mirrorless camera for 2018: Full frame, 24MP (6000 x 4000), with clean ISO 12,800 6K video in both H.264 and H.265 format, with further option for ALL-I and paid upgrade to ProRes 422 LT Nikon flat profile IBIS At least 240fps in 2.5K... 4K 120p would be nice too Huge battery in the main body grip, without need to extend size of camera with vertical grip. Make literally the entire grip a battery (like Hasselblad). NX1 inspired ergonomics and control layout Nikon colour science but updated for Rec2020 and HDR standards - wider colour gammut Dual Pixel AF with robust tracking - even with EF mount adapter No F-mount nonsense - do a shallow flange like E-mount for adaptability Wide range of fast primes and official adapter for F mount Nikon logo, understated pro design... but not retro hipster bullshit Df style plastic affair! NX1 or Leica SL style please! I believe this is what we have to look forward to in near future... just don't know who from... Now do it for $2.5k instead of $3.5k and you have yourself instant market share.

The NX1 is so responsive out on a shoot. Never had a snappier camera. The S zooms were state of the art. There is OIS + hardware accelerated warp stabilisation in-camera for handheld shots that are more locked down that 5 axis IBIS. You can even walk with it. When I hark back to my trip in Lisbon with it, got nothing but fond memories! The colour! The easy laidback operation! The insane resolution! Monitoring off an AMOLED right there in the street! Feels like a luxury living room not a shoot! It's super light and the pancake 30mm F2 is a bundle of fun. Loved Ed's new york films shot on the NX1 as well. When it came to some of the drawbacks, many of them turned out to be software related. For example the dynamic range was fixed by remapping to 16-235. Then the firmware update allowed you to do this in-camera and even raise the master pedestal black levels. The blue-sky banding was related to certain transcoding methods for H.265. Again much better now. And you can now edit it natively quite comfortably on a modest spec of machine! The hack then came out on top of the firmware updates... and although the high bitrates in 4K don't make a huge difference, the very fact it happened at all was a miracle and no camera aside from the GH2/4/5 had a larger gang of hardcore enthusiasts around it, with hacking projects, dedicated sites and forums springing up all over. Some aspects of the build quality is as good as the Leica SL, particularly the top panel LCD with sexy orange backlight and the seal on that, the finish around parts of the body is absolutely a class act. It was way ahead of the time... way over people's heads... at a time when the NX range was lower-end heavy and too exposed to the market shift. Timing was just all wrong. The timing for an NX2 now however is just right. Although having said that the US stock market did just crash and there is a run on Bitcoin

They wouldn't do it for large volume sales. They would do it for larger Galaxy S9 sales. Marketing it as Exynos / 4K 120fps Headlines all over the web... Then customer knows Exynos for the powerful chip it is, and associates the S9 camera with market leading camera specs.

Yes absolutely agree @kisaha Not even Sony could make all those components in-house... the OLED, Exynos, RAM and other custom semi-conductors.