kye

Only film things out the window... boom - solved!

Yes, I was thinking of that and knew I'd seen it somewhere but couldn't remember where, so punched a few terms into google image search and found the above one instead

I think people associate vlogging with mobile filming (like with a gorillapod) but I would say that the vast majority of "people who upload videos of them talking to a camera" are in home studios with the camera on a tripod. In this genre jump cuts are the most common edit type, and having the extra resolution will allow them to create different zoom-levels and cut between them to hide jump-cuts. If you need to publish in 4K (which is a topic that we can debate another day) then having 8K to crop into can really help. In practice you can do mild scaling of 4K without visible artefacts, however if you're doing something where you want to crop in severely to create several virtual cameras, then 8K can be a real help. For example if you have a cooking show you can have a wide angle lens, and turn that into a wide, a medium of you, and various close-ups of what you're doing on the bench. Anyone presenting anything like this would benefit. If you had a 16mm lens you could have a 16mm wide, a 35mm mid of you, and up to a 70mm FOV for details and still be in 1080, 100mm if you're willing to rescale a bit. Yes, 8K will be a pain to edit, but if you're using one 8K camera and one lens instead of 4 cameras, 4 lenses (or more), and all the associated media management, syncing, colour matching, etc, 8k could still be ahead for a lot of people. It's a different mindset - in the new world we 'over capture' and frame in post, just like a 360 camera. @BTM_Pix has already mentioned this. In the old world we based our capture format on the publishing format, but this was a technology limitation that we have now been freed from. Yes, it has attractive and nostalgic aesthetic aspects to it, but that doesn't mean that those limitations work well for everyone or all types of film-making. Saying that no-one needs an 8K camera because no-one needs to publish in 8K is like saying the only point of buying an 8K camera is to publish 8K, which is also like saying the only point in buying a Ferrari is to drive at 300kph.

I bought my Resolve license (the dongle version) when Resolve 12.5 was the latest and it's still good. I've heard others say they bought at v8 and their dongle still works. BM haven't promised that licenses will get free upgrades forever, but they've been delivering exactly that for many years now and there's no signs they'll change that strategy. Welcome to the Resolve club!

I love this topic! The way that audio circuits work are actually very simple, and the audio industry has taken some principles, applied them in slightly different ways and made new words for them ("gain control", "fader", "input levels adjustment", "microphone/line level switch", etc are all electrically the same function) and so they take a new product, re-arrange the gain structure, and now they get to make spectacularly stunning statements that sound groundbreaking but are actually almost irrelevant. One of the main jobs of a professional audio engineer is to select audio equipment, connect the devices together in the right way, and adjust the settings on each of them so that the levels all the way through the signal path are high enough that noise doesn't creep in, and low enough so that nothing clips. Depending on how many devices you use, the signal path can have half a dozen or so different controls and another dozen amplifier circuits designed by the manufacturer. In this device it looks like Zoom took two of them, adjusted the gain on one of them, made the second one more accurate, changed the names and are calling it a revolution.

Well, he gets 10 points for shock value. But so does every Apple iPhone marketing campaign.. I think comparing it to a RAW photo is an excellent comparison. Imagine I showed you that you can shoot a raw image really dark and then I can bring up the levels in post and it looks fine, well, that's one thing. Imagine then that I said you never need to adjust exposure - that would mean that if you used it in the way that a normal photographer used it then you'd be fine, but that's not what I said, I said never.. which wouldn't actually work in some situations. 32-bit recording is probably really great, and the noise of the preamps in it is probably very low, but I suspect there are limits and although it's just not very likely that someone will hit them, that's still a very big difference to them not actually being there, which is what he implied. The legal disclaimer for that claim would be very long and have much fine print to go along with it.

And then it wouldn't be so bad when you accidentally put your foot in your mouth!

One quick hack to turn ANY cinema camera into a low-light MONSTER!!!!!1

And with an MFT mount to boot! Fantastic if you want to adapt manual lenses.

Ah, yes, OIS is fine I agree about using a fisheye and reframing, and also that the 180 shutter is less of a rule than perhaps it used to be. In fact, I have been watching the latest season of Peaky Blinders (great show BTW - fantastic in pretty much every way) but there was a scene where a ceiling fan was operating and the fan blades were appearing about every 90 degrees of their rotation with no visible motion blur, so even that level of production seems like it didn't stick to the 180 shutter, for one shot at least, which I thought was interesting Dave mentioned a price range in the Kinotika video, but it didn't sound like it was confirmed yet, and I think the Sharp guy in the Cinema5d video said they hadn't decided.

Stabilisation in post only works with very short shutter speeds, so goodbye 180 shutter! Sure, you can stabilise slow shutter clips, but the motion-blur that occurs during the frame makes the image just have instantaneous blur turrets syndrome, which is probably more distracting than mild camera movement. If you want to use a slower shutter then you need OIS or IBIS to stabilise during each frame being exposed and then you can stabilise in post. That's my approach to how I shoot handheld with my GH5 and stabilising in Resolve.

Great video - thanks! I, too, am a fan of negative rights

I can understand that. Only relatively recently was Resolve a colour grading tool you would round-trip to, which is a concept that took some getting used to, let alone knowing how to actually troubleshoot the process and get it to work properly. Now Resolve has become something equally confusing - it does everything! So on a journey from being difficult to understand because it was too technical, to now being something that is difficult to understand because if you're a FCPX or PP user it sounds like it's too good to be true!

There's an interesting thing here in Australia where there's a type of business called Sole Trader, which means you can trade as an individual. You don't need to register a business name or anything. It's kind of like how you can get a job, which is essentially a business deal, and reflects the fact that you as a person are a legal entity. Back in the day the company that controlled the .com.au domain had a rule that you could only register a domain name that reflected your business name (to prevent domain squatting) and my dad applied for his name (in the format firstnamelastname.com.au) and was refused, but appealed on the basis that you can trade under that name, and ended up with the domain name on that basis. Australia does require quite a lot of occupations to be registered and qualified, and I think the basic idea is that it protects consumers from buying services from people that don't know what they're doing. I think it's probably a bit overdone now, as there are restrictions on occupations that don't seem to be so dangerous, and there are likely all sorts of certification rackets too, but in the sense that it protects consumers there is a good idea behind the principle. There's a fundamental problem with 'freedom!' as a goal, because not all freedoms are compatible. The right to live in safety requires that other people do not have the right to kill, rape, rob, or otherwise hurt my possessions or myself. A society where people are freed from all rules is anarchy, not nirvana.

This question comes up a lot. Here's an answer I prepared earlier..... please excuse the first paragraph (it was directed at the post I was replying to, not your post). In terms of people actually doing it, everyone who shoots 4K and publishes 1080 is doing it.

Resolve is still routinely absent from conversations about video editing options. I still see film-making you tubers making PP vs FCPX videos and not even mentioning Resolve. I think it's a combination of commercial interests, a dated mindset, lack of awareness of what non-indy film-making is like, and new thing overload where there are so many new cameras / audio devices / lighting products / YouTube algorithm updates / social media marketing branding promotional everythings that following new editing packages just never makes their priority list. That's ok.. when they finally catch on we can all say "we've been here for years - where have you been??"

This is a great addition, and possibly is a nod to how FCPX/PP users might operate. One thing I always thought was a bit clunky was if you had two cameras/lenses which needed to be matched, and two scenes which needed to be graded differently (eg, day scene then night scene). In a sense you can now grade the clips in the Colour page to colour match and put in Adjustment Clips for different scenes and one across the whole timeline as a final grade. Absolutely. It kind of delivers on the "editing revolution" promise, the UI improvements requests, the people wanting to work without BM hardware, etc. I am noticing a trend within Resolve now of having the 'easy/fast' way to do something and the 'slower/powerful' way. I first noticed it with the stabiliser when they created the one-touch version but kept the old one with the more features, but it's now there for editing too. I suspect BM is chasing both ends of the video production market: Making a feature with UMP, external audio, heaps of clips with slates, large editing team with collaboration and multiple simultaneous users and industry leading grading facilities, frame.io integration, etc etc etc Making a fast-turn around piece with P4K, internal audio, single person post-production on a laptop in the field in the new Cut page, grade with the auto-match feature and a LUT, put in a Fusion title and end sequence and upload straight to YT Obviously most people will be somewhere in-between, but making something that works for both ends of the spectrum is a real challenge and they seem to be doing a pretty good job at it.

Yes - that's a better way of saying it!

I have a GH5 and I shoot home and travel videos in available light and I must say that having a 0.95 lens really makes a huge difference. I just turned off all the lights so the room was only lit by the monitor and at f0.95 in HLG the 400 base ISO and 1/50th shutter is almost as bright as my vision. I'd love an extra stop or so, but in terms of practicality being able to shoot whatever people can see is a good reference point for low-light performance. The P4K should be a bit closer to that limit.

I agree - bringing people into their ecosystem is likely to be their long-term vision. Amazon and Apple realised this long ago. Lots of profit to be made from taking the Hotel California style of customer relationship, where "you can check out any time you like, but you can never leave" It works for religion too, by excommunicating people who want to leave you raise the price of switching above what most people are willing to tolerate..

I'd be quite excited by an update to their stabilisation engine. I shoot hand-held almost exclusively, and the combination of the GH5 IBIS and Resolve stabilisation does a great job already, but I suspect that the stabilisation engine has far more potential than the current interface allows. I'd especially like the ability to control zoom/pan/tilt/roll independently, for example if I do a hand-held horizontal pan I want to eliminate rotation and tilt completely but smooth the pan motion only a little so it keeps a steadier pace. Unfortunately you can't currently do this (or I haven't worked out how yet!) because you can't have stabilisation occurring in more than one node in series - at least the last time I checked each node you try and stabilise does its analysis on the unprocessed file, sort of ignoring the previous nodes that should already have been applied. Using an external monitor without their cards would also be lovely, but considering they essentially have a captive audience I'm not sure how likely that is!

I've been following Resolves progress as an industry standard editor since v12.5 and my impression is that if you're a professional editor it has some ways to go still before it would fully replace FCPX or PP. I'm not a professional editor so I don't really see the shortcomings myself, but I've gathered that impression from reading articles or comments from people who are working on films with large teams and huge budgets. I believe the sticking points were certain editing features / modes that it's either missing or hasn't fully implemented yet. As I said, I didn't understand what they were or why you might want them, but I got the impression they were for people who use a whole keyboards worth of keyboard shortcuts without even looking, and the other theme I noticed is that Resolve isn't as great for projects with huge amounts of footage like feature-length docs or high shooting-ratio features. To this end, the banner saying "The revolution in editing starts..." may indicate that they've done a gap-analysis of editing features between Resolve and PP/FCPX and just implemented everything they found. I guess the other way it might be interpreted is that instead of 'editing' meaning the edit page, they actually mean the entire post-production process (which I think is more how smaller productions and studios might use the word) in which case it could refer to them leading the charge in having a one-stop-shop that does media management, editing, VFX, sound design / mixing / mastering, and delivery. In this sense it would be more like an Apple marketing campaign where "everything is new.... yet again, again" means something that looks identical to the last one and people talking about tiny tweaks (OMG, the notch!!). Certainly an interesting space and it will be existing to see what they are bringing us for very early birthday/xmas present this year I think it's a very interesting comment from Andrew about a "pro" P4K having IBIS. This is literally the opposite of what Panasonic did when they took the GH5, made it 'pro' and took IBIS out because the pros use external stabilisers and rigs. I genuinely have no idea what BM would do, but in my head the choice between the GH5 and P4K wasn't a choice between cameras, it was a choice between fundamentally different types of cameras. Of course, BM have a very solid cinema lineup between the P4K and UMP, especially with the UMP update, and perhaps a tiny screen-less Micro-styled version would complete that range. Should they have done their market analysis and thought 'lets have a second line where we jump the hybrid/cine line boundary to compete with video-side of the GH5/A7III/XT3' then that would be fascinating. It would be the same logic of Panasonic with the GH5 and GH5s and a P4K that was oriented around the hand-held single-operator segment would truly be a thing to behold, but I suspect it's unlikely as BM have started in the cine world and although they have come down in price, they haven't come anywhere near the mass-market as a GH5 competitor.

I suspect you're right. I have seen product pipelines before and was surprised at how long a lead-time they require. IIRC one example I saw was that a company had a development time that was 4 or 5 times the length of their release cycle, so you had 4, 5 or maybe even 6 products in different stages of development simultaneously. This approach suggests that the incremental and advanced models in development simultaneously concept is quite likely. We're at an interesting time right now where the Sony A7S3, GH6, and others are due very soon but have no place in the lineup, because for them to provide any substantial improvement to their predecessors will mean they leap over sections of the lineup of cameras above them. Of course, one aspect to this is that we shouldn't really compare a DSLR form-factor camera with a cinema-camera form factor as they're not really for the same purpose. Yes they're both cameras, but they're for different end-users to use in different ways in different situations. I'm surprised that people are surprised about 8K: Sharp has a prototype we have the sensors the data-rates are only double 4K60 and processor speed doubles every 1.5-2 years and it's been more than that since the GH5 was released P4K has the media solutions with sufficient data rates and is a third the price of a top-end camera the TVs are coming and the Japanese are pushing the whole thing as a world-wide technology PR stunt for the Olympics...

Apart from the update @BrunoCH mentioned, I recommend you overcome your lack of calibration by keeping the demo videos of the ARRI and Canon cinema cameras handy and comparing your grade to clips in those videos. I specifically mention these two brands because both are known for their excellent colour science, but have very different approaches to skin tones and other aspects so it kind of gives you a couple of data points that you can place your grade anywhere between and it'll be fine. Also, demo videos are their finest example of footage and will have been graded to perfection from a high-end colourist so you can be sure that the quality is there and you're safe using them as a reference. One could theoretically download them, pull them into Resolve, find great frames and capture stills so that there is a range of reference images right inside Resolve only a few clicks away at any point, but copyright issues obviously prevent anyone from doing that Nodes is definitely a different way of thinking and takes some work to understand, but the advantage is that nodes can do things you cannot do with layers, or cannot do easily (depending on the software) so it's worth the effort to work through it to get familiar with them. I agree that the database method only suits a particular way of working, and I haven't found a way around it. I don't know how they would change this but I can see how it would be useful - once again I think this is a hang-over from Resolve being an industry-leading tool scaled down to software-only rather than a PC tool scaled up to have industry-leading functionality.