webrunner5

The color transformation tool is just super dope in it. You don't need LUTs anymore with it. Do that function, Node, last not first.

Once you get spoiled with 12bit Raw files there is no going back LOL. 😬 Once you get the hang of editing them it is pretty easy to do, especially in Studio Resolve.

I agree I don't see Vimeo lasting much longer. When you are always worried about them deleting a video or more who wants to live with that over your head all the time. Sure the quality is better if you even have a video left to view!

I may be wrong and not sure how the math works but DR depends on what the bit rate is like 10bit, 12, bit 14bit, 16bit on and on. I think an Arri is up at 16bit, 14bit at the least. So unless they come up with some way to get more bit rate on the processor it isn't going to happen. It has something to do with siginal strength and the bigger the senor more strength.

You guys are starting to scare me. 😬 This can only end badly for society. 😶

I found this interesting on the Blackmagic Forum. "Re: 13 Stops of DR on an BMPCC? More like 10. Mon Jan 27, 2014 11:06 pm Matt Choules wrote: Tom wrote:Pocket camera is lossless compressed Raw - so when unpacked it is uncompressed Raw. Whereas the Red cameras compressed Lossy. So there is a difference. What's considered visually lossless is a compression ratio of 3:1 or less. The Blackmagic Pocket Cinema Camera is visually lossless, the Red Epic can also be visually lossless if you set the compression ratio low enough. Neither of them are uncompressed. Technically what you get from both Red and BMD is decompressed RAW. The only camera I know of that is truly uncompressed is the ikonoskop a-cam dii. That camera took data straight off the AD converter and wrote it to the hard drive. Anyway, I digress. Sorry, but you are incorrect. The red uses lossy compression, which reduces the data by cleverly disgarding data. The pocket cam uses lossless compression, where the raw and uncompressed data is all stored in a more efficient way which is later on, bit for bit uncompressed to be exactly identical to uncompressed data. The bmcc on the other hand is uncompressed also. Neither bmd cam disgards the data, it is all retained. The red cams do disgard the data permanantly. How well the red compression works can alter its dynamic range." The poster at the top admits a few replies down he was wrong. The guy at the bottom is right.

Maybe it is the Quad Theory where it really is half that much????

Yeah but I think that was his point, they are just now great, why not 9 ,10 years ago. A little bitty company like BM seems odd. Panny Has Always been Videocentric. Why not push harder earlier. The GH5 was mostly 8bit stuff, now the GH6 is mostly 10bit.

Same here Andrew, they deleted 20 or so of my videos on the site so I bailed quick...

WoW is all I can say. I guess I will take back my original criticisms since I have seen more evidence. Well done.

I would just buy one of the small, hang on the front, square ND filter kits, better imagine quality than the normal round ones you rotate. But here is a link to some 10 stop ones. https://www.bing.com/images/search?q=10+Stop+ND+Filter&mmreqh=j0CfJ0Fwp83qpW81Hgxz6IAPfyzeqWC9OW%2bKcHvJyW4%3d&form=INLIRS

Glenn you could be right about the DR being the same because they were claiming 13 stops even before Raw was even available. Look what I found, I Never knew this, might explain why the battery goes so fast. "An Update on Power Consumption; by John Brawley The morning after this review first appeared, I received an email from John Brawley, an Australian based cinematographer and some-time camera beta tester for Black Magic. He pointed out that the camera uses a Peltier cooler, the type used in Astrophotography cameras, and this is why battery life is short and the camera feels so warm. This is not something that I knew, or have seen mentioned anywhere else. John’s comments are reproduced below, with permission. “The sensor is actively cooled. Like with some supercharged processors in computers, it uses a Peltier effect or thermoelectric cooling system to maintain consistent sensor temperature. This is really important in maintaining and minimising fixed pattern noise (noise in the blacks) as well as dead pixels showing up and also to prevent what you would have experienced on dSLRs…overheating of the sensor causing the camera to have to stop to cool down. The thing with thermoelectric cooling is that it uses power to cool. The more it needs to cool, the more power it will suck. So on a hot day when the camera is struggling to dissipate heat through the chasis it will use more power to maintain the sensor temperature. This is also the case with the larger BMCC, and why some users experience the chassis getting quite warm to touch. It’s also why you see such wildly differing reports of battery duration. It just depends on how hot the camera is. So if you’ve had the camera on for a while then it’s warm. Once it’s warm, it uses more power to stay cool. The advantages of thermoelectric cooling is absolutely consistent sensor performance and no requirement for a cooling fan. The downside is that is sucks a lot of power and it’s variable. The only other cinema camera to do this cooling approach is the 60K Arri Alexa. 😉 “ John Brawley, Cinematographer" From this article. A totally legit site, https://luminous-landscape.com/black-magic-pocket-camera/

Well Glenn that 13 stops was only in CinemaDNG so that was a pretty big help, but yeah, we have not made too much of a gain over all those years it seems. Not too sure what ProRes was stops wise. Probably around 11?? But yeah Canon DSLRs were about 7 or 8 at the time. The early Blackmagic stuff really lived up to its name. Magic no doubt. I just love my OG BMPCC.

Well you sort of implied that if you didn't buy a GH6 you don't need ProRes. Some people Have to use it like it or not. And I think this GH6 is going to make a GH5 pretty obsolete in a damn short time. I Never liked mine but this new one seems damn tempting. They seem to have fixed everything I hated in the GH5. Poor AF never really bothered me. If you are making a living doing video AF is about the bottom of the pile. Sure it would be nice but maybes are pretty weak way to make a living.

Well as someone that has worked for around 63 years in my lifetime back in the day of the many different jobs I have worked at very few people other than a few at the top knew much about anything. And since the majority didn't know much, it was planned that way, how many at the top knew much either lol. So things now are lot different, you have the opportunity to basically learn anything. So is that a blessing or a curse? I think it is more of a curse. Now everyone doubts everything and everyone, and most still don't know shit lol.

Yeah but all Blackmagic cameras use ProRes, CinemaDNG, and later ones Braw. You have a OG BMPCC you are using ProRes or Raw.

But I will add with the advent of Run N Gun, or in layman's terms just walking around for a long time filming changing NDs would look pretty goofy compared to changing aperture. Using variable NDs sort of only works when you are setting up a shot and then you stop to set up another when conditions change. It looks pretty lame to see a filter wheel turning during a shot! 😬 I still usually shoot in very short bursts then relocate. Lots of editing that way lol.

In the daytime, outdoors you really don't need to change ND settings very often unless you are in a forest coming to the beach! And with high end Cine cameras and ENG cameras you have had to Always fuss with NDs. They are the best thing that ever happened. You Have to have them to maintain a constant shutter speed, ergo shutter angle. Changing aperture all over the place is not very desirable in video.

Yeah ENG lens servos are pretty unbelievable to use and you can set the speed to slow or fast on them so the harder you push the faster they go and vice versa. Super smooth operation once you get used to using them. I usually used a 12x or 15x, but we had up to 20x ones for the sports guys. I meant to say Power IOS lenses versus the older Mega IOS lenses. I used the later 14-140mm Power IOS and the 12-60mm Power IOS on my GH5. You could try and shake the camera and it would still seem to be locked on the subject, it was just amazing how well they worked together, and the GH6 is supposed to be even better!

I will be the first to admit that it does seem to be just about everything other than really reliable AF everything a person really needs. With all the super-fast cheaper lenses out now even the DOF low light thing is off the table. I still wish they would set in stone what and when the firmware updates are coming. They did a good job on it no doubt, but I think they had to do it to be honest. If you can't shoot decent video with this camera you need to give it up.

I was always amazed that Blackmagic was able to make money on their early cameras having to pay Apple for ProRes and Adobe for CinemaDNG. Now That is a Codec I Really like.

You did great considering how many cups of Coffee you drank! Thanks for the work you put in.

Something I forgot to add was the latest Power Zoom lenses are just killer on OIS with the GH5 and I am sure for the GH6. You really don't even need a Monopod to get great stuff, it works that good handheld. It is the best on the market. Scary steady.

Well they have to be pretty fast for better low light and DOF, and pretty wide to be of much use on a M4/3. Some people like Primes, some Zooms. Doesn't sound like you might need pure Cine lenses so that may eliminate one category. It pretty much always breaks down to the more expensive the lens the better the output. But if you are a first time M4/3 user not sure I would go for the best. I like the ones that have the Manual Focus clutch in them as the GH line is not the best at AF.