kye

This kind of thing can be very useful if you have long takes with a high shooting ratio.. one thing is for sports if you're recording in slow-motion and waiting for something cool to happen - you can end up with minutes of footage that are completely useless. For the purposes of editing I tend to wait until the moment has definitely ended and then stop the take and start a new one. Then in editing I don't have to scan a long clip (120p takes forever to watch) as I can just look at the end of the clip and see if something good happened. I haven't hit this issue, but if file sizes are too large (maybe with the P4K / P6K this would be more relevant) then you can split the source clip into multiple pieces and delete the minutes of unused footage. Hard-drive space might be cheap these days, but recording RAW can add up and it might be worthwhile to trim long clips. P6K 6K Blackmagic RAW 3:1 is 323 MB/s, which is ~1TB per hour. 6TB internal HDDs are $225, and archival should be on redundant HDDs, which means that the 323MB/s is about $75p/h, or ~$1/minute. So, if your hourly rate is $75p/h is less than the space you can free up by splitting and deleting un-needed source footage then you can come out ahead.

There's a huge resource that @Tito Ferradans has put together about faking the anamorphic look... http://www.tferradans.com/blog/?page_id=15535 There's a quiz to test if you can tell the difference between fake and real anamorphic images. I'm rubbish at it but could spot some of them but not others. His guide is USD$30 but you can get a taste of it via this link: http://www.tferradans.com/anamorfake/TFerradans-AnamorfakeDemo.pdf I don't lust after the anamorphic look so it's not that enticing to me, but for those interested going fake seems to offer a much simpler approach, so it's worth a look.

Absolutely... I'll take any chance to re-post that video!

and the fact that things like Fusion comes with the free version of Resolve.... really now it's just down to how much work you put in to learn the skillset, the tools are basically free.

I'm not sure that every aspect ratio is compatible with every screen..... Here's a refresher in case you've forgotten some of the more exotic ratios:

I blame the director... looks like they took people who were nervous and behind the camera by choice, and then filled their heads with all the "talk slowly but not too slowly" "stand up straight" "be funny but not too funny" "remember to do these 17 things..........." pieces of helpful advice their heads could hold, then probably finished it up by adding ".......and just relax and enjoy it!" *talent has spontaneous internal freak-outs*

Very nice @Adam Kuźniar !!

Cool.. I can't remember where I read it, but there's some fairly standard approaches to doing profiles of people as mini-documentaries. Interview someone on camera, shoot a bunch of B-roll and then cut it together, finding the story in post. Obviously that's a drastic oversimplification of what is a deep art form, but once you're comfortable with the tech, shooting things like this allow a lot of room for error and if they're historic / human interest pieces that are unpaid then expectations will be low and you have lots of flexibility in post. What are your goals?

I know very little about optical design, but one trend I've noticed with all the old manual lenses I've bought is that a larger aperture means a significantly longer lens. The MFT pancake lenses are tiny but also have smaller apertures, so, all else being equal, going to a larger sensor size would have a big impact on lens physical size, I think.

Looks like you're making lots of progress... what are you shooting with this thing?

Nowhere close to every Helios, but a sampling...

Yes, a colour checker is useful, but if you're very budget constrained then you can make your own "unofficial" one from paint colour samples from a hardware store. It won't be an absolute reference (but neither will the cheap ones available commercially) but it will help to match shots between different cameras.

OK, that makes more sense. Gotta love it when tech people take some kind of information and squeeze the absolute bejeebers out of it to make it semi-useful!

My advice is to shoot a test first, and include each profile from the Z6 then match the images in post and see how you go with each profile and which one works best for you. In theory anything can be matched with anything else, but in practice that's limited by the skill of the colourist, the tools available and how close a match is required. This isn't the most sophisticated approach but it will get you into the ballpark and it only relies on basic tools that most NLEs will have..

I'm not seeing the advantage of the apps.. The apps are all limited to the 640x360 that the camera sends, the native app goes fullscreen and has the same focus peaking modes available that the camera uses. I think the problem is that pulling focus at 0.6k simply doesn't have enough resolution. A 1080p display from the hdmi won't have peaking but at least it would have enough resolution to focus, although a large screen would be better than a small one for that. This whole thing is is messy and makes me want to side-step the whole thing, which is pretty much the definition of when technology fails us.... When I was using the Sigma 18-35 on my 700D with ML I had a similar setup with the punch-in feature, making the lens a 29-56 and something like a 90-180mm in crop mode. If ML was more reliable and the setup had IS then I might still be shooting with it. It was pretty heavy, but the flexibility was great.

Thanks @BTM_Pix... Bummer. Why they'd use the same icon for a different function is a bit strange, but ok. I'm back to wondering how to nail critical focus when filming myself with MF lenses. I'm thinking it's back to either a large TV from the HDMI out or your DIY EVF solution of a 1080p screen for the raspberry Pi, a USB power brick, and a long HDMI cable. Can I just buy a Pi screen and hook it up to the GH5 with a long HDMI cable and power it via a USB power brick? I'm thinking it'll be like a HDMI cable with a large monitor / dongle on the end..

and then this.....

It depends on the refresh rate and also on the content. Anything where you're moving your eyes a lot and there are high-contrast edges make it more visible. If you want a torture test then watch The Crow - lots of high contrast fast moving edges in that and it was unwatchable on the first generation tech back in the day. The other thing to consider is sports. Those who watch a lot of sport will have a very different requirement than those who don't watch any.

Yes, manual lens. What confuses me is that I've got "AF Mode/MF" set to a button on the camera and that works just fine, so why it's not available in the app is confusing..

Does anyone know how to enable the "af mode/mf" function while operating the camera remotely with the app? It's greyed out for me in the app but works fine when using the camera directly... I'm really hoping I'm just making some silly mistake? Does anyone else have this working? Is it possible?

I'm waiting for 8K....

I can't speak to the CZ lenses, but the general principle is that a lens sharpens up when you stop down the first 2-3 stops, which is one of the reasons to get the fastest lenses you can. Even the five-figure lenses in the cine lens thread still have minor CA and fringing when wide open.. Interesting.... 8K is pretty high resolution to claim.

and thank goodness we're not talking about broadcast.... that is one hell of a lens!

Like @KnightsFan says, a node operating in Linear might do it via Gain. The Offset control is also worth examining although I suspect it operates in Log mode. In terms of calibrating it, take two test shots and expose one a stop up, then do the above and match the levels on the +1 shot. In terms of being obvious, there are only so many things you can make obvious, and once a piece of software gets more features than screen real estate you need to start hiding them. Saying that Resolve is like PS is quite true in the sense that "it can do almost anything" is true for both due to the flexibility in structure they both offer, rather than it being a 'feature' that was programmed deliberately by someone. Resolve is also the F1 of colouring packages and the learning curve is somewhat similar - most people stall an F1 car before they've managed to make it go further than its length, and most people probably wouldn't be able to get footage into Resolve and edited and coloured and exported their first time either

A setup that might work is where you have three bags: a smaller carry-on that houses the equipment in its dismantled form a large checked bag (maybe hardcover) that can house the rigs when they're built out a largish softer bag for all your clothes and non-camera stuff and you would put the larger soft(ish) bag into the large hardcover case when flying and then you can remove it at the accommodation for days on set and keep the rig built-out. Just wait until you're on the "downhill" side of 40 ???