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You can! Step 1: apply the plugin Step 2: select the "Show Mask" box under Skin Mask Step 3: connect another node like this, then apply adjustments in the second node: As you can see it's not perfect, but this is probably a bad example and I didn't try at all to refine it, and there are lots of mask refinement adjustments in the Face Refinement plugin. Bonus Tip: you can do this with any node that has a "show mask" feature. I've done it with the EdgeDetect plugin, for example to soften only particularly harsh edges, etc. Lots of potential using this method to get highly stylised effects that no single plugin can do by itself.

It would be nice, and it would be a long time coming too. Unfortunately I can't wait for that because I have a trip in mid-September that I need it for, so in a way I hope I don't buy an X3000 just before they release the updated model, but anyway. In case anyone isn't familiar with EIS vs OIS in low-light, here's why EIS is fundamentally flawed when the sun goes down... (link goes to the specific time in the video) Also, the X3000 seems to have more DR than the others and has the higher bitrate 100Mbps so the files are less brittle in post.... (link to specific time in video) I'd love to see a direct comparison video between the Hero 7 (with current firmware) vs Osmo Action vs Sony X3000, but because the Sony is old it seems to no longer get included. My logic is that if the Osmo Action isn't clearly better IQ than the GoPro, and the X3000 has some serious advantages over the GoPro then the X3000 is still a very strong contender. If you shoot low-light or want to use it more like a normal camera then it's still in first place, especially with things like a tripod mount, 3.5mm mic port, etc.

FF lens tests with Geoff Boyle NSC Intro video explaining what they did and why: Main article: https://cmltests.net/CML-FF-Lens-Tests-2019.html Table of contents and links to individual lens test pages/videos: https://cmltests.net/CML-FF-Lens-Tests-2019-Individual-Lenses.html Table of colour shifts: https://cmltests.net/CML-FF-Lens-Tests-2019-CD.html Compilation video with all the lenses (the links above have links to separate videos too):

https://en.wikipedia.org/wiki/Double-loop_learning

Also, remember to adjust the amount of grain you're applying so that it looks good in your final delivery file. Compressing video really kills the grain, especially YouTube or other online streaming services. I'd suggest making a test project with a series of shots with increasing strengths of grain, output it, upload it, then look at it and dial it in from there.

And whatever you don't crop you're downscaling, which improves the real resolution. 8K will be great from this perspective too. Think of it - you'll be able to get real 4K!

I agree with @fuzzynormal in that while there are differences, they aren't huge, and if you really were shooting with the 'worst' of this bunch, the files would be good enough to push and pull around in post. The email thread on CML was titled "Budget camera skin tone shootout" because at the level that those guys are operating, these are all budget cameras(!). In that sense, the fact that none of them are really that bad speaks more to their ability to select good quality cameras rather than anything about the camera market, although the idea that there are no more bad cameras is certainly pretty solid. I've played around with skin tones enough to know that with a couple of very simple adjustments you can balance them across pink/yellow, and with a single Hue vs Hue curve you can even compress the Hue variation to push pinks towards yellow and yellows towards pinks to get more consistency and things in the sweet spot, so even if you're looking at a very saturated and contrasty rec709 output from a cheap and excitable DSLR there are simple solutions to make a serious improvement to the skin tones. On a personal note I find tests such as this quite reassuring, because I picked G as the best, with the other ones I liked also rating highly in the poll. In a sense it confirms that my perception is pretty good, considering I agree with a bunch of professional cinematographers I may not be great at colour grading but at least I know that I like what others like and if I keep practicing then I'll get better because if I do something right then I'll know it when I see it.

This video was shared on the CML list and a poll was conducted too. The poll has closed now (I just saw this today) but it's still interesting. The 8 cameras are (in no particular order): The Arri Amira, Red Raven Ursa Mini Pro (G1) Sony FS7 Panasonic EVA1 Panasonic GH5s Kinefinity Terra 4K Canon C200 Here's the video - the answers and poll results are in the comments.

Gives you an excuse to sit around and drink coffee like everyone seems to do in lifestyle advertisements!!

I disagree. In the case of the gyro stabilisation, what you want is for the distinctive pixels in one frame to be as close as possible to their location in the last frame. It's a frame matching problem. In image analysis based stabilisation, the computer looks for distinctive pixels in each frame, works out the movement, then works out how to change frame 2 to better match frame 1, knowing the overall direction of movement from frame 1 to frame 1000. This method is about matching frames by analysing the frames directly. In gyro stabilisation, the computer wants to match frames to other frames, but does so by taking frame 2 and modifying it according to some completely different source of data. That data is very useful and does a good job, but it cannot do a perfect job because it is one step removed. This method is about matching frames by not looking at frames but by looking at something else. I think people are seeing that the GoPro and Osmo Action are better at stabilising than the software and thinking that's because it's a better method. I would suggest that it's not a better method but one that has had far more investment in the technology. The entire action camera industry now hinges on making the footage as stable as possible. It's a stabilisation arms race of sorts, and without going to 8K it's the only thing that is different between GoPro models. Conversely, there is no arms race with post=production stabilisation. The people who specialise in it are specialists, and the people that do serious post-production workflows and invest int them are people that don't record shaky footage in the first place, or if they do then they buy gimbals and IBIS and OIS and tripods etc. The action camera market has taken gyro stabilisation a long way further than the alternative. It's an investment thing, not an image stabilisation thing. Plus, think about how well IBIS works on a 16mm lens - pretty darn well. Think about how well it works on a 400mm lens - less well. Stabilisation in post is just fine at 1000mm Interesting idea. My understanding of OIS is that there are gyros built in, so any camera with IBIS or an OIS connected lens may have the hardware required. It probably wouldn't be setup to analyse that data and record, it might simply be used to move the sensor around. I said "it's only 2 seconds" because I meant that 2 seconds isn't much future visibility for the stabilisation to work. A 2 second delay on the viewfinder would be almost unusable. You quoted me out of context

@Anaconda_ you raise good points. The cameras are looking into the future, but as you say it's only a couple of seconds, but Resolve (for example) can see the whole clip before it decides anything. They do use gyroscopes (gopro bought one of those companies I think?) but that's kind of a cheat because instead of analysing the image they just blindly follow what the gyro tells them to do, but if you have smart enough stabilisation software then it should be able to overcome that. The gyroscope is a hack to reduce CPU required, it's not a fundamentally better method.

Another thing that no one is taking about is that EIS can be done in post production, but OIS can't. Yes it's great to have stabilised footage coming straight from the camera, but stabilisation in post has the advantage because the camera can't predict the future but plugins or Resolve sure can. I think I'll end up with the X3000 and stabilisation in post. The HDR would be great to have thought. I would have thoughts that anyone on this forum would be evaluating a camera with the whole production and post production work flow in mind. When they go 8K they will have 6K MEGA-AWESOME-NOT-MOVING mode and you can de-fish and downscale to a nice 4K imagery from there.

Cool job on the left-hand DIY. I have a much more basic approach in my rig where I'm partly holding the rig but still able to focus.

Or you get one, mount it to the front of your existing setup, set your 14-30 a bit narrower and assuming you can easily match the two in post, then you've got two angles to choose from.

De-warp is the same as Linear mode in GoPro language, which is really de-fishing in normal camera language. I noticed a bit of fisheye distortion on the Osmo, but it was far less than on the Hero7, so that's a good start. The GoPro only has Linear in 2.7k mode, because it will be taking a 4k image and stretching it in software, so IQ will be lost, thus no point in giving us a 4K output file. The Osmo has a much less distorted place to start, so getting a 4K de-fished output file seems more appropriate. IIRC the De-Warp couldn't be used at the same time as RockSteady so you'd have to choose between them. De-Warp is pretty easy to do in post anyway. Like all camera reviews, which are in danger of being glowing due to direct or indirect incentives to please our camera brand gods, you often have to read between the lines to see where the downsides are. iPhonedo does a reasonable job of sharing non-glowing facts when he finds them though. I think that the real challenge here is that these cameras are being released so often that it's really hard for reviewers to justify all the time and effort to do a thorough review. iPhonedo does the best job I think, showing side-by-side DR with waveforms, audio tests with his guitar, finding heavily saturated subjects, and generally stress-testing them. But you're right that no reviewer really gives you a solid list of all the pros and cons - you have to watch a bunch of reviews and kind of compile that information yourself. In terms of these YT reviewers being the marketing arm of brands, this is an example of a relatively open market - if we weren't interested in the products we would watch and no views would mean no success in marketing, so it's opt-in marketing. I've opted in because I plan to buy a camera in the next week and the X3000 was winning over Hero7 for me, and now I have to think seriously about if the Osmo Action is right for me. I suspect not, but it certainly has some excellent features, and none of these are the perfect camera for me so it's about the tradeoffs and prioritising features.

Hmm.. Looking forward to seeing @DaveAltizer review the stabilisation in low light. This is one of the strengths of OIS (and the X3000) and in the iPhonedo Hero 7 review there's a clip of the X3000 absolutely slaughtering the Hero 7 in testing low light stabilisation. Very interesting camera though.

Welcome to the forums You'll find lots of people on here are quite fond of their P4K, but there are a number of people who would agree with you that the P4K has a more "video" look and prefer the older BM cameras saying they're more "filmic" or "cinematic". I proposed a test where someone shoots some similar footage on old and new and we try and make the new one look like the old one, to see if it can be done, and if so, what adjustments did the trick. Unfortunately the people who have access to the new and old cameras are busy and haven't yet had the time to film the test footage, so we don't yet know. What kind of films are you making?

What is the overall setup you're planning to implement? ie, channel 1 & 2 directional stereo pair into camera 1, etc... I'm curious

Lots of people are asking if Resolve is ready for real pro use - I know some on these forums are using it for such projects, but there's not a lot of talk about using it for entire TV episodes or movies. Just came upon this post on the BM forums (which is a list of bugs) from someone that said they've edited and delivered 6 episodes of their reality TV show with it. https://forum.blackmagicdesign.com/viewtopic.php?f=32&t=91322 Obviously they list a bunch of bugs, but they actually delivered a bunch of episodes, so that's interesting.

Might be interesting - the Osmo Pocket got a good reception and if this is similar or better then it might be a GoPro beater. When is it likely to be available to buy?

These microphones are very interesting to me, not to use practically, but just appreciation of the tech. Do you know what kind of beam width / polar response they can simulate? It looks like the original materials are now gone, but this 2010 technology announcement was very impressive - you could clearly hear what two people were saying to each other in the fullon environment of a basketball game. https://singularityhub.com/2010/10/13/new-super-microphone-can-hear-you-in-a-crowded-stadium-video/

I think there are a couple of scenarios: 2 channels or more. If you're limited to 2 channels, you could do the Y-cable trick but have one directional and one omni to get the crowd. That would mean you can balance the action vs the crowd in post. If you're able to have more than that, perhaps between the two cameras, then one directional pointing at the stage, one under it, and a stereo pair for the audience might be a good setup. In case it's relevant, I've read a lot about how audio engineers record music, and an example is how to record an orchestra. They record using a directional stereo pair seated in the centre in the first few rows, or hung a bit above the orchestra looking slightly down. Then there's a second pair of mics that are omni-directional that are hung way up in the ceiling space of the venue, on the left and right sides of the hall, either about a third of the way back from the stage or even further back. The idea is that the stereo pair give the stereo imaging, and the omni mics give ambience and scale to the recording. They just pan them hard right and left and then adjust the two pairs to give a balance of directional and ambience.

My examples make no sense because neither option fits reality. I haven't answered your question because neither of the options fit my reality. You're assuming that I have any kind of preference or difference of view. I did answer - I gave a history and explanation of manufacturing in the context of economic development.

Trees are: Do not exist Only exist in a parallel universe DBounce: Is a robot Is an alien This thread: Doesn't exist Is invisible Everyone is: A murderer A mass murderer etc...