Shirozina

The Mavic is a recreational UAV with a smartphone camera attached to it - why are people expecting it to deliver flawless footage in a commercial situation? 90% of cameras that people discuss at length on these forums are the same in that they can deliver nice enough looking footage in the right situation but they are not capable of being relied upon in a paid production. Some perspective is needed I think.........

7506's are not mixing headphones - I was only recommending them for their better bass response compared to cheap studio monitors and subwoofers. For mixing or monitoring the last thing you want is 'beautiful sounding' - leave that to the world of 'hi-fi'.

Neither would I

i think the OP just wanted to improve his Mavic footage - not get a job shooting pro video work......

The Phantom 4 pro is still a 'drone and action cam' so don't pin your hopes on it delivering 'serious results' ( whatever they are......)

After some research and testing..........; 1, The bit-rate for 4k/UHD is 60mbps vs 45mbps for 2.7k i.e you get 2x as much bit-rate per pixel which should reduce artefacts and give more latitude in grading and once in a 1080p timeline the difference in resolution between 4k and 2.7k is virtually invisible. 2, D-Log doesn't look as flat and muddy as when I first tried it so maybe it's changed in the latest firmware and (unlike other Cameras LOG settings) you can still adjust contrast and saturation so it should be possible to get a good setting using D-LOG and higher contrast and saturation (more testing needed) 3, If you push the highlights past the zebras clipping point there is still headroom in the actual file so you can pull them back down with your grading tool of choice and not get any harsh clipping. This means you can be a lot more generous with exposure during capture and consequently avoid the nasty artefacts in the shadows. 4, Neat video seems to solve the flickering shadows. These 4 things combined could significantly improve the quality of the footage......

Also if you need to 'mix' bass frequencies you may be better off using a good pair of headphones as these will have a more accurate base response than a cheap subwoofer setup in an untreated room. By 'good' I don't mean mega expansive either - Sony DMR 7506 or equivalents are 'industry standard' for monitoring recordings and should be part of anyone's sound production kit.You will still be better off mixing the mid an upper frequencies with monitors as they will give a better stereo presentation but bass is not very directional so use headphones.

https://www.attackmagazine.com/reviews/the-best/ten-best-nearfield-studio-monitors/2/ Also worth getting a good USB audio interface rather than running them direct from your computer. I've got the Presonus E5's and they are very clear and uncoloured.

What's your budget?

The bitrate is far too low to support a log profile unless you want some major banding issues in the skies. Even with D-cinelike banding can show if you try to correct contrast and exposure errors in post.

You need to see the original files and not some downsized and compressed to mush Vimeo/Youtube. Just try some different settings and see what you yourself like.

The DJI ones are optically very good as they have a good anti reflection coating and don't interfere with the gumball operation BUT they are fiddly to fit and very easy to break while doing so and for sunny conditions you ideally need a 32x as a minimum and they only go up to 16x. I'll report back on the PGYTECH once they arrive.

I use D-Cinelike +1,0,0 and the Go 4 app. I also use DJI ND 16 filter but have ordered a PGYTECH set to get an ND32. Also important to slow down the gimbal speed and yaw speeds to get smooth footage. I think it's an incredible bit of kit for a price / size / ease of use perspective.

I've not seen 'aliasing' but there are plenty of artefacts from the compression. I keep contrast and saturation at 0 as the bitrate is too low to pull back contrast in the NLE without introducing banding in skies. I also add a bit of softening and if you shoot at max res and output at 1080p it looks OK. I'm very happy with the quality considering it's such a tiny camera.

What are your settings?

The whole idea of this profile is to not shoot in S- LOG 2 so you can use the footage with no or minimal grading. It also gets around the problem of banding and macro blocking artefacts that come when you reverse the LOG curve in post / grading as the huge compression applied to the internal codec throws away so much of the tonal info it can't be properly reconstructed later.

Upgrade to a newer Mac if you need FCP or build a PC around the new AMD Ryzen CPU if you want to use Premier Pro or Resolve - check this thread out

The image quality doesn't even come close. GH5 with the promised 10bit 4.2.2 300mbs firmware update - maybe?

So what is the longest single take with the 5D3 in 4k - does it just keep going until the CF card is full?

Just like laptop CPU's the GPU's run a lot slower than their desktop counterparts due to heat issues but generally these gaming laptops do look like they offer certain advantages over normal 'business' laptops. I have to ask why anyone would want to do any serious editing with a laptop in the first pace even if it's performance is boosted with a good GPU. I use a laptop for rough edits, reviewing footage, transferring camera files to HD's while on location etc but for any serious editing or grading I'd wait until I got back to the studio and had a desktop PC and multi screen setup.

Stabiliser yes but not noise reduction

Glad I kept mine in the end. Not seen any banding in blue skies since I switched to EOS Standard. Used to shooting non - log now and accepting that the shadows always look crushed in the viewfinder but lift up if needed very well in grading.

I have 14 studio and it certainly is an upgrade and resolve has been my main editing and grading tool for a while now but I wouldn't want to be without Adobe Creative suite at all. Premier has a clunky layout and certainly needs a revamp but it's integration with Adobe Audition and After Effects means it's got advantages over resolve even with the Fairlight panel. As far as I can see the Fairlight panel at present is just a mixing desk (which is not bad in itself) but it's not yet an audio processing tool like Audition anymore than the FX library in Resolve is any serious challenge to aftereffects if you want to do serious FX and compositing work. No doubt in teh future you will have to purchase extra Audio Plugins for Fairlight to get a complete set of audio processing tools? Any serious filmmaker should have a range of tools at their disposal and I don't see Premier vs Resolve as an either or choice - you need both!

I'd buy it if......... 1, RGB scopes / histogram 2, Push button AWB 3, Video record from the main shutter button 4, 10 bit 4.2.2 codec with sensible bitrate (may not be possible with current SDXC cards) First 3 could be simple firmware updates on the existing A7R/S2 Don't need 6k ( yet), don't care about stills capability - have A7r2 for that, don't care about battery capacity - have 12 Batteries and don't want it to get any bigger.