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Yeah, interesting stuff. I'm really hoping that they've waited and taken a real look at how people use these cameras IRL rather than how we want to use them (like in the ads). In a sense, if they'd have developed a product strategy and split up all the common uses for a very compact camera between the Osmo Pocket and an action camera then that would be very encouraging. I think GoPro kind of started with the idea of taking selfies while surfing and then in the digital phase of their company looked to the best smartphone tech to package up and sell at a premium. They were kind of driven by what the tech could do, rather than what people wanted. If DJI started with what people wanted, which I think is primarily around "tiny cameras that go everywhere" then that fits drones, a non-waterproof camera-gimbal combo for hand-holding in non-extreme situations, and an action camera that would be for extreme situations of high G-forces and water/dust etc. If they make a wide-angle action camera then their setup would be complete then you could take an Osmo Pocket, a Spark/Mavic, and their action cam and have all the travel/home/holiday film-making you want. To that end, my guess is: Wide-angle Go-Pro like size and mount options EIS not OIS What will be interesting is if they go for a larger sensor like the RX0 to improve low-light, and what connectivity they provide. I agree with @SR that the innovation has been lacking for a while in action camera space so if DJI have really gone back to customer usage and re-thought the entire thing, then maybe we'll see something innovative. After that there's still in their lineup for a 360 camera

What's the best video you've found on the Cut page? I've been using it for a few days now and I really like it, but I suspect there's more to it than I'm aware of. 16b1 has crashed a couple of times for me, and there are some strange little quirks, but it's mostly good for me too.

My wife and I talked about buying a Sony X3000 last night, and I said to wait for next weeks paycheck because there's no hurry. While I doubt it, I really hope it's an RX0 style Sony X3000 & GoPro Hero 7 killer! DJI are perfectly positioned to make an action camera. I would have bought an Osmo pocket if it had a wider lens and waterproof housing. But like @Cinegain says, it's probably a submarine.

That's clean work. Yours? I also like the QR plate on the top, which might be the answer I'm looking for to move my mic forward a bit so I can use the viewfinder on my GH5.

What's that saying? "We Have Done So Much with So Little for So Long, that Now We Can Do Anything with Nothing".. it's from the military apparently, but in the face of having to get the job done under difficult situations with less and less resources without compromising the output, I think there are parallels that can be drawn

Couldn't help myself, so I just bought a Sun Zoom 70-210mm f3.8. I figured that it's probably not too bad, and even if it is it wasn't expensive, so no harm no foul. I also had a re-think about camera inserts and came up with a new plan for getting more lenses into my bag The edit is coming together, despite my comedy of errors in planning, packing, and shooting!

PP/FCPX is like driving a car, Resolve is like flying the space shuttle. In terms of Editing they are more closely matched in power and complexity, but in the Colour and Fusion stuff it's a whole different beast. Workflow is an interesting topic though, and you're likely experiencing a combination of these two factors: You have a workflow that you've optimised over time for yourself and it suits the way you work and the projects you do and PP supports that PP is designed in a certain way and you've learned to fit into that workflow, adapting how you shoot, edit, colour, mix, and export to fit into the way that PP wants you to operate Every package offers a combination of these two factors and Resolve is no different. The biggest challenge with changing (between any two NLEs) is that at first you will try to do things the way you're used to doing them and you will find that there are barriers / limitations / annoyances to doing things that way, and it's frustrating. It's only over time that you may come to learn that the new NLE doesn't have the barriers / limitations / annoyances that your previous one used to, and you can start including these additional freedoms into your workflow. Understanding the opportunities that these represent, re-interpreting your workflow to understand which things you decided to do vs which things your previous NLE forced you to do, and then adapting your workflow to take advantage of the new things that you've chosen to adopt all takes a long time. I have no idea about how editing compares between FCPX/PP/Resolve, but I know that the colour and image post-processing in Resolve is absolutely no comparison and it's so powerful that you couldn't learn everything about it even in a whole lifetime. The key to learning and adapting quickly is to read about other peoples workflows, think deeply about how you work and why, what end result you want to achieve, and do a bunch of test films in Resolve where you try shooting / editing / colouring / mixing / delivering in a different way. Not only will you learn Resolve much faster, but you'll also expand your skillset and get a deeper understanding on how you work and why.

What's wrong with star wipes and venetian blinds? Star Wars was a seminal film and it didn't even have those!

Mother: What do you want to do when you leave school? Kid: I think I want to study medicine and become a doctor. Mother: Well, that's great and all, and it's important to have dreams, but have you considered a career in IT? Kid: But I like helping people, like when grandma was sick.. Mother: You father and I have done the sums, and we know that doctors get paid very well but if you worked for Adobe, over the decades the family discount actually makes it a more sensible option....

True. When I was buying a 4K display I couldn't decide between 32" and 42" and as I planned on watching TV/Movies on it I looked up the THX and Dolby(?) specs on viewing angle for cinema screens. IIRC each gave a viewing angle range (which obviously varies depending on how far you sit from the screen) and I picked a monitor size appropriate to those viewing angles. That calculation resulted in me getting a 32" display, which fit both specifications for viewing angle when viewed at my viewing distance, which was defined by me reclining back on my chair and putting my feet up on a footrest such that my feet were almost under the display. I haven't done a test, but at that distance you probably wouldn't be able to tell the difference between 4K 4:4:4 and 1080 4:4:4, but you sure can tell the difference between a YT clip in 4K vs the same clip in 1080! The fact that we shoot 4K25 at 400Mbps is 1.3 bits-per-pixel and 1080p120 at 100Mbps is 0.4 bits-per-pixel just further exaggerates the issue.

Yes, HLG. Too many advantages to remember all in one go! Mine is also stuck in this mode. C1 and C2 are both these settings except different pre-set focal lengths ???

Those paintings after "The Event" are truly remarkable. Wow!

It is. The 6K mode is technically 5K but it's really nice.. it's 4:3 so you can re-frame in post, it's h265 200Mbit which is equivalent to about 400Mbps h264 in terms of IQ and the 200Mbps doesn't require the super-expensive UHSII SD cards so it's cheaper, it has less/no sharpening added and looks really nice IMHO.

In other news, the bull riding footage I shot on the weekend from the city-slickers-visit-the-country-yee-ha trip is falling into place using the new Cut page in Resolve 16. A few problems: I got 'out of sync' where I either double-pressed the shutter or didn't press it, and ended up recording the bits in-between the action and not the action itself I blame the mic placement because I didn't have my eye pressed right up to the eyepiece, which means you can't see the edges of the frame and thus the blinking red record light. I also need to be more careful as I've done that before with other cameras without the same excuse. I got the really important shots, and I'm only making a highlights video for fun so I still have plenty of footage, so it's all good, just.... *facepalm* I was shooting straight-into a floodlight, so the vintage Minolta 135mm 2.8 flares like an absolute @#$!$#% so my contrast is all shot to hell, and because I was recording in 4k50 8-bit Cine-D I don't have the advantage of the 10-bit to save the day, plus the ISO was probably riding up a bit and it was only 150Mbps too, so the image leaves a little to be desired. I'll have to work out how heavily I push the image to try and recover a normal amount of contrast. The car was really full, so I only took one bag, and due to this restriction I only took two lenses - the 17.5mm f0.95 for people / low-light and the 135mm f2.8 for closeups. I almost took the Helios 58mm and I really wish I had because the 135mm was a bit too zoomed in to catch the rider and the bull in the same frame. I partially blame the camera insert I use as it doesn't have many pockets so I might need to look at a new insert or new bag. Here's a couple of frame grabs just for fun. The first is out of the flare range and has a bit of contrast added, but the second is unedited and shows the levels and the flare. The third is the 17.5mm. They are from my 720p proxy files so don't judge the image quality.

Interesting about streaming. I kind of thought that you'd have two scenarios, the first where it was a truly live stream so you'd need the entire pipeline to function without hiccups, and the second where you had time to edit it before uploading it for distribution. I guess I read 'stream' and thought 'live stream' lol. I think I agree with you that if it's within the budget, having a hardware switcher and then editing it later on the PC would probably be my go-to as well. Especially when you're in hostile environments without proper cooling etc. Sports and money is an interesting topic. Reminds me of the Last Week Tonight show about stadiums ???

+1 for what @thebrothersthre3 said. Think of them as different types of cameras. That's why they sold them as part of the same range, the GH5s didn't replace the GH5.

Silly question, but I just went to do something and it wasn't there in 16b1. I went to the media pool, right-clicked on a Timeline, and was expecting to see Duplicate Timeline in that menu (or from one of the sub-menus) but I couldn't find it. I went straight from v14 to 16b1 so maybe they moved it before and I didn't see it? Or am I just crazy? I haven't edited anything in a while. I got around it by copying the timeline and pasting in a folder, but Duplicate Timeline would have been easier.

Sorry to hear about that. RIP Hildy. Great video because it's meaningful.

My completely uneducated impression was that professional photographers normally had a clause in their contract about being able to use footage for promotional purposes, which is how we get showreels and the like, but I guess if you're employed or have a different contractual arrangement then that might not be the case. It would be great though Cool tripod! At that height you're well into fake-drone-shot territory Anything computer based has the potential for less reliability, but I'm guessing it's a cheaper setup? Back before all the cool music software was available there was a free program called Buzz that provided a virtual studio where everything was modular as it was emulated in software, and anyone could write modules for it. I was really into it because the next cheapest option for that amount of equipment was probably $20k or something ridiculous. Anyway, because anyone could write a module for it, some of them had bugs and it would just crash, but when it crashed it would put out full volume white noise straight out of the computer. Because any sensible person is making a mix at quite a bit lower than that level when it crashed it would be extremely loud and would scare the living cr*p out of you. I still remember when someone posted a picture of themselves on the forums playing it live in front of a 2000+ person crowd at a New Years event, and I still remember the other people who were just gobsmacked that they would risk such a thing. With the size and power of a PA like that if it had crashed (which it didn't) it would have caused real damage!

Went to a rodeo over the weekend and rendered proxy media when I got home, then this morning I started cutting it in the new Edit page. I must say that the mode where it puts all your clips together in a long stream is very handy for cutting quickly. Just moving around with J K L, in and out points with I and O, and then doing an insert with Command-P (which I had mapped previously) means you can basically edit one-handed with no mouse usage. Doing an initial assembly used to be an exercise in frustration with shortcut keys and navigation really getting in the way, but..... no longer! ???

Great stuff. If you have some stuff online I'd love to see it Just a thought, if you're after a better head for the tripod, can you lock that head down and just mount a better one on top with the QR plate? I'm not sure if it would be stable enough for you, but adding height doesn't seem to be an issue for you. Are you being streamed live, probably via a switcher of some kind, or are you doing a multi-cam edit in post? or both? Workflows are interesting, and (should) inform the choice of equipment, so I'm curious.

Interesting. So, you shoot slow-motion by default, instead of shooting normal by default. That gives me food for thought as my videos are mostly highlight reels without a lot of dialogue, so I tend to use sound as ambience, unless there's a joke or funny moment in there which works in the edit. I also remembered that the GH5 has some nice 1080 modes, so I'll have to try the FHD 1080p50 10-bit 422 mode and see how I like it, as it might suit how I push and pull the footage in post. I only deliver in 1080 normally anyway, although I'm not above scaling it up if I start uploading in 4K. It's all about compromise and what you prioritise. I really liked the XC10 but I just felt too restricted in the fixed lens and the slow-motion (which was 1080p low bitrate only and in C-Log with difficult lighting was just awful to work with). With the GH5 I can always put on a slow zoom and get the equivalent of a fixed lens, or I can go for faster primes for low light, crazy long focal lengths for sports, etc. But, there's a reason that the kit zooms and one of the Holy Trinity of lenses is 24-70, that's where most of the keeper shots are for the average general photographer. That 'burst' slow motion sounds like a great feature. I remember back in the day using pocket cameras and wishing there was a shutter button for still images and a separate one for video, instead of having to go into the menus and change modes then use the shutter button because you missed shots. Having one button to record normal speed and another that records in slow motion would be great. I wonder how assignable the GH5s buttons are, maybe I can emulate a record-in-24p and a record-in-1080p120 button

The Nikon has the focus ring backwards, so that rules it out for me, but the idea is interesting - I didn't know 2.8 zooms could be had so economically. I'd prefer a fully manual lens, but assuming a smart adapter isn't that expensive I could also go that route and map a dial on the GH5. How good are these likely to be compared to my Minolta 135/2.8 or 200/4? I don't really know what point in lens history the zooms overtook the older primes Plus there is the advantage that the crop factor on the GH5 means that the camera can't see the lens issues at the edges of the image circle that a FF camera would see.

I've been toying with the idea of a monopod for some time now through my travel film-making, but it never quite got over the line, but it makes all kinds of sense for this. For my situation right now I think I'd go a slightly different approach and get a tiny monopod and just use it without a fluid-head and just on my lap, as I can adjust the height to suit. I wonder what the cheapest monopod available is, I suspect I might find out very soon. Thank you! That might work, although I do like the additional point of contact that the eyepiece / my forehead provides. I just worked out that I have enough adapters to play cinematography legos and create this, which might work: I'd trim down the flash bracket (I have several) but it sure gets the mic out of the way. I've spent so much time in the mindset of hand-held travel where less is more to the point that as little as possible is almost everything, I'd forgotten that at football my camera is so large that making it larger won't really have any downsides except as it applies to my using it. That is seriously impressive! WOW!! Great stuff How do you decide which shots to get in 4k24 and 1080p120? I have battled with the quality of 4K vs the lack of quality with slow-mo for the last two cameras I've owned and haven't really gotten a good rationale on when to use what. I normally shoot 4k25 10-bit on the GH5 but this morning I shot 4k50 8-bit so we'll see how that goes when I come to edit/grade it. I also went to my first rodeo last night, which was an absolute blast, and I shot that in 4k50 8-bit too, at night under flood-lights, so we'll see how that turns out. The 135mm was looking straight into a floodlight and being vintage it raised the black levels a heap, so we'll see how I get around grading an ultra-low contrast 8-bit image. The riders should look pretty good in slow-motion though, and I'm pretty sure I got some really nice shots. There was some serious action - rodeos are no joke!

It makes a pretty speedy proxy resolution! I'm all for it!!