Mark Romero 2

I gotta ask why you thought that was stupid???

I don't know about the aviation rules in Australia, but I wouldn't say don't use it around town. I know I could do that because I am often hired for jobs in San Francisco where, as you probably know, it is kind of a big town. Here in the US, I sometimes get alerts when flying close to a closed down private airport. I mean, there are those large shipping containers on the runway, and the DJI app still notes it as an airport. Ugghhh...

Congrats on being close to wrap!!! The stills look good.

We can help you better if you let us know WHAT you want to photograph and what you want to film. For example, if you will be shooting sports (both photos and video) you will probably want a camera with really good autofocus and a high fps. If you are shooting travel videos, then a video camera with a really wide dynamic range, good low light and more color depth, yet somewhat portable might be a good idea. If you are shooting documentaries, maybe a camera that would be a more streamlined "run and gun" camera might be be better. If you plan to shoot photos and videos of weddings, you might have a different need than other areas. Also, if you are going to shoot with two (or more) cameras at the same time, it might be best to get two of the same cameras so that it is easier to match the footage (make the colors look the same) from both cameras. It looks like in the past you MIGHT have owned a GH4 and / or a GX85, right? (I just looked at your content history and it looks like you brought up some topics related to those cameras). If so, do you have a collection of M43 lenses???

DJI software drives me crazy sometimes. There have been times where I check ahead of time to make sure that no Unlocking is needed in the location I am going to shoot. Then when I show up, the app is telling me I need to unlock that location. Of course, it is out in the boondocks and I don't have cell service, so I can't unlock the location by phone. Then when I get home I look again and confirm that NO UNLOCK is needed for that location. The other issues I have is where the "checkbox warnings" (I don't know what they are called, but they ask you to confirm that you are authorized to fly in that area and that you accept the responsibility to fly there), will pop up NUMEROUS times during the course of a flight. Literally, they will pop up 20 times during the course of one battery when i am flying in an area less than 100 meters square. Constantly having to consent to their requirements when trying to film drives me crazy.

Nice work.

Well, that is what I experience with my S1, so I assume that is normal behavior. But don't quote me on that.

Can you put a gopro on a separate gimbal and mount the whole thing on the car? I just don't understand how a camera mounted on the hood of a car won't be affected by vibration from the engine, and more importantly, by wind buffeting.

Thanks for the clarification. I guess I got confused because I was watching dpjourney (he seems to know what he is talking about) and he claimed that "RAW is RAW" but that wouldn't make sense then.

Thanks, that seems to make BRAW a whole lot less "universal" than it was made out to be. So for cameras that are capable of ProRes RAW, are they just outputting straight RAW then?

^^ EDIT to above post of mine: On the Black Magic page for BRAW, it says: " Part of the RAW processing is moved out of software and into the camera, where it can be accelerated. " Which I suspect means that despite it being "free" for other camera manufacturers to use, it's going to need special firmware in the camera to do that processing. I don't know if we are allowed to link out to Blackmagic or not so I would just suggest that people google BRAW for more info. As far as NON black magic cameras that support BRAW, apparently the EVA1 and the Canon C300 II support it, at least according to a press release I saw on diyphotography.

I am definitely NOT an engineer. But my understanding is that the camera's DON'T output a "flavor" of RAW. Meaning, that cameras just output RAW, and they don't output ProRes RAW nor BRAW. But then then begs the question: If they just output "generic" RAW, why can't BlackMagic capture that generic RAW and convert it to BRAW?

OK, stupid question, but here goes... Does it make sense to buy maybe not the BEST single mic and instead have a couple of mics that might be "lesser" mics but are better tuned to different types of voices??? Meaning, maybe one mic that is better for people with heavy sibilants, and another mic for people with really "boomy" voices but not much treble in their voice??? Or do you just get the best mic you can afford and try to fix it in post?

Thanks for the link to the ground control LUT. I like it. Not too contrasty and plenty of saturation in the greens. Looks like the tint is going from magenta toward greens (twilight normally has a lot of magenta in it... I do a lot of twilight photography and I am always having to reduce tint to around -10 to -20 in Lightroom when shooting RAW)

Thank you!!!

Thanks for the clarification. I never owned a GH5, only Sony, so I am not entirely clear what Variable Frame Rates (VFR) is exactly. Does that mean you could pick some random non-standard frame rate (like, 73fps, for example) instead of the "standard" frame rates like 24p / 30p / 50p / 60p / 120p??? lamenting Out Loud: I am still a bit confused by the Panasonic way of (what appears to be) having to pick your container (mp4, mov) or your codec (havc, hevc) prior to picking your frame rate, resolution, and bit depth. Kind of seems like they are putting the cart in front of the horse.

Good to know, thanks.

Great work!!! Thanks for posting. Did you have supplemental lighting for the interior??? Was the overhead lighting flourescent tubes??? If so, would expected it to be green. If anything, it kind of looks like slightly magenta (which happens with panasonic skin tones anyway, as far as I can tell).

Wait... do you mean that 1080p 60fps is bad in 10-bit h.264??? Is it conformed in camera??? I haven't yet shot in 1080p 60fps 10-bit on my S1 yet so I don't even know what to expect. (I usually shoot at 30fps and slow to 24fps on the timeline.)

Most people I have heard from on another forum that shall remain nameless suggest that AF for stills is excellent. I think the main problem is the AF in video, and in particular when shooting in VLOG. And then again, in particular, when shooting at 24 / 25 / 30 fps, less so at 50 / 60 fps. And backlit subjects in particular seem to throw a big wrench in to the works. I'm looking forward to the firmware update for the S1 to give it the AF features (and hopefully more) of the S5. Wondering out loud: The Panasonic DMW-XLR1 XLR adapter is intriguing, but I already have a Tascam DR-60D MK II that I bought for about $140 and I just don't expect the $400 Panasonic adapter to be significantly better. Plus I trip over cables a lot so I am not sure I want something in my hot shoe that I might drop kick out.

Thanks for the input. yeah, i shoot interiors and dealing with white balance is one of the major challenges. And the thought of dealing with h.265 is a bit daunting (although I would probably transcode first). Thanks again.

Is there really a big difference in "gradeability" between the 4:2:0 10-bit internal footage and the 4:2:2 10-bit external footage on an X-T3? Because I shoot primarily real estate and deal with mixed lighting (and can't set up lights), I often have to color correct a lot. Would shooting in 4:2:0 (which is the chroma level in 4K 60p internally) really hamper my ability to color correct (as opposed to 4:2:2)? Thanks in advance.

Hoping they bring internal 10-bit and would prefer to see BRAW over prores RAW, to be honest, as I don't use a Mac / Final Cut Pro. My panasonic S1 is a really nice video camera, but it is big and heavy and using it on a gimbal is kind of a pain. Also, you have to go external if you want 4K 60p in 10-bit :( There is MAYBE a chance that with a firmware update the S1 will have 4K 60p 10-bit internal, since the S5 has it. Panasonic lenses are expensive, especially if you are only a stills shooter, but the minimal focus breathing and the parfocal performance is really good. And being able to switch to linear focus and to adjust the amount of rotation necessary to change focus from MFD to infinity is GREAT!!!. So expensive if used as a stills lens, but inexpensive if used as a cinema lens. Don't know if the Nikon lenses are that capable or not. If so, i could easily see getting a Z6 II. I thought the original Z6 was a "close but no cigarette" camera.

Let us know how it works out.

G9 should be good for most of your RE photography. There will be times when you wish you had the dynamic range, but if you are good with doing window pulls with flash or HDR (yuch) then you should be ok. As for RE video, I know there are several people who shoot with a GH5. I don't know if the the G9 has 10-bit or not. If it does, it can be helpful because you can do better at removing color casts with 10-bit files than you can with 8-bit files. Also if you are in a rush (most RE video shoots are in a rush), and you don't nail white balance, the 10-bit files will certainly help out with that. I generally shoot FF 4K 30p and slow it down to a 23.976 timeline. But I think that most people would shoot either 4K 60p 8-bit or 1080p 60p 10-bit for the added smoothness on a gimbal.